Yet another try. Different approach this time though. Trying to go for minimal blending. Did my durndest not to waste so much time on little details (partly because my husband would spazz out if he caught me working on minor detail). This is just one small panel out of the page so I didn't worry about the nitty gritty.
Ditch that cut on his arm, it's not a big enough difference to show up in print.
A trick I like to use is making the foreground stuff that's framing cap a lot darker. Not too dark so it gets all muddy, but dark enough that it frames the important stuff and leads the viewer in there.
I hope these crits aren't too negative, I like the way you approach this stuff, I wouldn't bother if I thought the work was bad!
No way man! That is why I put 'em on here- in hopes I can get good advice from really great professionals like yourself. Keep 'em rollin, tear me apart! and just like you said, the fact that you are even paying attention to me is the biggest encouragement
I keep picking up all kinds of great little tricks from you, thanks!
I agree with Rico. More shade difference between the foreground, and background would separate them more, and also frame Cap better.
More importantly I think a darker foreground would work to accentuate the mood being set. A large dark mass over Cap, would add to the weighty thoughts he seems to be hunched, and mulling over... an additional load on his back.
Thank you David! I will definitely play around with that great bit of advice. I am going to post the full page later on, and would love for you to stop back back by with your thoughts on the finished product. I certainly have a lot to learn from people like you and the Rico.
This is looking pretty rad. Really good work here, Elizabeth. Not much else to say besides what has already been said. The color traps (i think that's what they're called) on the background lines are a good move. It really helps the focus to fall on Cap. I think as a panel, you've got this one down. Now to see the rest of the page
Devious Comments
Ditch that cut on his arm, it's not a big enough difference to show up in print.
A trick I like to use is making the foreground stuff that's framing cap a lot darker. Not too dark so it gets all muddy, but dark enough that it frames the important stuff and leads the viewer in there.
I hope these crits aren't too negative, I like the way you approach this stuff, I wouldn't bother if I thought the work was bad!
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[link]
I don't know what that last word is. Subtitles?
Keep it up!
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I felt like destroying something beautiful.
I keep picking up all kinds of great little tricks from you, thanks!
More importantly I think a darker foreground would work to accentuate the mood being set. A large dark mass over Cap, would add to the weighty thoughts he seems to be hunched, and mulling over... an additional load on his back.
Nice work.
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www.davidyardin.com
www.myspace.com/davidyardin
www.comicspace.com/davidyardin
I certainly have a lot to learn from people like you and the Rico.
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Can't spell Nick without "I-N-K". Who's smart now?
Myspace: [link]
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