The shading absolutely brings this moment to explosive, cinematic life. I can’t get over how utterly evocative it is. Much as I loved Rich’s pencil work, there’s something this scene in particular absolutely gained from the use of flat shadows, here, and if I were to make a case thus far for the new look, this strip would be Exhibit A.
I wasn’t really sold on the new art style at first, the first couple strips with Charles seemed too much like a colouring book. But I completely agree, the shading in this one is excellent.
All things considered I probably still prefer the pencil work, it was very distinctive and I do sort of miss it. But I’m quickly coming around to the new method too, and whichever method the art is in, the amazing characters and story will always keep me reading.
at the risk of being a royal pain – but there is one weird error re shading – but I will say nothing and let the other readers figure it if they want to
Husband. They have been married since well before the time skip. So, what, 15 years or so now?
It is probably nice to have someone you can really trust at your back in a court situation with a paranoid king. Even if the person you trust doesn’t really want to be there and complains about it. *dry chuckle*
"Vir, it is a terrible truth but as one accumulates power, one loses friends. One only has those who wish to use you and those you wish to use. And yet, in all of this, you have somehow managed to walk through the corridors of power and not be touched. I can only assume you have not been paying attention. And still, the hideous truth is: you are the closest thing I have to a friend. I’m as shocked and dismayed by this as you are, but there it is."
Londo Mollari -Babylon 5
If the court reflects the king, and has gone militarized and paranoid (if that is actually the case, we have only had hints so far), then having someone with you you can trust to guard your back in such a place, even if they are reluctant, plain spoken, and do not have a diplomatic bone in their body, would be worth dragging him along.
Also, I remember a strip where, before the Ranna-war went down, Cadugan was very impressed by Runtherd and his respect for a guardian of nature, and even kneeled to him. I wish I could find it. Of course, that does not mean that Runtherd still has his respect, or vice-versa.
I really prefer the old artwork style, but I guess I’m on the minority here. I don’t really think most people who don’t like it would care to comment either way, but that only means that there’s no way to accurately measure the number, not that it’s bigger than that of those who do prefer the new style.
Heheh, I read your comment in Eeyore’s voice. I’m going to draw it the way I’m going to draw it, no matter what people say. Right now I’m on a ‘learn a new thing’ kick and I’m going to see how long I can do it and if I can improve with it. I asked for feedback because I want to hear what people think of it, that’s all. I’ll chalk you up for a ‘ain’t broke don’t fix it’ kinda guy.
That being said, I’ve already changed the art style a few times over the past 15 years and the strips of 2020 look nothing like the strips of 2006. It’s organic.
I always found the old sketch style, with the construction lines still visible, somehow tricked my brain into seeing the art as more… detailed? textured? not sure how to describe it… than it really was. The pages from this chapter seem perhaps a bit *too* clean? I don’t know.
That said, don’t get me wrong: even if I may not like a particular change, I’m still glad that there are changes. Part of the fun of webcomics is seeing the artistic growth of their author.
No, not "but it probably is… just sayin", I just meant to say what I said, and if I had meant to say anything else, I would have. In fact, if I wanted to imply something, it would work better by not making an effort to be clear about the fact that you can’t infer anything from comments that aren’t there. In any case, take it whatever way you like.
And obviously you’ll draw whatever way you want, no one has a right to tell you otherwise. Even if you were to decide to take up cubism from now on. But as you say, you’re asking for feedback, and I gave it to you. I really prefer the old style, this one feels overly bright to me. It’s not a matter of not being broken, it’s a matter of looking better in my eyes.
Marital quarrels are gender nonspecific. It doesn’t matter, once you live with someone you love long enough, the little things do start to irritate. True love comes from living with them, and the years these two have been together, dealing with problems big and small make this endearing, not a sign of an upcoming divorce.
Well, I like all styles of drawing and as long the storytelling remains, I am happy. Actually, the changes in style and a kind of meta story too, growth, development, time. But your stories are so fine I would come back even forcrayon stick figures and such 🙂
As I said needed shading and it is much better. Excellent work. Now you just need some tonal shades to suggest different colours. ;p
Also you need more Cap’n Fang. It was just getting interesting.
I like the new art style, but am having to work on enjoying the costuming. This style of clothing is not the sort I normally imagine on fantasy creatures. It is the era between the traditional high fantasy/medieval dress and the modern portraying of "fantasy" characters in the modern setting. (And if you have not read about the elves that live in the "Enchanted Forest Trailer Park" then you are missing out)
With all that said, the stories are still good and the characters we love are present. And I’ll learn to love the costumes just as much.
I like the new shadows, but maybe the gray is too strong. I don’t know if it is by design, but with that tone I get the impression that the scene occurs at dawn or dusk.
Personally I use two shadows or a lighter shadow, though I am not an expert.
Hi Rich, one thing I finally noticed today about your new style that can improve is the width of the lines. I am sure you know more about this than I do, but the "inking" seems to be too uniform, and falls into a sort of uncanny valley. Maybe some lines can be thicker than others? Defining object borders as opposed to details like cloth folds, maybe?
The fun thing is, you can try something different each posting, and it all works. This is where *you* get to have fun, remember!
I have been trying to work on thick-n’-thin lines. I have a tendency to make them either too thin or way too thick as I have trouble with subtlety.
It was a thing we learned about awayyy back at Sheridan (1989-1992) before computer art programs were available to me, with actual pens and actual ink. I always struggled with a good finished line which is why I’ve stuck to clingingly to my rough pencil lines -at which I felt really at east and like I’m really good at.
One of the nice things about working on Arthur back when we used actual pen and ink was that the finished lines weren’t thick and thin, but "nervous" and "broken" which was a lot easier for me. (Little Lulu was extreme thick and thin which was harrowing for me). Once I got into storyboarding, final inking simply was not a thing. We drew in semi-cleaned pencils (the way I’ve been doing YAFGC up to now) and later, semi-cleaned roughs on ‘ToonBoom Storyboard Pro."
Recently a very good friend of mine (Karine!!) showed me how to do the thick and thins in Sketchbook Pro (as opposed to Photoshop which eats up so many resources that it stops working smoothly very quickly). So once I was confident enough to do it…. better than crap at least…. I thought I’d try to ease into the new YAFGC era with a new line.
So anyway, all that to say: Thanks for pointing that out, I’ll concentrate on making nicer lines! 😀
I find it totally cool that you are using Sketchbook Pro, as I dabbled with it myself—I use it to touch up user interface elements and for the once a year time when I need to do something drawing wise. I also have adopted Pixelmator as I move on to an Adobe-free diet, so to speak. Yeah, I mourn the death of FreeHand and Fireworks some times, as good software needs competition.
And the little history of your drawing career is also a treat to read. Thanks for sharing! It reminds me that one of my favourite comics, Groo the Wanderer, highlighted the importance of the team: it wasn’t just Sergio Argonés and Mark Evanier, but Stan Sakai with the inking and lettering, and Tom Luth doing the colouring. I really admire how you pull off not only writing, but also drawing, inking and occasionally colouring!
Pick up your copies of YAFGC Volumes 1 - 5 at our online store. Multi-book bundles and sketch editions available.
I love the shading in this arc.
The shading absolutely brings this moment to explosive, cinematic life. I can’t get over how utterly evocative it is. Much as I loved Rich’s pencil work, there’s something this scene in particular absolutely gained from the use of flat shadows, here, and if I were to make a case thus far for the new look, this strip would be Exhibit A.
Wow, Rich. Yeah…I’m feeling this!
I wasn’t really sold on the new art style at first, the first couple strips with Charles seemed too much like a colouring book. But I completely agree, the shading in this one is excellent.
All things considered I probably still prefer the pencil work, it was very distinctive and I do sort of miss it. But I’m quickly coming around to the new method too, and whichever method the art is in, the amazing characters and story will always keep me reading.
Agreed, you are fast getting a handle on the shading, Rich!
at the risk of being a royal pain – but there is one weird error re shading – but I will say nothing and let the other readers figure it if they want to
If you mean the dust trail, do you know how difficult it would be to cast hard-light shadows on a dust cloud? I think that is fine the way it is.
It overall looks unfinished.
The grays are helping. It was too stark in the first few. More grays help a lot. More distinct shades of gray in future would probably help even more…
Because you are an overatached boyfriend, clearly XD
Husband. They have been married since well before the time skip. So, what, 15 years or so now?
It is probably nice to have someone you can really trust at your back in a court situation with a paranoid king. Even if the person you trust doesn’t really want to be there and complains about it. *dry chuckle*
> Even if the person you trust doesn’t really want to be there and complains about it.
In my experience, that "even if" is often an "especially when."
Then you get to enjoy someone who says what you’re thinking!
t!
"Vir, it is a terrible truth but as one accumulates power, one loses friends. One only has those who wish to use you and those you wish to use. And yet, in all of this, you have somehow managed to walk through the corridors of power and not be touched. I can only assume you have not been paying attention. And still, the hideous truth is: you are the closest thing I have to a friend. I’m as shocked and dismayed by this as you are, but there it is."
Londo Mollari -Babylon 5
Thank you. I love quotes from that series. 😀
https://www.youtube.com/watch?v=e8QGmoih_L0
Is this Cadugan’s way of getting out of doing the dishes?? Lolol
Obviously for his keen diplomatic sense and way with words.
No wait what’s the opposite of that
In Cadugan’s case, the opposite of a way with words is…a way with words.
Just not the same way. Or the same words.
If the court reflects the king, and has gone militarized and paranoid (if that is actually the case, we have only had hints so far), then having someone with you you can trust to guard your back in such a place, even if they are reluctant, plain spoken, and do not have a diplomatic bone in their body, would be worth dragging him along.
Also, I remember a strip where, before the Ranna-war went down, Cadugan was very impressed by Runtherd and his respect for a guardian of nature, and even kneeled to him. I wish I could find it. Of course, that does not mean that Runtherd still has his respect, or vice-versa.
Okay I’m seriously liking the new look with the shading.
That being said, why does he bring Cadugan along? LOL
I really prefer the old artwork style, but I guess I’m on the minority here. I don’t really think most people who don’t like it would care to comment either way, but that only means that there’s no way to accurately measure the number, not that it’s bigger than that of those who do prefer the new style.
"But it probably is… just sayin’."
Heheh, I read your comment in Eeyore’s voice. I’m going to draw it the way I’m going to draw it, no matter what people say. Right now I’m on a ‘learn a new thing’ kick and I’m going to see how long I can do it and if I can improve with it. I asked for feedback because I want to hear what people think of it, that’s all. I’ll chalk you up for a ‘ain’t broke don’t fix it’ kinda guy.
That being said, I’ve already changed the art style a few times over the past 15 years and the strips of 2020 look nothing like the strips of 2006. It’s organic.
I always found the old sketch style, with the construction lines still visible, somehow tricked my brain into seeing the art as more… detailed? textured? not sure how to describe it… than it really was. The pages from this chapter seem perhaps a bit *too* clean? I don’t know.
That said, don’t get me wrong: even if I may not like a particular change, I’m still glad that there are changes. Part of the fun of webcomics is seeing the artistic growth of their author.
No, not "but it probably is… just sayin", I just meant to say what I said, and if I had meant to say anything else, I would have. In fact, if I wanted to imply something, it would work better by not making an effort to be clear about the fact that you can’t infer anything from comments that aren’t there. In any case, take it whatever way you like.
And obviously you’ll draw whatever way you want, no one has a right to tell you otherwise. Even if you were to decide to take up cubism from now on. But as you say, you’re asking for feedback, and I gave it to you. I really prefer the old style, this one feels overly bright to me. It’s not a matter of not being broken, it’s a matter of looking better in my eyes.
I now want The Adventures of Cap’n Fang… drawn in cubist style.
Give it time. New things often seem worse than the beloved old way of doing things. Give it a few weeks and see what you think of it then
This must be the gay version of a lovers’ quarrel.
I think that’s called a lovers quarrel ?
The person with the biggest crossbow wins…
And the winner is… https://www.yafgc.net/comic/0627-a-little-insulting/
Marital quarrels are gender nonspecific. It doesn’t matter, once you live with someone you love long enough, the little things do start to irritate. True love comes from living with them, and the years these two have been together, dealing with problems big and small make this endearing, not a sign of an upcoming divorce.
Well, I like all styles of drawing and as long the storytelling remains, I am happy. Actually, the changes in style and a kind of meta story too, growth, development, time. But your stories are so fine I would come back even forcrayon stick figures and such 🙂
Right? When a comic (webcomic, in this case) has been around for a while, it’s natural for the style to change.
Cadugan being Cadugan. I’ve missed it.
I wonder how’s the king after all the fiasco with the war in the last arc.
As I said needed shading and it is much better. Excellent work. Now you just need some tonal shades to suggest different colours. ;p
Also you need more Cap’n Fang. It was just getting interesting.
There probably aren’t that many different colors on THIS page.
And I agree, it’s much better with shading.
I like the new art style, but am having to work on enjoying the costuming. This style of clothing is not the sort I normally imagine on fantasy creatures. It is the era between the traditional high fantasy/medieval dress and the modern portraying of "fantasy" characters in the modern setting. (And if you have not read about the elves that live in the "Enchanted Forest Trailer Park" then you are missing out)
With all that said, the stories are still good and the characters we love are present. And I’ll learn to love the costumes just as much.
you know what, I’m just gonna say it.
"He’s our king!"
"Well I didn’t vote for him."
Because you love him you dork! And you would miss him terrible if he won’t be with you! *lol*
“Sod off!”
“That’s no way to address a king.”
“My apologies: Sod off your HIGHNESS!”
Good to see the old ones work even now in a different form
I kinda wonder how long Rich has been saving back the "<b>royal</b>pain" joke for an appropriate moment such as this.
Not that getting an answer would really matter. Just curious.
I like the new shadows, but maybe the gray is too strong. I don’t know if it is by design, but with that tone I get the impression that the scene occurs at dawn or dusk.
Personally I use two shadows or a lighter shadow, though I am not an expert.
With the shading fully incorporated the characters do seem to come back to life.
Hi Rich, one thing I finally noticed today about your new style that can improve is the width of the lines. I am sure you know more about this than I do, but the "inking" seems to be too uniform, and falls into a sort of uncanny valley. Maybe some lines can be thicker than others? Defining object borders as opposed to details like cloth folds, maybe?
The fun thing is, you can try something different each posting, and it all works. This is where *you* get to have fun, remember!
I have been trying to work on thick-n’-thin lines. I have a tendency to make them either too thin or way too thick as I have trouble with subtlety.
It was a thing we learned about awayyy back at Sheridan (1989-1992) before computer art programs were available to me, with actual pens and actual ink. I always struggled with a good finished line which is why I’ve stuck to clingingly to my rough pencil lines -at which I felt really at east and like I’m really good at.
One of the nice things about working on Arthur back when we used actual pen and ink was that the finished lines weren’t thick and thin, but "nervous" and "broken" which was a lot easier for me. (Little Lulu was extreme thick and thin which was harrowing for me). Once I got into storyboarding, final inking simply was not a thing. We drew in semi-cleaned pencils (the way I’ve been doing YAFGC up to now) and later, semi-cleaned roughs on ‘ToonBoom Storyboard Pro."
Recently a very good friend of mine (Karine!!) showed me how to do the thick and thins in Sketchbook Pro (as opposed to Photoshop which eats up so many resources that it stops working smoothly very quickly). So once I was confident enough to do it…. better than crap at least…. I thought I’d try to ease into the new YAFGC era with a new line.
So anyway, all that to say: Thanks for pointing that out, I’ll concentrate on making nicer lines! 😀
I find it totally cool that you are using Sketchbook Pro, as I dabbled with it myself—I use it to touch up user interface elements and for the once a year time when I need to do something drawing wise. I also have adopted Pixelmator as I move on to an Adobe-free diet, so to speak. Yeah, I mourn the death of FreeHand and Fireworks some times, as good software needs competition.
And the little history of your drawing career is also a treat to read. Thanks for sharing! It reminds me that one of my favourite comics, Groo the Wanderer, highlighted the importance of the team: it wasn’t just Sergio Argonés and Mark Evanier, but Stan Sakai with the inking and lettering, and Tom Luth doing the colouring. I really admire how you pull off not only writing, but also drawing, inking and occasionally colouring!
re the weird shading not the dust cloud but the lighting on faces
in panel three the left side of his face is lit, in panel four it is in shadow