The Hat and Fat #28

Don’t ask about the Panda. Just don’t.
I should have done more background work in the smaller panels, but oh, well, live and learn, am I right? Leave us a comment, if you like? We love hearing from viewers.


3 comments on “The Hat and Fat #28”

  1. Man, I don’t know if you’re consciously trying to improve your design or if it’s just happening as a natural course of practice, but it’s really looking good. Overall layout is perfect, lighting is, ahem… brilliant (it’s always good, but particularly good in this one), and just everything here is top-notch. In my opinion, the smaller panels work very well here with the solid BG — the contrast nicely sets them apart from everything else — if anything, I would maybe set the shade of gray on the lower panel quite a bit differently from the parking lot color, and/or possible use a gradient; but I think blank is fine. I actually meant to mention the smaller panels on one of your previous strips — I like the jagged look; it really fits. There’s just one thing that bugs me, though… What’s up with the panda?

    • You know I’ve tried to reply to this five times now and none of them have gone through.

      Thanks that really means a lot. I got your emails too and am looking into that. I’ve told you I’m not an artist, but I’m a true believer into you can do whatever you put your mind to. I look, and actually have always looked, at cartoons, comics (strips and books), and try to pick up tidbits of useful tricks. Then I experiment. I experiment a ton. What usually goes up is what my eye finds appealing to me, and I just hope it is appealing to others. Still don’t know what I’m doing, but that might be a good thing as I’m not influenced by a bunch of theory and rules that would just plague my creativity.

      This gradient that you speak of. Where can I find some info on that? Hopefully, the free kind of info. And I might already know what you’re talking about just didn’t know it was called gradient.

      Again, thanks Doug.

      • Yep, draw and draw til your eyes find something appealing – basically what I do too. The gut knows best. I believe the most valuable skill an artist can hone is spotting the appeal in their own work and embracing it. My philosophy is: just try making something I’d like to see, because if I like it, there’s likely to be somebody else who will like it too. And the fact that you think you don’t know what you’re doing just means you know what you’re doing even more than you know.

        There are usually gradients in most graphics toolboxes. What software do you draw with?

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