Anthony J Lombardi wrote: at those dimensions the size of the figure is perfect. The only reason i even thought about the size of the figure . When i'm drawing i forget sometimes for the need for reduction. Initially when i set the drawing down on paper that is the size i want it to be when i'm finished. My mind's eye forgets to compensate.

A lesson from the Byrnemeister that I -tried very hard to learn was the use of the whitespace. It's like trying to draw what's -not- there using only the lines that -are- there!? If that makes any sense.

He uses this to great effect on smoke and electricity and the Kirby Crackle.

I never -really- understood it untill I began inking his work and even then I'm still pulling out little bits to learn from.

I mention this because the reduction aides this process, as far as I can determine.

I know what you mean about wanting to display at actual size. Some of my favourite lines are too small to be appreciated when reduced but then, it's not the lines that should be being noticed but rather the story. Everything about storytelling is about clarity. The clearest way to describe the scene, the most concise way to tell the story or build the character/mood in a scene.

I'm -very- "young" when it comes to these elements. I look to someone like John because of his knowledge and try and learn these lessons. Which is why I thank goodness for the oppertunity of hanging out here.

When doing your pencils, you wouldn't be doing yourself any harm by taking the time to establish whether or not what you have palnned could be shown/displayed any better. It's the one thing that ties me up, worrying about how often I've let a better choice of camera shot go past me.

But it's thinking like that which drives us to do better and progress and not settle for standing still.

You are a great artist and should strive to shout about your art from the roof tops.

Anthony J Lombardi wrote: Thank you for the compliment Darren. Coming from someone who is a fantastic artist himself that means alot to me. The illustrations you make are just so wonderful to look at. You give such a panaoramic view of everything. I've taken to looking at pencilling like directing a film. Something i pick up from Gene Colan. Your direction of your work has an Epic feel to it. It's like i'm looking at some Blockbuster movie. Which is cool as hell. I can't wait to see what you produce next.

LOL. Yeah I used to be berrated for being "Too close" to the action in my panel work so now I've pulled right back and I'm always keen to "establish" the scene. Another JB trait I'm pleased to study. Given that I'm normally doing pin-ups it's not something I get a lot of chances to practice beyond my little thumbnails I practice with.

Anthony J Lombardi wrote: Thank you for the compliment Darren.

It's deserved.

Just posting this to show that the black lines are there to help define the white contours that in themselves -shape- the smoke.

Anthony J Lombardi wrote: using negative space to convince your mind's eye that something is there that you didn't draw

"Yes", like in my case...(drum roll)...A good picture! (Bara-boom!)