crosshatching questions. part 2.

[thecosmicgoose]

hopefully this is in the right forum.

i've always seemed to have a problem with cross hatching. i love the look of it, especialy for more comicy pieces. but i've always gotten tripped up on what direction the hatches should be in. i understand that the lines are best used to give an impression of depth. sort of like a cartography map. but what is the best way to do this? i've studied a few modern artists who seem to know the style well, like Jim Lee. that man drives me crazy. i love the look of his stuff, but i cant seem to figure out any pattern to how he lays down his hatching. i've boiled down my trip-ups into a few questions:

When hatching, its best to angle the lines in a way that gives an impression of the forms depth. but is it best to do these lines in a longitudinal, or latitudinal way(I.E. going up and down along the form, or from side to side)?

how do these lines relate to the angle of the light source? should i be hatching parallel to its rays, or perpendicular?

whats best, longer swooping lines or shorter, stubby hatches?

thanks!

[Hyskoa]

i understand that the lines are best used to give an impression of depth.

Impression of form would be more adequate.
And think in basic shapes, how would you hatch a cone, a cube, a cylinder, etc and apply to a human body.

But before hatching to create form, first get proportion right and do shitloads of lifedrawing to better understand the shapes you see before you.

[Magnatude]

I would suggest looking at the Gnomon video on Joe Weems (http://www.thegnomonworkshop.com/store/product/187/Comic-Book-Inking-with-Joe-Weems).

You might also want to look at the penciling video on this too, Finch explains a lot on his approach, Weems is inking on Finch's image.
I prefer to use Joe's style of hatching myself. (but I'm strictly digital from penciling to inking, I haven't touched paper in years)

[dpaint]

I know this isn't the answer you want but really the direction and how you choose it, is a matter of style. The concern you should have first is for getting the value, tones and transitions you want. I mean google Franklin Booth, E.A. Abbey, Daniel Vierge, Joseph Clement Coll, Charles Dana Gibson. All are considered masters with their own way of tackling the same situations.
A good book on the subject is 'Rendering in pen and ink' by Arthur Guptill it is filled with great examples and it talks about effective ways of rendering with ink and creating form and a sense of light.