I am a huge fan of your work, and am glad to see you posting more frequently. I have a question about this and other drawings of yours: what do you use for your outlines and broader strokes? Sometimes it looks like a flat sketch pencil line, and other times it looks like a marker. If you wouldn't mind, could you tell me what you use? I'd love to try to replicate that effect.
Hey, all -- I appreciate the feedback. In regards to DN and the line technique question: I try to push for a "weighted" or fluctuated line width in all my work, but especially when line edges are to be seen. I had a professor in college whom almost STOOD on his pencil to broaden an expressive line. Although it takes some practice, the combination of soft leads and directional movement oft the stroke are primarily responsible for line character. I also tend to change pace and flow of the mark, sometimes forcing a brisk and speedy "corner." Many cartoonists use an outer-heavy line, yet the inner information is easy neglected if not dealt with. Overall, I aim to caffeine-ate first to prepare for the linear attack over a looser, fainter under-drawing.
11 comments:
Superb! I've been waiting to see this post. Highly detailed movement, humor, stylization. Well done, well done.
Vertical thrust is a big hit here. Drop shadows, stylization, and repetition of similar shapes all contribute to a highly pleasing composition.
Dang, that is one big horse! Nice work.
I LOVE this Mr. Wertz!
Awesome job as usual :)
Awesome horse, great handling with this!
Awesome. great illo:)
amazing illo!
I am a huge fan of your work, and am glad to see you posting more frequently. I have a question about this and other drawings of yours: what do you use for your outlines and broader strokes? Sometimes it looks like a flat sketch pencil line, and other times it looks like a marker. If you wouldn't mind, could you tell me what you use? I'd love to try to replicate that effect.
From FW:
Hey, all -- I appreciate the feedback. In regards to DN and the line technique question: I try to push for a "weighted" or fluctuated line width in all my work, but especially when line edges are to be seen. I had a professor in college whom almost STOOD on his pencil to broaden an expressive line. Although it takes some practice, the combination of soft leads and directional movement oft the stroke are primarily responsible for line character. I also tend to change pace and flow of the mark, sometimes forcing a brisk and speedy "corner." Many cartoonists use an outer-heavy line, yet the inner information is easy neglected if not dealt with. Overall, I aim to caffeine-ate first to prepare for the linear attack over a looser, fainter under-drawing.
wertz.. well done my friend well done.. i do like this piece.. its very detailed and funny.. keep up the good work
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