Coming in super late but I'm seconding the gratitude for showing us all the different tries it took on that last panel, since that's a huge frustration for me too. Something I really noticed, though, is how FAST you iterated through those multiple tries - just a minute or two on each one, 10 mins total, whereas for me I can spend hours messing with a rough sketchy pose at the manikin stage. I think the key is you're noticing the flaws much quicker and at a much earlier stage (I know for that first try I was like "WTF, that looks great" before you erased it). I also notice that, when you're roughing in the figures, you're not always starting with manikins, but sometimes more basic compositional shapes to represent the entire body - like using just a huge cylinder in perspective for the hero on your last try. Great way to focus on composition first before getting into the form - and it seems to make your roughs go a lot faster! I'll definitely be trying different shapes instead of my usual circle-based manikins in the hopes it speeds my agonizingly slow process.

I didn't see you draw perspective grids for the smaller panels. Is it helpful to always draw perspective grids for all panels? Or are there some general rules used for when its ok to skip them.

Seeing you struggle with the last panel was both informative and a relief; it gives some insight as to how a professional would go about solving problems, and that problems are to be expected regardless of experience.

I like to see the try and error with the last panel. You realize that even, for someone with so many years of experience, it's not so easy sometimes. Thanks David

I've been getting frustrated with how often I have to erase and redraw a panel trying to figure out how to get it to look right, but seeing that even David has to go through this process sometimes makes me feel a lot better, heh.