Do Ed edit the text a lot after you draw the page? I'm asking it because you do the ballons by hand, and I'm wondering if you have to redo the ballooms after you scan the pages.
Bought the first two issues of Criminal yesterday because I hear Ed's the real deal for crime writing. And it's true, all of it. And your execution of the art is great.
I do have a question about OTS (over-the-shoulder) shots. You rarely seem to use them, and the character looks straight at the viewer when doing their line of dialogue. I'm wondering if you do that consciously or if you just dislike OTS shots.
I like the do them myself, as I feel the character is really being addressed. The work reads and feels much like film, so when the character looks at the viewer (camera) it breaks that fourth wall of comics kind of.
Just curious.
I'll be looking for your other collaborations as well. Good chemistry between you two...really good chemistry.
Fabio, Ed has probably asked me to change maybe two or three words so far. The changes have been small enough so I haven't had to change the balloon sizes. I do scan the pages myself, the original art doesn't leave my studio.
I hadn't noticed the lack of OTS shots. I do tend to break any dialogue haevy panels into two or more panels though. With this book I wanted to get in a lot of narrow, tall panels, to get a denser page.
Hey, Shane, Personally, I only do "over the shoulder" shots if you need to show the two characters each giving their own piece of dialogue.
I don't think having the character look at the reader breaks down the fourth wall. Quite the contrary... I think it sucks the reader deeper into the story.... look how effective the prison scenes in "Silence of the Lambs" were ... with anthony Hopkins "mesmerising" the audience.
But that's just my approach. There are NO RULES in art... despite what my art teacher told me.
Do Ed edit the text a lot after you draw the page? I'm asking it because you do the ballons by hand, and I'm wondering if you have to redo the ballooms after you scan the pages.
ReplyDeleteAlso, are you the one who scan the pages?
Cheers, I love your work,
Bought the first two issues of Criminal yesterday because I hear Ed's the real deal for crime writing.
ReplyDeleteAnd it's true, all of it. And your execution of the art is great.
I do have a question about OTS (over-the-shoulder) shots. You rarely seem to use them, and the character looks straight at the viewer when doing their line of dialogue. I'm wondering if you do that consciously or if you just dislike OTS shots.
I like the do them myself, as I feel the character is really being addressed. The work reads and feels much like film, so when the character looks at the viewer (camera) it breaks that fourth wall of comics kind of.
Just curious.
I'll be looking for your other collaborations as well. Good chemistry between you two...really good chemistry.
=s=
Fabio,
ReplyDeleteEd has probably asked me to change maybe two or three words so far. The changes have been small enough so I haven't had to change the balloon sizes.
I do scan the pages myself, the original art doesn't leave my studio.
I hadn't noticed the lack of OTS shots. I do tend to break any dialogue haevy panels into two or more panels though. With this book I wanted to get in a lot of narrow, tall panels, to get a denser page.
ReplyDeleteHey, Shane,
ReplyDeletePersonally, I only do "over the shoulder" shots if you need to show the two characters each giving their own piece of dialogue.
I don't think having the character look at the reader breaks down the fourth wall. Quite the contrary... I think it sucks the reader deeper into the story....
look how effective the prison scenes in "Silence of the Lambs" were ... with anthony Hopkins "mesmerising" the audience.
But that's just my approach. There are NO RULES in art... despite what my art teacher told me.