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The framed picture of a beautiful fishing boat in your living room can be the point where many conversations can be started. Many people decorate their homes with themes and if your theme is of maritime, then a fishing boat picture on the art would just fit the bill. We have put down a few ideas for you to make your own boat picture.
The first step involves the maximum thought process. Relax and figure out the type of elements you wish to include into your boat picture. Boats have been a favorite subject with artists for many-many years, so you can really get inspiration from different paintings. Maybe you wish to portray a calm and tranquil lake, or maybe you will want to display stormy weather. Next you need to do some thinking on the type of boat that you wish to include. Decide on this point of focus - would you want a person or people absolutely visible in the image or would you rather they were just shapes which blended in with the background? You could paint a picture of your fishing boat fishing out at sea, or maybe one that is being unloaded of the catch of the day at the docks. Or maybe you would want to show a single fisherman with a big catch, struggling with the fishing line.
When you do get ideas like these it is best to put them down on paper. Once you?ve got all these ideas and plans down you need to think of the media you would like to work with to make the picture. Oil and water colors have been a favorite with these kinds of works of art. Printing is another form of art that can make a beautiful fishing boat picture. Once you?ve figured out this stage as well, then it is time for you to go shopping. Have a first look at the local retailers. Most will not have a huge variety of goods but you just may find a fishing boat picture here. Do have a look at print shops as well, to help you get some more inspiration if not goods.
Once you have your own fishing boat picture you will need to position it in such a way that it will catch the attention of any wandering eye. If it is a large empty wall, go for the biggest picture and frame that you can afford. Also, position it in such a way that it catches the eye. What we mean by this is, put it on an important wall space, such as the space on top of the fireplace or behind the living room couch. When you position it in such a manner, it will catch the eye of anyone entering the room, and you will get many comments on it. The picture could be the central point around which you decorate the rest of the room in terms of color and shades.
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I have to say I never thought I would write a title like that! With a marketing and sales background, asking "What are you looking for?" is like asking a preschooler if they need to use the bathroom before heading out on a long car ride. It becomes a habit - something you do without thinking.
So after participating on a panel discussion at SURTEX in May 2009 (The Licensee / Licensor Relationship: an Intimate Dialog between Artists & Manufacturers), I am still shaking my head in amazement. But I get it and want you to understand this very fine nuance as well.
I can't remember exactly how it started - I think an artist asked a question about the best and worst things manufacturers have seen and heard from artists. The main point was to figure out how best to present themselves to new prospective licensees. That is when I heard the following words come out of one of the manufacturer's mouths -
"Don't ask me what I need." she began... (WHAT? This didn't seem right, I must have heard wrong, I thought.)
She continued... "If you are an artist I have never worked with before and you want me to consider your work, it is your job to know what I need and show me why I should consider working with you. Research my company, the style of art our customers look for, and give me something fresh that will work." (I'm paraphrasing in these quotes since I didn't record the class but this is an overview of what I remember.)
She finished by saying that if she was going to make suggestions about what she needed, she would be doing that to artists she has worked with in the past and has an established relationship with. (OK, now this is making more sense.)
The other manufacturers on the panel agreed.
Here are some basic guidelines to follow.
If you are submitting to someone you never worked with before:
Do your homework about the company and the industry.
Submit appropriate artwork.
Don't ask "What are you looking for?"
Times when "What are you looking for?" is appropriate:
When you already have a working relationship with a manufacturer.
If the manufacturer contacts you or if you are at a trade show - then it would be appropriate to ask the question so you can better direct them within your portfolio. If you didn't know they were coming, you can't be expected to have done the homework.
That is one of my big "take aways" from the class, although there was a lot more great information shared as well. If you ever have the chance to take classes or hear speakers and really listen, you will gain a lot of insights!
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Aristide Joseph-Bonaventure Maillol, Aristides Maillol, or Aristide Maillol is well recognized as one of the greatest French Catalan sculptors of his time. He was a painter too. Born in Banyuls-sur-Mer, on December 8, 1861, his father was a ship captain, an angler, and a cultivator of vineyards. Maillol attended a local school initially and went to Perpignan to complete his education. All this while, he developed interest in art at an early age and aspired to be a painter. To further his creative inclination, in 1881, he moved to Paris, and started studying at Ecole des Beaux-Arts, Paris, from 1885. There, he was trained under Jean-Leon Gerome and Alexandre Cabanel. Like many other late nineteenth century artists, Aristide too found his teachers sterile & pointless for the most part, and soon grew restless with their academic teachings. Disappointed, Mallilol joined the Nabi's group with Bonnard and Vuillard, and started painting as a Post-Impressionist, with Symbolist influence.
In 1884, Maillol saw his contemporaries, Paul Gauguin's and Pierre Puvis de Chavannes', paintings that deeply impressed him. He then got interested in 'Decorative Arts' and started 'Tapestry Designing.' In 1893, Maillol returned to Banyuls and opened a tapestry workshop there. He would create the designs and dyed the wools in vibrant and unique colors. High technicality & the aesthetic quality of his works, while also credited with reviving the 'Tapestry Designing' art form, soon fetched him recognition. Soon however, Maillol had to shut his tapestry shop, due to his weakening eyesight. He though stopped designing tapestries, but continued working as a 'Graphic Artist.'
Aristide Maillol began sculpting with terra cotta and wood in 1898. He returned to Paris in 1900 to concentrate full time on the art form. In 1902, Maillol had his first solo exhibition at Galerie Vollard. In 1903, he settled in Marly-le-roi, on the outskirts of Paris, where he also built his studio in 1904. By 1905, Maillol's works were cast in bronze. The same year, the artist gained true fame when his first large statue "The Mediterranean" was highly appreciated at the Salon d'Automne exhibition.
The main subject of Artisde's sculptural works was the mature female form, treated with 'stable' gestures, flavored with 'Classicism,' such as in "The Night" (1902) and "The Pomona" (1907). Often his works were repetitive in essence, differing only in their names. Overall, his sculptures were known for their simplicity, grace, and harmonious balance. His style, although similar to Greek and Roman sculptures, had a certain degree of sensuousness and dignity integrated in them. Aristide's style remained unchanged through the years, the only exception being his work on the monuments he built in the memory of Socialist Louis Blanqui (Chained Action, 1906).
By 1910, Aristide Maillol was famous worldwide and he received a number of commissions for monuments, including war memorials for Ceret and Banyuls. His other impressive works were "Three Nymphs" (1936-1938), "The Mountain" (1937), "Air" (1938), and "The River" (1938-43). Three of his bronze masterpieces, "Summer" (1910-11), "Venus without arms" (1920), and "Kneeling Woman: Monument to Debussy" (1950-55), grace the staircase of the Metropolitan Opera House in New York. In 1912, Maillol even made woodcuts, illustrating Daphnis & Chloe and the works of Ovid & Vergil. He died in Banyuls in an auto accident on September 27, 1944, at the age of eighty-three.
One of the biggest comic books in Japanese history are manga comics. You have read about them and seen them in cartoon animation adaptation. Now you can have them on your PC desktop wallpaper. Manga wallpapers are currently the leading animated wallpapers that everybody is downloading. In Japan you will find that they are the in thing and people of different ages and sizes are reading them. It has received an international cult following that has everybody looking for more manga products. These wallpapers make an excellent addition to your already existing collection of anime wallpapers.
Manga wallpapers are also three or two dimensional and look good on your desktop no matter the character. They can be dated back to the Second World War; however nobody is sure if they had been created before that. The comic brings in a variety of action-adventure, romance, sports and games, historical drama, comedy, science fiction and fantasy, mystery, horror, sexuality, and business and commerce, among others.
Many people like the Manga wallpapers because they get to put up their favorite manga comic book character such as Naruto, Kakashi, Sasuke and Sakura. You get to also put up the babes of manga comics as well as the different character of Manga comics.
You can always download these wallpapers from various websites online. They are often free and are usually found if you Google the word Manga. You will like the colors they portray and the vibrant look that comes with manga comics. These wallpapers also showcase Japanese art and many characters from the thousand of manga comics that are a big hit in the US nowadays. Try these wallpapers and enjoy a look through some of the history of Japan and how it has changed.
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Although there are an abundance of well-qualified and reliable fine art shippers, they are sometimes difficult to locate precisely at the time you need their services. Just when you've purchased that painting of a lifetime while on vacation in Italy, Morocco or Venezuela, you can't recall the names and specific locations of any of the worldwide art transporters recommended by your favorite gallery dealer back home. Not wanting to be held liable in the event of any damage to your newly acquired masterpiece in transport, the gallery dealer from whom you are buying pretends to have misplaced his file of shipping company contacts.
While it's true that paintings-without the added effects of multi-media collage or sculpted relief detail-are not vulnerable to breakage like some sculpture and ceramic pieces are, they can still suffer damage in transit. If not well-packed and crated with strong packing insulation, even a sturdy canvas can be torn or wrinkled or scratched. Even bold painting effects can be permanently altered by exposure to extreme temperatures, moisture, prolonged periods of dryness or lack of air circulation. Although the expertise of fine art shippers would never allow for such careless attention to details when shipping, many transporting companies-international or domestic-simply don't assume the responsibility for the necessary care to provide expert handling of fine art objects.
Gaining Assurance That Your New Oil Painting Will Arrive Safely
Even when you do locate that top quality art transporter you've been searching for, it is sometimes difficult to elicit the assurance of the best possible treatment for your art items in transport. As in any business relationship, it can take a while to be sure of the shipper's level of reliability, attentiveness to care, and level of trustworthiness. When you express your concerns openly for the careful shipping of your new and treasured painting, your shipper will undoubtedly assure you of his competence and total business reliability. He may even state or show you figures reinforcing his claim to care and caution. Yet, when you express concern for maintaining the quality of your new oil painting and avoiding any mishaps or damage in transit, this advertised example of fine art shippers may hesitate or be unsure of any extra precautionary measures he needs to take in order to ensure your painting's safe and sound delivery.
Observing the packing process of another piece of artwork can be helpful in assessing the capabilities and professionalism of any potential transporter of your own acquired art objects and paintings. By seeing him in action, preparing art items for long distance shipping, you can best ascertain his level of caring, know-how, experience and finesse in the safe and sure transport of art. Also, by engaging this shipper in conversation concerning his artistic likes and dislikes and the depth of his feeling for art items in general can help you decide whether or not he's truly the ideal choice of fine art transporters. Finally, that first initial shipment of your beloved painting is the true test of his loyalty to art, its careful handling and delivery. No doubt, once back home, you'll wait nervously, repeatedly pacing the floor, in anticipation of the impending arrival of your newly acquired masterpiece. Will it get to you in pieces, or with water-streaked surface and mangled frame? Will it arrive barely recognizable, in a state of complete disarray? - Only when you witness the excellent condition of its packing crate, and then unpack a perfectly preserved and delivered painting do you realize that you've found a real jewel in this fine art shipper. Now, it's time to sit back, relax and enjoy a fine work of art unveiled and, happily, well intact.
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Is not it amazing when you pick up a comic book and read it for the first time?
We all remember our first comic book and how one often turns into another, then another and finally an almost insatiable addiction. How the characters begin to come to life within a well scripted and well drawn series.
Comic books have for many years driven the imaginations of young and old alike which had many of use running around pretending we are Batman, Superman, and Supergirl or with friends as the team of X-Men.
Whether you picked up a 'Walt Disney' production or a 'Japanese Manga Graphic Novel', be it 'Detective Comics' or 'Marvel' what you will have almost certainly done is tried to draw the characters. Admit it you have!
There are some great artists in those off the shelf books and many of us wish to emulate our artist heroes not just the comic books stars; and there are many ways in which you can do that without the need to be clad in yellow spandex holding the latest laser gadgets.
Immersing yourself into the world of comics when you draw is an experience that is fun, so much so you may find yourself accidently muttering the words 'Kapow' or 'Smash' out loud, a common side effect that is not dangerous so don't worry to much if this happens.
One such method is to actually copy the characters and buildings within the comic. Remember that it is not only the characters that build the books, but the actual surroundings and vehicles also. Being able to draw everything is an advantage and can really bring your work to life.
The method of copying from the comic book is probably the simplest way you can practice and master the art of comic book art. All you need is a set of good quality pencils with a few different graphite (lead) types such as soft and hard, and rather than going out and buying the colored inks just yet you should use normal coloring pencils or paints. You might also like to grab yourself a couple of nice black fine and medium tipped marker pens for outlining the drawings as you near completion of your artwork, as this help your creation to stand out as it does in the comics; and don't forget the all important drawing pad for all those sketches and drawings that you are about to work on.
One you are satisfied that you have what it takes to further your artistic capabilities you can pick up some rather neat little publications which can bring your artistry up a few levels.
Figure drawings begin with a stick figure, a skeleton of sorts that will hold all components of the composition in the subsequent stages. An important factor of this stick figure is the action line, which will take up most of the figure's body: from the neck to a single foot. It is an uncomplicated and sweeping line that will crucially determine the pose of the figure.
The action line also determines the personality of the figure in that characteristics are adequately portrayed in the manner a line is bent or stretched. Heroic figures are usually rendered with a strong vertical stroke; the weak-bodied, including the evil-genius, is usually drawn like a bow that is being strung. This often proves effective in portraying characters through silhouettes.
From the stick-figure stage, the artist has already determined the height proportion of the subject. The average height of a human male figure is usually rendered to be around six heads high. In doing this, the artist measures his figure's head and calculates six of these stacked above the other. The normal female human figure stands at five heads; and the human child at four. This is easily done when the figure is meant to be drawn standing up and viewed on a normal perspective. At a foreshortened perspective, however, this measurement is not applicable and the part of the figure closest to the viewer is usually the largest drawn.
Artists often are known to insist on dynamic figures, and many beginners relate this type of drawings to the figures seen in heroic comic books, which exhibit exaggerated poses and postures. Dynamic figures simply mean illustrations that adhere to the basic harmony of elements, like perspective, line, and proportion. Artists advise trainees to take time in shaping their characters, to take special care on a figure's balance in relation to its pose. It must be observed that all the elements of composition, including volume--the illusion of a character's mass--do not conflict each other.
In determining a figure's balance, the artist decides on the center of its gravity. From then on, proportion must adhere to this suggestion. Even without the use of shadows, it must be without a doubt that a figure of whatever personality is portrayed positioned firmly upon its center of gravity.
Paying close attention to the lines used determines the figure's success. An artist must understand the basic uses of the line from the stick-figure stage of his drawing. Horizontal lines are usually lines of rest. Though there are a multitude of actions a figure can be drawn in on a horizontal plane, it is customary for both viewer and artist to envision one in repose with this line.
Verticals are also considered lines of rest, but suggest a surge of energy ready to flow. Upright figures in a standing pose portray this suggestion.
Diagonal lines are the lines of action. A walking figure is made up of two legs diagonally spread apart. The action line of a runner is a slash, and so is every limb of its body.
Paintings manifest the thoughts and visions of human beings through the language of art. A wide array of painting styles, methods and techniques has enhanced the horizon of painting making it more enriched and versatile. Painting has undergone variety of experiments under the hands of the master artists, which resulted into a vast selection of painting styles. The core philosophy behind the artwork, the painting styles introduce us to the various movements and schools of art. A single style also serves as a record of a particular historical period and culture prevalent during the time. Painters generally opt a particular painting style and carve their portraits typifying that specific style. Hence it is very necessary to read the various painting styles to understand the subtle strokes of each artwork.
The painting styles are visible with the emergence of 'Romanesque Art' in the eleventh century. The Romanesque paintings characterized by decorative leaf motifs are to be viewed in all Roman imperial structures. The 'Gothic Style of Paintings' evolved in the mid twelfth century in the form of frescos, panel paintings, manuscripts and stained glasses.
Oil and canvas paintings became popular in the later time with the origin of the 'Renaissance Style of Art' in the fourteenth century. Art became more realistic and secular through linear forms, anatomical shapes and use of light and shadow. The legendaries of paintings Raphael, Michelangelo and Leonardo da Vinci were artists of the Renaissance period. 'Baroque Style of Painting' evolved in the seventeenth century with the 'Baroque Cultural Movement'. Highly passionate, the paintings enlivened an ongoing action into art.
The 'Impressionism' of the nineteenth century world is articulated through 'Impressionistic Paintings'. Ordinary themes from the nature and surrounding world were painted through distinct brush strokes. 'Pointillism' invoked a new technique of painting where tiny dots of primary colors were blended to form an image creating an impression of miscellaneous colors. 'Expressionistic Paintings' of the early twentieth century are artistic expressions of subjective emotions that painters experience from the subjective world.
Among the modern styles of paintings, 'Cubism' is popular. A precursor to abstract painting 'Cubic Paintings' introduced geometric shapes and figures as images. Pablo Picasso, Georges Braque and Marc Chagall are the noted painters of Cubism. Another famous painting style during the1920s was the 'Surrealistic Paintings'. The painters used beautiful images and incongruous juxtapositions to represent unconscious thoughts and dreams. The 'Dada Painting Styles' of the time of the First World War represented art works that conveyed a nihilistic attitude towards conventionalism. The paintings were a revolt against the aesthetic and contemporary style of art.
Abstract Painting is perhaps the most difficult and complex of all painting styles. Painting is portrayed in an objective and non-representational way through colors and lines. The paints are dropped, lined and smeared over the canvas generating an idea non-captured in image form. Jackson Pollock, Pier Mondrian and Barnett Newman are some famous abstract painters. Abstract Expressionism is an art movement of the post World War II. It emphasized the non-representational style of abstract art in a more audacious and dramatic way. Postmodern Art reflects the modern consumerism and the contemporary culture in the paintings. It rejects the elaborately narrative depictions of the modern art and emphasizes more on the insincerity and discontinuity that is more feasible in the present day.
For comprehensive information on paintings and related topics, please visit Ethnic Paintings
Many of us who actually love the anime cartoon series or the movies as well as the manga comics, do because they usually portray emotions that are real and feelings that we ourselves believe we have inside. One way in which we can tell how the character is feeling is usually portrayed by the anime eyes.
Most of the characters in the anime cartoons have large western eyes and when they are talking especially when it is something serious you can tell how they are feeling just by looking at the anime eyes. Through these eyes you get to see all that your character is seeing and also how he or she is feeling.
The creators of these cartoons really worked hard to make the sure that their cartoons showed emotion using their anime eyes as well as their actions and reactions. You would almost believe they where real characters on how realistic the eyes look. We all know that the eyes are the window to the soul and no cartoon characters are able to portray their souls more than the anime ones. The characters have different eyes depending on the genre they are. The women characters are usually big so as to depict love, sorrow, bewilderment and anguish amongst many other emotions. While for men the eyes are much smaller but still also show signs of emotion especially when they are angry.
When they get angry the eyes usually change and you get to see how the characters is really feeling. The eyes can become smaller and even the pupils have reactions like for normal human beings. In fact if it wasn't for the eyes we wouldn't know much that was happening in the anime cartoons.
Comics is evolved around illustrations, illustrations are artistic drawing and sketches that complement text to give it a complete sense.
With good illustrations, an artist and illustrator is spared the stress of long conversations between characters or adding needless dialogue to panel (esp. a one-figure panel), i.e. a panel with only a character; this is possible because good illustrations elaborately portray and convey the intended idea in the mind of the artist or illustrator to the audience/reader. As the popular cliché goes, "Actions speaks louder than words". A good illustration should be able to throw light on the mood, characteristics and physical appearance of the figure under consideration.
Illustrations cannot be over-exaggerated; the followings stress the purpose for such judgment:
- Good illustrations speak loud: A panel portraying a hungry and hardworking child does not need the inclusion of text or dialogue, if the illustration is top-notch. The illustration ought to be able to show a lean child, sweating and working; which completely describes the idea, without the inclusion of header text.
- Illustrations save time: A contest is set to determine the effectiveness of illustrations, and the type of contest chosen was a race between a 'run of the mill' illustrator, and an equally average writer. A story context is given, and the literati are required to clarify it elaborately; the scene: a football match played on a drenched pitch; the seats in the stands are heavily jam-packed despite the rainy weather. The home team kitted in sky-blue and have a goal advantage but are under immense pressure from the away team in orange shorts and white vest. The illustrator and writer swing into action. Which of the two do you think would more effectively portray the scene and in the faster time? The illustrator of course, because before the writer would finish his first paragraph of introducing the scene, the illustrator would have been drawing the players, which after the pitch the stands have been drawn. The writer would start with, "It's a football match between... and..., it happens to be a rainy day, the home team. Or something of that sort, the illustrator would definitely beat this one.
- Good illustrations clarify the idea: With good illustrational expressions of the context, the message intended to be passed will be passed efficiently and quickly too.
The effects of illustrations are more spelt-out when the topic discussion involves an historical fact, in form of a myth, classical epic, legend, etc., this is factual since most of this historical tales never got to be seen or experienced by today's information seekers, but with the ever-assistant illustrations, nothing is left to the imagination, but a realistic and clear comprehension of the context would be created.
Good illustrations as afore-stated are influential to the facade and comprehension of your work as an illustrator/artist, illustrations can break-down or build-up a nicely completed comical expression, it should not be taken 'with a pinch of salt', rather with utmost focus and attention for a quality work.
Good illustrations should be made the ultimate goal, after a carefully written story-line or plot.
After learning the fundamentals of how to draw figures that stand still, serious artists are introduced to the concept of the line of action. What is it?
First of all, the action line represents the figure's flow of motion. This is particularly important in portraying cats. Artists experienced in capturing a cat's movement in drawing begin their composition doodling with waves of lines on their paper or canvas, trying to imagine a suitable movement or action for their figure. Finding the right line of action is crucial to their drawing as they consider it the "mother of all foundations."
To artists, a lines of action is never be complicated, lest it makes the figure awkward and mangled. Bear in mind that cats move, and shall always be expected to move, in a very graceful manner that when captured on film and viewed frame by frame, it would be like the cat were posing for a magazine cover or centerfold. Do also consider the fluidity of the cat's movement. The gracefulness of its movement seems to provide an uncanny feeling of predictability, that you almost always know what it is going to do next, except that this understanding is based on your feeling, as if you yourself were the cat. A cat glides through an unbroken sequence of what may seem to be a pre-scripted motion. Notice this difference when observing birds. Birds are nervous and jerky, and will not stand still.
Cat artists will explain that there is a unique excitement derived from drawing cats, and it begins in finding the right line of action. While it is true that the line of action fundamentally determines the motion pose for any figure (human, for example), with the cat, the line easily becomes the figure. Usually, an action line appears as a pencil streak across a blank drawing field where a figure is later built upon. For the human figure, it is a vertical or diagonal line, slightly curved in representing its spine; for cats, it is many times horizontal but more bent like the current of a wave of water. The sprinting image of a cheetah, for example, with its all its legs up in the air, may begin with an action line that looks like a representation of an AC power stream. A kitten captured in a pouncing frolic over a yarn may basically look like diagonal overextended S.
An action line is a line of discipline. It controls the artist's concept and the way a spectator sees the figure. Its straightforwardness facilitates an easier organization of the figure's details as the stages progress; it will also aid to a trouble-free understanding of the figure when it is later viewed.
One of the most difficult aspects in drawing comic books is laying out a proper and effective sequential page. Drawing a "Pin-Up" or "Cover" is easy. The difficulty comes in when your goal is to get the reader to turn the page. In this article I will give you a few basic pointers that will effectively move your audience to get through a comic book you have drawn.
The first thing one must understand is simple layout design. The reader's eye starts (always) at the upper left-hand corner of the page. The artist's responsibility is to get that reader's eye to the bottom right-hand side of the page, causing them to flip the next page. The most common and effective layout is known in the industry as the Backwards "S". The eye should move in a reverse "S "pattern from top left to bottom right.
Now that that is understood, the next thing that needs to be accomplished is placing the panels on the board in such a manner that will cause the reader to move to the next intended panel. Very often beginners get experimental with panel placement and design so that to cause confusion as where to look next. ALL action in any given panel should move in the direction of the next panel, allowing the reader the ease of moving from frame to frame. At no point should the reader have to guess or try to figure out what is next.
Next is quantity of paneling. The truth is, there is no rule to this, just common sense. Every artist out there has their own approach. The less the number, the more the action on the page, the greater the number the more static. On average it ranges from 3-7 panels per page. For example, If Wolverine is jumping at Sabertooth and then slices Sabertooth across the belly; it would lack storytelling dramatics if you showed this with 7 panels. 3 would be best, with 1 of the 3 dwarfing the others. On the other hand, if Wolverine and Sabertooth are enjoying a cup o' tea together, you may want to increase those panels to 6 or 7.
Combine all three of these pieces of information and you are well on your way to effectively creating a well laid-out sequential page.
If you find this information useful, let me know and I can write more.
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With the economic crisis faced by all the industries worldwide, toy industry is also tightening purse strings and the prevailing trends of the year 2009 is showing this very well. Lets check out the toys and games that will be manufactured by the toy industry and looked for by the consumers this year.
Budget Toys
While the consumers becoming tightfisted, cutting back on avoidable expenses, the toy manufacturers are introducing economically priced toys and games. The basic toys will all the more become popular. Classic toys will make a comeback. So, this year, the remote controlled cars and snack machines could be found more easily than the last few years.
Movie Toys
Movie- licensed toys based on popular movies such as Iron Man, Superman and Batman were some of the most popular toys in 2008 and they will continue to be so in 2009 too. Movie makers keep aside a considerable promotion budget and also there is much liking for action figures in the target market. As such, the reel action heroes will rule the real world of toys too.
Organic and Green Toys
New laws for toy safety will force the toys manufacturers to make green and organic toys from eco friendly raw materials and also from reused or recycled materials. Rising environmental awareness among the general public will also lead the parents to go for green toys.
Interactive and Digital Toys
Toy manufacturers will continue to incorporate the computerized or virtual world into the toys of 2009. Computers and web searching abilities have greatly influenced childrens play patterns in recent years. Links to website and added content will be offered through websites dedicated for this purpose only. Video games will also try to inspire the couch-potato kids to get up and do some activity or exercise while playing.
To sum up, the toy industry in 2009 will focus on toy safety, value, cost and product durability.
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