I'm hoping that the tone will add depth in the absence of colour, although there is just one thing with this panel that I've really struggled with and that is the fire... I can't seem to get effect of the light and heat in the way I want.
There is so much about this story I'm dying to gab about, especially as it will be a year before it's printed... SO, I'll satisfy myself for now, by saying it's been written by Richmond Clements who is one third of FutureQuake Press, one half of the team behind HiEx and is also about to make his professional comics writing debut with Turning Tiger for Renegade.
This story was born in one of those synergy moments, when I met Rich at the Bristol Comic Convention earlier this year, I casually said something that had been on his mind to do... I love stuff like that - when the right place, right person, right time, make cool things happen.
3 comments:
I like the texture you've got on those greytones - it wasn't something I'd really thought about until I saw what mygrimmbrother had done on his Dogbreath teaser images.
I'm afraid I can ofer no practical help on drawing the fire but you are always going to be hampered doing it in black and white and I think you've done a top notch job there. I did a quick Google on the topic and couldn't find anything that'd improve on what you have. I suppose the only thing would be upping the contrast a bit more with the greys depending on if it is night or day - if it is daytime then I think that is bob on but if it is night you could make the shadows more solid and darker. However, overall I wouldn't worry about it - you reach a point where the law of diminishing returns kicks in and you can spend hours fiddling with something only to find out no one but you would notice the difference ;)
Sage advice from Emperor... & I too love that texture sir, a small thing that brings the whole piece together. Imagine that texture, possibly as one or more colours 'screenprinted' in a coloured up version to add depth to flat areas of colour...?! I think this use of texture might well become an aspect of the Kev 'signature'...
Also, it might be a simple thing but having the central girl (third person in from the right if you want to be technical) warming her hands on the fire is a great flag that this is a fire. The drawing is as good as you can get it in B&Q, so it is that plus the light/shadows which are your best indications that this is a fire. You can't beat character's reaction to the physical environment to give people clues as to what is going on (shading their eyes from the sun, hugging themselves against the fierce cold, etc.) and it can really sell a scene/setting.
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