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RudyVasquez — FUNHOUSE of HORRORS 2 Page 7
Published: 2011-04-26 01:45:12 +0000 UTC; Views: 1224; Favourites: 39; Downloads: 4
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Page 7 from JAZAN WILD's FUNHOUSE of HORRORS Issue 2 It's Murphy's LawI was having fun with textures and illustrative detail but I think the art could still be more fluid and not so stiff.
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Comments: 35
I just added this to my scribd.com collection and thought of you [link]
No words (hehe), just pure visual explanation about rhythm. Sheldon Borenstein does it the way the original cartoonists did it/taught it/learned it in the Renaissance.
You might also dig his school [link] where you can see his video demonstrations using the method in this pamphlet.
I like Hogarth's books, but they're heavy with verbal concepts - tell and show. From your comments I got the feeling this might be more your cup of tea - show without tell. I think the only thing he actually says is "rhythm should flow through the figure drawing like water down a mountain."
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Interesting, thank you. I don't know how much free time I'll have to go over all of this but it's nice to know it's there when I do.
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There is plenty where that came from. You know where to find it. I'll leave you to your own devices.
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Thank you sir, I do appreciate it.
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I think you are right that the art "could still be more fluid and not so stiff" - and the solution I see is to correctly express kinetic forces in rendering wrinkles and textures (even "cheat" a little, by exaggerating, to use them to advantage).
Take the man man in the insert, for example: all the wrinkles of his midsection run horizontally against the line of action. That not only kills any sense of unity in his action, it also dampens elements in the overall composition. A truer assessment of folds and wrinkles draping this form would create, instead, a dynamic flow from the raised hand through the torso and down the opposite leg, expressed with simple stretch lines and gentle spiral curves.
With the rear view of the boy - even though it is a great dynamic pose - you miss the spiraling diagonal stretch of fabric that would describe the contra-position of the rib-cage and hips, which is the main cue of action.
Basically, don't just draw wrinkles and folds (okay, don't smack me), use them as a tool to express the kinetic forces that are responding to, and visually reinforcing, physical actions.
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Well said and completely true. This can only improve what I do. Thanks so much!
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Well, it can if it motivates you to study and practice this [link] . It's in my scribd.com collections, which you are free to make use of or copy anytime.
I love your work. I told someone that you have the X-factor - that special something that transcends strengths and weaknesses. Nevertheless, reviewing your gallery, I've noticed that certain areas, like wrinkles and drapery, don't get much attention. They are handled as if they are finished - good enough - and not pushed to the next level.
Some artists think their flaws are charming. But you work too hard to hold that opinion, so I believe you reply sincerely.
No "awesome Dude" from me. Whatever it is, good or bad, I'll define it in operational terms. Conscientious, high quality technical feedback is good for both sides of this equation! Working it out, communicating it, and measuring up to it in my own work, presses me to improve, too.
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I appreciate feedback. I can already see useful info in that link. I apologize for not giving back so much feedback myself but given my schedule, I don't have the same time to engage people like I used to. The encouragement and suggestions are noted and appreciated though. There is never an end to self improvement.
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BTW - There is more where that came in my collections at scribd.com. Here's the link [link] The link is also posted on my profile page in the NEWEST Deviations module, left side under the four thumbnails.
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Well, that's a relief! You're quite a gentleman and I understand completely.
Yes, I do unto others as I would have them do unto me - that is to analyze my work, put me on track, and help get me working in this industry. But, frankly, going it alone is character building! hehe.
I've gotten to the point where my knowledge outweighs my performance, but, still, I use it to improve performance. I also find that some artists know things they can't put into words, and when I conceptualize it or verbalize it for them, the light-bulb goes on! (So it's not like I'm ALWAYS rubbing them the wrong way.)
Anyway, then, I'll reign in the comments and not harp on issues already addressed.
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Like I said, no worries. You have the talent, just put in the work. Don't take this the wrong way because your words are only positive and meant to help but if you put in the time and energy you put in to giving advice and studying into just DOING the work. If you DO the work, people will notice and all that you ponder and study will make it's way onto your pages. You'll see. You have the talent.
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There's no way to take your words the wrong way. They're very clear. Just do the work. hehe. Okay.
That said, while I've been increasing my comfort level from drawing figures, objects and settings to composing panels, sequentials are hard (not the drawing, the thinking behind them) and a standard comic book page is a big and scary thing. (Like that has anything to do with anything! 
So sequentials it is. No more side-tracks or excuses, because I've been told by someone who KNOWS.
Thanks
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Like I said, this is great to hear. I'm alongside you, just working on my craft in theory and in application and it IS hard. Still, it's what we love, so just like the saying goes, " A marriage may be made in heaven but the maintenance must be done on earth."
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You're alongside me. . . Hehe. Then, if you have no objections, I'll cling to you like grim death! Or at least check in with you as I stumble along with this project? I'm already spending more time staring and writing then drawing.
I'm a good writer, but working with words just seems to get in the way, so I chucked writing a script and am going straight to visuals with t-nails. I want to keep it simple - set up the necessary steps and work them to completion - know the objectives at the start of every day and get 'em done before I go to bed.
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I can see what you're talking about with the 'stiffness' of the drawing, Rudy. The grass work in panel one is impressive.
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Yeah, I'm working on making the body language more fluid. I'm on issue 4 as we speak.
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Thanks, Robert. Sometimes the work doesn't get done as quickly but once I start the style in this way I have to be consistent.
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Very true. You don't want your art to fall apart at the end of the book haha.
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Yeah, that's never good and I work on pages chronologically.
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I want to try working on something chronologically soon, I am too scatter brained and do random pages haha
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Thanks Alan, I'm working on issue 4 right now.
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I like all those shadows you make, really unique indeed.
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With these books we have to have those heavy shadows.
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