JESSE HAMM will not let his lack of fame or achievement stop him from tweeting advice to all and sundry! MORE TIPS AT https://xitter.cf/t.co/Vp3GeBPqfK or at my Patreon:
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Somewhere out there are people who need to hear a story you're uniquely able to tell. Art by others, even better art, won't do; only yours.
If you need readers to remember a key detail or aspect of your story, consider placing it in the first scene. In JAWS, we don't see the town or meet the heroes in the first scene; we instead see Jaws attack a swimming girl. This permanently defines our memories of the film.
You can see this effect in many popular films. We first meet Indiana Jones when he is raiding a temple and fleeing a boulder, not when he is teaching. We first meet James Bond when he is on a mission, not when he's receiving orders for the story at hand. Those first images stick.
When using the perspective tool, lock your background layer (here: the "white fill" layer in Image 1).
Otherwise, when you delete the perspective tool, you may end up on the background layer (Image 2), and might resume inking there without realizing you've left your line layer.
Drawing a round object?
*add a new layer
*freehand the object quickly on the new layer
*use the transform tool to adjust the object into the desired shape
*erase the overlapping lines
*merge the layers.
(1/2)
Drawing it quickly gives you a smoother, more dynamic line than drawing it slowly/carefully.
Drawing on a new layer allows you to adjust it and erase the excess without interfering with your other lines.
Avoiding the ellipse/circle tool is faster and looks more organic.
(2/2)
A simple lesson in viewing angles, from George Miller's MAD MAX. In the first shot, the mother and infant son are shown from above, emphasizing their weakness. But when Miller cuts to their pursuers, he adopts a low angle, to make them loom up and appear more threatening.
Later, when showing both the hunters and their quarry in the same shot, he remains above her eye-level, but the bikers appear to loom over her because of their position in the frame. A higher angle would diminish both the woman and the bikers, but this angle diminishes her alone.
Remember that creases in clothing generally swing away from points where bones are most prominent: shoulders, elbows, hips, and knees. And here are a couple more tips:
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In that case, he can look back toward the reader. We then assume he's still watching the show but has turned momentarily. Advertizers often use this approach to keep their spokesmodels relatable without cutting away from the product.
"SCRIPT: Chuck relaxes in front of the TV with a beer." Image 1 fails because Chuck is uncommonly close to the screen, and his chair looks unrelaxing. However, if he moves back to his couch, we'll be unable to see him and the screen at once. Solution? Shift the viewing angle (2).
This visual relationship between objects is called parallax. Objects equidistant apart can appear near or far from each other depending on our angle of view. When composing a panel, you can use parallax to adjust objects' placement, regardless of their actual locations.
If you need to draw ellipses freehand, it's harder to draw them horizontally (1) than it is to draw them at an angle (2). This is because your hand sweeps around more naturally at an angle. (To angle your image in CS, hold down the Shift key and spacebar, and mouse back & forth.)
When drawing ellipses with your right hand, angle the right side of the art upward. (Maybe 45 degrees or so.)
When drawing ellipses with your left hand, angle the left side of the art upward. (Maybe 315 degrees or so.)