Comics Artist

Line:

The image here is an uncolored page from a Catwoman comic. Because the page is in the planning stages, all the color values are represented through shading which- upon closer inspection- is controlled through the use of line density. The thickest lines are used to outline characters and differentiate between them and the background. Then within the objects, the dark, shaded areas are created by using lines that are closer together. Line is also used to convey depth and weight through the angle at which they are pointing. If one looks close to the clothing of the characters, we get a sense of weight from how the wrinkle lines fall.

Movement
In this finished page from Scott Pilgrim: The Infinite Sadness, there are a few elements that establish movement. On a large scale, there is the sense of movement of the eye that should be inherent in all good comic layout design. Traditional books are read from left to right and it is the job of the artist to lay the panels out so that the eye wants to naturally gravitate this way. This movement is achieved through the use of speech bubbles, layering over panels in a way that draws the eye from one frame to the next. Within the panels themselves, the characters are participating in a race. To convey this, the artist uses tricks such as dynamic angles in the character's body as well as lines to show the blur of background around a running character and to highlight the direction of a character's movements.

Scale:
With an icon like Superman, it is often hard to create a sense of smallness and awe within the character himself. While we have come to know the character as being a man of super strength and speed, it is easy to forget that he is also a man who has to go about daily life like the rest of us humans. The use of scale in this image helps convey the sense that this Clark Kent is small in this big city of Metropolis. He is larger than the woman in the foreground or the other people in the panel. This serves to make Clark the focal point of the image but with his back turned to the viewer and angled upwards, we are drawn to the scale of the buildings be hind him and the sky above. This creates a towering skyline to make Clark look somewhat more diminutive in the frame giving us a a more vulnerable look at the hero.