Nice establishing shots.

Eep, thanks! In my experience with driving in Canada, you're either the only car on the road or in the middle of a traffic jam, no inbetweens.
_{And ever since this one book I read on information theory and physics, I've been sorta cognizant of how information is established in comics, panel by panel. The first panel only gives us the clues that we're on a highway somewhere that uses kilometers, the second one tells us the season, the model and speed of the car, the vague location, etc (and, fun fact, in comics people will always assume you're going north if you're traveling into the distance, even when there's a sunset or sunrise they're walking towards, unless you're in a western).}

Huh, that's rather interesting! I've not thought about it like that before. Would you happen to remember the name of the book you read?

Information theory covers a lot of territory (The universe is a hologram! Wheee!), but I'm mostly interested in the artificial intelligence applications.

I wonder if the assumption is reversed if the audience is from the Southern hemisphere - or if they're educated using a 'South-up' map like the Peter's projection.

I don't really remember the title of the book, but I remember the light blue cover covered with math diagrams, because I'm a graphic artist to my core. I could point it out if you see it in a bookstore. But it didn't really have all that much on comic books, of course. It was more like the speed at which data is transferred at quantum levels - all in layman's terms, sort of like that XKCD "What If" thing.

I should have guessed...
And they don't say, but I assume it's to do with the projection of the map you grew up with more than your hemisphere. Most people don't stop and consider how bad their geography is all that much. Nova Scotia doesn't feel like "The jutting-out point of the fucking continent" as much as you'd think, nor does South Africa feel like the bottom of anything, my sister says...

I'm excited to see full page panel work here! Thanks to NicNak for generously sharing it?

For generously allowing me to draw her... I owe her for it so much.
Honestly, I'm glad to do it - most people I draw transformations of have it as one of their kinks, but she doesn't, so I get to be as metaphysical and pretentious as I want. There's a difference between the storytelling rhythms of a short story and of porn, so now I get to draw the former for once.

What a sensible country that uses kilometers (you knew that would come XD) And what better way to signal that a car moves than by letting paper fly around behind it, nice little trick I will remember. Had I to nitpick, I would say it seems the letters aren't quite at the same angle as the sign itself? It looks partly as if they're written in a reverse-italic. And that shop looks like where she will buy that mogwai, had I to guess Kidding aside, I'm not sure if to envy artists who are able to build up color vocabularies, or rather feel sorry for them. Sounds like a lot of work I couldn't do anyway, since all colors look the same to me. I rather go by "which pen hasn't seen much use lately?" when it comes to choosing colors. Don't wanna wear them down unevenly XD

Don't call it sensible just yet, they're only like 66% metric. They use meters for measurement, but measure height in feet and inches; weather degrees are in celsius, cooking degrees are in fahrenheit. I actually think it's at that happy medium of each measurement measuring what it measures best (although I think Fahrenheit makes much more sense when talking about weather - America uses Fahrenheit for weather but still uses metric for most anything involving science).

In real life, the paper would be sopping wet during winter, but why let that get in the way of a good cartoon cliché... Were this a Dutch comic, I'd probably just use the standard curlicue that kind of looks like dust, but a road in winter isn't dusty, it's slushy... Here's something to know when you animate dust, it doesn't animate left or right. The car driving past will make it rise and fall, but not really move. Your best friend in cartooniness is things that flop around, like paper or hair, since you can use them to indicate the motion of things that don't really move that much, like a car or the wind.

Well, the sign is (I only realized this today while walking past it, holy fuck) a parking sign on Harrison and Wabash (wɒ'-bɛʃ). The stuff that you unconsciously absorb... It's much worse when you absorb a story and learn you ripped someone off by accident and have to throw the project away, as has just happened to me...
And when you see these signs, you'll know that the lightbulbs that line it on the inside gradually warp the plastic after many years, so the signs swell outward. It's a subtle effect that I'm glad I captured, that it curves back the higher up it goes. <3

You and all the men of the world, mein freunde... You might like Johannes Itten's "Art of Color," he has some nicely simple theories on color and tone, and the observation that every artist has their own individual color harmony. I apparently love these chalky colors with purple, ultramarine, warm yellow, and greenish turqoise... And just avoiding colors! I made a point in this comic to avoid blue completely until a climactic night scene.

"...but still uses metric for most anything involving science" See? Smart people use metric

There is a used copy of "Art of Color" for 875 Euro on Amazon, so I guess I skip that unless I find an e-version online. Or you could be so nice and give me a very short version of Color Theory for Dummies XD

I wouldn't throw away a story project for the reason that you felt you were "ripping" someone off. If everyone would act like that, storytelling in human culture would've stopped around 1600 at the latest. Shakespeare, on whom basically all storytelling after him is based, was already the grandmaster in "ripping off". There's nothing new under the sun, Liam, and then there is the saying that a good author borrows, and a great one steals. If you put out a "better" version of that story ("better" meaning you personally like it more than the original), then it's absolutely valid in my view. It's not so much about the originality of the story, but rather about the originality of the person telling it. Retelling known stories from an individual viewpoint is the core of literature, so please don't let that stop your creativity

Smart people use metric, wise people use both for their ideal purpose (human temperature vs. water temperature). I can't emphasize enough how clunky celsius is for describing things like weather and indoor temperature compared to fahrenheit, when you haven't grown up with it...

In general, all you need to know - Color schemes are useful guidelines but get boring fast unless you play with elements of it - There are three elements of color, Hue (red or green), Value (light or dark), Saturation (intense or dull) - neutral colors can fit into any color scheme imaginable - value is more important than hue, you can make any part of a picture as wrong a hue as you like, but it'll only look wrong if the value starts to look off - warm colors advance, cool colors recede, the most powerful distance between colors is vermilion against cerulean - you can dull any color by adding its complement to it, and dingy up any color by adding black or white (they give very different effects) - when you look at a color the rods in your eye tire and make everything else look more like its complement, so a black stripe on red often looks bluish-green, wheras a reddish-black stripe on red looks more like black than black does (a very important illusion!) - color harmony is subjective, and everybody has favorite colors to express themselves in - 'harmony' is a nebulous concept, but you'll know it when you see it, sort of like how a major chord on a piano sounds so wonderful - less is more, and adding another color to a color scheme that isn't working will usually fuck up your harmony big time, like an off-key BLATT from the orchestra - there are many ways of organizing the color wheel, and many ways of organizing primary colors. Red-Yellow-Blue, Red-Green-Blue/Cyan-Magenta-Yellow, Red-Green-Yellow-Blue, Red-Yellow-Green-Blue-Purple (Munsell), that sort of thing - Our eyes are most easily attuned to shifts of hue in the spaces between red and yellow - blue is the vaguest color with the most possible hues falling under its belt - people can see colors more easily when they have names for them - our eyes can perceive more values of green than any other color, being right in the middle of the energy spectrum, which is why night-vision goggles use them - if a color looks duller than you think it should, the best thing to do is dull all the other colors around it, build a heirarchy for the eye. That's all that comes to mind right now.

Well, the story also isn't nearly as good as the original despite a couple years' worth of work on it, and I'd be sued, since I can't disguise many elements of this story without losing its drive - it's actually much easier, and much more fulfilling to me, to adapt the story to my own individual viewpoint instead of changing the names and faces and praying they don't notice. I know when I'm beating a dead horse, man. I've ripped off elements in my time to know there's a difference between stealing for yourself and plaigarizing.

Thanks so much, these condensed guidelines are exactly what I've been looking for! Now I will try to wrap my head around them, which may take a bit, since there is a basic belief in me saying "why does anyone give a shit about which colors to chose anyway?" that I want to battle XD Sometimes I wonder why fate did hand me the gay but no color coordination.

And I still believe in your creativity If everyone gets sued for plagiarizing, than Hunger Games would've sued the shit out of Convergence, and before that Battle Royal would've sued Hunger Games, and so on, like a snake eating it's own tailend.

It's called a saddle point. The point at which the direction of a curve changes depending which direction you travel from, like the middle of a pringle.

It seems to starting well ! :3
And what do you mean by 50 hours range ? Oo

It took fifty hours to draw... don't look so shocked, this is why artists are starving. On minimum wage, I'd make $400-ish for this page alone, but I'm doing it for free for a friend.

Sorry, I am just feeling it very huge amount of time, I never spend so much time on a creation. I do spend a lot on some more than 12 hours but not 50.
And when it comes to be near of 9 hours of work, I feel it really long work, and I think I would be faster if I drew more often train in speed.

Why artists are starving ? Because the society of money :p

For a moment I thought you got published in a comic anthology book, Flight.
https://en.wikipedia.org/wiki/Flight_%28comics%29

I think :usersulacoyote: got himself published in one of the issues.

I had no idea what I wanted to title it, and she said "Ah, I love those one-word titles, like this'd be 'Flight' or 'Free' or something." I really did consider that, since I've been a fan of the Kibuishi anthology stuff since it was first published... really, so much of my worldbuilding stuff was informed of that anthology... I wondered 'Isn't that already a thing?' and then realized that not only would no one confuse it with the comic, but it's also the less stupid of the two examples, and said "Sure."

Shit shit shit, I know he worked on one of the issues! I'll have to look through them and see...