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How can I improve my work?


#1

Hello guys,
I am aspiring penciler and would like the opinion of you about my work.

I dream about working in comics companies.
how can I improve my art

Thank you all
Ricardo Silva


#2

Nice. Really dig all the texture you put into this. I’m just wondering why she’s in skin tight clothes & heels to chop wood. Might want to give her a ponytail too. Don’t want your view obstructed while swinging an ax.


#3

Thank you so much, I am very happy with your answer.
I will use all comments to learn more.


#4

From working on the annual last year here’s the common areas artists should always be working on:

  • Backgrounds. You need them in every panel. Some artists get around not doing backgrounds by using color at inking time, but the guys that get gigs always have a background.
  • Facial expressions. Some artists only draw the same face, and use shadowing to try to convey different moods. Really the faces should be a clean as possible, very little line work, and still convey the emotion the character is feeling.
  • Framing. The angle you take should make sense to the story. Visually interesting but also helping move the story forwards.
  • Panel count. Look at mark’s work. Very rarely does he go above 5 panels in a page. It’s a writers crutch when they don’t know how to frame a story, but it’s something artists should push back on.
  • Eye direction. The characters should be looking at each other, not at the reader all the time. If every face is pointed towards the reader it stands out. It’s a common problem for newer artists as angled faces are harder.

I’d recommend buying some books form artists you aspire to be and really looking at how they frame things. You should look at recent books over the last couple of years as that’s what’s in style right now.


#5

Thanks.
Thank you for your advice, I will make new pages trying to improve in all aspects so that you mentioned.

Thank you very much.
Ricardo Silva


#6

I love your art. I’m also impressed with the feedback you are getting, as I was enamored by your sense of detail so much so that I couldn’t find the criticisms others had. The feedback you are getting is really outstanding though. Jim mentioned books, I just wanted to chime in and share a link to Andrew Loomis art books that I’m sure you’ll find a lot of value in.

http://www.alexhays.com/loomis/

Those are pdf versions, but there are hard copies available on Amazon. Check them out.


#7

Also, with regards to Jim saying have background in every image. Check out Locke & Key by Joe Hill and Gabriel Rodriguez. Gabriel Rodriguez is outstanding with this and his faces are simple yet effective.


#8

Thank you, I am also happy with the response from all of you.

I’ll look at the books, I have some, I really like Andrew Loomis.


#9

You don’t even need art books. Just look at comics coming out right now. Look at Jupiters Legacy 2 #2 and see how a master like Frank frames and structures dialogue pages, and then where he goes with action pages. He spends a long long time just thinking about how to lay out the page and what angles to use. There are so many hours put into each of his works it’s unbelievable, but it’s all there on the page when you study what he’s done.

Immomen is another master. Look at how clean the characters faces are in Empress, but look at the work on the backgrounds.


#10

Yes, I really like Immonen Stuart, one of the most fantasticos designer.
Oliver Coipel, Leinil Francis Yu, Travis Charest and Ed Benes.
I really like the design of this guys.


#11

I’m not sure I’d agree with some of the advice here, on backgrounds I think there’s a “bite” point - you need to build a page around convincing a reader in your in a locale - the easy way to do this is to ensure there’s a very solid, stable background in every panel - if you do it smartly that background can help lead the readers eye (Frank Quietly utterly brilliant at this) BUT you also can use backgrounds that become slightly abstract - as long as they’re consistent with the backgrounds already established.

Readers don’t want to see background in every panel, they won’t to not be yanked out of the page (How many movies use an out of focus background to let the viewer concentrate on the character?)

Also: look at other artists, then close those books and concentrate on being the best version of you you can be. Figure out what it is you’re good at, and bad at and work on the stuff you’re bad at.

There’s some lovely rendering on some of the panels here (reminiscent of Gary Frank) but some odd stiffness around characters.

I hope you don’t mind, I drew all over your page one - panel one, there’s so much establishing background here the house is a little lost, but making the foreground trees pure silhoutte and adding a more strongly defined shadow around the building we help that building pop.

Panel two, again, more shadow (and a quick correct on the perspective of that tree trunk). The figure stretching to wipe the sweat from her head should look like she’s fully stretching, for figures like this always think of how you can make it contrapposto https://en.wikipedia.org/wiki/Contrapposto

Panel three: perspective on that house is all wrong. You need to figure out where the reader would be viewing this scene and that becomes your horizon line, then all perspective should be worked out from there. (Good way to figure out where the eye line hangs is to look at your figures and see the point where two identically tall people are lining up - here it’s there knees, so that’s probably your intended eye line.

Panel three - I went a bit nutso here. I love the rendering on your face, but it’s out of whack with the time of day and the fact we’re outside. Switching it for a more naturalistic lighting position and you can still go dark but it won’t look weirdly out of kilter with what’s gone on before.

Page two, I’m afraid I find this kind of thing a bit dull - what’s she doing? just sort of posing - was she lifting the axe and they interrupted her ? you need to really do something with a splash page like this when it’s a simple character shot - for example, shoot up from the base of the trunk with the wood with the axe in her hand (so the reader follows the close up of the axe up her arm to her face)

I’ll buzz through the rest:

Page 3: here the lack of background on panel 1 is distracting, feels like we’re in the matrix white room. Panel two does it need to break the panel? I’m look in at his head and that cat and missing his gun.

Panel 3 - because there’s no background on panel 2 and because the panel border runs down the side of that strut it looks like the two panels are in fact one giant panel with a confusing five people in it -

Panel 4 - these guys look like they’re synchronishing everything from their movements to way their pants fold over their shoes.

Page 5:
I’ll say this, if you want to break panels/bleed panels do it with restraint and do it when it counts, because otherwise it becomes confusing very quickly.

Panel 3 has a tangent running down the side of that hill where it meets her arms. Looks odd.
Panel 4 if the point of this panel is to show she’s chopping him in the leg THAT’S the bit we should see- none of that part ofthe image should be hidden behind a panel! (I’d keep it all in the panel none the less, but we should see that action)

Panel 5/6 - these guys look pretty similar at this scale, I’d’ve considered give one a mustache or goatee (or make sure you can see the bald guy is bald in panel 5)

Page next one
Panel 1:
She’s holding that axe, but the sense of danger is removed because we can’t see the axe head! We need to see it here!
Panel 2:
Ouch.
Tangent where the fingers meet the panel border! Watch that!
Panel 3: The curled fingers looks like she’s cut off all of his fingers - I’d stretch those two out, and maybe place the chopped off fingers behind his head…

Panel 4: Keep the axe in shot! and I’d’ve raised his other hand to see the grisly missing fingers from a different angle

Panel 5: Pretty sure I’d be in more agony than he looks.

Panel 6: Tanget where axe head meets the wooden poll - keep the axe head always in shot! (I’d’ve silhoutted the pole and the cat, to help focus you on the background action)

Panel 7 She looks like she’s fixing her hair, I’d move the camera out and get some of the axe in.

I will apologise if any of the previous was a bit curt, hopefully I said something useful.

-pj


#12

Thank you so much.

when I posted it not thought I would have much repercussion.

all criticism is valid, thanks for your advice, I’ll evaluate everything that has been said here to constantly improve my work.

I want to learn the maximum I can to be able to draw on a major publisher of comics