Tag: photoshop

Perspective Grid Comics And Drawings

  • My late foster brother Rafael had a Cuban proverb he used to quote to me: “El vago trabajo doble”, which translates to “the lazy one works twice”, which I take to mean that if you’re lazy and skip steps, you’re going to have to work twice as hard fixing all your mistakes later. For me, this proverb comes up a LOT, because I am by no means a systematic or methodical worker. The latest proof of that is today’s subject, a series of posts I’ve been putting up over the course of the last few years on my Patreon page.

    David Chelsea is reading: She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement
    by Jodi Kantor & Megan Twohey

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    • Scott McCloud And Steve Bissette Make A Guest Appearance On ARE YOU BEING WATCHED?

    scottandsteve

    While I have not been blogging about it every week, I have been plugging away at ARE YOU BEING WATCHED?, my webcomic about Reality TV, posting two pages most weeks on Patreon. In the most recent installment, we are into Hour Six of the 24 Hour Comic session which is being taped for a Reality TV program hosted by David Chelsea, famous cartoonist. David is being shown storyboards for a proposed animated opening to the program, which would tell the story of the invention of the 24 Hour Comic by Scott McCloud, inspired by his friend Steve Bissette:

    David Chelsea is reading: Chicago
    by Glenn Head

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    Ask Mr. Perspective: Three-point Three Ways.

    3ptx1

    Fumitaka Kotani writes from Japan:

    Hello. I bought your book “Perspective! for Comic Book Artists” 3 years ago, and I have drawn many drawings using your guide book, but still I can’t understand the three-point perspective part, especially when you say “lines can be used as horizontal line and each grid can be used 3-ways”.

    David Chelsea is reading:
    Tubes: A Journey to the Center of the Internet
    by Andrew Blum

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    Kaleidoscopic Tilings #1

    detail

    This could be part of the Facebook posts series, but it kind of got bigger than that. It all started last January, when I saw some unusually ornate and convoluted ice crystals on the roof one morning, which I simply had to photograph:

    David Chelsea is watching:
    Grey Gardens

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    Perspective Police!: Plastic Man?

    plasticman

    Here’s part of the presentation I gave last Saturday at Stumptown Comics Fest:

    My fellow cartoonist John Linton Roberson brought this one to my attention. It comes from a comic called Flashpoint: Legion of Doom #1, published by DC in 2011. (Superhero comics, like animated cartoons, are a group effort. The credited artists for this panel are Rodney Buchemi, José Marzan, Jr. and Artur Fujita.)

    David Chelsea is reading:
    Gulp: Adventures on the Alimentary Canal
    by Mary Roach

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    Perspective Police!: Brunetti

    New Yorker Cover by Ivan Brunetti
    New Yorker Cover by Ivan Brunetti

    When I first saw this recent New Yorker cover by Chicago cartoonist Ivan Brunetti, its perspective just looked WRONG to me- a random jumble of elements seen from a variety of inconsistent viewpoints. However, on second look it all fell into place and I realized that a subtle and (mostly) consistent scheme is at work. This becomes clearer when we divide the picture in two:

    Brunetti has drawn the top area as an elevation, a type of parallel line drawing corresponding to a view facing one wall directly from an infinite distance away. This method is standard in architectural rendering but is also used from time in time in fine art and illustration.

    David Chelsea is reading:
    A Supposedly Fun Thing I’ll Never Do Again: Essays and Arguments
    by David Foster Wallace

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    What The Girl With The Keyhole Eyes Wants

    Line Drawing
    Line Drawing

    Three stages of a single panel from The Girl With The Keyhole Eyes, a comics story which will be serialized later this year in Dark Horse Presents. The line and watercolor images are combined in Photoshop to create the final art.

    David Chelsea is reading: “Portland Confidential” by Phil Stanford

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