> Well i can only speak to my own preferences, but those prefs are based on 11
> years exp in the Comics industry and the animation biz.
>
> When i work on comics i usually start out working in a soft led pencil on a
> sheet of 11 x 17 cartridge paper, i work very rough, fast and dirty and i
> don't stop to erase unless the lead build up requires it. At this point im
> concerned only with the form and composition, blocking out the page and
> refining the larger story telling issues, and getting the structures down
> firm.
> So, we have the roughs, taped to the back of the bristol, on a light box. if
> you don't have one, GET ONE! if you want to work in illustration or
> animation or comics YOU WILL NEED ONE.
>
>It works like a dream and its fast. I also find that
> my work is more fluid, capturing some of the energy that went into the
> roughs. And you dont need to worry about hard or soft or whatever pencils.
I know exactly what you mean about the energy. Quick sketches and gestures
have so much more life to them. I never would have thought of the light box
technique to allow me to keep some of that. I worked for years at a
newspaper that had custom-built some upright light tables, with a surface at
a 60-degree angle, which made it pretty comfortable for standing and working
on the whole page. I don't know why I never thought of it myself.
I've got to try this though. I can hardly wait!
Thanks,
Matthew
