P.S. … the things we do for girls.
P.P.S. Who doesn’t still text a friend’s mom? You always keep that door open for potential home made pecan sandies.
Since Ellie’s awkward conversation with Alex, the strips have gotten a lot more detailed. And the underpart of the strips (here) have been typically bare, as of late. There are certain parts of the comic where the art takes some kind of leap, either naturally or forcibly. I still get plenty of ideas for supplemental strips, but I’ve been committing a lot more time to the main comic itself.
Some of this involves the backgrounds, which can be tedious, but it’s important to build the world at some points. A comic can grow pretty flat with nothing going on in the exterior. We’re also in a part of the story where these shots are needed. Another time thief is keeping the characters on model. I can’t stand looking at one of my earlier strips where someone’s nose is wonky. Or their face is off in general. Drives me nuts. All the characters have specific shapes to their chins, cheeks, and and the curvatures of their hair.
These new commitments are added to my others in trying to make this thing fly, which include:
Viewer’s Angle: Anything dynamic is important. Many comics only do the typical 3/4 view of the character’s faces. It’s important to interject with a downward or upward angle, profile, or otherwise. Most shot in a general comic will have to follow the boring rules of exposition at times. But whenever possible, suck the reader into the world with an angle that’s atypical of typical web comics.
Busy Hands: If you’re an artist, you’re guilty of it. We all, in our artistic infancy, drew out characters with their hands behind their backs. Why draw the damn things, right? They’re hard! I always want the character’s hands moving. I have read so many comics where the setting is AT work, and no one’s working. No one’s holding anything. If it’s anything like a real job, learn from Caz.
Or Quinn in panel one above. It wasn’t unnecessary at all to draw her adjusting her backpack as she puts it on. She could just be standing there. But it’s more inviting to the eye, and since I’m not going for ultra-realistic looking characters, it’s making them seem realer than they would in some wooden position. They’re doing something. Quinn is getting out of the car. What would she do as soon as she got out? That.
Show don’t tell: The most important. Holy crap if I see another comic with some panel bombarding the reader with text. You lose interest fast, am I right? The eye is lazy. Don’t forget it. I spent a ridiculous amount of time on the previous comic that had far more art than text. It was almost one panel per sentence said. Grueling I assure you. But it’s to not bore you. You’ll fly through each panel to read it, but you won’t feel efforted in doing so (at least I hope not.)
“You’re totally embarrassed, RIGHT QUINN???”
When it comes to adding a comic to my regular reading schedule, I am the hardest person to win over. So, probably okay I’m someone who attempted to make one. I in no way have “arrived” as even entry level into the comics genre, but I want to take things I see lacking from other strips, and make them items of importance to my own. As always, thanks for reading!