A little bit of dialog change from the original novel to the comic format.
In the novel Yula said - "None of them had names on their uniforms, they only have numbers. I can’t remember exactly what his was… but it had the number thirteen in it three times, I also know what he looked like, he was a skunk."
In the comic I decided to change this to - "None of them had names on their uniforms, but this one had a number on him. I can’t remember exactly what his was… but it had the number thirteen in it, I also know what he looked like, he was a skunk."
This was done because the uniforms were never given numbers when I drew them, it was just too complicated a detail to fit in and remember, so it felt odd for Yula to talk about them when they never visually appeared before, and never will appear in the comic version. Luckily though the character he's talking about happens to have a identification tattooed on the inside of his ear, so changing the dialog wasn't hard at all. It even had the number 13 in it.
Thank you =) I actually have a lot of fun with the expressions, before working on this series I only had experience with manga style, and their forms of expression are very much 'emoticon' faces as compared to comics. While comics tend to depend heavily on eyebrows for their expressions (for manga they try to make eyebrows as small and unnoticeable as possible) as well as over emphasizing the stretches a face would go through to make an expression. I try to use a little bit of both, as one style seems to work better for a certain situation than another.
Well, enough of my babbling xD thanks again for the comment ^^
Thank you =) I actually have a lot of fun with the expressions, before working on this series I only
Manga is a really good place to start with expressions and cartoon drawing as most stuff is over emphaised. I could tell (with the eye style / layout) that you had done / are in too manga. The over the top expressions really work well in this scenes and scenes before, and (https://inkbunny.net/submissionview.php?id=161693) on page 17, slide 2-5 I really liked the use of the the smaller, less detailed version of the character to keep the story flowing. Could you give me some tips on shading and using layers. Or so what art software would you recomande for someone with out a touch screen.
Manga is a really good place to start with expressions and cartoon drawing as most stuff is over emp
Heh, yeah. I typically use the 'chibi versions' of characters as a good way to quickly portray a comical or cute effect, action, reaction or emotion. Because of the lack of detail and simple nature of them the panel will result in the reader will focus less on the picture (not ignoring it, just focusing less on it) hopefully quickly catch onto the emotion or action over the character drawing, as there are some jokes or actions that come with a comical scene that have more impact to the reader when they are quickly executed or realized. It's not good to over use chibi's, and there's no need to use them for every joke or punchline, but when used correctly they will really bring out a special charm to them.
For the Raven Wolf chibi's I took their design a step further by not only making them mini versions, but feral/4-legged formed as well. That way it's not only extremely easy for the reader to tell that the scene is being played out in a chibi form, but I also get to use the body language, motions or poses that four legged animals would typically use as an expression that I often can't use anymore when drawing the animal with a more human form (the arched back when angry being a big one)
Heh, yeah. I typically use the 'chibi versions' of characters as a good way to quickly portray a com
Unfortunately I'm not familiar with touch screen devices (aside from my phone) or the software you can get and use for them, so I can't help you with that. For tips on shading, for Raven Wolf I tend to focus on my shading being on a fixed area in a panel as opposed to a fixed area in a room (unless there is an obvious light source to draw from) I use it more as a way to shape out a character to keep them from looking flat as opposed to emphasizing where exactly the light from a scene is coming from, though most of the time it'll be be an angled overhead view. I also try to keep the shading as simple as possible by keeping to only 2 shades per colour (the base and then the darker shadowing), simply because of the nature of the comic and my desired release schedule. I was originally going to use 3 shades per colour (a lighter highlight) but the characters looked too plastic because of the bright and solid colour pallets I was using for this particular comic, so I stuck with only two. Highlights only coming into play when there is a light source that needs to be depicted either for story telling sake (to bring attention to the light) or accuracy's sake, (a light being shone onto the character or a coloured hue a fire or something of that nature would cause)
For layers, I use lots of them, even when doing the line art. For the line art I typically have a face, body, body 2, clothes, clothes 2, clothes 3, objects (numbers of these layers dependent on the number of objects and complexity involved, like, a drawing of a piece of paper or a folder is only going to need 1, while something like a truck or a helicopter are going to require a heck of a lot more, background and temp (temp is the temporary guidelines I use for the characters that have more than 1 colour to their fur or markings, they are removed when the colours are set in place) For colour layers each character and colour gets their own layer. (except for layers that I know will never or rarely overlap for characters such as eyes), Eve's layer collection is typically 'Eve - Fur Red' 'Eve - Fur Cream' 'Eve - Fur Brown' 'Eve - Lab Coat' 'Eve - Clothes Pink' 'Eve - Clothes Blue' 'Eve - Zipper' I do this for several reasons, 1. It's easier to shade in a layer when I get to that step (I usually add all the colours before I being shading, locking all the transparent areas in the layer so that when I add the second colour for the shade it will only colour the areas that have already been coloured) 2. I don't have to worry about more than one colours overlapping or bleeding into another colours unwanted area, and 3. So that I can easily edit a single colour if I need to make a change to it due to that particular colour not printing out properly.
Because of the large amount of layers a single comic page can typically add up to I divide them into 4 folders, Line Art, Colour - Body, Colour - Clothes and Colour - Objects and Background. It just makes it a little easier to find the layer I'm looking for if I have to make a change.
Unfortunately I'm not familiar with touch screen devices (aside from my phone) or the software you c
