Window of Opportunity:
ANOTHER 'loving close-up 'of one of the supporting characters, as she enjoys a peek into the domestic world of B.B. and the rest of the main cast, as their everyday lifestyle is interrupted---once again------by a 'passing Collussus'.
The vast differnce in scale between the minute central players and the two main supporting characters makes for seemingly endless visual gag opportunities, though to be honest this approach was a wee bit tricky in the early incarnations of the strip: modern approaches to comic-strip presentation [which I have to go along with, if I am to be serious about this lark] dictate that I have to do these strips in the dreaded 'postage-stamp-sized' artwork, which basically means that everything----and that includes space set aside for word-balloons/sound-effects, 'dead space' to avoid the drawings looking cluttered, etc-----has to be distilled into tinily-cramped frames, a mere four inches high!!
This of course is a world away from olde-style comics artwork like BEEZER or TOPPER, which so benefitted from spacious, almost 'widescreen' artwork........at least, in comparison to the tiny artwork we 'enjoy' today.
I've resigned myself to the fact that most cartoonists are working within an extremely limited format: and to be honest, it's excellent discipline.....even drawing in A4 format seems like a luxurous format compared to the strips.
Within these micro-frames, I have somehow managed to fit in the looming shapes of the Statue of Liberty and Koong King.
The vast differnce in scale between the minute central players and the two main supporting characters makes for seemingly endless visual gag opportunities, though to be honest this approach was a wee bit tricky in the early incarnations of the strip: modern approaches to comic-strip presentation [which I have to go along with, if I am to be serious about this lark] dictate that I have to do these strips in the dreaded 'postage-stamp-sized' artwork, which basically means that everything----and that includes space set aside for word-balloons/sound-effects, 'dead space' to avoid the drawings looking cluttered, etc-----has to be distilled into tinily-cramped frames, a mere four inches high!!
This of course is a world away from olde-style comics artwork like BEEZER or TOPPER, which so benefitted from spacious, almost 'widescreen' artwork........at least, in comparison to the tiny artwork we 'enjoy' today.
I've resigned myself to the fact that most cartoonists are working within an extremely limited format: and to be honest, it's excellent discipline.....even drawing in A4 format seems like a luxurous format compared to the strips.
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