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This is the image I've been holding back - a sci-fi themed image of a heavily armed, but not armoured, police officer. She's more like an elite member of some police group than a run of the mill beat officer.
Anyways, I've done this image for a blue themed portfolio that should be appearing sometime early next year. That's why the image is so small, especially considering the full sized image is 300dpi at 8.5"x11". If you want to see the image in it's full sized glory, get the portfolio.
Oh, and I drew this image entirely in Open Canvas 1.
PS, when I was putting the final touches to the image, I realized I drew the big neon B the wrong way round. Whoops. My excuse is that it's the future, where writing letters the wrong way round is all the rage.
Anyways, I've done this image for a blue themed portfolio that should be appearing sometime early next year. That's why the image is so small, especially considering the full sized image is 300dpi at 8.5"x11". If you want to see the image in it's full sized glory, get the portfolio.
Oh, and I drew this image entirely in Open Canvas 1.
PS, when I was putting the final touches to the image, I realized I drew the big neon B the wrong way round. Whoops. My excuse is that it's the future, where writing letters the wrong way round is all the rage.
Category Artwork (Digital) / General Furry Art
Species Feline (Other)
Size 541 x 700px
File Size 84.1 kB
OR...
It isn't a B, it's a 3, seen from behind.
OR...
Flip the image horizontally and redo your signature. The viewing eye should actually track quite nicely from left-to-right when it is reversed, coasting down from the bright point of the two upper floors of the building behind the 'B', down the busier/darker line of her forearms and her bust, then zip back down the heavily detailed area of the rifle towards her legs. I think it'll be a stronger lead-in, design-wise, than you currently have with the bright but busy upper left, and then the distraction of the gun veering the eye down before coming back up the character.
Just a thought. ;)
It isn't a B, it's a 3, seen from behind.
OR...
Flip the image horizontally and redo your signature. The viewing eye should actually track quite nicely from left-to-right when it is reversed, coasting down from the bright point of the two upper floors of the building behind the 'B', down the busier/darker line of her forearms and her bust, then zip back down the heavily detailed area of the rifle towards her legs. I think it'll be a stronger lead-in, design-wise, than you currently have with the bright but busy upper left, and then the distraction of the gun veering the eye down before coming back up the character.
Just a thought. ;)
You know, I never really thought about that before. The uh, flow of the eye, not flipping the image.
I want her to facing the left because I'm working on another image for the portfolio that has a character facing to the right and these two images are connected to each other. The theme for the two images is a sort of rpg archtype of an archer or ranged class, one set in a sci-fi setting and the other in a sort of magic and swords fantasy setting.
I want her to facing the left because I'm working on another image for the portfolio that has a character facing to the right and these two images are connected to each other. The theme for the two images is a sort of rpg archtype of an archer or ranged class, one set in a sci-fi setting and the other in a sort of magic and swords fantasy setting.
There was a study published in Scientific American a few decades ago and republished in a book called 'Image, Object, and Illusion' where they took a laser trace bounced off the viewers' eyes and then showed the viewers various pieces of classical art (Mona Lisa, et al.) and photographs, and studied where the eye actually went. In Westerners, we are trained from childhood to track left to right...This is not so in all Eastern cultures. The eye focuses on small bright areas in large dark zones quickly, and also the reverse is true, small dark areas in bright zones. It does a lot of 'edge-tracing'...Following contours and outlines and silhouettes...And is also very drawn to 'busy' areas when an edge it is tracing leads into them. Takes a few moments for it to sort out those busy areas. You can kind of take those tips, and what I was talking about, and figure out the rest. Anyhow, this is what 'good layout' is trying to achieve: control of the viewer eye as it looks over your image.
This is also why people who insist on drawing 'manga right to left' and putting in English writing often have issues, and why many manga that are translated are 'flipped' horizontally. Because otherwise the eye keeps stalling and jumping 'backwards' from the imagery lines to read the text. The image is trying to force the eye to go the wrong way, and a lot of people find it subtly exasperating or irritating to be 'forced' to 'look at it backwards' without ever really understanding why.
Bottom line on that: No matter how big a Japanophile you are, if you're drawing/writing for a Western audience, go left to right!
This is also why people who insist on drawing 'manga right to left' and putting in English writing often have issues, and why many manga that are translated are 'flipped' horizontally. Because otherwise the eye keeps stalling and jumping 'backwards' from the imagery lines to read the text. The image is trying to force the eye to go the wrong way, and a lot of people find it subtly exasperating or irritating to be 'forced' to 'look at it backwards' without ever really understanding why.
Bottom line on that: No matter how big a Japanophile you are, if you're drawing/writing for a Western audience, go left to right!
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