It's a very distinct style and very different to your usual work! At least, based on your Phoenix stuff that I know. The backgrounds in particular have a really unusual almost-photo-real appearance. Are you doing something clever with photographic source material, or is it a shading technique that ends up looking like a photograph? My brain can't quite pinpoint what's going on - it's very effective, anyway.
The use of contrast and colour to distinguish the different universes works so well, especially around the simple concept of the apartment door.
Yeah, I wanted to give the different worlds very distinct aesthetics - insofar as possible, given that those first two were both in black and white and grey and, y'know, *drawn by me*. So the backgrounds were a key thing. For the 'real world' / Hannah's world, I did indeed use a lot of photographs - run through various photoshop filters and then tweaked and drawn over to tie them together with the drawn-from-scratch elements. Because I was doing this series fully digitally, drawing my panel a day using ProCreate on my iPad, it meant I could play around with this kind of thing a bit more than with something like Mega Robo Bros, where I'm just drawing the whole thing with ye olde fashioned pens on paper.
But yeah, it was a really fun aspect to the story. I'm fascinated to think how a comic version of your Tales From the Triverse would work - whether you'd have a similar thing of a different aesthetic / pallete for the three worlds. Or indeed, different artists! Everything all sleek and hyperfuturist in Max-Earth, mad Frank Frazetta painted fantasy art for Palinor, and gritty muddy pen and ink and watercolour washes for 'regular' Earth...
Aah, that's the second time someone pondered on a comic of Triverse, drawn in different styles. I love the idea of multiple artists - and what happens when characters move between the portals? Would they remain in their 'original' art style, or transition into the style of their destination? I can't decide which would be more interesting!
I'm secretly a frustrated comics creator, lacking the skills to draw the sort of stories I want to tell. Maybe one day! (I am working on a simple strip for later this year as a tentative toe in the water)
The approach you went with in Hannah's world works very nicely. It's just photo-realistic enough to feel somewhat uncanny (in a good way), but never quite looks like a processed photo. Makes me think of movies with clever use of visual effects, where you're never quite sure whether what you're watching is real or not.
All the good comics stuff happens in Oxford! Bah.
About a third into X365 so far and thoroughly enjoying it. I have Many Questions about the intriguing art style in the 'normal' world sections.
Please, fire away!
It's a very distinct style and very different to your usual work! At least, based on your Phoenix stuff that I know. The backgrounds in particular have a really unusual almost-photo-real appearance. Are you doing something clever with photographic source material, or is it a shading technique that ends up looking like a photograph? My brain can't quite pinpoint what's going on - it's very effective, anyway.
The use of contrast and colour to distinguish the different universes works so well, especially around the simple concept of the apartment door.
Intrigued to see where the story goes!
Yeah, I wanted to give the different worlds very distinct aesthetics - insofar as possible, given that those first two were both in black and white and grey and, y'know, *drawn by me*. So the backgrounds were a key thing. For the 'real world' / Hannah's world, I did indeed use a lot of photographs - run through various photoshop filters and then tweaked and drawn over to tie them together with the drawn-from-scratch elements. Because I was doing this series fully digitally, drawing my panel a day using ProCreate on my iPad, it meant I could play around with this kind of thing a bit more than with something like Mega Robo Bros, where I'm just drawing the whole thing with ye olde fashioned pens on paper.
But yeah, it was a really fun aspect to the story. I'm fascinated to think how a comic version of your Tales From the Triverse would work - whether you'd have a similar thing of a different aesthetic / pallete for the three worlds. Or indeed, different artists! Everything all sleek and hyperfuturist in Max-Earth, mad Frank Frazetta painted fantasy art for Palinor, and gritty muddy pen and ink and watercolour washes for 'regular' Earth...
Aah, that's the second time someone pondered on a comic of Triverse, drawn in different styles. I love the idea of multiple artists - and what happens when characters move between the portals? Would they remain in their 'original' art style, or transition into the style of their destination? I can't decide which would be more interesting!
I'm secretly a frustrated comics creator, lacking the skills to draw the sort of stories I want to tell. Maybe one day! (I am working on a simple strip for later this year as a tentative toe in the water)
The approach you went with in Hannah's world works very nicely. It's just photo-realistic enough to feel somewhat uncanny (in a good way), but never quite looks like a processed photo. Makes me think of movies with clever use of visual effects, where you're never quite sure whether what you're watching is real or not.