Like, I understand the reason why major comic book villains are basically outside context problems for their respective heroes - it makes for better stories if the threat the villain represents is something the hero can’t easily counter with some obvious application of their powers - but can you imagine how frustrating it must be from an in-character perspective?
You’ve got these amazing superhuman powers, yet somehow, every single non-trivial baddie you have to deal with is fucking shit up in a way that’s totally at right angles to the sort of thing those powers can constructively address.
Beyond a certain point, the only reasonable conclusion would be that some higher power is actively messing with you.
(Which is perfectly true, of course, but unless you’re Deadpool - or possibly Ambush Bug - you can’t possibly know that.)
- Old Married Couple dynamic, CHECK - Obi-Wan laughing because he knows Anakin is about to be a sulky child, CHECK - Anakin being a beautiful sulky child, CHECK - Getting to see them in civilian clothes, CHECK
Honest to god, though, Anakin’s face is giving me LIFE here, hell, they BOTH ARE:
Nobody takes joy in your crankiness like someone who loves you takes joy in your crankiness.
Hey, I dunno if you've ever answered this but, I'm starting my own comic and I'm drawing out traditionally. Whats your advice on how to scan it in to get the best quality?
Absolutely! (This will be long)
First, comics are exhausting. Seriously like, dragging yourself over a bed of nails for 7 years straight exhausting. If you don’t passionately love what your comic is about and/or you don’t have a style that’s manageable and time-efficient, you’ll find it very difficult to produce your comic to completion.
@cooncomic is done in a super simple but efficient style. I use just Indian ink and a quill. I made it as manageable as possible so I wouldn’t grow exhausted with it over time because believe me, I get tired with even the simplest projects after the first 6 months months. SORRY I’M RAMBLING, THE POINT I’M GETTING AT: cut corners at every available opportunity. Find out the quickest, most efficient way to get the final product that you need. Even if that means relying heavily on digital touchups to support your traditional work.
I scan my pages as a .png (retains more data than a jpg) at 800dpi.
Sometimes the panels are ROUGH. Ink sometimes dribbles, it smears. And often I don’t want to wait an hour+ for large ink areas to dry, so I don’t even bother filling large areas in. I just wait to do it digitally.
Could I have gotten the edited version without using digital effects? Yes. But it would have been far more time consuming than was necessary. For me, the key to not getting sick to death of comic-making is to find a way to get a quality product without sacrificing time. But if I did the comic completely digitally, it wouldn’t have the same soul to it. Personally I don’t really enjoy working digitally and it shows–my traditional art has more personality.
After a page is scanned, I play with the tone curve and contrast until it looks how I want, white out the edges of the page so it’s clean, and then I draw on top with white, sometimes dark colours, for touchups. This differs for each page and depends on what you drew the comic in. Ink scans are easier to edit because ink is so harsh and bold, it’s easy to clean up. So here’s an example with pencil:
Jack with the tone curve tool until it looks contrasted enough. (I also white out the borders of the page where the scan gets darker edges)
Then, on a new layer, I draw on top of the page with white, doing touchups and cleaning up details that didn’t scan well. I always use a natural pencil brush so it looks traditional:
There’s no really right or wrong way to clean up traditional scans, just fiddle with it until you get to the product you want.
Traditionally drawn comics are really underrated, I wish there were more. Best of luck with yours!