new pages

[newbold]

this was some fun stuff to do. I hope I get to finish this, but now I'm on to some other stuff.

crits and comments always appreciated

http://i55.photobucket.com/albums/g136/newbs8/pg1bpost.jpg

http://i55.photobucket.com/albums/g136/newbs8/pg2.jpg

[The Anti-crest]

looks pretty good to me.

[Wheeljack]

Perspective is the most difficult thing I have ever studied except for Calculus 2. Lots of perspective here. Page 2 panel 5, the guy in the foreground is way to short I believe. Anyone want to back me up on this one. Perspective law would make him a midget in comparison to the female. His arms would be up to her knees. I'm sure she'd like it.

[Lynn Lefey]

The easiest way to prove your point would be this;

The stage is at eye-level exactly. The woman in middleground is about seven heads tall, three heads above the stage, four below. Thus, if the busboy were anywhere near as tall as she was (which seems reasonable), he'd have to have three head's height above the stage. He only has about one and a half. His head ought to actually have the hair just short of brushing the top of the panel.

Setting this aside, I think there's a lot of solid technical drawing in these pages. This is a good chunk of work.

[newbold]

The easiest way to prove your point would be this;

The stage is at eye-level exactly. The woman in middleground is about seven heads tall, three heads above the stage, four below. Thus, if the busboy were anywhere near as tall as she was (which seems reasonable), he'd have to have three head's height above the stage. He only has about one and a half. His head ought to actually have the hair just short of brushing the top of the panel.

Setting this aside, I think there's a lot of solid technical drawing in these pages. This is a good chunk of work.

Lynn- thanks for the dead-on crits. I knew something was wrong with the perspective but could not put my finger on it. I got carried away with multiple vanishing points :slap:

[newbold]

Perspective is the most difficult thing I have ever studied except for Calculus 2. Lots of perspective here. Page 2 panel 5, the guy in the foreground is way to short I believe. Anyone want to back me up on this one. Perspective law would make him a midget in comparison to the female. His arms would be up to her knees. I'm sure she'd like it.

wheeljack-yeah, you summed it up too. thanks for the crits

[newbold]

looks pretty good to me.
thanks a bunch man!! :)

[jmassie]

Perspective is the most difficult thing I have ever studied except for Calculus 2. Lots of perspective here. Page 2 panel 5, the guy in the foreground is way to short I believe. Anyone want to back me up on this one. Perspective law would make him a midget in comparison to the female. His arms would be up to her knees. I'm sure she'd like it.

He's got a point...I have a cheat method for this. Use one point on the body that everyone in the panel has..If eveyone's shoulders are in the shot use those as a reference point. Make sure everyones shoulder's or whatever point you use is lined up somewhat. Keep in mind the somewhat....everyone's height varies. This only works if they're on the same flat plane like you have them in this panel. In this panel If you lined up the busboy's pelvis with the rest of the characters I think it would work out..Maybe.

That being said..You put a lot of work into these and it shows. I appreciate the fact that it's not two half naked buff guys beating the hell out of each other.

[Lynn Lefey]

jmassie, I totally agree. Look at the table settings in the same previously critiqued panel. Nice. And the hanging lighting fixture with all the spotlights. In other panels where the folding chairs are all in disarray. I've heard many artists say they hate backgrounds and find doing them a chore. In these pages, Newbold's done incredibly detailed background work.

This is a great example of storytelling without words as well. Here, from panel one, we know some event has transpired, and several lingering participants (we know they're important, they have bow ties! LOL) discuss some business. I find an interesting connection in the body language of reclining figures on page 2 panels 2 and 4.

I have a small concern from what I see here, and it is that you show a great technical drawing skill, but I can't tell if there's any dynamic skill here. You can make panels mechanically correct, but I can't tell if there's any skill at making an exciting image. I understand that this is not an action scene, so this may be utterly moot. Also, to be fair, Dave Gibbons' art never thrilled me, but he is certainly an absolute master.

Anyway, I very much like this stuff, and hope you'll continue posting more as time allows.

[newbold]

He's got a point...I have a cheat method for this. Use one point on the body that everyone in the panel has..If eveyone's shoulders are in the shot use those as a reference point. Make sure everyones shoulder's or whatever point you use is lined up somewhat. Keep in mind the somewhat....everyone's height varies. This only works if they're on the same flat plane like you have them in this panel. In this panel If you lined up the busboy's pelvis with the rest of the characters I think it would work out..Maybe.

That being said..You put a lot of work into these and it shows. I appreciate the fact that it's not two half naked buff guys beating the hell out of each other.

thanks for the tip, I think it's a solid idea. I'll play around with it in the next set of pages I'm doing and we'll see if i can learn something. ;) thanks again

[newbold]

jmassie, I totally agree. Look at the table settings in the same previously critiqued panel. Nice. And the hanging lighting fixture with all the spotlights. In other panels where the folding chairs are all in disarray. I've heard many artists say they hate backgrounds and find doing them a chore. In these pages, Newbold's done incredibly detailed background work.

This is a great example of storytelling without words as well. Here, from panel one, we know some event has transpired, and several lingering participants (we know they're important, they have bow ties! LOL) discuss some business. I find an interesting connection in the body language of reclining figures on page 2 panels 2 and 4.

I have a small concern from what I see here, and it is that you show a great technical drawing skill, but I can't tell if there's any dynamic skill here. You can make panels mechanically correct, but I can't tell if there's any skill at making an exciting image. I understand that this is not an action scene, so this may be utterly moot. Also, to be fair, Dave Gibbons' art never thrilled me, but he is certainly an absolute master.

Anyway, I very much like this stuff, and hope you'll continue posting more as time allows.

thanks Lynn.
I have no dynamic skill. I'm hoping to find some on myspace that will be my friend ;) .
I dig drawing backgrounds if the time allows. sometimes it's a tough choice where to put a little and where to back off it.
so...if I could figure out how to draw some cool looking figures in perspective that would be....cool. :slap:

[newbold]

I played around with the figures a little after brushing up on some perspective


http://img226.imageshack.us/img226/370/pg2postck0.jpg (http://imageshack.us)

[Wheeljack]

100 times better! Looking professional!

[newbold]

100 times better! Looking professional!

thanks dude. and thanks for the crits earlier, it helped a lot. :)