Joseph is toootally Marie's favorite person in the world right now. Well, maybe second favorite.
Tony seems to forgive Eddie entirely, despite being mashed in the face pretty soundly. Joseph meanwhile was at most inconvenienced by the late-night howling, but is angry enough for the both of them. Maybe Joseph is just a dude who believes strongly in consequences, and likes to enforce them where he sees fit.
Aside from the bruising and related discoloration, I think the first panel is ironically the best I've drawn Tony in a long time, if not ever.
Not happy with the way the shading came out on this page. I thought colored pencils would look nicer to denote the sunlight of the daytime, but I was too sloppy about the application and the texture just looks crummy. Oh well. At least the dirt looks pretty good.
I like this page. First panel Tony the most, just because despite getting stiffarmed and the resulting facial injuries, he still manages to look so cheery.
I don't know why or what the difference is, but this is one of the best pages I've seen in awhile.
@The_Hankerchief: Thanks! I think so too, honestly. I think I finally had a "breakthrough" of sorts where I'm starting to lift off of the plateau I was at for so long.
And Tony doesn't get a lot of story-time, but I'm glad his optimism comes across well. He's just like "Bruising and a possible fracture? Well, it'll go away eventually, I'm going to have a good day with my buddies."
LOL I absolutely love Marie's face in the second row, middle panel XD This is weird but I imagine her saying in an alien voice, "Yes, listen to the Joseph human." ... I think I may need a nap...
@jolokiapepper97: Lmao I can hear exactly what you're describing hahahahaha
That's a very impressive nose, a very undead Eddie and a great expression Marie has in the fourth panel. XD
Aaand yeah, colour pencils are kind of evil! What I do these days for shading traditional stuff is I often tilt the pencil so it's more smudging than cross-hatching (though it only works if you're using something bright and almost waxy like watercolour pencils).
Your pages make me want to do some short traditionally! I'd love to but my normal comic page has to be scanned in parts and it sucks for coloured stuff (and for some reason I really struggle drawing panels separately, it has to be physically one page from the start). So the only traditional comic I did so far was that page about Houston being born and it's a kind of tiny page. Maybe I'll figure out a way to solve it without finding a huge scanner someday.
@Oly-RRR: Hahahaha thank you :D
I'll have to give that a try re: the colored pencils! The prismas I use seem to be very waxy so it could work out. I always love your traditional coloring, it looks so effortless and touchable!
I understand what you mean about compiling different panels together. I mean, one thing I've done for my pages where they need to be scanned and I can't just piece together the scans from cutting the panels (like pages where the middle panels aren't really aligned and there's no easy way to split up the page) is I scan all the parts as needed, add them together into one file as different layers, bring the opacity down, and then I'm free to line them up and twist them as needed and can then erase all the looming dark shadow that tends to appear at the edges of a scan and it looks good as on the page.
I don't know whether it'd help in your situation, but I figured I'd throw that idea out. I'm sure it's one of those things that everyone else in the world already knew about since my foray into digital art has been stunted and reluctant as possible XP
@mitchellbravo: D'aw, thank you!
Oooh, I gotta try that! Honestly just cutting pages is a good idea but I like keeping them all uncut (though it's not like I ever do anything with them so I might as well get over myself and cut them for scanning convenience - it's just a weird OCD-like thing like feeling guilty when I have to tear a page out of a sketchbook). The scanning in parts way you described is exactly what I do with normal pages - I usually try to scan a page the way so each row of panels fits in each scan fully and then when I put them together I only have to align the rows and not necessarily have lineart fitting together exactly. It does create some shadows - they are easy to remove with black and white only but it can mess with a coloured page and it'd be sad to be stuck with a page I spent several days on and no way to scan it. But I guess I could cut it in parts then so... gotta think and pick a victim for this experiment. >:D
It's great to discuss it all though, I don't get to do it often! It seems like we're the few artists of our generation that aren't entirely comfortable with digital (I blame our old faulty computers! I got a computer that could handle Photoshop only during my freshman year at the uni and it was too slow for properly painterly stuff anyway, especially around the end). :P I got used to digital colouring and editing but digital sketching and especially lineart takes me more time than traditional and I enjoy the feel of traditional more... and then I look at some of my friends who draw comics digitally from scratch and kinda envy how it makes certain things much easier.
Though at this point when it comes to colouring I'd say I like doing both, it's fun switching from one to the other and back.
@Oly-RRR: The nice thing about the method I described is every part of the page kind of ends up getting scanned more than once, so even though you do get the shadows, you just need to scan enough that there's a big overlap, and that way you can just go to the shadow-having-layer and erase just that part of that layer as needed, leaving behind whichever page had that part clear and correct looking! I don't know if I'm describing it well but it's worked for me on the few occasions I've needed to do it that way and doesn't bung up the color at all.
Yeah it's nice getting to talk shop with someone who understands that kind of difficulty! There is some envy on my part as well- being able to just take your computer and tablet, for instance, instead of toting around buckets of colors and hoping the ink isn't going on the pen you need most- not to mention being able to "sketch" color right away and of course the appeal of non-permanence.
For me I think it evens out though because I never have to worry about a page getting eaten by the computer- physical accidents do happen but they're surprisingly manageable if you're not a perfectionist :P And anything that gets me away from looking at a screen is a positive thing, as far as I'm concerned! Different strokes for different folks, there's no one-size-fits-all.
I think it would be different for me if I had a tablet, though. All of my editing is done with a mouse whose battery seems to flake out under pressure and it can get pretty painstaking. But I also find I like too much the ease with which you can add texture to a traditional piece (I think my lineart style is too shmoopty to be able to pull off those clean, flat colors and smooth gradients some people can use), and the absence of an undo button has made me by necessity become more efficient at getting things right the first time.
@mitchellbravo: Oooh, I need to try that! I understand what you mean, I just can't seem to align stuff exactly - if I zoom in at 100% (which is huge at 300 dpi) I always notice layers being slightly off compared to each other. To be fair it's one of the things that got better in newer version of PS - the tool that rotates parts of the picture wasn't very precise before.
I concur about upsides of traditional - one of the reasons I'm much slower at digital lineart is because I have the option to re-do each line FOREVER, which is really not a good idea with my perfectionism flaring up from time to time.
And oh gosh, I admire artists who can do anything digital without a tablet - I was lucky to get a decent tablet pretty much since the time I started working digitally so I'm helpless in art software with a mouse. If you do decide to get a tablet at some point I always suggest saving up or going for used but high-end tablet - I tried some cheap "have fun with your friends" kind of tablets a couple of times and honestly they feel like a pen-shaped glitchy mouse. Proper tablets don't feel EXACTLY like pens either but at least they are easy to control when you get used to them.
That said my tablet is old and also has a glitchy mouse (it often seems be no click or triple click, no middle ground) - but the stylus is fine and the tablet is sturdier than newer models seem to be so I'm not in a hurry to replace it.
@Oly-RRR: Ohhhh yeah, if the rotate isn't precise then that just won't help very much at all. I've been lucky then with using GIMP it seems!
Thanks for the tablet info! I figure if I saw a cheap one at a yardsale or something I'd pick it up just to mess around, but it's gonna be a good while before I'm comfortable investing in something high quality. I borrowed one off a friend once for an experimental animation I did and it certainly was an interesting feeling :P
In the beginning (like early 2009 when those very first bad strips I linked to on another page) I did everything almost 100% traditional because I didn't have the hang of the program yet- there was a lot of doge/burn abuse as well as overuse of "unsharp mask" instead of adjusting the levels (also, "unsharp" gets a red squiggle underline but "doge" is perfectly fine... uh). Then around chapter 3 I started relying very heavily on the computer because I thought I was saving myself time from having to drag markers all over the backgrounds. Oh, and it was all done without understanding how layers worked so everything was applied directly to the forehead or jigged around with some weird copy/pasting system o_o It took many pages of spending hours burning my eyes out staring intently at the screen before I realized that coloring irregular areas with a merker is MUCH faster than trying to select the area with a mouse.
Now I've swung the pendulum back the other way, using digital tools as sparingly as I can, and trying to get the page as close to 100% done as possible before it's even scanned. It's vastly reduced the amount of time I need to spend on it. I can't recommend it to everyone but it's made the process much less of a chore and kind of brought it back to how I used to enjoy it :P
@mitchellbravo: Yeah, it's different for everyone! I'm a bit annoyed that I can't figure out why standalone doodles are easier for me than comics even if they have proper background (I mean comics are just sequential doodles) but generally I'm getting more and more happy with my comic process.
Especially since I got rid of the crappy sketchbook - I got a sketchbook with paper that turned out almost TP kind of quality but it seemed a shame to throw it away so I kept attempting to draw in it. Gave up a couple of weeks ago, I keep getting surprised how easy and fun inking is on proper paper. I try finding reasonably priced art supplies but struggling with every page is not worth an extra sketchbook. D:
Haha, spellcheck is weird - I switched to British English dictionary from American English one when I got this computer and installed Firefox and now it keeps underlining Chauncey. XD I suspect in your case it's okay with doge because it's also a type of Italian leader during Renaissance but let's face it, the shiba inu meme gets a longer article on Wikipedia. :D
@Oly-RRR: Aaaah the bad paper curse!! I went through the same thing when I first started inking! It was like that rough kind of construction-papery-feeling sketchbook paper that's really textured and coarse and since I was coloring with only colored pencil at that point (and really badly, it wasn't exactly a honed skill) everything came out looking crayon-like and dragging the pen across the paper felt like a tiny ox plowing a tiny field. It's a pain to keep up with supplies- I just ordered an apocalyptic amount of pen nibs and ink cartridges just so that I don't need to worry about them for a while, and since I figured out how to jerry-rig a Prismacolor marker refill (combined with just learning how to use different colors in different lighting) I haven't had to order more of those either.
Hahahahahaha awww poor Chauncey!! I would have thought the British dictionary would have liked it better than the American dictionary, too! Oh my gosh if doge is in the spellcheck because of the shiba meme I would just die XD
@mitchellbravo: Yeah, exactly that kind of paper!! The sad part is that I got it because the previous sketchbook of that brand was good but it wasn't in stock anymore and I went with a "similar" one! I know you're supposed to look at those numbers they have on the cover, g/m2, lbs and all that but I can never figure out what the paper is like just by looking at them.
And yeah, I feel your pain about pens! D: My markers and colour pencils run out depending on how much doodling I do each month but pens die constantly because I use them for everything from doodles to comics to work.
And I couldn't resist even though it drives the comment section further into the pits of craziness -
much correct very spelling wow :D
@Oly-RRR: I know depressingly little about the papers and tools I use so I just try to keep getting the same brand all the time!! Heaven help me if they ever decide to change the cover on the vellum pad because I'll just wind up turning to the cashier in tears.
Ever since I stepped up my game and started drawing backgrounds in every panel instead of skimping on them, my pens seem to have taken the brunt of it :P It's tough because I'm not sure what exactly to look for to determine whether the nibs have gone bad but any time I've replaced them there will be a noticeable difference afterward, so I guess whatever spiritual method I'm using to assess them must be properly calibrated.
LOL. such spell check! lines so wiggle!