After a solid bout of line-smithing, rendering and sore wrists, I’m finally ready to call it a day on this piece.
No matter how much planning goes into drafting these things, there’s always some speculation as to whether or not it’s all going to come together in the end. In the heat of it all, you just don’t know for sure sometimes.
Like a cake – all the ingredients are there, it’s had some time to cook. You just hope it doesn’t sink in the middle when it’s pulled out the oven.
I struggled with the last panel most. See all those rendering lines used to tone the shadow of the monstrous brute? First time around they weren’t all 100% abiding to the perspective of the scene. There was a slight, but noticeable warp to them. I could have gotten away with it, probably. But two of my trusty advisors pointed it out early on, and then it was too late just to let it slide.
It’s not uncommon for me to redo large portions of an art work, given the time, if it needs to be done. Always worth it. Even if it is somewhat of a drag to re-hash portions of the picture you thought were already done with.
I’m working on another sequential as we speak. The two illustrations have been recorded as ultra-fast time lapses for my Figure Drawing Fundamentals Course. These are to help explain the importance of being able to create poses with impact, from a multitude of different angles throughout a sequence.