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More from ~JoelGomez

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January 18, 2009
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:iconjoelgomez:
This was another establishing shot for issue two of Iron and the Maiden...again these took a while but were a lot of fun!
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:iconjoelgomez:
~JoelGomez Oct 7, 2009
thanks!
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:iconjapanass:
~japanass Oct 8, 2009
u are more than welcome!
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:iconmaster-futon:
~Master-Futon Jun 10, 2009  Professional General Artist
I alwayse like a good perspecitve piece. The "Now Hiring" was a nice touch, small things like that are excellent for adding to the backstory of an atmosphere. How hard was it for you to do the cars in comparison to the buildings?
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:iconjoelgomez:
~JoelGomez Jun 10, 2009
wow...so cool that you dig the piece enough to notice all the little things I put in! The cars were pretty complicated and were actually done last, due to the fact i felt they kinda have they're own perspective since they are flying and can be coming from anywhere in the horizon...plus they're curves and shapes can get pretty difficult to draw in perspective
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:iconmaster-futon:
~Master-Futon Jun 10, 2009  Professional General Artist
It's the little details that make a piece believeable. I remember watching a Syd Mead documentary and he talked about it, he also talked about how if the foreground is the only thing with movement then it won't be believable unless it's a closed room with nothing in it. Movement in the background is what convinces a viewer that the world is alive; in the instance you your piece it's the cars, clouds, smoke, cables, and people that show that the city isn't dead, but full of life. Even in a comic that shows an empty ally you usually have at least some papers/trash that the viewer subconciously believes the wind can interact with.

I can see what you're talking about with the cars, while the city is primairly one point perspecive you would have to switch to either two or three point perspective.
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:iconjulienhb:
~JulienHB Jun 4, 2009  Professional Traditional Artist
Wow!! Great page!
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:iconjoelgomez:
~JoelGomez Jun 4, 2009
lots of fun there! thanks!
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:iconmikedimayuga:
*MikeDimayuga Jan 21, 2009  Professional General Artist
jee-zuz christ, that's crazy good. i'd probably cry like a baby if i had to do something like that.
so did you learn on the job or were you already an expert when top cow hired you?
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:iconjoelgomez:
~JoelGomez Jan 21, 2009
I played to my strengths...my figure work was not as strong and i found that most pencillers on a deadline could always use a good background artist...plus it gave me a chance to work with some pretty good artists and learn how to improve my figurework!
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:iconmikedimayuga:
*MikeDimayuga Jan 21, 2009  Professional General Artist
ah, i see. but were you already this good with the backgrounds by the time you joined the studio? but whatever man, you do good work.
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