On the outside looking in. Essentially a "No.. YOU do it" conversation. Although you can sub in your own dialogue if you'd like. My vote is Ellie stating "But he'll smell me."More fan art. This time from Matt. Not only the finished version, but I got the process as well. Somehow he's able to accomplish this is three steps. Wish I could. Now, as an artist, and like ANY artist, I don't like showing people my mistakes. The end product should speak for itself. But as ANY normal person, I can see the entertainment value of the creative process. I like seeing other artist are like me, and jack up their own drawings a regular basis. I can still draw my characters out of proportion, or their heads too large, and so on. Just like anyone. This comic wasn't that much of a nightmare, but it was still an arduous process for all the little details. But that, to me, is what breathes all the life into it. These are the four panels for the strip I snapped a pic of with my smart phone, unaltered. They're very raw and not what the end result would be. It's just enough to get me on the computer to finish it. In panel one, Ellie didn't need the rest of her body drawn since I could draw the curve of her waist digitally, and it would by symmetrical, thus copied and flipped horizontally. I decided Quinn's stance would be the same for panel 2, so there was no need to redraw it. Easy to deduce I drew panel 2 before panel one. I do this often. Ellie's neck is very elongated in panel 2 as well. Since 80-90%% of the comic is done digitally, I redraw the characters less and less, reserving all tweaking for Photoshop, (as you'll see in the next image.) As long as her face and body look fine, there's no point in erasing either just to redraw them closer together for the sake of a sketch. Ellie's slightly too large in panel 3, so she'll need to be shrunk'd. I wasn't satisfied with Quinn's expression in the final panel, so I redrew it. The flapping hands will also need some work, as well as giving a bit more space between each girl. When drawing, since I don't traditionally draw out the panels in sequence on one large sheet of paper, it can be hard to gauge how much will fit on one tier. You'll see all this corrected below.
Ellie looked at bit too much like she was fanning herself in Panel 4 with her left hand, so this was reworked. Without this being, say, animated, it can be a tricky action to pull off and have the reader interpret it correctly. Ellie: "Oh I'm getting the VAPORS."The backgrounds usually go through a tremendous amount of layers. Gradients, shading, blurs, and glows. This also includes textures I have such as 'rust' 'wood grain' 'granite' and so on. The floor and walls in this image have a very faint layer of rust and granite on top of them (set at 7% opacity I think.) It gives them a little meat, and separation from the smoother coloring of the characters themselves. Those will make up the forground layers that will be repeated for each panel to give it some depth, and the idea the action is in the foreground, and these two are stuck 'looking on.' Another thing that has changed in the last 6 months or so involves the shading. Instead of just dropping a selected area's brightness 20 points, I now use a 7% black-to-opaque gradient. While using black instead of the original color washes it out slightly, it does allow for a more fluid transition into shadow than a sharp divide like before.