And another page – which nearly wasn’t.
I learned a few things from making this one. I started with lots of ideas – concepts – that I wanted to get into this single page. I thought I could cleverly weave it all together, coherenly with humour and good pacing.
Alas, my cleverness wasn’t so clever. I went from excitement – and a sense “I can’t wait to show them this!” to “Oh my God, this is a mess.” Thankfully the remedy wasn’t so difficult. below you can see it as it was before I took some simple steps…
Forget the colouring and tones, the problem is in the panels, and in the ‘beat’ of the panels. The rhythm is all wrong. First off, the steadybeat of the morning routine is lost because of uneven panel sizes, and then made worse by the clever higgeldy-piggeldy look of the 4 middle-ish ones. To be honest, that was mostly due to the contents of the panels needing to be accommodated, but I thought it might be turned into a positive thing when the panels were interestingly arranged. So, as you can see, I later resized them to get today’s page [top]. I suppose, the contents of the panels might have been simplified too. The panel showing Clive walking into reception might have been resized too but I didn’t bother. I didn’t mind so much that the wider panel slightly slows the pace – leading to the final big slow panel, in which he finally relaxes.
However, in hindsight, a better arrangement might have been like the following:
It’s all part of the learning process. Francis Bacon apparently used to ask all sorts of painting-related questions of the likes of Lucien Freud, early in his painting career. They would be astonished that this artist, who’s work they so admired was asking them about the most basic stuff that they’d learnt in art college!
On the last page I was discussing the pens that I’m drawing with. Last week I bought a nice one that not as thick as the Edding 1200 – but thicker than the Triplus Fineliner. A UNI pin .8mm
In retrospect, although it’s the nicest pen I’ve ever drawn with, it’s still too thick. I actually look back on the previous page and I like the thin lines. I’m going to get a .5mm one this week and try it for the next page and see if that’s a happy medium.
It’s funny, I originally had this idea that stuff that close to camera might be in a thicker line – but it just doesn’t work. It looks like the art’s been zoomed-in on and just adds more inconsitency to the overall feel of the page.
What I will redo on this page when I have time this week, is Clive’s eyes in panel 2. He’s just completely off-model with the final one at the bottom.
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