lordsenneian

Hey Phu, Thanks for your kind words. I had a couple of projects fall through so I don't currently have anything thats going to be pitched to Image, but I'm currently drawing a comic for a guy who is working with a small publisher, though I can't remember which one it is. This project seems to be going a lot smoother that the others. I think the biggest problem being an artist and working with new writers is that people try and put too much into a script. If you're a writer and want some advice on writing for artists is to write less description, have fewer panels, 3-5 is a great number of panels, and not keep the panels per page the same throughout the book it really kills the pacing. It's cool to throw in a 7-9 panel page once in a while but with that many panels the page should be an action page with little dialog. I've had writers fill a page with useless description or action and that makes trying to find what's the important part of the panel hard to find. some people write panel description like they're seeing a movie in their head, but truthfully you have to imagine it like you're seeing a sequence of still images that tell a story. That's harder to do. If you want to have an easier time working with an artist, leave theme a lot of room to play around, trust them, they might need to change your wide angle shot to a close-up to get the dramatic effect, go with it even if that means cutting out a little detail you tried to show. So I'm actually a cinema major and I feel that cinema classes actually thought me more about drawing comics than any of the art classes I took. If you want to be a visual story teller try and learn about filming even if you never intend of making a film, there is a lot of great stuff to learn like why a close up has a different emotional impact than an extreme wide shot, and once you know the rule you'll understand how to break them the right way.