Neither of us have really have a solid answer for this one, mostly because we have no idea what your skill set is. Both have the potential to look terrible. Having a happy collaboration is probably more important than winning whatever argument you’re having. Additionally though, saying something is ‘computer generated’ seems to dismiss whatever skill (and there’s a lot) is brought to digital lettering… there’s still a hand involved (we do take your point and are not being intentionally obtuse but it would perhaps be helpful to discard this particular dichotomy.) Granted, there is a kind of ineffable quality to the hand lettering of say, Dustin Harbin, but how many of us are Dustin Harbin? If there’s any doubt about your ability to pull this off, perhaps lettering on an overlay or a digital blue line is the way to go. Having said that, maybe give some solid consideration to the fact that is also useful to exploit the ability to fine tune and edit which digital lettering provides. I would also suggest you might want to look at generating a font for your project which is what we did for Moving Pictures (and others) using a service like fontifier.com. The results are not perfect and you still end up having to make a myriad of tiny corrections to kerning but we were generally happy with the end product.
Creators weigh in on 2013 and 2014, Part 3 - Robot 6 @ Comic Book Resources
In which one of us names "Above the Dreamless Dead" coming from First Second.
Editor Jeanine Schaefer organized the effort. I believe Chris Bachalo provided an interlocking sketch for the positions of the Sentinels in each quadrant and then the other artists built on their individual portion, adding the other characters. As each quadrant was completed, it was used as more specific reference where elements overlapping the borders were juxtaposed. Honestly, I just did what I was told to do.
Hello and thank you.
I draw close to one page every day; sometimes it’s a little more and sometimes it’s a little less. I like to begin early and finish early, so my ideal working day runs from 7AM to 4PM. I rarely do much preparatory sketching. I do not have assistants. Your English is excellent— much better than my Spanish.
Just draw. Draw things in front of you, draw things that don’t exist. Draw whenever you can, and when you can’t, observe. You’re in a restaurant; how do people sit? How do they hold things? What shape are they? What do they wear? Is the light natural or artificial? How does it change what you see? You’re at the movies or you’re reading a comic; ask yourself the same questions, but understand that others are making decisions that govern what you see, by providing framing, or lighting, or costuming or casting. Is it better or worse than what you do? Why?
A comic artist will compose six or eight or ten drawings every day. You find out what works by doing, by looking and by asking why.
Hello to you.
I can’t have thoughts or feelings concerning something about which I do not consider, ever. I mean, it’s very nice to receive praise, but what other people —- apart from the client— think has no serious bearing on choices I make or the way I draw. That’s crazy-making.
However, I appreciate hearing that you consider the work worthwhile enough to help emphasize technical issues. Thanks for letting me know.
Thank you. Just keep drawing; it’ll happen. I find that a lot of young artists worry more about the finished quality of their work before they have sufficiently worried about the underpinning foundations. Concentrate on solid anatomy (not necessarily realistic-looking, but having what Roger Langridge calls Internal Consistency), rules of perspective, backgrounds and props. “Style” will come as a matter of course.
Unless she appears in ALL-NEW X-MEN, this seems unlikely.