Strip format: box vs. linear

To me, as a cartoonist, one of the greatest things in creating comics is how you can use its format in favour of the narrative. You don’t have to limit your work to its own boundaries, the panels’ lines. And if you do, you can reinvent the way it is supposed to limit you. You can also use the lines and the panels themselves as part of the narrative and give them a role in your story. And of course, what I write down here is nothing new for any comics creator or reader. But I’d like to make a point to explain my little problem with strip #65.

It’s probably one of my favourite ones so far. Firstly, because I like silent strips. I think it’s great when you say a lot with wordless panels. Second, because I could use the panels and its boundaries in favour of my narrative and it worked.

So you’ve got three hockey players, the ONE Line, a forward line, passing the puck to each other before the last one of them shoots it down. On ice, these kids would probably be in linear formation, so Nobre, the centre, passes down to Ohara, the left wing, the left wing makes a longer pass to Evans, the right wing, and then the right wing shoots it.

I have my main posting format, the comic strip format known as box, a roughly square format. It’s the format I post in here and on other blogs and also some webcomic hosting services. And most important, it’s the format I plan, I script and I draw every comic strip, panel by panel.

But I also have my own domain, hockeywebcomics.com.

As you can see, the layout is pretty simple. As I’d like it to be displayed without a scrollbar, so the reading will be easier, I cannot use the box format for my website because it’s not responsive. So I use the more traditional horizontal strip format.

Then I have my box-shaped comic strip and I just adjust the panels on a linear formation. Pretty simple,Β eh?

But not for strip #65.

I had to do minor changes to fit my website “wide strip” format.

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It ended up that even the story itself passed by slight changes. The player that made the attempt, the right wing (Evans), now starts the play. The one that previously started the play, the centre (Nobre), now assists the left wing (Ohara). And the left wing was the one that originally made the assist, now he’s the one to shoot on goal.

The right wing and the left wing had the be redrawn. The centre and the goaltender didn’t need a redrawn, but their panels had minor changes on the puck line.

I think it was the first time in more than one year that I had to redraw things to adjust the comic strip for my website. Probably it won’t be the last time though.

That’s the price of posting in different formats. It’s quite challenging, but ends up being a little bit of fun.

Evolution of a cityscape panel

This is the first panel of the upcoming strip. Protagonist Norm Nobre arrives home and shows his neighbourhood, the Phillips St. 44 in (the fictional town of) Bloomington, Ontario.

The sequence below shows how the panel evolved from WIP to its final render.

It’s boring, I hate to draw cars, I don’t like drawing houses either and proportions, aspect ratio and perspective always kill me, it all wears me out… but it’s rewarding to see the panel done. Liek… worth it all.

Ferda_35_panel_1 800

Ferda_35_panel_1_alt 800

Ferda_35_panel_1_alt_pt_2 800

Ferda_35_panel_1_alt_pt_3 800

Ferda_35_panel_1_alt_pt_3_2 800

Ferda_35_panel_1_alt_pt_4 800

The troubles with flipping

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When I’m making comics, it’s not unusual to realize I’m doing something completely wrong when I’m already half-way done. I think this situation it’s not uncommon to every artist or at least many of them.

Well, to me, one of the worst mistakes is missing the correct direction a scene or the characters should be oriented to. And I just can’t simply flip it!

I can flip it, yeah, but there’s a lot of things to fix. My panels always have a lot of letters and logos andΒ  other stuff that would get mirrored if I just flip it.

The sequence above, for instance, from Ferda Boys #33. I was already finishing the third panel (below) when I realized I was putting English-hand traffic in Ontario. So besides flipping, I had to redraw letters (and I hate lettering!) and had to redraw some stuff. That guy is right-handed, he couldn’t be spinning his yo-yo down with his left hand!

Ferda_33_panel_flipping_2

Oh,Β handling is something. When I make this kind of mistake in a hockey scene panel, I usually have to redraw the characters, because, besides the jersey number and eventually the logo that can’t be flipped, there’s the handling. The pose and stance would be completely different if the player shoots left or shoots right… yeah, that’s a pain.

Uh… of course there are much bigger problems in life, but any time I realize such errors, I breath in deeply and go grab a coffee cup before telling myself… alright, let’s get back to the start. πŸ˜‚

Webcomics is not about talent or techniques, y’know?

Resilience.

Panels and bubbles and minor problems

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A panel from an upcoming strip. Characters and then speech bubbles cover a lot of the setting. But they also cover a lot of errors 😎 (although they ultimately have some errors too).

First panel, for instance… where is that dude walking to? Towards the tree? Because the pavement seems to end before the corner. And he seems to be aligned with the tree’s root. Of course I knew his ultimate “destination” would be covered by the characters β€” I actually drew them first. So this detail didn’t bother me much.

The reason why I wanted to put a man and a woman walking plus a car in the street is that, regardind outdoors, I don’t like an empty scenario, like there’s no one in the streets and the characters are alone. I would have put more people, but this is a country town β€” and also, it would be completely covered by the boys and the bubbles, so I let go.

After the panel’s done, I realize I don’t like the alignment of the characters’ bags compared to the position of their bodies and their walking stances. A further panel will kinda conflict it, but again, it doesn’t bother me much because I think it looks okay after all.