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RudyVasquez — FUNHOUSE of HORRORS 3 Page 10
Published: 2011-05-29 20:14:27 +0000 UTC; Views: 819; Favourites: 25; Downloads: 0
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Issue 3 of JAZAN WILD's FUNHOUSE of HORRORS! "It's a Madhouse Out There!"Published by Carnival Comics
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Comments: 20
Really like the detail on the first panel. GREAT POV on the last!
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It's still going through puberty. lol
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Thanks, this issue was fun in that it's got an old movie feel I loved.
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Great horse! And I especially like the drver in the last panel
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He's whipping that bastard isn't he? lol
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that horse better stop making that face or it'll get stuck like that
epic as ever
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I like how you handled the contrasts and big bold blacks with the horse, and how you balanced them asymmetrically on the page. The heavy blacks on the pillars and on the coach and whip etc, are craftily placed.
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I'm having to iron out a lot of things, I noticed as you did that the storyboard artist had lots of questionable perspective and the like which due to deadlines I did not pay any attention to. Still, just like an Inker it's my job to be the filter and bang it into workable shape. This book has a lot of growing pains for me, which I'm ultimately grateful for.
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You are the final common pathway of all the ideas and discussions and prep work on the story. So, the question is how much of it do you want to own - how deeply do you want to make your mark on it? Do you want to put your mark only in a specific area, as a specialist, or on many, like an author?
You're like the director of a film who's been asked to shoot a story. And while you may work from storyboards to get clues to the writer's vision, ultimately it is in your power to change the preliminary notes for dramatic, artistic and technical effect.
I've been studying strip artist, Roy Crane, and pin-up artists. The goal being to get a handle on staging, framing, and silhouette. But it's also been a lesson in storytelling. (For example, I've learned that every good girlie pin-up/humor cartoon is an establishing shot. Also, once the stage is set, that's when you can move into figure shots that don't need a single prop or detail - just the figure(s) and the information required to develop the story. And also, to get into the habit of viewing panels in a group as a compositional mass, instead of just one by one.)
I know you can't drop what you're doing and start studying in big chunks. But you can do it little by little over the long run. Like you said - we never stop learning. Banging it into workable shape is a good way to put it. Sounds like a philosophy of life! hehe.
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It's gettin there, thanks!
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