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  1. #1
    Join Date
    Mar 2008
    Thanked 2 Times in 2 Posts

    Superman/Power Girl pages

    Ive just finished these new pages to start showing editors and publishers, (crap I just realized I dont have any of their emails ) let me know what you guys think? Strengths, weakness, what I should focus more on improving, and so on.

    thanks for your help guys.

    Superman/Power Girl pages

    Superman/Power Girl pages

    Superman/Power Girl pages

    Superman/Power Girl pages

    Superman/Power Girl pages
    What can I say, Im the wanna-be, who's gotta be...

    my personal site...
    my sketchbook...

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  3. #2
    Join Date
    Nov 2003
    Thanked 825 Times in 678 Posts
    These look pretty good. As I said this morning when they were in the "Finally Finished" section, the linework feels sort of amateurish...if it were me, I'd use a less varied line until you get more of a feel for it.

    The other issue that leaps out is that Superman doesn't really look like Superman here--which I think you should definitely address if you're looking to work for DC. The fisheye-perpsective panel on the last page especially needs fixing, both in terms of likeness and perspective.

  4. #3
    Join Date
    Oct 2008
    Thanked 47 Times in 41 Posts
    The post above said it better then I could. It does look like you rushed it or got bored. Hey do you know where I could find those e-mail address?
    I'm the guy that does his job! You must be the other guy! <- longest link to a sketchbook ever.

  5. #4
    Join Date
    Oct 2010
    Thanked 0 Times in 0 Posts
    Okay, I'm not one to tear other artists apart but I'm going to give this critique a shot. Please bear with me.
    In page 1, panel 1, the perspective seems pretty wonky to me. It's a start, but there are measurements that are way off, for example, the Daily Planet building has varying spacing between the measurements of each window. Also, the DP building looks like a small apartment instead of a big metropolitan office building.

    P1, Panel2
    Where are Clark and Kara eating? You have an establishing shot of Metropolis, but in my opinion, you might want to have an establishing shot of the cafe, the street the cafe is on, maybe you could rework the page with a shot of the street-- there are a couple of different possibilities, especially if you wrote the script for these samples.

    P1, Panels 3-8
    Clark is not coming across as Clark, the facial anatomy really needs work, and there is no drama coming across in the panels. they are talking, yes, but let's see you push your director's eye here. I don't know if you wrote the script, but you may want to play with the script of an established writer and see what you can come up with. It's easy to draw characters with no backgrounds. You can even change your results by staging a dialogue between a couple of friends and a camera in a spot similar to the one in your story. Or, just study dialogue between characters on a good show or in a good movie.

    P2, Panel 1
    Once again, the perspective is very wonky. You must practice drawing your buildings by studying buildings. This street scene should be packed with all sorts of meaty details to make it a solid establishing shot of your villains, but it falls in that respect. Do what you must to to make this shot what you want it to be, and if you find yourself losing interest in ruling lines and such, force yourself to complete it. It's better to take the time to learn instead of falling short because you gave up. I've been there. The proper perspective and solid shadows on your villains would give them nice punch too. The girl would be a secondary light source to the sun, if this is the daytime.

    P2, Panels 2-3
    They are lacking what good dramatic perspective can bring to them. Panel 4 as well.
    They can all use background objects and more dynamic angles for our heroes that say,"we are the heroes, and we're here to save the day!"
    Don't skimp on solid details and good solid and dynamic anatomy. If you must trace, use movies, etc., they'll all help you understand in the long run, so long as you are studying the principles behind what you're seeing.

    Pages 3, 4 and 5
    These are all lacking in a solid understanding of anatomy, proportion, and staging. Please be patient. The more that you do, the more it will help you, so long as you are open to criticism, and you don't give up.

    Some of my favorite comics that I study on a regular basis are:
    Infinite Crisis
    Savage Sword of Conan #2 (the trade paperback from Dark Horse)
    Anything Drawn by George Perez
    Great references for creating comics are:
    Reinventing Comics
    Understanding Comics and
    Making Comics by Scott McCloud
    Dynamic Anatomy by Burne Hogarth
    Comics and Sequential Art
    Vanishing Point

    John Byrne has a lot of downloadable copies of his pages at His work is deceptively simple, yet you can see how he constructs his pages from his bluelines.

    I hope this helps you. As I said, I've been there, and in many ways, I'm still there. Every day is a new challenge for growth! Good luck!

  6. #5
    Join Date
    Mar 2008
    Ottawa, Canada
    Thanked 1,197 Times in 870 Posts
    As someone's who's had this beaten into her again and again in layout class, I can safely say that your buildings need a LOT of work. At this point they're almost all just boxes with a bit of decoration on the outside. A good background provides visual interest and a sense of place, and at the moment your backgrounds are providing neither.

    Perspective (!), interesting and varied silhouettes, variety in shapes, heights and design. All of those are vital elements. Not all these buildings are built by the same company, so they'll all look different, and some will be cooler than others. Push it, make this fight take place in, well, a place!

    I'd recommend as an exercise to do on a semi-regular basis, is when you're watching a movie at home, have your sketchbook and maybe some markers handy. Pause the film for a couple of minutes now and then, and quickly block out the composition of the scene. Nothing fancy, just something like this. That, and continually asking yourself why the director set up each scene in a certain way, will teach you a great deal about composition, which will help your comic work immensely.
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    "Skill is the result of trying again and again, applying our ability and proving our knowledge as we gain it. Let us get used to throwing away the unsuccessful effort and doing the job over. Let us consider obstacles as something to be expected in any endeavor; then they won't seem quite so insurmountable or so defeating." - Andrew Loomis

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