Comic #128: Pleading Insanity
Monday, July 20th, 2009After all the stress of the day so far, I would probably be finding sanctuary wherever I could at this point as well. Lucky for Peter that with it being summer school, no one is around to hear him talking to Seth.
And yeah, he totally dunked his head in the sink of a public school boy’s bathroom. That’s probably not something most people should do.
On a side note (literally), I’ve installed my Twitter feed on every page of this site. I’ll be updating it with news on the latest pages’ progress and anything else that might be relevant. Hopefully that’ll make it easier to keep track of where the comics are currently in production.
July 20th, 2009 at 10:21 am
First off, WOW! First comment for me!
And yeah, Peter, that probably wasn’t sanitary.
Wow, lunchime in summer school. My brother’s almost done summer school, and he only has it for two hours a day…
July 20th, 2009 at 11:17 am
Hahahahahahahaha!!! Panel 3 is great!
July 20th, 2009 at 5:07 pm
Torn between excitement and fear. Poor Peter. Love to see where this’ll go!
July 25th, 2009 at 1:40 pm
Hallo! Well, hope I don’t come across as rude for going on a tangent, but: the first panel really impressed me with the neat perspective, but it did remind me of the artistic troubles I’ve been having lately with horizon lines. In fact just the other day I was trying to solve this riddle: if the “horizon line” means both the place earth meets sky, but also the eye level of the artist, how does one contruct a picture when the view-point is looking DOWN? Because you’re not looking at the skyline–so on what level or plane do you place the vanishing points? *goes to work on non-perspective intensive picture*
July 25th, 2009 at 4:52 pm
Rachel: The “horizon line” does literally mean the point where earth meets sky, as you put it, but in the artistic sense it leans more towards the eye level of the viewer. That being said, when you’ve got a downward angle where the literal horizon line isn’t in view, an imaginary horizon line needs to be established for the purpose of three-point perspective. The placement of this line is up to you. You’ll have your two standard vanishing points, plus a third either above the horizon line (if the view is looking upwards) or below it (if you’re looking downwards). This gives a reference point for all objects and structures to recede INTO the horizon. This may look awkward during your first few practices with it, but you will get the hang of it quickly.
Also — not to make this too huge of a rant, as I plan on putting this into a tutorial eventually — while you are learning these techniques, it’s a good idea to keep in mind a balance between accuracy and readability. This particularly applies to three-point perspective, and as such is the only reason why I am mentioning it. Three-point is more of an abstract form of a grid, so if you try to make it exact and precise to your vanishing points, it may not look right. Sometimes it helps to make the vanishing points “approximate,” in that they are general points to shoot for, not necessarily a precision target. This may help with the readability of your scene and actually make the whole process a LOT less stressful on your part. Heck, even try taking a ruler to my first panel up there. I can pretty much guarantee that only one or two of the vanishing points will actually line up (as I did it by sight, instead of measuring it out). It’s still perfectly readable though, and — particularly in the comics universe — that is what counts.
July 26th, 2009 at 8:59 pm
Thanks Jon! I’ll keep trying. And when I looked back at the first panel, I noticed you’ve put a crack in one of the floor tiles–nice touch!
October 14th, 2009 at 1:34 pm
*saves notes on perspective* Great!
March 19th, 2012 at 8:02 pm
At first, I thought the last panel could’ve used a word balloon for Seth, saying “Too late.” Then I thought about it, and realized that his expression said it SO much clearer.