My little space on the web where I blog about comics and comic books, drawing and illustration, graphic design, writing stories, and a few tips and tutorials from time to time about them. I'll also share bits about movies, theater, music, (maybe even cooking!) and whatever strikes my fancy.
I've never read the Potter books...
... so for those who've read the whole thing, did you ever suspect that Dumbledore was gay?
I'm opening up my schedule to accept art and design commissions! This is to ensure that I don't end up as a starving artist. Har har. :-)
While I prefer to draw feminine forms and poses, I'm also open to drawing male characters. However, I won't be able to accommodate highly detailed characters (like Swamp Thing, or Michael Bay's Transformers designs). The images above show my default art style. It's similar to the styles of Frank Cho, Adam Hughes, and Terry Dodson.
I don't accept caricatures or portraits. I can't guarantee that I'll be able to copy accurately.
Below are the details for art commissions. These are rates for non-commercial artwork.
(If you want me to illustrate something for commercial use, please fill up this design inquiry form instead.) TRADITIONAL MEDIUM (for Philippine Residents only) Format 16cm x 25 cm Uncolored (black inks and grey) Canson watercolor paper or Bristol Board (depending on availability)
We took a peek at compression and decompression in comics in the previous blog post. Now, let's look at pacing, or how to pace comics.
Pacing is simply how fast a reader reads your comics. Much like compression and decompression, pacing allows you to highlight pivotal events in your story. And this is primarily done by influencing how long your reader stays on a panel. The longer the reader stays on the panel, the reading place slows down. The faster the reader stays on a panel, the reading pace speeds up.
1. By default, the amount of text you place on a panel dictates pacing. The more text, the slower the pace. Chris Claremont is known for having verbose panels during his acclaimed run on Uncanny X-Men. 2. When the size of the panel is small, the pacing quickens. Conversely, large panels slow down the pacing. 3. Then the amount of visual information (details) you have inside a panel dictates pacing. The more visual information, or the more a reader has to look at, the slower the pac…