I've been getting frustrated with how often I have to erase and redraw a panel trying to figure out how to get it to look right, but seeing that even David has to go through this process sometimes makes me feel a lot better, heh.

Inktober Days 1-5. Critiques welcome. I know my linework, anatomy, and perspective are a bit wonky.

Page layout and design is new to me, got some questions around things like: - where the horizon line falls in each panel on a single page - the mix of shots used in panels for a single page - when and when not to repeat information within multiple panels Am very confident with writing but translating writing skills to the types of skills that are unique to comic stories is proving challenging. Are there some common faux pas or things that good comic artists should typically try to avoid when it comes to page layout? More specifically, in my early storyboards I find myself worrying about things like: - Is it OK to have ~2 panels on a page (especially consecutively) where the horizon line is the same height, or the height of the horizon line hasn't differed significantly between the two panels? - What to avoid when using the same types of shots for ~2+ panels on a page? i.e. Establishing/long shot > med > med > med > closeup? My initial thought is that this is fine so long as the angle of each shot differs in a meaningful way, but in practice I'm skeptical that there are lots of pitfalls here that can make the end result boring or off. - What to avoid when using panels to establish setting, i.e. after the initial establishing shot, tips and tricks for revealing more of the setting and environment in a way that's interesting and meaningful prior to introducing characters.  - Using the same perspective multiple panels in a row , i.e 2pt perspective several times in a row on the same page, and so on. Possibly overthinking a lot of this, but any general advice or things to avoid in terms of page layout would be appreciated.

I have a question about figures intersecting the sides of panels. David's description makes sense, but I've also seen super close-ups that essentially cut off one half of the character's face using the top and side of the panel. Things like that. What's an effective way to do this without it looking odd in the way the video describes?

I've been looking forward to this course, I always learn something when I watch any of David's videos.

Hey Uncomfortable, it's me, one of your fledging DaB students. My question is, how do you "know" when you have reached the intangible threshold of "good enough" to start using a platform and trying to build a following? Too soon, and I'd imagine you do more damage to your potential career than good, but given that it's incredibly hard to judge your own art (or maybe if you can't, that's an indicator that you're not ready to start throwing it up on instagram or wherever), and especially if you're always in a space where you feel like other people on those platforms are always "better", how and when do you take the risk? Side note: I'm finally getting to the end of DaB and you throw this new Science of Drawing Course up, thanks for nothing...there is no finish line. Looking forward to it.

Followed along with proko doing beans... compared to his mine feels a little off... like they are longer in a way idk... some help will be appreciated <3

Cool idea! As far as masters, I always liked Rembrandt. I do a lot of digital portraits, and I really like Aaron Griffin’s  work (aarongriffinart on IG) and Ivana Besevic (ivanabesevic.studio on IG), but there are a lot of others. I also really like the painting style of Solomon Omogboye (solomon_omogboye_studio on IG). Kevin Beilfuss (kevinbeilfussart on IG) does very cool figure paintings.  I’ll add more as I think of them… there are a LOT of great artists out there!