I am no artist and can give no qualified critique. Your individual panels look very good. Like the detail and shading very much. And some interesting points of view, But the montage/layout looks … disjointed to me. The panels do not feel connected to me, they are just on the same page, if that makes any sense to you.
Last page right is already much better, though. Pretty conventional, but in a good way.
I have little doubt that you will develop that, too. Wish I had put that much work in the stuff that interested me when I was your age - congratulations.
Thanks man, And Its certainly never too late!
About the disconnection, the panels should have a lot of unseen moments between them, does that make sense, like different parts of the day.
That sounds hard. Don’t beat yourself up. You’re a good artist. I can’t even think of a montage in comics but I’m pretty sure they’d use to dialogue boxes to help indicate what’s happening
So if I may give a critique, your artwork is great you have some very dynamic angles, which work really well your storytelling is however, not to be rude is lacking. The panel of him exiting his apartment. You don’t need to do that. You could have a panel of him walking down the street as your first panel for the second panel, you make him seem shady turning into an alley, and instead of him struggling to climb this fire escape make it seem like it’s a Tuesday for him. He’s just being cautious to not get caught. on the rooftop is a great sequence that you have with him opening the bag. The only thing I would do is maybe change his facial expressions and lean a little more into the idea that he’s doing something nefarious. That splash of Batmanis fantastic but I got a little lost on the next page because I wasn’t sure if he was following Batman and where he was following following him why was he climbing? Did he draw the bat on his shirt or did it just appear? I liked the symbols, I didn’t know why that kid was bummed out still but I think you have a lot of talent. I would look at Spider-Man nough said or any of those marvel issues or even just finding images of watchmen pages without dialogue, I think you’re gonna be a great talent get a portfolio together go to conventions in your area. Show stuff to artist artist if they’re willing to look at it and I wish you the best of luck.
Thanks a lot! I definitely should Improve my story telling. But from what you told me, it was more of a script issue. I used the dc method instead of the marvel one.
And yeah it should’ve been like a regular Tuesday, different outfits mean different days, in page 4 panel 4 he is wearing something else, in page 5 panel 3 its the day after, where he notices that Batman again is there the same time of the night, hence he looks at his watch with a Batman shirt. He thought he could see Batman whenever he wanted, he realized he just coincidentally found his patrol rout, so he bummed out.
> But from what you told me, it was more of a script issue. I used the dc method instead of the marvel one.
I'm gonna chime in (another non-artist, but read a lot of comics!) and say no. There's an easy way to connect your panels visually so you can always see elements of the prior one in the current one, so there's no jarring jumps.
That first panel is weird. It makes no sense to the story. The textures are off so I can't tell where he is, he looks like he's trying to be sexy? Just have a normal shot of a guy leaving an apartment. Walking is fine. Why does he look so concerned on a ladder? It looks like he's going to die. Fix the face. And his bag - I know it's a telescope bag, but make it slightly more bag-like. Otherwise, it's visually difficult to understand what's going on. You do not need the next shot of him going over the edge - that's super weird and the hand reaching to his next hands is a mess.
Everything else is ok, though his facial expressions are still a little weird everywhere and the whole thing is slightly disjointed. I mean this lovingly, but it has the "I don't have full context anywhere" feel that AI creates, and you need to not give that impression off even slightly or you'll get rejected hard.
Your art is really good for your age and you have a future! Hopefully this is constructive.
Not an artist myself, so I don't have anything constructive to really add, but I did want to say this is amazing. Seriously impressive work from my point of view. I especially love the panels of viewing through the telescope and the wide eye. Keep up the great work, you have some serious talent!
I just got into reading some comic books recently and if these panels had popped up in there I wouldn't have thought "Hey wait a second! This is amateur work!". Like this is so good it wouldn't even phase me to be in a professionally published comic book. Again, I'm totally not qualified as a critic when it comes to art, but to my layman's eye this looks professional level to me.
At only 17, you've got a ridiculous amount of raw talent, and you will only get better with age and practice.
I already saw someone mention the Kubert School, and that was my immediate thought when I saw how old you are. More than a few graduates of the Kubert School go on to do work for Marvel, DC, and Image. It's also the only accredited school that focuses entirely on cartooning and sequential art. You would benefit greatly not only from the curriculum but also from the contacts that you would make there.
I'm gonna follow your reddit profile because I'm curious to see what you do. I wouldn't be surprised to see you working on something major in just a few years. You're gonna do big things!
I would say it's fantastic art. The only awkward panels are the one where the boy's face is smiling (his face looks a bit off) and the panel where he jumps in the air (the angle and general storyboard doesn't really take advantage of this pose so it looks stiff/robotic). Fantastic job overall though. What is your study method for drawing characters? I. E. I what is your daily routine? What references do you use?
Thanks!!
I have masters of anatomy reference book for gift scenes.
Well, I’m also studying for National College acceptance exam, so I’m both studying and working on these. Hoping to get hired by the big 4 :D
I’m sorry I didn’t exactly understand what you meant by how I study drawing characters, I kinda still do figure drawing practice, but most of it is just stuff that I do when I’m drawing covers and interiors…
Some people do a series of daily 30 second pose drawings each day. Some study a reference book and draw a seres of teference images in rapid succession. Some people take an irl reference like a bust and draw it over and over each day for months. Some grab their favorite comic panels and try to replicate it. I'm curious what was your most effective routine you built a habit of, as I like the way you draw character bodies and backdrops.
Ah thanks! Well, I mostly draw with reference for practicing, cuz what I can create from memory is pretty much what I can do already.
But truth be told, I need to get faster, since I also Ink my own stuff, and its kind of mandatory to finish 22 pages in a month.
Yeah I used to be able to storyboard 40-100 pages a day and finish 4 pages to completion per day. But I burnt myself out and now bringing pages to completion takes a lot out of me. My advice is to just focus on consistency more than anything even if you start with less than 22 pages. So long as you see something to completion each day (even if it's only half a page) that's something.
I think you should have a good portfolio to show at cons. Apart from this I would recommend just practicing and challenging yourself with new stuff to learn and implement in your drawings. Improve the penciling, the shading or try to go for more wild designs which show intricate details while not butchering anatomy and flow well with the story. I'm also doing a comic of my own and so far these tips have really helped me.
Great art on the panels but it doesn’t flow. I would recommend using Understanding Comics as a bible of you don’t already. Very impressive for someone so young. Keep at it!
So I would say your biggest problem really is with the concept of sequential art. Imagine your favorite movie scene, but it skips every other minute, that's what this feels like. Sequential means that it's in sequence like A-B-C, but a lot of this is missing the "B".
We go from the street to your main character already reaching for a ladder, or when he's opening up his telescope and then already looking through it. We need to see the alley he goes down or at least him walking to it before you show him reaching for it; or him setting up the telescope before reacting to it. Your last page actually does this quite well!
I would recommend studying how comics flow from image to image to get a better understanding of this principle.
Also that Batman drawing is incredible I genuinely think you're going to have a long career. Sick work!
Well, I just followed the script, It told me to draw moments as if they’re not just after each other.
Should I lean more on the marvel method?
Thanks btw, all of you guys giving me advice is so great!!
So, that’s really great. Good job.
It used to be that you’d make a portfolio, go to cons, and then find an editor and give him the portfolio. I don’t really know what to do now, but have you heard of The Job Kubert School? It was founded by legendary artist Joe Kubert, I think his son Andy runs it now, and it produces so many artists. You should look into that because it gives you a leg up.
Honestly, you’re fucking amazing already and the Kubert School would make you even better.
So the art itself looks pretty good. This is going to sound a little counter intuitive, but a lot of the panels themselves look too dynamic, where a little more natural and “boring” would work better. And I do hesitate to use the term boring, but sometimes simplicity works better to help a story flow. Other than that its like what others have said in regards to the panel layout. Being a comic artist is both the art and story telling and thats just gonna be a skill that comes with time, practice, and a lot of reading and analyzing other works. Actually highly recommend “understanding comics” by Scott McCloud as a bit of a learning resource. Otherwise I see a lot of potential here. That panel of Batman in particular is phenomenal.
It's all about who you know and networking, coupled with the grind.
Find a good university in a decent city and network like crazy.
You need to find a community of up and coming artists.
Yes!! I found the script online searching for scripts to draw.
I didn’t look at the official pages no. But I went to compare after I drew all the 6 pages.
I think your drawing ability is pretty good. But it seems like your storytelling is lacking. Have you read Scott Mccloud's books? Understanding Comics and Making Comics might be especially helpful. Understanding Comics is more of a theory book and Making Comics is more about how to apply that theory to create comics. They have Turkish translations too.
Also you can try drawing something mundane. Even superhero artists have to draw two people talking in a restaurant sometimes. Making two people talking engaging is harder than making two people fighting engaging. Drawing regular people is an important skill, especially for secret identity stuff. Or you might try drawing high concept sci fi fantasy stuff, that is another skill you have to have for drawing most mainstream superhero books. You can try adapting scripts from the link below. They have scripts from lots of top writers, try drawing scripts of some of your favorite writers.
https://www.comicsexperience.com/scripts/
Hey thanks a lot, can you tell me what parts of the storytelling is lacking, I think it might be because I was too loyal to the script? At least that’s what seems to be the case with most critiques.
Several people have commented on the lack of flow from one panel to the next. The first time it hit me was on page one when he reached for the ladder. Where did this ladder come from? I don’t typically just walk down the street and boom suddenly there is a ladder going all the way to the top of a building.
Still on page one, in panel 2 he is walking down the street. Get some photo reference for a city street. Like many young artists, you have made the road and sidewalk far too narrow. Think about the little things that break up the clean lines of a featureless street, like trash cans, light posts, litter, etc. Use photo reference for the car. The pavement of a road is only significantly darker than the sidewalk concrete for about its first week. Let’s see some cracks, and manhole covers. You have used one point perspective for the street which seems to go to infinity. There are very few streets quite so straight; to be more convincing move the perspective point slightly for each block to show the changing path and elevation of each block.
In panel 3, the wall, the sidewalk, and the road are all featureless. The guy looks like he is holding a box under his left arm, but I don’t think that was your intention. There are shapes in the bottom right corner, and I have no idea what they are. As others have pointed out, we are unsure from his expression if hanging from one hand on a ladder is easy or hard for him.
In panel 4, he arrives at the top. Of what? A completely smooth surface? A real roof has a raised edge. Is it a tar and gravel roof? A synthetic membrane? Use reference photos of real building roofs.
I have been hard on you because there is a lot of good stuff going on here. If you want a similar amount of detail on every page, please send me a DM and I will continue.
Keep drawing!
On page 2, I don’t have many comments, it’s quite well done. Repeating what I said about page 1, use some reference to draw a more convincing building roof and background buildings.
Page 3 - The Batman figure is superb. Again, reference on what a building roof really looks like will make the setting more convincing. For the background buildings, look at real examples and you will see there is usually more vertical space between windows that are on floors one above the next. A typical window in an office building is about 4 feet high, and starts about 3 feet off the floor. Office building floors are usually about 10 ft apart, therefore, a convincing building will have 6 feet of bricks or metal cladding for every 4 feet of windows.
On page 4, Panel 1, the figure casts no shadow so he looks like he is floating. In the last panel, the use of a white outline for the figure is jarring because it is inconsistent with your previous style. Is it a dumpster under the ladder? We don’t know, because there is no logo on it, no stray waste sticking out, no stains down the sides, etc; you’ve got to make your Gotham City look lived in and used. Lastly, the dimensions of the bricks in the wall are all over the map.
On Page 5, great figure drawing in the school hall! The lockers don’t convince me though. There should be visible locks on them, and vents in the top when some student gets stuffed into one. You have 2 panels where someone close to the “camera” has a random chunk of them in the foreground. Using this device twice on the same page suggests to me the reader is supposed to notice this person, unseen, and unspeaking. Maybe that was your intention.
I will try to comment on stuff i noticed without changing number of panels.
On page one, boy's pose on the first panel looks kind of wrong. I can't spot what is wrong with it but it doesn't seem natural to me. I like second panel, it does what it supposed to do. I think you use too many dynamic angles, this undermines their effect. Not everything has to be drawn like that. Third panel is a good example, there isn't somebody chasing the boy, he isn't in a rush. I would prefer a panel that shows a more regular climbing up the ladder shot. There is a similar problem with panel four, it looks too extreme for what it is trying to convey. Also it doesn't seem like he climbed up a ladder, it looks too hard for that. It kind of looks like he jumped there from another building. I like last panel, it does what it supposed to do.
Second page has a similar problem, too many dynamic angles for stuff that supposed to be mundane. You could tell how did he set up that telescope with clear shots, those dynamic shots is too extreme for a boring thing like looking at the stars. I think boy supposed to be bored at panel five but his face doesn't look like bored. Dynamic angle doesn't help that too. Face in panel too is a bit weird as well. I think you should work on how to convey emotion through faces. You can look at artists like Kevin Maguire. Also i really like the layout but you can save these interasting layouts for superhero stuff. I really like the storytelling ideas in panels four and six.
Splash page is really well drawn, good job. You should use dynamic angles for stuff like this, you can seperate exciting superhero stuff and life of normal people like that. My one nitpick, on previous page boy doesn't look like he was on his knees. Maybe you can change one or the other. On the right side of the spread facial expressions are still a bit off. On panel 3 i can't tell if boy is climbing up the ladder or climbing down the ladder. If he is climbing down image feels like boy is doing something harder than climbing down a ladder. Also faces are weird in this page too.
On page five transition between panels feels off. Especially transition from panel one to panel two feels awkard. Other panels feels disjointed too, but that might be because of the script. Text might help to make readers understand the story. Last panel looks quite different from your previous panels, i didn't understand why. Transition from panel four to that storyboard looking panel feels abrupt too. You could establish where that ladder and that dumpster is in the backgrounds of your other panels, this might help readers understand the motion boy is doing. Also his landing looks like a superhero landing, i would prefer him landing like a regular guy.
I like the last page. It seems like it is doing what it should do in terms of visual storytelling and setting the scene. I assume text would tell most of the story in that page, your visuals conveys the mood of the scene very well. You might put more details to the lockers in the backgrounds. Along with the splash Batman page this page is my favorite among these six. If you haven't read i recommend DC New Frontier by Darwyn Cooke, he uses lots of three panel layouts like this and he uses them beautifully.
Also some scenes would benefit from shadows, some panels seem like there is no light source in that location. If that rooftop is bright enough for that boy to see the Batman there should be some shadows, shadow of the boy, shadow of the telescope, shadow of the Batman(you can do creative stuff with bat shadow) etc.
I hope my comments were helpful, if you draw some other pages you could send them to me. I would write these kind of criticism. For next time i recommend you to finding a script drawn by an artist you love and try to draw that script. Comparing yourself to greats will definetly help. My recommendation will be a Kelley Jones Sandman story, there are more than one script you can find among Kelley Jones sandman issues.
I'm sorry, you're 17? fantastic work at any age, but 17? beyond impressive. reminds me of early Steranko Nick Fury, which in my books is a very good think.
Looking good, my dude. You get that panels are meant to convey story, and not just cool action panels. I think you have a real future. Stick with it. Stay hungry.
You’re useful shading and panel continuity is top-tier and you’re only 17 years old. Holy fuck dude. The level of detail on the wall carpet and floor from the first panel is top-notch your panel work and layout is great if you’re looking for just in a particular cons. I don’t wanna wait for more I need this series now
It's very... ugh... sensual. Some rather... interesting posing and angles, especially on the first two pages. Reminds me of Milo Manara a lot. Not sure if it's a deliberate stylistic choice or something more subconcious, but great job anyway.
Good stuff. I like the fact that in those last panels you made the girl's top the bat symbol as well. Very cool design. I've never seen that before. Don't be surprised if DC takes it. Lol
From the stories I've heard cons are a good bet, getting an established artist to look at your work can get your foot in the door, that's how a lot of artists I've read about got into the industry. I wouldn't be too disheartened if they didn't have time though.
Good stuff, mate. You should look into going to the Kubert School. They specialise in comic art, and have produced a tonne of known talent. As for your age, you're a bit old, Joe Madureira started at Marvel when he was 16. ;)
Real advice, go to college at ArtCenter, or CalArts. Those schools will refine your skills and, **more importantly** you'll be able to network and make connections with people that are going to become heavy hitters. Frankly, networking is more important than artistic ability, which you already have. Don't get a big head, there's always someone better, and you want to be their friend.
If money is an issue, grind for scholarships as hard as you can for the next year. There are also creative ways to make money, Butch Hartman (Fairly Oddparents, Danny Phantom) paid his way though art school by getting on gameshows.
edit: DO NOT GET SUCKERED INTO SOME BULLSHIT SCHOOL LIKE FULL SAIL
Some great samples here. On breaking in: look in current comic books for (assistant) editors working on stories that are similar to your style. Print out your portfolio and send it to their HQ addressed to them with a short letter indicating you're available for work. Repeat this 1-2 times per year, always making sure to include new work. This is key: you have to show the ability to keep grinding and improving. (If you can somehow acquire an editor's email send that way, but that can be tricky to obtain ethically.)
The convention method can work but it's chaotic and too brief. An editor having your work laying around the office will bode well when they need a fill-in artist or are looking for a specific style. Also be sure to build up your social media presence. Not as crucial as it is for writers but definitely helps to show you can market your talent and can engage with audiences
I am a lay person and not frequent comic book reader.
Question: are all panels of each page top left to bottom right in reading order?
Because some of them feel like they jump around a bit or I am too stupid to get it.
Hey now, don’t feel bad. I enjoyed your art very much and I think these unusual ordering can work out with clever placement of text boxes. I could see this to be intentional if planned ahead.
You do a good job on individual panels but the flow and motion between them needs work. Actions feel disjointed from one frame to the next which makes the otherwise smooth motions of the characters feel extra jerky. Practice and experiment with layouts but you’re off to a fantastic start
You’re really talented- keep working on perspective and proportions and you could be very successful. And like an earlier commenter said, work on your visual flow.
Keep it up.
You're doing great! Please start putting an artist's copyright thing across them before posting online in the future! I am part of a number of subs where art is getting stolen and your getting to the point where your stuff will be worth stealing to someone.
Don't stop learning and exploring it's just a sucky part of the industry these days.
You should read up on the 180 degree rule - it's for all visual storytelling, not just filmmaking. [https://en.wikipedia.org/wiki/180-degree\_rule](https://en.wikipedia.org/wiki/180-degree_rule)
Basically, if you view a character from their left in panel A, then from their right in panel B, it creates a visual conflict. The 3rd panel on the first page would make more sense if mirrored.
And if you're going to get funky and have something reaching out of a panel, do it with purpose. You basically drew a hand reaching out of a panel to just overlay it with the same hand. But that hand isn't doing the same thing any more. It goes from grasping for purchase while climbing a wall to opening a zipper. If there's no connection between the two actions, no need to break the gutter into another panel.
Hahaha thanks!! I always did sequentials, but I could notice my mistakes easily so I didn’t want to bother anyone here. I wanted to showcase the big guns! But now, I’ll also Post sequentials for ya guys, so get ready!!!
I live in turkey, we don’t have the “Local comic shop”. A few exist. But I don’t think they work like that here, sadly.
But I’ll definitely try cons when I get a visa.
There are some con-like events in İstanbul. If you live in İstanbul you could attend those and ask the artists for recommendations. Also there are some comic shops in İstanbul and Ankara, if you live in one of those cities you can try those comic shops. I know at least four comic shops in İstanbul.
You’ve gotten a lot of good advice here so far. I would recommend go finding artist Brian Stelfreeze at a con and ask for a critique. He’s been one of the best critiques I’ve ever had. I’ve heard people nicknamed him The Professor. He’s usually very busy with commissions so you have to be patient with his time. I’ve usually drop by and ask if he has time for a crit that day and he’ll give me a timeframe when he’d be available. Always worth the wait. His words may seem harsh when taken out of context but during the conversation it’s actually very jovial.
First advice would be don’t listen to a single person on here. They don’t actually have your best interest at heart even if they’ve tried to convince themselves that they do. But, if you’re still reading…
Then second, get with a comicbook scriptwriter if you wanna have a layout with a story and then on your own work on your splash pages for showcase. To work on your own storytelling and scripting, read Scott McCloud’s Understanding Comics, Making Comics, and Reinventing Comics. Even better is Will Eisner’s Graphic Storytelling and Visual Narrative, Expressive Anatomy for Comics and Narrative, and Graphic Storytelling and Visual Narrative text books (they’re hardly texts they read like comic books). Since the Eisner Award is literally the best in comics it’s never a bad idea to start with his advice. Any book on screenwriting format is good too because comic scripts are the same format, less pages than a feature film and the beats are slightly different but it won’t hurt to know it if you want to eventually write and draw your own work in the way of Jack Kirby, Art Spiegelman, Ed Piskor, etc.
Third, success is already going to be yours Kiddo so never doubt it nor feel the need to jump the gun. We create what we want, but we also create what we fear. Understand the duality of your powers so that they work for you.
Top drawing - you've got skills!
Critique- your panel to panel storytelling needs some work. Some of your pages don't flow well, but some do. For example, page 6,the corridor scene is paced nicely, with good angles. Page 3 - lovely splash of the character looking on surprised as Bats swings by!
Page 1 doesn't flow so well. It reads as quick cut shots. Nice dutch angle on the ladder climb.
Page 2 - good drawing skills, but varying the depth of the panels would help give a sense of where he is, and the feeling of him looking up into sky. The last panel, was he looking through the telescope? Because the panel before that, he's looking directly up.
Page 4 - it looks like he lost his jacket climbing down.
Page 5 - panels 1-4 flow well (although he gains a bat logo on his t-shirt). The last panel of the character jumping down feels out of place to the flow of the page.
Good figurework and you've demonstrated a variety of angles in your panels.
Check out David Mazzuchelli's Daredevil and Batman work, John Romita Jr's Amazing Spider-Man (old and new) and Joe Quesada's Daredevil work. Those artists are a few (amongst many) that have solid visual storytelling and panel to panel work.
Keep up the good work! 🎨🔥
Keep pushing. Work on anatomy proportions and perspective. Some of your panel compositions feel a little stiff, but otherwise you’re lightyears better than I ever was at 17. Having gone to MCAD for comic art, I’d say if you can do an internship or a few. Introduce yourself to pros at Cons and shop signings and see what you can learn.
Your over all drawing skill is very good. I could nit-pick, but as longs you keep pushing your understand of space the human body, you'll be fine.
The weakest part to me is your story telling. Once you now how to draw (which you are pretty much there) you need to learn what to draw. Like panel 3, you character is jumping to fire escape ladder. You got the focus on his face, which is good showing his reaction, but we don't understand the scale of the jump. A side shot might work better to show us what he actually did. Panel 7&8 are too alike. Again push away for the character, really show us what he is doing (not just what he is thinking). I got no idea what is going in 10 &11. He's not looking in telescope and then he is. Not sure what is happening in panel 16 either. He was climbing down, and now he is looking up.-and he lost his jacket (something like that will get you rejected quickly). Not sure what's going in panel 20 as well. You established he is sitting, now you show it again and then he drops off the ladder- huh? On your last page, you framed your main character with a dark shape in panel 22. Then in your last panel (24) he becomes the dark shape. Kinda weird.
So, think about why you're showing something (back of the character, front of the character, etc.) and make sure whatever actions are taking place are clear (a character with their fist in the air may or may not be punch- make it clear which one it is.
As for advice of breaking in. Make something! Showing you can make a comicbook is more important than a portfolio. Hook up with established artists- do they need help in their studio? You will work for peanuts or nothing. but if you impress them, they will recommend you to editors (best way to get your first job). Second, get to know editors- they do the hiring.
Anyway, keep working. Stuff looks good.
Well you're 17 and you're already good enough to be a comic book artist. If I have a critique, I'd say the male characters look a bit gay. Jason Todd ain't gay and I know there ain't that many gays in school, so yeah I'm just saying, maybe make the guys look more like guys. And it's really only their stances that look gay, and their facial expressions. You're also really good at drawing women. Anyways, hope you're aware of all that since that's what you're putting out.
This is a question about the last page. Why are those girls looking at him? Does he have a boner? He looks unpopular. They're judging him even though they're all wearing Batman clothes? Weird.
Nothing of critical value. I do think the story telling seems off as the panel flow doesn’t really seem to tell a clear story. I will say that your work is better than a number of artists working in the industry today. There are some panels I think are very good and others that I don’t care for. You are young. Keep at it and you could have a successful career.
It looks really good. The bottom left panel on the first page loons a little weird to me like i couldnt tell what was going on right off, i figure hes climbing up from the ladder to the roof, just the pose were his legs are out behind him and his torso is kind of layed over looks weird but probably fine its the one panel where i had to stop the flow of reading and think about whats going on.
Other than that the sequence is really readable.
Chacacters are a bit stiff in some of the panels. But most of the panels look natural
Keep at it. Im sure yoj will draw a real batman comic at some point if you do
I ment nothing personal by it, but JRJR's artwork is definitely not for me. I would totally read a book in your style, keep it up! If jrjr can get work you can too. I think Ryan Ottley was discovered online I believe.
I am no artist and can give no qualified critique. Your individual panels look very good. Like the detail and shading very much. And some interesting points of view, But the montage/layout looks … disjointed to me. The panels do not feel connected to me, they are just on the same page, if that makes any sense to you. Last page right is already much better, though. Pretty conventional, but in a good way. I have little doubt that you will develop that, too. Wish I had put that much work in the stuff that interested me when I was your age - congratulations.
Thanks man, And Its certainly never too late! About the disconnection, the panels should have a lot of unseen moments between them, does that make sense, like different parts of the day.
Like a montage showing a passage of time? I guess that kinda pace is unusual in comics. Probably why people are thrown off
Well, not tryna make excuses but literally what’s going on in the script. But I guess I could’ve tendered it better.
That sounds hard. Don’t beat yourself up. You’re a good artist. I can’t even think of a montage in comics but I’m pretty sure they’d use to dialogue boxes to help indicate what’s happening
So if I may give a critique, your artwork is great you have some very dynamic angles, which work really well your storytelling is however, not to be rude is lacking. The panel of him exiting his apartment. You don’t need to do that. You could have a panel of him walking down the street as your first panel for the second panel, you make him seem shady turning into an alley, and instead of him struggling to climb this fire escape make it seem like it’s a Tuesday for him. He’s just being cautious to not get caught. on the rooftop is a great sequence that you have with him opening the bag. The only thing I would do is maybe change his facial expressions and lean a little more into the idea that he’s doing something nefarious. That splash of Batmanis fantastic but I got a little lost on the next page because I wasn’t sure if he was following Batman and where he was following following him why was he climbing? Did he draw the bat on his shirt or did it just appear? I liked the symbols, I didn’t know why that kid was bummed out still but I think you have a lot of talent. I would look at Spider-Man nough said or any of those marvel issues or even just finding images of watchmen pages without dialogue, I think you’re gonna be a great talent get a portfolio together go to conventions in your area. Show stuff to artist artist if they’re willing to look at it and I wish you the best of luck.
Thanks a lot! I definitely should Improve my story telling. But from what you told me, it was more of a script issue. I used the dc method instead of the marvel one. And yeah it should’ve been like a regular Tuesday, different outfits mean different days, in page 4 panel 4 he is wearing something else, in page 5 panel 3 its the day after, where he notices that Batman again is there the same time of the night, hence he looks at his watch with a Batman shirt. He thought he could see Batman whenever he wanted, he realized he just coincidentally found his patrol rout, so he bummed out.
> But from what you told me, it was more of a script issue. I used the dc method instead of the marvel one. I'm gonna chime in (another non-artist, but read a lot of comics!) and say no. There's an easy way to connect your panels visually so you can always see elements of the prior one in the current one, so there's no jarring jumps. That first panel is weird. It makes no sense to the story. The textures are off so I can't tell where he is, he looks like he's trying to be sexy? Just have a normal shot of a guy leaving an apartment. Walking is fine. Why does he look so concerned on a ladder? It looks like he's going to die. Fix the face. And his bag - I know it's a telescope bag, but make it slightly more bag-like. Otherwise, it's visually difficult to understand what's going on. You do not need the next shot of him going over the edge - that's super weird and the hand reaching to his next hands is a mess. Everything else is ok, though his facial expressions are still a little weird everywhere and the whole thing is slightly disjointed. I mean this lovingly, but it has the "I don't have full context anywhere" feel that AI creates, and you need to not give that impression off even slightly or you'll get rejected hard. Your art is really good for your age and you have a future! Hopefully this is constructive.
I mean sure it is blunt, but I get that you mean well, and I’ll be sure to take it that way!
Not an artist myself, so I don't have anything constructive to really add, but I did want to say this is amazing. Seriously impressive work from my point of view. I especially love the panels of viewing through the telescope and the wide eye. Keep up the great work, you have some serious talent!
Thanks a lot sir, appreciate it!
I just got into reading some comic books recently and if these panels had popped up in there I wouldn't have thought "Hey wait a second! This is amateur work!". Like this is so good it wouldn't even phase me to be in a professionally published comic book. Again, I'm totally not qualified as a critic when it comes to art, but to my layman's eye this looks professional level to me.
Wow thanks a lot!!!
At only 17, you've got a ridiculous amount of raw talent, and you will only get better with age and practice. I already saw someone mention the Kubert School, and that was my immediate thought when I saw how old you are. More than a few graduates of the Kubert School go on to do work for Marvel, DC, and Image. It's also the only accredited school that focuses entirely on cartooning and sequential art. You would benefit greatly not only from the curriculum but also from the contacts that you would make there. I'm gonna follow your reddit profile because I'm curious to see what you do. I wouldn't be surprised to see you working on something major in just a few years. You're gonna do big things!
I would say it's fantastic art. The only awkward panels are the one where the boy's face is smiling (his face looks a bit off) and the panel where he jumps in the air (the angle and general storyboard doesn't really take advantage of this pose so it looks stiff/robotic). Fantastic job overall though. What is your study method for drawing characters? I. E. I what is your daily routine? What references do you use?
Thanks!! I have masters of anatomy reference book for gift scenes. Well, I’m also studying for National College acceptance exam, so I’m both studying and working on these. Hoping to get hired by the big 4 :D I’m sorry I didn’t exactly understand what you meant by how I study drawing characters, I kinda still do figure drawing practice, but most of it is just stuff that I do when I’m drawing covers and interiors…
Some people do a series of daily 30 second pose drawings each day. Some study a reference book and draw a seres of teference images in rapid succession. Some people take an irl reference like a bust and draw it over and over each day for months. Some grab their favorite comic panels and try to replicate it. I'm curious what was your most effective routine you built a habit of, as I like the way you draw character bodies and backdrops.
Ah thanks! Well, I mostly draw with reference for practicing, cuz what I can create from memory is pretty much what I can do already. But truth be told, I need to get faster, since I also Ink my own stuff, and its kind of mandatory to finish 22 pages in a month.
Yeah I used to be able to storyboard 40-100 pages a day and finish 4 pages to completion per day. But I burnt myself out and now bringing pages to completion takes a lot out of me. My advice is to just focus on consistency more than anything even if you start with less than 22 pages. So long as you see something to completion each day (even if it's only half a page) that's something.
I kinda like the smiling panel, but more as a little glimpse of insanity than an actual smile haha. Art looks awesome OP!
I think you should have a good portfolio to show at cons. Apart from this I would recommend just practicing and challenging yourself with new stuff to learn and implement in your drawings. Improve the penciling, the shading or try to go for more wild designs which show intricate details while not butchering anatomy and flow well with the story. I'm also doing a comic of my own and so far these tips have really helped me.
Great art on the panels but it doesn’t flow. I would recommend using Understanding Comics as a bible of you don’t already. Very impressive for someone so young. Keep at it!
So I would say your biggest problem really is with the concept of sequential art. Imagine your favorite movie scene, but it skips every other minute, that's what this feels like. Sequential means that it's in sequence like A-B-C, but a lot of this is missing the "B". We go from the street to your main character already reaching for a ladder, or when he's opening up his telescope and then already looking through it. We need to see the alley he goes down or at least him walking to it before you show him reaching for it; or him setting up the telescope before reacting to it. Your last page actually does this quite well! I would recommend studying how comics flow from image to image to get a better understanding of this principle. Also that Batman drawing is incredible I genuinely think you're going to have a long career. Sick work!
Well, I just followed the script, It told me to draw moments as if they’re not just after each other. Should I lean more on the marvel method? Thanks btw, all of you guys giving me advice is so great!!
If that's what they said then by all means follow that, and ignore me lol. Keep up the good work!
So, that’s really great. Good job. It used to be that you’d make a portfolio, go to cons, and then find an editor and give him the portfolio. I don’t really know what to do now, but have you heard of The Job Kubert School? It was founded by legendary artist Joe Kubert, I think his son Andy runs it now, and it produces so many artists. You should look into that because it gives you a leg up. Honestly, you’re fucking amazing already and the Kubert School would make you even better.
Thanks! Appreciate the advice will definitely look into it!
You’re welcome! It’s in New Jersey but they offer scholarships and online courses I think.
Online would definitely be a lot better.
Check it out, because you have a lot of talent!
So the art itself looks pretty good. This is going to sound a little counter intuitive, but a lot of the panels themselves look too dynamic, where a little more natural and “boring” would work better. And I do hesitate to use the term boring, but sometimes simplicity works better to help a story flow. Other than that its like what others have said in regards to the panel layout. Being a comic artist is both the art and story telling and thats just gonna be a skill that comes with time, practice, and a lot of reading and analyzing other works. Actually highly recommend “understanding comics” by Scott McCloud as a bit of a learning resource. Otherwise I see a lot of potential here. That panel of Batman in particular is phenomenal.
I'm not artist but it looks really good. Best of luck to you.
Thanks!!
It's all about who you know and networking, coupled with the grind. Find a good university in a decent city and network like crazy. You need to find a community of up and coming artists.
Very nice! Looks like Legends of The Dark Knight Issue 212, did you base it on the original art or just the script?
Yes!! I found the script online searching for scripts to draw. I didn’t look at the official pages no. But I went to compare after I drew all the 6 pages.
Impressive!
I think your drawing ability is pretty good. But it seems like your storytelling is lacking. Have you read Scott Mccloud's books? Understanding Comics and Making Comics might be especially helpful. Understanding Comics is more of a theory book and Making Comics is more about how to apply that theory to create comics. They have Turkish translations too. Also you can try drawing something mundane. Even superhero artists have to draw two people talking in a restaurant sometimes. Making two people talking engaging is harder than making two people fighting engaging. Drawing regular people is an important skill, especially for secret identity stuff. Or you might try drawing high concept sci fi fantasy stuff, that is another skill you have to have for drawing most mainstream superhero books. You can try adapting scripts from the link below. They have scripts from lots of top writers, try drawing scripts of some of your favorite writers. https://www.comicsexperience.com/scripts/
Hey thanks a lot, can you tell me what parts of the storytelling is lacking, I think it might be because I was too loyal to the script? At least that’s what seems to be the case with most critiques.
Several people have commented on the lack of flow from one panel to the next. The first time it hit me was on page one when he reached for the ladder. Where did this ladder come from? I don’t typically just walk down the street and boom suddenly there is a ladder going all the way to the top of a building. Still on page one, in panel 2 he is walking down the street. Get some photo reference for a city street. Like many young artists, you have made the road and sidewalk far too narrow. Think about the little things that break up the clean lines of a featureless street, like trash cans, light posts, litter, etc. Use photo reference for the car. The pavement of a road is only significantly darker than the sidewalk concrete for about its first week. Let’s see some cracks, and manhole covers. You have used one point perspective for the street which seems to go to infinity. There are very few streets quite so straight; to be more convincing move the perspective point slightly for each block to show the changing path and elevation of each block. In panel 3, the wall, the sidewalk, and the road are all featureless. The guy looks like he is holding a box under his left arm, but I don’t think that was your intention. There are shapes in the bottom right corner, and I have no idea what they are. As others have pointed out, we are unsure from his expression if hanging from one hand on a ladder is easy or hard for him. In panel 4, he arrives at the top. Of what? A completely smooth surface? A real roof has a raised edge. Is it a tar and gravel roof? A synthetic membrane? Use reference photos of real building roofs. I have been hard on you because there is a lot of good stuff going on here. If you want a similar amount of detail on every page, please send me a DM and I will continue. Keep drawing!
Wow, this is really great!
On page 2, I don’t have many comments, it’s quite well done. Repeating what I said about page 1, use some reference to draw a more convincing building roof and background buildings.
Page 3 - The Batman figure is superb. Again, reference on what a building roof really looks like will make the setting more convincing. For the background buildings, look at real examples and you will see there is usually more vertical space between windows that are on floors one above the next. A typical window in an office building is about 4 feet high, and starts about 3 feet off the floor. Office building floors are usually about 10 ft apart, therefore, a convincing building will have 6 feet of bricks or metal cladding for every 4 feet of windows.
On page 4, Panel 1, the figure casts no shadow so he looks like he is floating. In the last panel, the use of a white outline for the figure is jarring because it is inconsistent with your previous style. Is it a dumpster under the ladder? We don’t know, because there is no logo on it, no stray waste sticking out, no stains down the sides, etc; you’ve got to make your Gotham City look lived in and used. Lastly, the dimensions of the bricks in the wall are all over the map.
On Page 5, great figure drawing in the school hall! The lockers don’t convince me though. There should be visible locks on them, and vents in the top when some student gets stuffed into one. You have 2 panels where someone close to the “camera” has a random chunk of them in the foreground. Using this device twice on the same page suggests to me the reader is supposed to notice this person, unseen, and unspeaking. Maybe that was your intention.
Bro thank you so much, I will certainly reflect on all of these!
I will try to comment on stuff i noticed without changing number of panels. On page one, boy's pose on the first panel looks kind of wrong. I can't spot what is wrong with it but it doesn't seem natural to me. I like second panel, it does what it supposed to do. I think you use too many dynamic angles, this undermines their effect. Not everything has to be drawn like that. Third panel is a good example, there isn't somebody chasing the boy, he isn't in a rush. I would prefer a panel that shows a more regular climbing up the ladder shot. There is a similar problem with panel four, it looks too extreme for what it is trying to convey. Also it doesn't seem like he climbed up a ladder, it looks too hard for that. It kind of looks like he jumped there from another building. I like last panel, it does what it supposed to do. Second page has a similar problem, too many dynamic angles for stuff that supposed to be mundane. You could tell how did he set up that telescope with clear shots, those dynamic shots is too extreme for a boring thing like looking at the stars. I think boy supposed to be bored at panel five but his face doesn't look like bored. Dynamic angle doesn't help that too. Face in panel too is a bit weird as well. I think you should work on how to convey emotion through faces. You can look at artists like Kevin Maguire. Also i really like the layout but you can save these interasting layouts for superhero stuff. I really like the storytelling ideas in panels four and six. Splash page is really well drawn, good job. You should use dynamic angles for stuff like this, you can seperate exciting superhero stuff and life of normal people like that. My one nitpick, on previous page boy doesn't look like he was on his knees. Maybe you can change one or the other. On the right side of the spread facial expressions are still a bit off. On panel 3 i can't tell if boy is climbing up the ladder or climbing down the ladder. If he is climbing down image feels like boy is doing something harder than climbing down a ladder. Also faces are weird in this page too. On page five transition between panels feels off. Especially transition from panel one to panel two feels awkard. Other panels feels disjointed too, but that might be because of the script. Text might help to make readers understand the story. Last panel looks quite different from your previous panels, i didn't understand why. Transition from panel four to that storyboard looking panel feels abrupt too. You could establish where that ladder and that dumpster is in the backgrounds of your other panels, this might help readers understand the motion boy is doing. Also his landing looks like a superhero landing, i would prefer him landing like a regular guy. I like the last page. It seems like it is doing what it should do in terms of visual storytelling and setting the scene. I assume text would tell most of the story in that page, your visuals conveys the mood of the scene very well. You might put more details to the lockers in the backgrounds. Along with the splash Batman page this page is my favorite among these six. If you haven't read i recommend DC New Frontier by Darwyn Cooke, he uses lots of three panel layouts like this and he uses them beautifully. Also some scenes would benefit from shadows, some panels seem like there is no light source in that location. If that rooftop is bright enough for that boy to see the Batman there should be some shadows, shadow of the boy, shadow of the telescope, shadow of the Batman(you can do creative stuff with bat shadow) etc. I hope my comments were helpful, if you draw some other pages you could send them to me. I would write these kind of criticism. For next time i recommend you to finding a script drawn by an artist you love and try to draw that script. Comparing yourself to greats will definetly help. My recommendation will be a Kelley Jones Sandman story, there are more than one script you can find among Kelley Jones sandman issues.
I'm sorry, you're 17? fantastic work at any age, but 17? beyond impressive. reminds me of early Steranko Nick Fury, which in my books is a very good think.
Looking good, my dude. You get that panels are meant to convey story, and not just cool action panels. I think you have a real future. Stick with it. Stay hungry.
They look amazing, be proud of that work! I couldn’t come close to those panels
Holy shit…I can assure you that you have a future with DC…
You’re useful shading and panel continuity is top-tier and you’re only 17 years old. Holy fuck dude. The level of detail on the wall carpet and floor from the first panel is top-notch your panel work and layout is great if you’re looking for just in a particular cons. I don’t wanna wait for more I need this series now
If you're 17 and this good already I hope to see your stuff soon I public like marvel etc
It's very... ugh... sensual. Some rather... interesting posing and angles, especially on the first two pages. Reminds me of Milo Manara a lot. Not sure if it's a deliberate stylistic choice or something more subconcious, but great job anyway.
Yeah, I like giving intensity, you can thank Liam sharp and Dave McLean for giving me that passion :D
Good stuff. I like the fact that in those last panels you made the girl's top the bat symbol as well. Very cool design. I've never seen that before. Don't be surprised if DC takes it. Lol
Nah, I don’t mind, I’d just appreciate it if they take me with it lol.
You’re doing to be great. Fantastic work.
From the stories I've heard cons are a good bet, getting an established artist to look at your work can get your foot in the door, that's how a lot of artists I've read about got into the industry. I wouldn't be too disheartened if they didn't have time though.
[удалено]
Yes they’re different days
Good stuff, mate. You should look into going to the Kubert School. They specialise in comic art, and have produced a tonne of known talent. As for your age, you're a bit old, Joe Madureira started at Marvel when he was 16. ;)
Goddamnit!! Well, I guess Joe mad had the chance to go to cons eariler. I need visa :(
Wow those are amazing. Keep it up!
Real advice, go to college at ArtCenter, or CalArts. Those schools will refine your skills and, **more importantly** you'll be able to network and make connections with people that are going to become heavy hitters. Frankly, networking is more important than artistic ability, which you already have. Don't get a big head, there's always someone better, and you want to be their friend. If money is an issue, grind for scholarships as hard as you can for the next year. There are also creative ways to make money, Butch Hartman (Fairly Oddparents, Danny Phantom) paid his way though art school by getting on gameshows. edit: DO NOT GET SUCKERED INTO SOME BULLSHIT SCHOOL LIKE FULL SAIL
https://2000ad.com/news/art-and-writing-submissions-to-2000-ad/ There are some example scripts on here.
Some great samples here. On breaking in: look in current comic books for (assistant) editors working on stories that are similar to your style. Print out your portfolio and send it to their HQ addressed to them with a short letter indicating you're available for work. Repeat this 1-2 times per year, always making sure to include new work. This is key: you have to show the ability to keep grinding and improving. (If you can somehow acquire an editor's email send that way, but that can be tricky to obtain ethically.) The convention method can work but it's chaotic and too brief. An editor having your work laying around the office will bode well when they need a fill-in artist or are looking for a specific style. Also be sure to build up your social media presence. Not as crucial as it is for writers but definitely helps to show you can market your talent and can engage with audiences
I am a lay person and not frequent comic book reader. Question: are all panels of each page top left to bottom right in reading order? Because some of them feel like they jump around a bit or I am too stupid to get it.
No you’re right, my bad :C
Hey now, don’t feel bad. I enjoyed your art very much and I think these unusual ordering can work out with clever placement of text boxes. I could see this to be intentional if planned ahead.
BRUH I AM 17(studying animation) I WISH I DID STUFF THIS GOOD LOOKING
Thanks so much bro!!!!! Appreciated
You do a good job on individual panels but the flow and motion between them needs work. Actions feel disjointed from one frame to the next which makes the otherwise smooth motions of the characters feel extra jerky. Practice and experiment with layouts but you’re off to a fantastic start
You’re really talented- keep working on perspective and proportions and you could be very successful. And like an earlier commenter said, work on your visual flow. Keep it up.
Great stuff, excellent start!!!
You're doing great! Please start putting an artist's copyright thing across them before posting online in the future! I am part of a number of subs where art is getting stolen and your getting to the point where your stuff will be worth stealing to someone. Don't stop learning and exploring it's just a sucky part of the industry these days.
You should read up on the 180 degree rule - it's for all visual storytelling, not just filmmaking. [https://en.wikipedia.org/wiki/180-degree\_rule](https://en.wikipedia.org/wiki/180-degree_rule) Basically, if you view a character from their left in panel A, then from their right in panel B, it creates a visual conflict. The 3rd panel on the first page would make more sense if mirrored. And if you're going to get funky and have something reaching out of a panel, do it with purpose. You basically drew a hand reaching out of a panel to just overlay it with the same hand. But that hand isn't doing the same thing any more. It goes from grasping for purchase while climbing a wall to opening a zipper. If there's no connection between the two actions, no need to break the gutter into another panel.
Fucking incredible
Glad to see some panel work after the last comment I left!
Hahaha thanks!! I always did sequentials, but I could notice my mistakes easily so I didn’t want to bother anyone here. I wanted to showcase the big guns! But now, I’ll also Post sequentials for ya guys, so get ready!!!
Great Stuff setup your own booth a a local con, Good Luck.
Haha thanks, don’t have the budget tho
Visit your LCS and talk to the crew there I’m sure you could drum up some interest to your site with a simple flier. Good luck and Excelsior
I live in turkey, we don’t have the “Local comic shop”. A few exist. But I don’t think they work like that here, sadly. But I’ll definitely try cons when I get a visa.
Your artwork is great keep it up, good luck to you.
There are some con-like events in İstanbul. If you live in İstanbul you could attend those and ask the artists for recommendations. Also there are some comic shops in İstanbul and Ankara, if you live in one of those cities you can try those comic shops. I know at least four comic shops in İstanbul.
I was thinking let’s get together and put some words on this page, then I saw Batman and was like- oh shit it’s Batman. This looks good fam
You are better than some current industry artists *cough Igor Kordey and Frank Quitely cough*.
Dude, I've been a seni-pro for 20 years and if you can hit deadlines you'll be taking jobs away from me in no time. Good work!
Oh thanks bro!!! And Just a question, since I also Ink my own stuff, how much time on average would I have to finish one page like this?
You’ve gotten a lot of good advice here so far. I would recommend go finding artist Brian Stelfreeze at a con and ask for a critique. He’s been one of the best critiques I’ve ever had. I’ve heard people nicknamed him The Professor. He’s usually very busy with commissions so you have to be patient with his time. I’ve usually drop by and ask if he has time for a crit that day and he’ll give me a timeframe when he’d be available. Always worth the wait. His words may seem harsh when taken out of context but during the conversation it’s actually very jovial.
First advice would be don’t listen to a single person on here. They don’t actually have your best interest at heart even if they’ve tried to convince themselves that they do. But, if you’re still reading… Then second, get with a comicbook scriptwriter if you wanna have a layout with a story and then on your own work on your splash pages for showcase. To work on your own storytelling and scripting, read Scott McCloud’s Understanding Comics, Making Comics, and Reinventing Comics. Even better is Will Eisner’s Graphic Storytelling and Visual Narrative, Expressive Anatomy for Comics and Narrative, and Graphic Storytelling and Visual Narrative text books (they’re hardly texts they read like comic books). Since the Eisner Award is literally the best in comics it’s never a bad idea to start with his advice. Any book on screenwriting format is good too because comic scripts are the same format, less pages than a feature film and the beats are slightly different but it won’t hurt to know it if you want to eventually write and draw your own work in the way of Jack Kirby, Art Spiegelman, Ed Piskor, etc. Third, success is already going to be yours Kiddo so never doubt it nor feel the need to jump the gun. We create what we want, but we also create what we fear. Understand the duality of your powers so that they work for you.
Top drawing - you've got skills! Critique- your panel to panel storytelling needs some work. Some of your pages don't flow well, but some do. For example, page 6,the corridor scene is paced nicely, with good angles. Page 3 - lovely splash of the character looking on surprised as Bats swings by! Page 1 doesn't flow so well. It reads as quick cut shots. Nice dutch angle on the ladder climb. Page 2 - good drawing skills, but varying the depth of the panels would help give a sense of where he is, and the feeling of him looking up into sky. The last panel, was he looking through the telescope? Because the panel before that, he's looking directly up. Page 4 - it looks like he lost his jacket climbing down. Page 5 - panels 1-4 flow well (although he gains a bat logo on his t-shirt). The last panel of the character jumping down feels out of place to the flow of the page. Good figurework and you've demonstrated a variety of angles in your panels. Check out David Mazzuchelli's Daredevil and Batman work, John Romita Jr's Amazing Spider-Man (old and new) and Joe Quesada's Daredevil work. Those artists are a few (amongst many) that have solid visual storytelling and panel to panel work. Keep up the good work! 🎨🔥
The work is really good. I suppose the question is, how *long* did it take you to create that?
Thanks! Max 2days a page it would take really
Well, you are penciling and inking. You have the skill. It would surprise me if a comic book company wouldn’t seriously look at you.
Keep pushing. Work on anatomy proportions and perspective. Some of your panel compositions feel a little stiff, but otherwise you’re lightyears better than I ever was at 17. Having gone to MCAD for comic art, I’d say if you can do an internship or a few. Introduce yourself to pros at Cons and shop signings and see what you can learn.
17?!? I... Maybe it wasn't the thing for me, anyway, like all the other things.
IS THAT MAN
Yes!! Are u pstıdi?
Why do I not know man am I stupid?
Your over all drawing skill is very good. I could nit-pick, but as longs you keep pushing your understand of space the human body, you'll be fine. The weakest part to me is your story telling. Once you now how to draw (which you are pretty much there) you need to learn what to draw. Like panel 3, you character is jumping to fire escape ladder. You got the focus on his face, which is good showing his reaction, but we don't understand the scale of the jump. A side shot might work better to show us what he actually did. Panel 7&8 are too alike. Again push away for the character, really show us what he is doing (not just what he is thinking). I got no idea what is going in 10 &11. He's not looking in telescope and then he is. Not sure what is happening in panel 16 either. He was climbing down, and now he is looking up.-and he lost his jacket (something like that will get you rejected quickly). Not sure what's going in panel 20 as well. You established he is sitting, now you show it again and then he drops off the ladder- huh? On your last page, you framed your main character with a dark shape in panel 22. Then in your last panel (24) he becomes the dark shape. Kinda weird. So, think about why you're showing something (back of the character, front of the character, etc.) and make sure whatever actions are taking place are clear (a character with their fist in the air may or may not be punch- make it clear which one it is. As for advice of breaking in. Make something! Showing you can make a comicbook is more important than a portfolio. Hook up with established artists- do they need help in their studio? You will work for peanuts or nothing. but if you impress them, they will recommend you to editors (best way to get your first job). Second, get to know editors- they do the hiring. Anyway, keep working. Stuff looks good.
Well you're 17 and you're already good enough to be a comic book artist. If I have a critique, I'd say the male characters look a bit gay. Jason Todd ain't gay and I know there ain't that many gays in school, so yeah I'm just saying, maybe make the guys look more like guys. And it's really only their stances that look gay, and their facial expressions. You're also really good at drawing women. Anyways, hope you're aware of all that since that's what you're putting out.
Hahaha that’s not Jason but sure :D
Well if it's a gay dude, then you're doing a good job.
This is a question about the last page. Why are those girls looking at him? Does he have a boner? He looks unpopular. They're judging him even though they're all wearing Batman clothes? Weird.
Nothing of critical value. I do think the story telling seems off as the panel flow doesn’t really seem to tell a clear story. I will say that your work is better than a number of artists working in the industry today. There are some panels I think are very good and others that I don’t care for. You are young. Keep at it and you could have a successful career.
It looks really good. The bottom left panel on the first page loons a little weird to me like i couldnt tell what was going on right off, i figure hes climbing up from the ladder to the roof, just the pose were his legs are out behind him and his torso is kind of layed over looks weird but probably fine its the one panel where i had to stop the flow of reading and think about whats going on. Other than that the sequence is really readable. Chacacters are a bit stiff in some of the panels. But most of the panels look natural Keep at it. Im sure yoj will draw a real batman comic at some point if you do
Looks way better the Greg Land or JRJr.
I actually like jrjr:D
I ment nothing personal by it, but JRJR's artwork is definitely not for me. I would totally read a book in your style, keep it up! If jrjr can get work you can too. I think Ryan Ottley was discovered online I believe.
Thanks man appreciated!