![]() This is a classic photographic trick, too. She's also filling up the left three quarters of the panel, meaning that she's running into the sliver of negative space on the right side of the panel. As the rest of the action happens on the panels to the right, it's a good idea to keep the eye moving in that direction. Panel one is a close-up of Catwoman running towards the reader, slightly left to right. Adding the crosshatching and the details and the scratchy little lines that define "detailed" artwork in standard superhero comics, for example, would work against the style of work animators want to do. ![]() That's what it takes to create that movement in your mind. The images are also 'simpler.' They put more panels or more drawings in a single scene. ![]() Characters squash and stretch and bound across the page. Everything about it indicates motion across the page. The animators I've seen doing comics are more fluid. They look for that "decisive moment" and work hard to maximize the single image. The typical comic book artist sees things in terms of the frozen image. Animators have a way of seeing things that most comic book artists don't have. I wrote last week of my admiration for animators in comics, and Cooke is another excellent example of this at work. ![]() Cooke's background in animation and storyboarding is on full display here. ![]() He only drew the first four issues, but I could talk about them for days. It's all well and good, but I kept getting hung up on Cooke's art. ![]()
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