STUFF AND THANGS

This faux papercut stuff is pretty interesting, especially applied to your children's book work. Have you ever looked up tutorials on how you could maybe push the effect even further? If you were interested in doubling down on it, that is. You could probably even do real papercut illustration with relative ease, given the simplicity of your designs.

Your cutout pieces have such great energy in them! I really dig the Nightwing. I also really like that you aren't afraid of the long horizontal panels. I'm a fan of those too. They're really great for super tight action packed cuts, like you're using them. You mentioned wanting a different angle on the panel with the bullets dropping. It would absolutely benefit a bunch from a more ground up perspective. Don't be afraid to pull even farther back once in a while. There's a lot of cropping of your main character from the hips up and it's putting a bit of a stopper in the flow from panel to panel. If you're going to show most of his body (like in the panel of him dangling from hooks and chains), don't crop off his feet. That page especially has awesome potential for some neat visuals. I wanna see the massive demon crowd in panel 1 on that page! I'm excited to see you working on your comic. Make it happen, Bay!

Ty: I've thought about doing ACTUAL papercut work before. I was gonna try it on of my books (when I get to it)
Ill look to see if theres any tutorials. I know the biggest thing is I need to make myself do more shading on these. And with backgrounds on this comic I want to find a way to add texture, dirty that shit up. You might have to teach me a few things about blur too please

Jenn: I'll push him back in the chained panel for sure. Theres some of these panels where I mean to pull in as they go, and others where I'll play with how close he is as I'm drawing them. Thank you for the input. Greatly appreciate it.

I have to go to work right now so hopefully I can get into more detail with this later on, but part of the issue I'm having with these pages is that they don't exactly link together into a story with momentum. generally speaking every panel should lead directly into the next in both positioning on the page, how you're leading the eye around, and action. essentially, you have a series of images but not exactly a sequence. I will try to remember to elaborate tonight!

I went a little different with tonight's drawing. Just felt like playing.

Dude love the color palette here! awesome environment sketch my friend.

Actually did this last night about this time. just been too busy today to post.

These are fantastic! I love how your shape driven style has evolved and I am glad you have really stuck with it. Hulk and Hulkbuster Iron man are my favs here. The forms and little touches of line you add just make them so nice to view. Awesome work Bay.

I dont think I did it right

try approaching these by thinking in shapes, rather than in lines. also, take a little more time and really get lost in your brush strokes. I know you think speed is your greatest strength but it never ever hurts to slow down.

I thought the trick was just to slap down shapes but I'm thinking I misunderstood. I wanna try this on my computer so I can throw down thicker blocks.

I don't think lines are a wrong way to do this, but I don't think you'll get the most out of it unless you try to vary the kinds of marks you're making. More than others this exercise is about experimentation, so don't be afraid to do something you wouldn't normally. And yeah, while it's obviously easier to do this digitally and carve back into shapes if you need to, I think a traditional approach is just as valid (and ballsy!); although the permanence might mean you have to think harder, quicker.

Also, you may find helpful: I found it easiest when I emptied my head of any notion of 'what I wanted'. It was very easy to get swept up in an 'idea' for what kind of environment I wanted it to be, but I found greater success by just doing it totally random and then, after a few minutes, trying to decide what I could see that was already there.

Finally, Neil's right. Speed is important, but only so far as to let your hand get away from you just for a minute to lay down some strokes; after that, it's good to slow down, if only a bit, to refine what you've made into something more readable.

Respect for going at it on a real page!

I especially dig the center top sketch in the first bunch. Neil and Ty gave some great feedback. I really want to see you run with it!

couldn't get to my scanner last night.
been sketching out a sleeve for a friend. she wants some detailed ocean scene... thingy