Love this composition. Ship projects great forward movement and the outlines of waves on the right lead the eye right to it. Grounded. Balanced. Focused. Line width variance is great, and not overly dramatic, which works well with the intense emotional context of the scene. Great work. I'll be watching.
thanks for the analysis i have to admit that not all of this is calculated, i mean most of it is now quite automatic, unconscious. I thought a lot of my panels composition when i started, few years ago, i think i now tend to repeat some tricks and recipes, feeling the balance, the movement, the mood, the movement of the camera and the narrative... it often come by himself, i let my brain handle it ^^
yep, watter is quite hard to manage and understand, i think it must be the hardest to get. I think the better way is to let the hand get the flow, the mouvement, the chaos, to not try to controle it. Once you have the primary shapes, let the inconscious built the reste. It's like any other landscape, but with more visible mood and lightning games. ^^ that's something i really love to draw or paint.
thanks a lot for the timing question, once the rough/compo was done, the pencilling/inking part took me 4 hours. It's quite simple to do half of the time was just for the sky, just after i mad some mask with journal paper and removable adhesive tape to protect the sea/boat part all was done with brush, quill, black ink and white liquid gouache) and just to be complete, the panel is approx 16cm*45cm
haha, yes, that's possible, but, it's all in the movement, in the intention, nothing has to really be accurate, so it's easier and quicker to do than anatomy or perspective But i guess that some experience make this easier, not that it's complicated, but because i know what to do, where i have to go to get what i want first thing is to protect some parts ( here the sea), i'm used to do it with newspaper papers (it's free and easy to cut), and removable adhesive tape. The sky is just hatching with a hard or old brush (to get the bristle making independant peaks)with not to much ink on it, to shape the clouds. On top of this i spatter liquid white gouache ( with brush, toothbrush, and a combo quill/old credit card), after what i draw the rain and the lightning, with the same white and a quill The longest part of this, in fact, was the spatter once the sky was done, all i have to do is to remove the mask, inking the boat, then the sea with large free strokes shaping the movement of the waves. Finishing this by adding some spatters and rain on top of it let's try it, you'll see how much it's easy, the hardest part is to measure and control the quantity of matter, of spatter, so start smooth, cause you can had as much as you want, it's harder to remove