Boy, I'm sweating all over. This is so hot!
I'm such a fan of adult western themes, I even made a thread of my own here, and it's all about postapocalyptic cowboys.
Love it, love it, love it.
This is a panel for the fourth book, so I have to leave it for now.
Strange, when colored and "valued" it looks more like the image in my head, spooky and sinister, but less like the fun and light pen, brush and ink image it was earlier. Not much I can do about that except shrug. Even though I love line work, the story comes first.
Last edited by kev ferrara; August 11th, 2007 at 10:22 PM.
I think if you want to show a true action don't say it half way... it's kind of indefinite at what this guy stares... I supposed he should look at the face of the other guy... his hands are half way to his neck,,, not very active gesture...doesn't excite me much as well... would be better to see his hands reaching the neck of the enemy and fighting, making an effort to win... right now this picture doesn't look very involving.
The other thing: why you made his sleeve the brightest spot in the image... it competes with the face of the guy and and every time I try to look at the the main character my eyes shift to the shoulder and hand. I can't look at it longer too because there is nothing informative or unusual in the gesture of fingers.
I don't feel a passion in this fight as well... more like both guys are lazy and don't really want any hassle.
kev it feels like you're a bit ironic in your words there (as you should be, you rock!).
I think that this has been one of the most interesting threads for quite some time. I also think the last drawing is quite funny, with a zombie cowboy scared as hell, even seems to be afraid of the other guy's touch.
Some thoughts: It seems to me that the right guy is moving quite slowly, and it might be a lot more clear in the context what he's actually doing. But if he for instance is threatening the Deadlander he might want to go for a firm grip of Deadlander's shirt or something like that, instead of slowly dragging his fingers along the cloth.
I'm a lot more fond of your inks compared to the colored versions, but it could be because I think that I generally prefer something inked to stay b&w.. And it could all be a matter of taste, but in my head I think something zaps when I see inking which is a bit more rough in nature, colored with smooth gradients. It might be interesting to see how it could look with a bit more painterly roughness to it, like with your lovely oils for example?
Keep up the great work man, keep inspiring! (Oh and I bought a few of Bridgman's when you mentioned it)
Yeah, that last panel is a kinda funny one and there's a lot of what-the heck silliness in Deadlander. I think it is boring to only try to be funny, or only scary, or only serious. It seems too narrow a world. I'm all over the place so I think my work should reflect that.
So yes, I drew this funny... But it is also a dramatic moment from the story: The mustached Judge has just risen out of the ground and is part of a group of newly risen dead folk that surround Deadlander in this scene, which takes place in a graveyard under some willow trees. At this point Deadlander is looking for a way to escape but everywhere he turns he finds he is blocked by a zombie-like figure.
This figure, of the Judge who had originally sentenced Deadlander to be hanged, is a particularly surprising member of the undead posse. Deadlander himself had killed this Judge with the same noose by which he had been hung.
Thus the drama of this moment is not about fighting. It is about Deadlander recognizing with shock the Judge, who he knows to be dead, and being surrounded by others of the Judge's undead ilk. I think the tensions in the panel reflect that story. Though not terribly seriously.
Just did the logo change on my comic... Turning the bad into the dead...
Boy, there's nothing harder than changing letters and getting everything to "work" again on a logo. I hope I've succeeded.
I have enormous respect for good typographers. Typography is just like composing illustration. It has to read from a distance, it has to flow nicely, and the aesthetics have to reflect the subject matter. And you have to pre-visualize the design!
I can't wait to see what the new name will look like on the cover and title pages...
FYI, I had to change the name from the Badlander because of a legal issue -- turns out somebody had done a Badlander short story for Dark Horse ten years ago so they own the name.
So I went with Deadlander and I think its even a better name and more descriptive of the horror character I'm working with.
Last edited by kev ferrara; August 11th, 2007 at 10:42 PM.