EARTH MINDS ARE HUGE
Thinking about working really big. #6 was drawn at proportions similar to mainstream work (150%). Story of Suave Prospects was drawn at about four times the size of the printed work. I Love You was drawn 16 times printed size (whoo-ee!).
I'm writing #7 on a twelve-panel grid, 100% print size (legal folded in half). Thinking about drawing one panel per page of 9x12 bristol. Just writing that makes my bank account squirm. Heh. Squirm bank account, squirm.
The bigger I work, the more line variation I have in my arsenal. I like to think of myself as someone with an adequackitation of line variety, but I'd love to just beef it up. And I'd love to just open the panels up. Fewer lines closing up as they intersect. A better sense of space, more room to work. I want it to be as open as possible, especially as I start working a bit more iconically and a bit more densely. Dense openess.
When you work with really stripped down images, iconic drawing, you want to work even bigger than you would with something detailed, so that when you shrink it down, you get a really nice, clean edge. Hides paperpulp, leading edge grain, shakyline and unwanted variation.
And I want to really stretch the push pull of the reader's eye. I'm thinking about really clean, simplified foregrounds against a clean, less iconic range of background action. I want to tell a story in the background that comments on the foreground and I want the reader's eye to really participate in that.
I'm thinking about templating up my word balloon lettering and really letting the other lettering get much more graphic. Get a real uniform look to the dialogue for ease of read and to let any changes be more subtle or really pop.
I want it to work equally well in B&W and color.
I'm writing #7 on a twelve-panel grid, 100% print size (legal folded in half). Thinking about drawing one panel per page of 9x12 bristol. Just writing that makes my bank account squirm. Heh. Squirm bank account, squirm.
The bigger I work, the more line variation I have in my arsenal. I like to think of myself as someone with an adequackitation of line variety, but I'd love to just beef it up. And I'd love to just open the panels up. Fewer lines closing up as they intersect. A better sense of space, more room to work. I want it to be as open as possible, especially as I start working a bit more iconically and a bit more densely. Dense openess.
When you work with really stripped down images, iconic drawing, you want to work even bigger than you would with something detailed, so that when you shrink it down, you get a really nice, clean edge. Hides paperpulp, leading edge grain, shakyline and unwanted variation.
And I want to really stretch the push pull of the reader's eye. I'm thinking about really clean, simplified foregrounds against a clean, less iconic range of background action. I want to tell a story in the background that comments on the foreground and I want the reader's eye to really participate in that.
I'm thinking about templating up my word balloon lettering and really letting the other lettering get much more graphic. Get a real uniform look to the dialogue for ease of read and to let any changes be more subtle or really pop.
I want it to work equally well in B&W and color.
posted by Justin Fox at Wednesday, March 01, 2006
8 Comments:
go for it!
u need a studio!
i much prefer bigger for tm. though now i put so many panels i draw same size abouts. i am happy with the style though. may do some biggens watercoolers for next mini.
I DO need a studio. Get out of my studio!
don't worry, i plan on it!
I just want to really open the space up. Give stuff more room to breathe.
It's one of those things you forget about when you're smack in the middle of working: If I draw it bigger, stuff will close up a lot less.
Give myself around five visual planes to play with instead of the traditional three.
Vary brush sizes. Maybe play with a number four brush and break out the Hunt 102s again.
You're proposing, aren't you?
i may be making a proposal. but im not proposing.
more like whitemailing.
I refuse to want to run for president even though it's what I've always wanted to do!
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