CONTRASTS in successive poses

The same concepts that apply to individual drawings can also be used in actions - the differences between separate poses. Some differences are subtle, others are more dramatic. You need a variety of differences between successive poses in order to give focus and pacing to the different ideas you want to convey through the characters.

BTW, look how little space in the head that the face actually occupies. Most of your head is empty space. Mine too.

Using SPACE in your drawings to focus their meaning

BTW, all these theories and techniques are merely tools

NOT ends in themselves

you don't just randomly put abstract spaces around things just for fun

You use them to make your expressions and poses more understandable

in other words - you think of the pose, expression or story point you want to make and you frame the important parts of the drawing's intent by putting space around it.

and you still use construction, line of action and the other principles and tools

CONTRASTS for good design

Learning control of contrasts will make your drawings more alive, interesting and appealing.

There are many kinds of contrasts, not just contrasts of size.
more detailed info to come...

Inking: Eyes and Eyebrows Construction

Figure out the form and position in space of the cranium first - you want the eyes to conform to the position of the skull.

-also make the pupils look like they are sitting on the form of the eyes, not going in a different direction

****DON'T POKE THE EYEBROWS AND WRINKLES TOO FAR OUTSIDE THE HEAD OUTLINE**** - you don't want to make the head silhouette too complicated

Inking: Face/Head Thick and Thin Hierarchy

See also HOW EYEBROWS WORK:

Inking: Hierarchy of Head Outline and Details | CansKickstarter

Hey if you think you are getting anything out of these instructional posts, show some love:

Ethan Inks One

Ethan did a swell job on Ernie here. I added my little nitpick notes. What Ethan did best was make all the lines come together to make a living character. It all holds together. Sometimes inkers will think of each line in terns of itself and then you end up looking at a collection of lines instead of a living breathing cartoon character. Ethan FEELS the life of Ernie and that's the ultimate goal. He also felt Jim Smith's style and did a good job bringing out Jim's natural feel for solidity and 3 dimensional caricaturing.