Like Annie, I love the intensity of Eli’s expression, and the pause with the mug at his lips. The light in his eyes adds a lot to that, I think. The morning light is beautiful throughout this page – on Eli’s face (gentle shadow of his hat) on the woman with the yellow blouse, on the steam from the boiler…
As usual the page rewards patient study. Things like the lovely economy of the plaid shirt and overalls on the big guy in the first panel (made me grin), the simple line hints of the cart and horses in the background of the second panel, the way you capture the irregularity of the old fashioned individually set window panes by the different reflective angles on some (both on the station and on the train car), and the glow of the firebox and hulking tiny figure of the fireman aboard the steam engine. As minute and minimal as that last figure is I can still sense the bend of his posture and the strength of his arms; he’s hard at work. Now that I think of it you have a real flair for capturing the unhurried confident pace of the frontier – it’s pervaded the entire story so far and is a convincing backdrop for the roaring events that unfold in the foreground.
The rocks and peaks in the last panel pull me into that huge western landscape, where it looks like you had a great time with the loose watercolor expressiveness.
And what Western doesn’t have a scene on a train? I’m really looking forward to this chapter. I’m wondering if Eli gets on that train.
Still a lot of unanswered questions from the last chapter Erin, but I reckon we’ll just have to wait and see where this is going. Regarding this page, not a single word uttered, yet the art speaks volumes. Beautiful.
Oh my god. Can we get that last panel on it’s on? Full size? Gorgeous.
beautiful
This town just keeps getting lovelier. The last panel is stunning. I also like his facial expression. You can see the neurons firing.
Like Annie, I love the intensity of Eli’s expression, and the pause with the mug at his lips. The light in his eyes adds a lot to that, I think. The morning light is beautiful throughout this page – on Eli’s face (gentle shadow of his hat) on the woman with the yellow blouse, on the steam from the boiler…
As usual the page rewards patient study. Things like the lovely economy of the plaid shirt and overalls on the big guy in the first panel (made me grin), the simple line hints of the cart and horses in the background of the second panel, the way you capture the irregularity of the old fashioned individually set window panes by the different reflective angles on some (both on the station and on the train car), and the glow of the firebox and hulking tiny figure of the fireman aboard the steam engine. As minute and minimal as that last figure is I can still sense the bend of his posture and the strength of his arms; he’s hard at work. Now that I think of it you have a real flair for capturing the unhurried confident pace of the frontier – it’s pervaded the entire story so far and is a convincing backdrop for the roaring events that unfold in the foreground.
The rocks and peaks in the last panel pull me into that huge western landscape, where it looks like you had a great time with the loose watercolor expressiveness.
And what Western doesn’t have a scene on a train? I’m really looking forward to this chapter. I’m wondering if Eli gets on that train.
Oops – I mean Flint out there on the bench. That’s what happens to me with a pause in the posts – I lose the names.
Still a lot of unanswered questions from the last chapter Erin, but I reckon we’ll just have to wait and see where this is going. Regarding this page, not a single word uttered, yet the art speaks volumes. Beautiful.
Love that last panel
At first glance, the countryside is on fire….
And by the end of this chapter, it just might be…
Just striking.
Continually flattered & amazed by the amount of consideration you guys give these pages.
As we are amazed at the amount of talent you pour into these pages. 😀
Gorgeous, gorgeous, gorgeous.
Thomas Kinkade painting?
Ooooh, nice work on that last panel!