Director Jonathan Demme (Philadelphia, Silence Of The Lambs) uses face-forward camera imagery...

James Cameron's (Titanic, Terminator franchise) use of blue hues...

The Wachowski Brothers (Bound, Matrix franchise) using multiple arcs which connect to form a main arc - and that cool panoramic camera thing...

McG (Charlie's Angels, We Are Marshall) Mastered that speed up, slow down camera action thing...

Brian DePalma (Carrie, The Untouchables) is mister slow panning camera...

Michael Bay/Jerry Bruckheimer (The Rock, Transformers, Armageddeon) - well...duh.

Just like in tv/movies, every director or writer has a signature "thing" they do. As I look at webcomics, I'm starting to notice some of the talent around here have a precise "signature" that you will definitely catch in every other posting.

My "signature" is probably silhouettes and shadows. The allure of silhouettes came from one of my favorite influences, Tom Batiuk (Funky Winkerbean). From a OCD standpoint, I like throwing in silhouetted scenes.

Whether its artistic or literary, what's your signature(s)?

People say I do really good with my expressions. I look back at my art from four or five years ago and I see practically the exact same things I do now - of course, a little better than back then. :)

Man I don't even know, I'm always really bad at identifying the things that I do. I just let other people do it for me. :D

That said, people have told me that in my past comics, I did A: good dialogue, and B: Integrated fantasy concepts into real-life situations

Looking at the comic I'm building up a buffer for now (any month now...), I can't say much about the dialogue, but it's definitely about the realistic aspects of fantasy...

I have no idea. I think that's for other people to figure out. If I were conscious of something like that, it would probably mean I'm overdoing it.

Yeah, I agree with spacehamster. I just do my thing, y'know? What that thing is...who knows?

The better question might be to ask us to identify the "Signatures" in the art of the other creators here, not ourselves.

I have no conscious knowledge of "signature." (Like others said here, if you're trying, it isn't really your signature.) However, these things have been pointed out by my readers:

~ Silent panels to show emotion. This is especially true of injury. A scream means there is pain. -- But for extreme pain, there is silence.

~ "Calm fights." Altercations are not very actiony. My readers think it's a signature style, but for me, it's just lack of ability. I suck at conveying action.

Brock
Yeah, I agree with spacehamster. I just do my thing, y'know? What that thing is...who knows?

The better question might be to ask us to identify the "Signatures" in the art of the other creators here, not ourselves.

Good point Brock - But just like the directors I mentioned, their "signature" is exactly what they use frequently in their movies.

Okay, okay...Quentin Tarantino - I'm sure he's consciously aware of the kung-fu and 70s references he uses in his films (Those seem to be his "signature"). If you take a look at your archives, you could find your own as well.

But for fun, identify and tell us the signatures of the artist/writer of your favorite titles here on DD.

I'm known for my panel borders.....They go to 11. >-)

If I have a signature, it's probably my focus on eyes and facial expressions or my consistent, detailed backgrounds. I think...? lol!

Well, one thing that people have mentioned in my comments a couple of times is my use of black or white silhouette panels, but that's just one way for me to shake things up and not repeat myself on a page, really... and if anything, it's a trick I stole from Greg Capullo.

The energy I portray? Or the fact that I have panel breaking in almost every page?

I have no clue what my "signature" would be. I just hope it isn't as sloppy as my written signature.

Cross hatching, and pretty girls are my calling cards.

I've noticed a bit of stalking in the comics I draw. Right before the stalker is revealed, I always have an eye close up where the hero notices them or the stalker is eyeing his/her target. But I think this is mainly because I try to design grand and heavily detailed backgrounds and usually screw up, so I take any excuse I can to avoid doing them

However, in my sprite comics, I always use linear dodge with white on a different layer to get this glow effect for energy blasts or charge ups. Sometimes I combine it with a motion blur.

And I guess the comics that I write and others draw don't really have a signiture to them, since it's all the work of the artist.

This is easy. I'm known for the arse. Or "ass" if you prefer. ^_^
There seems to be one on almost every page...

Paolo Eleuteri Serpieri, the artist responsible for Druuna is more known for that than even me though :)

Hmm, I looked through my pages and I think it could be my "lettering chains" that I often use. Starting from splitting a monologue into two connected balloons and up to a dozen word baloons forming a linked conversation spanning through panels.

Either that, or the constantly atrocious faces of the main character, haha.

My current signature seems to be my constantly panicking protagonist. :P But that's because it's part of his character, not part of my style.

I often get to hear that I'm good at expressions. Maybe that's it? Who knows, though... I like drawing faces, and like doing panels that stretch across the width of the page, but other than that, I can't really think of anything.

ozoneocean
This is easy. I'm known for the arse. Or "ass" if you prefer. ^_^
There seems to be one on almost every page...

Paolo Eleuteri Serpieri, the artist responsible for Druuna is more known for that than even me though :)

WOW - And what a signature! You're the O'Keefe of booty, Oz'!

Probably flashbacks.

In Shades , because the events span so many years, they're an integral part of the look and feel of the story. But when I look at my other comics (e.g. The Spires [brokenvoice.co.uk] or Hunted [brokenvoice.co.uk]), I still use them a lot, even if the events only happened a day or two earlier.

Maybe my expressions? That's what I get the most compliments for....I think.

If we're going by what we get most compliments for, I'd have to say it's my outside scenery and skies. Whenever I add a moon, it feels like everything gets prettier, too.

ozoneocean
This is easy. I'm known for the arse. Or "ass" if you prefer. ^_^
There seems to be one on almost every page...

Paolo Eleuteri Serpieri, the artist responsible for Druuna is more known for that than even me though :)

King Bootylicous!

I'm with spacehamster on this one, haven't got a clue. I'd be more interested to find out what other people think it is, those who read Wyrden.

And what's Reva's (the artist) for that matter?

I think this question may have more context for more established artists who have done a number of comics. Many of us, me included, can't really say what our signature is or what someone else's is because we haven't created a body of work to look upon and say I see x, y, and z throughout our respected works like we could for say Mcfarlane, Kirby, or even... Leifeld. -__-

Mine would be the limited color palettes. Sometimes I'll color my pages with different shades of just one color (blue, brown), sometimes two colors (blue and yellow, blue and red, green and red, sepia and blue), three colors tops. In those two-three color sets, one color is always prevalent and the other marks certain objects on the page I want to bring out.

I suppose it's the color.

Apparently I'm good with color.

Apparently.

Oh, just thought of something for my writing. I tend to script in a lot of action, rather than dialogue. My comics can got for pages where none of the characters will say a word, but what's happening is clear in what they do. This is especially clear in Warriors of the Night, where for a while, the only text is the sound effects.

I could probably write a 'silent' comic if I wanted to

A lot of people comment about my improvement, but I secretly believe that's a nice way of them of saying that I used to suck.

As for a signature, I guess putting my name on every page counts, don't you think?

I think if anything it's my moment to moment panels as Mr McCloud would say. Though, that said it's something I've noticed and tried to phase out. It comes from my making films and wanting to convey movement and work as though I were making a film, which is probably bad for comics.

People say I draw man chests well, and also chibis well.

*Shrug*

Probably my extreme close ups of eyes before I introduce a character, I find I do that a lot without intending to..probably because I love drawing and colouring eyes. Also possible having huge gaps between my panels which have recently become black instead of white..since I got my hands on a thick black marker..