‘Old Conceits’ titled because I was listening to Elvis Costello and the Attraction’s “Imperial Bedroom” (1982) during construction. Title fit because the joke is an old joke, and stupid, and _my_ tired conceit is to be the character who must make the old, stupid joke. (Another is to forever struggle with the definition of ‘conceit’ in a manner that tags me petite bourgeoisie.)
I have a hard time looking at this one. It was rushed and the main character lacks consistency throughout. The woman in the first frame could be a totally different person from the person in the last. I’ve been looking at Soap Strip masters for a way forward toward continuity, and I’m apparently not learning.
The woman’s hair, too, is nothing close to what I’m hoping to capture. When looking at classic strips, it seems there’s a two-tone quality that indicating a light source and implying contour. It’s funny how elusive this becomes.
I’m happy with the man in the kitchen, centering the strip as he does. But everywhere else I look, there are stand-out problems: the hands holding the phones are clumsy, the shading on the comfy chair is slightly Crumb or Koren ‘hairy’, but only half-committed. Only the speech balloons came off acceptable, which is somehow a horrible irony.
And as a final kick in the teeth, I should have upped the contrast just a little. It's all washed out.
‘Old Conceits’ titled because I was listening to Elvis Costello and the Attraction’s “Imperial Bedroom” (1982) during construction. Title fit because the joke is an old joke, and stupid, and _my_ tired conceit is to be the character who must make the old, stupid joke. (Another is to forever struggle with the definition of ‘conceit’ in a manner that tags me petite bourgeoisie.)
ReplyDeleteI have a hard time looking at this one. It was rushed and the main character lacks consistency throughout. The woman in the first frame could be a totally different person from the person in the last. I’ve been looking at Soap Strip masters for a way forward toward continuity, and I’m apparently not learning.
The woman’s hair, too, is nothing close to what I’m hoping to capture. When looking at classic strips, it seems there’s a two-tone quality that indicating a light source and implying contour. It’s funny how elusive this becomes.
I’m happy with the man in the kitchen, centering the strip as he does. But everywhere else I look, there are stand-out problems: the hands holding the phones are clumsy, the shading on the comfy chair is slightly Crumb or Koren ‘hairy’, but only half-committed. Only the speech balloons came off acceptable, which is somehow a horrible irony.
And as a final kick in the teeth, I should have upped the contrast just a little. It's all washed out.
Half baked, this one. D plus.