Dredd sequentials but not quite a sample script

[Hoagy]

And another thing; A brave soul like yourself is helping cowards like myself to assert in the better direction too. I pick up on the advice the mentors give and follow that through to my amateur comic-work.

So you're not doing it entirely selfishly.

[Cpt Rhodes]

I never thought the boards were too nice. In fact as far as I was aware it was a bit of a bear pit when it came to criticism. It's one of the reasons I steered clear of it for a great many years. If anything I think it's a brave man who puts his efforts up to be reviewed at such an early stage of their art development.

[Danbell]

Like I said, I rushed these pages and I am completely aware that it's not even near my best work. I know my own strengths and limitations.

I only posted the pages here because I know they're never going to see print and just wanted to share them. I'm not after an ego boost or anything but thanks for any kind words.

If you're interested I put up some pencils for the Sorrowhill sample script in the sample script thread. Just need to finish inking them...

http://www.2000adonline.com/forum/index.php/topic,27411.285.html

[TordelBack]

I'd bet that the fact that the OP turned that many pages around in two weeks is of as much interest as any perceived flaws - speed is an essential talent.  

[radiator]

I can think of at least one occasion of someone posting their work on here with a petulant attitude and a rather inflated opinion of their work, and they were promptly (and rightly) cut down to size.

Personally, this board has been great for me and really helps to keep me motivated. I've had some very nice things said about my work (by people I much admire like Alex, Simon Fraser and Rufus Dayglo) but I don't let it go to my head - I'm aware of my limitations and I'm not actively seeking comics work - and I've had some very helpful and firm but fair criticisms from the likes of PJ Holden.

I've also been able to, via the boards, collaborate with other artists like Gibson Quarter and I'm now contributing to Zarjaz, which I'm really excited about. The thing I'm doing right now has benefited a lot from feedback I've received here and it's the single best thing I've ever done!

[judda fett]

What they said- best board on the forum and a portal to the small press- ask and you'll almost certainly get script from someone here.

[Cpt Rhodes]

I'm now contributing to Zarjaz, which I'm really excited about.

Looking forward to seeing that. Any Idea what issue?

[DeadSpiderEye]

I think this example shows talent and potential but you're obviously aware it could stand improvement. The thing stands out for me is the shading, it's very bold and confident and that's a good thing. But your shading is not quite up with the standard of your excellent outlines. It has the look of flash photography, you could improve the shading quite simply by including reverse highlights into the shading. If you're interested I could dig out some comparative samples to illustrate the point, or even knock some up. By the way do you have the pencils for these, I think it would interesting to see them?

[Danbell]

No pencils, I inked over them. Matt said the exact same thing at Kapow.

I think I know what you mean about the reverse highlighting, it's just something I've never 'learned' to do. Any advice you have would be more then welcome.

Cheers

Dan

[DeadSpiderEye]

No pencils, I inked over them. Matt said the exact same thing at Kapow.

I think I know what you mean about the reverse highlighting, it's just something I've never 'learned' to do. Any advice you have would be more then welcome.

Cheers

Dan

I was trying to find an old example of shading I had to illustrate the point but this place is a mess, so I can't find it. It's easier to understand reverse highlighting than to explain it really, once you've cottoned on to the idea it makes more sense. If you have a look at someone like Frank Bellamy, who was a master of subtle yet dramatic shading you'll get a good insight to what I mean. Bellamy is probably too -old school- for The Prog though and I'm guessing you're into a bolder style of shading. Still the principle holds true and I reckon it's worth checking him out.

The general guide to reverse highlighting is to shade darkest where the boundary between light and dark occurs. It works best when a subject is lit horizontally against a light background, the idea being that the reflected light fills in the shadows slightly. Don't use it in every case because you want to make use of dramatic lighting, for example, where objects or people are emerging from shadows.

Another, more general tip I would mention to pay attention to the negative shapes when shading because they'll help describe the contours of what you're shading, like hair, drapes or clothes etcetera.

Anyway I hope that some help.