Sign me up. Snarlbear is violent but it's not too bad for the most part and I think it could slip under pg 13. I will take anything.
I don't remember what I've done exchange stuff for in the past- I wanna say Awkward Paws, Sandbox Drama and Define Hero? And one about interdimensional time travel I think (Defenestration? something like that)
Your 'style' and 'hand' are kind of the same thing? Style is the mistakes you make consistently that make art look like you did it. Doing something in 'someone else's hand' is just trying to copy those mistakes to imitate someone else's look.
Art Deco and Baroque and Impressionism and whatever are movements, not styles. They have a lot of individuals working within them and they're grouped together by some broad overarching similarities. Same w/ anime and manga, those are industries with a specific house style that varies by production (see Paprika vs. Princess Tutu vs. Astro Boy). Animation is kind of special I guess because it's a lot of people collaborating to make a cohesive product, but in some cases you can still see the individual's hand (interesting and related article about Flapjack)
Point is, go draw a lot and listen to your heart and you will find and understand what your style means. I think that's how that works
Using 3D models means you can put the camera literally anywhere with some ease, right? Zoom outs, low angles, high angles, establishing shots of the cool environment that you don't even need to create yourself because Blizzard made it for you. But the OP's comic is almost all medium eye level shots. In the couple of pages I've clicked through I have no idea where anyone is or where they are in relation to each other. Also, expressions and they are all staring straight ahead? You have literally all the camera freedom in the world here, use it dude
The Dreamland comic Killersteak posted is a lot better, but has a couple of similar issues- the models are a lot more appealing and the paneling is a little better. Not a huge fan of the lighting/how the values are all pretty much the same but the models are pretty cute.
I haven't looked at a lot of poser/3d comics because I'm usually just not a huge fan, but Luna Star is actually a good example of varied shots and pretty decent expressiveness? What Cent doesn't get out of the 3d faces she definitely gets in body language, and also I think she builds her own assets but don't quote me on that one
I think 3D comics are at a natural disadvantage because unless you're really good at what you're doing, they're not very expressive, and good acting = fun to read. You gotta make up for that with other skills (cinematography, body language, cute models, panel composition, writing, whatever).
Also there's a matter of taste- I'm not really into 3d rendered stuff unless it is SUPER cute- I guess some people like it a lot though so there's your market
I get that characters are supposed to go through rough stuff but I think there's also somethin to be said for taking a step back and thinking 'do I really need to have this character suffer in such a gruesome fashion'? Because yeah it proves you're a hardcore writer who isn't afraid to make bad things happen to their charas or whatever but you also want to think about the tone of your story and the audience and all that. To counter the Game of Thrones example-
[spoiler]the show has a weird fascination with Theon's thing with the evil Bolton kid and spends way too much screentime (IMO) on torture stuff that still happened but took up wayyy less time in the book...it feels kind of pointless to me[/spoiler]
So, I don't know! It's a tough balance to find between the right amount of sad and sweet, because if nothing contrary to the protag's desires happens then there's no real story. As an audience I'd honestly rather err on the side of too many nice, well written relationships between characters than too much bad shit happening to characters I'm lukewarm about. But if you can get bad things happening to people who still manage to survive, persevere and care for each other...that's the sweet spot I think.
Anyway as for the OP: I think it depends on the story...in the book I just finished there was a character I did not like who I could tell the author really liked, so basically any scene with him in it felt like the author was more into it than me. But I'm sure anyone who liked that character would have been engaged by that.
W/ this kind of thing maybe you have to think of what the audience (who only knows what you've shown them/will only be in your story for however long it takes them to consume the material) wants to see rather than what you want to see as the creator who knows the characters and material already?
This doesn't mean you as a writer can't explore whatever you want. It's a matter of finding an audience that will follow where you want to go. So a writer like Chuck Palahniuk (Choke, Fight Club) has a very different audience than Anne Rice (Interview with a Vampire) who has a very different audience than Garry Trudeau (Doonesbury).
Yeah I think it also depends on what your audience came to you looking for and what they expect; my commenters on my comic that has been established as a Rainbow Fantasy Fighting Adventure are more engaged in the parts where rainbow punches are happening, as opposed to the parts where characters are walking around talking about stuff, even though I as a creator enjoy drawing both
sorry for the long post I just think that filling your story with suffering does not necessarily make you a good writer
OKAY! Sorry about the delay stuff came up but I’m still writing these
HEART OF KEOL is really pretty so far and has some cool format stuff going for it that I really dig! It’s neat to see comics done specifically for web/scrolling and I think that works in your favor here. Your color choices are also very pretty and glow-lighty, giving the whole comic kind of a magical, romantic feel. I dig it
The biggest problems I noticed are layout/scale stuff and watching your proportions on your figures. Ethan in particular has a small head and towers above just about everyone (past and present). In some shots too his arms get a little short, or he just looks awkward/stiff. Everyone else looks fine though! It’s really only noticeable on this one guy.
Are redlines even still a thing? Who knows
Layout stuff: Your bgs are well done but the way stuff is placed in them/scale is a little off! I noticed it first in the food truck scene:
That is a huge food truck
Because he’s so small, Korean Dad looks like he’s back a ways from the counter. Ethan appears to be staring into empty space.
Here I moved the dad and kid up a little bit into the foreground to give this guy something to look at. You have the same problem here:
The farmers and looking and pointing their weapons off to Ethan’s right- not at the guy himself.
I don’t have any complaints about your angles/paneling except that you seem to do a lot of medium shots on Danbi- they’re beautifully painted but maybe you could zoom out a little more frequently
Writingwise I don’t have any complaints- stuff is pretty well explained.
This comic is neat so far, keep it up!
Joeyballast: I know I said I'd read two but I think I can only handle this one for now. I'm sorry.
Think about your eye level- know where your horizon is, this is probably the most important part of perspective. Lowering the eye level in general makes things dramatic/dynamic but there are exceptions to every rule!
Atmospheric perspective- a fancy way of saying that when things get farther away they get less saturated/closer to sky color. So that means things that are far away are not as brightly colored and in focus (detailed) as things up close.
Drawing from life is awesome but if you can’t furniture catalogues are great for interior reference. Reference is your bff if you can’t remember what stuff looks like
You can cheat if you’re working in PS- desaturate, then use the color balance tool to kind of shove all your colors in one direction and make them work better together. It might work in other programs but I’ve never tried it
If you want to look at some classic landscape paintings google ‘Hudson River School’ and take a look at those? That might be helpful, a lot of landscape paintings from the 19th century are very dramatically lit with sunsets
keiiii:I'd appreciate a critique on Heart of Keol! It's way less than 100 pages at the moment, and I don't really have any specific aspect I'd like you to focus on. Anything that comes to your mind, I guess.
oh hey! I've seen you on tapastic and have been meaning to read this because the painting looks pretty! I will get right on this
@lirvilas: Thanks dude
edit: ok maybe it might not get done until tomorrow but it will get done
Hey I don’t know if crits are still a thing around here but I’m in the mood for some comic analysis if anyone’s game!
First come first serve, preferably shorter than 100 pages but I will read more if that’s what you want, please let me know what you want me to look at most I suggest asking me art questions because I’m better at drawing than writing but hey, whatever, I'll try my best
I don't want to commit to too much of this so let's say 2 for now? Yeah.
Hello! I should be packing but instead I am on comicfury whee
Changing that font was a really good choice, but I think you're still suffering from some compositional issues on this page, like Keiiii mentioned. The silhouettes look cool! You just need to move some stuff around/watch your flow.
I tried redrawing the page with some slight composition changes to make it feel 'right':
Think about where forms 'point' I guess, and placing your text/images so that they guide the reader through your piece. Also watching what gets cut off, moving the warrior people (I'm guessing the most important part of the picture and what you want focus on??) closer to but not quite in the middle
I got rid of the red text because I thought it was a little distracting. If you want it to look more like a dusty old tome, have you googled any illuminated medieval manuscripts? Those can be pretty cool.
I hope some of this was helpful, sorry if this was not what you were asking for
Don't forget to write yourself up a contract agreement too. It's just a document outlining things like how much you're getting paid, when they're paying you and what you're getting paid to provide. It's a little bit of extra work but all the things like half pay at termination at sketch stage, whether or not they get the originals and delivery dates are set in, etc. and you and your client know what's up. It's good to have especially if you're new to this and don't want to get screwed over with miscommunications.
Anyway I usually charge a quote based on how much time I think the piece will pay and what it's going to be used for. If it's a commercial gig obviously you can charge more because they want to reproduce your work and sell it, but if you're just doing a portrait of some teen's fursona for their facebook profile then I wouldn't charge as much because you're not selling reproduction rights and whatever.
Edit if you want an actual number, usually around $20 an hour-ish? Depending on the context I should probably charge more and I'm still really new to the professional art game
There's pros and cons to each side. I personally use free hosting sites because I'm too busy to code/jump through the hoops of making my own, but I know people who are very satisfied with having their own webspace apart from a specific comics hosting community and have seen benefits/increased attention because of it.
I think it might be worth it to ask someone who's not on a hosting service forum though because most of the opinions here might be a little biased
The main diff. between your old style and new style seems to be thinner lines w/ more detail in the newer one. Conveying more information in your linework is cool but I would suggest trying to 'chose your battles' so to speak in terms of what you make busy and what you make simplified. For example, like the previous posters said, that hair is getting a little out of control...you could either smooth it out a bit OR simplify down the eyes a bit? Idk try things and see what feels right
Also: It might help your design decisions to draw a fullbody and not just the face