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Old 07-20-2017, 12:01 PM   #18
Neil Allen
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Originally Posted by Charles View Post
Just as I begin to love what I am seeing, I immediately begin to hate it.
For these love and hate statements you make to be at all helpful to me, or even clear, you will need to point out a specific example of what you love and a specific example of what you hate. Otherwise ... it's an interesting sentiment that I can't do anything at all with. Maybe you're content to leave it at that, which is fine, and if you are, then ... okay. I can't say anything about that, other than it's interesting.

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And to make matters even worse, where your narrative boxes are concerned, it simply wasn't sufficient for you to color them, also. No, you also had to poke the eye with the sharp visual stick of a transition effect from color to white. Never miss an opportunity to visually distract from what's going on in the panels, eh? How very non-clever of you!
Well, since you said something about this, I will explain it. The gradient, or transition effect as you call it, signals that the main character is thinking to himself. A fully colored box is used by another character in the story when it speaks. If I did what you're suggesting, I may confuse the reader. See page this page for an example.



A white box is used for a character to speak while another scene is playing out. See how this page acts with the first panel in the following page. This is a common comic book convention, so it's nothing I invented:





In short, the gradient is not there just to be there, because I do things willy-nilly as you're implying. It's serving a practical function.

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That said, your work has a certain visual lure to it. Like bait, it attracts the eye's attention. Some of your panels have a captivating quality to them. These are indications of artistic greatness bubbling beneath the surface.
Thank you.

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Which makes it all the more difficult for me to grasp why in God's name do you squander it? How can a person be so gifted in the art of color, yet simultaneously so careless with the same? You're pushing the visual envelope with color, but you're pushing it in a sloppy manner. And to make matters worse, other areas of your artistic skills are so far behind your pending mastery with color manipulation that it is acting as an anchor around the neck of your colorful undertakings.
I personally do not feel that my coloring is leaps and bounds above the other aspects of my art. Though, I will say it is the aspect of my whole process that tends to be the most time consuming for me, sometimes even by a good margin.

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Improve your human anatomy skills, your facial expressions skills, and your line weight skills.
Concerning my anatomy, I admit there are certainly things I could have done better (I've been over these pages probably more than anyone, and sometimes even with completely neutral people to get their takes), but I don't feel I did things so horribly that they will get in the way of the story for most readers. Actually, I don't think most people who aren't intentionally trying to pick the thing apart would even pick up on some of the things I could have done better. That said, there's certainly nothing wrong with fixing things if there are issues, and there are in places. I mean, when you're literally drawing hundreds and hundreds of pictures, and who knows how many figures, things are going to happen here and there. However, I don't feel the anatomy I did in these pages is so glaringly bad that the artwork falls apart, things don't make sense, messages aren't being conveyed clearly, and this artist has no idea whatsoever of what he's doing. I mean, I've seen A LOT worse.

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Additionally, more focus on light and shadow could help you to improve the visual transitions between your many different applications of color within a given panel.
Yes, that's something I take into consideration.

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Your work is different - and that is a plus. It's part of what makes your work unique and stand out more from other artists' work on display, here.
Thank you. Not to sound contentious, but I get the feeling you believe I'm striving to go for something mondo different with my art. I'm not. It just is what it is. This is what would come out of me when I'm just doing 'regular' art for me. And yeah, it does look ... distinctive compared to most comic art I see. I'm happy you appreciate that. That said, I'm also not trying to look generic or like anyone else. I'm indie comics and I embrace that. If someone wants to see Marvel and DC or something like them, those publishers are there for them. I'm not them, I have little interest in them, and no interest in being like them or working for them.

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Oh, and one other thing - work on your speech balloons. They are plain Jane simplistic visual blobs that detract from your work.
I'm fine with the balloons. They're neat, they're clean, they're easy to read, and in a comic with so much going on with the artwork, maybe plain jane isn't such a bad thing. Though I do appreciate the opinion and understand where it's coming from, and one of these days I may experiment with something else.
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