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I forgot to mention: Congrats on your’s and Wendy’s 20th! I think that’s amazing.
😀
Regarding this post, I’ve been studying your work to figure just how you alter perspectives to achieve necessary story-points in each panel… without the alteration feeling weird. The graphic novel contract I’m working is heavy on environmental details and I’m struggling to remove the ‘fourth wall’ and doctor the vanishing points without the scene feeling like I took a wrecking ball to it.
Are there perspective-altering guidelines you find particularly helpful, or do you somehow wing the optics-bending layouts flawlessly by accident? O__o

I know you’re extremely busy so feel free to put my questions on the back-back-back burner (duh). But on the off-chance you get a sec: Thank you. Cheers!

Hey there Ash
Perspectives are always tricky. For me I imagine them rather than technically do them. Not a single perspective of mine is accurate, I create the illusion of them being accurate by having a good idea of what looks “natural”. This allows the drawings to push into movements and angles that I need to convey the proper amount of information a shot may require. But I do it in a way that fools the eye and mind into thinking they are witnessing proper perspectives. As for how I do it, thats a tough question to answer as its sort of winging it manipulation behind having a concrete knowledge of what something “should” look like, but not necessarily does when examined analytically.