Monday, May 24, 2010


I love this page of Eisenberg's. This is actually the last panel of the page (you will see more as I study them) but I loved it so well that I had to draw it first.


The detail is handled masterfully and reigned in by sensible hierarchy. The shingles and wood grain on the well are controlled by keeping them wrapping the form, but are full of life because they're asymmetrical, organic. They are not in equal rows; notice the extra shingle on the bottom left! I wonder if he drew the shingle to the right of it too small and needed to fill a space. Either way, it's great and works just fine. The wood is also organic, and has some lovely little details, but it's never distracting.

Things made of brick and stone are usually intimidating, but Eisenberg handles it like a pro-- not every stone needs to be drawn. They're the smooth, well-worn, old, and organic types of rocks people used to build things instead of ugly fake bricks. It looks worn and fun to touch. They hug the outside, and of course wrap around the form.

The bucket is a nice touch, and works as part of the well's overall form. It really contrasts nicely with the delicate tree that frames the left side and adds interest. The tree's in silhouette, too, so white it's very delicate, it's nowhere even resembling distracting.

Fagan himself is a beautiful pose! I was attracted to it immediately. I love how he sits in the middle of that perfect circle of a motion line. It's a pose you're not terribly prone to seeing in newer cartoons. It's so round and exaggerated. No one ever kicks back that far. You can tell exactly what has just occurred.

Even Eisenberg's speech bubbles are great. I love how they're cloudy, just for the sake of fluorish. It's also nice since it's in the sky, it almost doubles as a cloud at first blush. The composition has a lot of yummy places for your eye to travel to.
I wound up rounding out some of Foxy. His hand is the most noticeable. His upper body also seems evened out, puffed a bit, even. I dug the details in too far, mostly because I had to erase them a few times when I was struggling with the face. At first I missed the angle of his brow. I rounded out some of the contrasts, and ate up some of the space. Hopefully I can focus more on that in the closer compositions of the page in the future.

I just noticed, too, that the right side of the well tapers off in the wrong way. It should have more mass leaning to the upper right.

ALSO: I discovered a 5B pencil. I'm used to working with harder ones. Anyway, it's fun and you don't need to press as hard (something I need to force myself out of doing). I'm gonna look into getting even softer pencils, soon, if I can scrape together the cash.

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