Monday, May 25, 2015
These are some layouts for a story I'm working on with John Bell for Fulcrum's Colonial Comics series. The stories set around the Boston Massacre and the problem of discovering the identity of one of the people who had been killed. John's done all the writing, which allows me to sit back and do the drawing. Of course, drawing a story set in 1770 means having to tons of visual research, and I'm sure I got a lot of this stuff wrong (I trust John will correct me)(the beauty of a rough draft).
And remember, we don't want to the world to think of Boston as... riotous.
That cracks me up every time I read it.
Monday, May 18, 2015
So back to the drawing board.
Monday, May 11, 2015
I want my next book to look as cool as these. I'm not sure about the processes used to create this kind of cover, but I think something similar could be done with stamps. Some hand cut rubber stamps with golden ink, a little purple to set it off, maybe a little embossing powder thrown on top to make it stick out (the inverse of the impressions on these covers), ooh, it'd be sweet.
Monday, May 4, 2015
I draw a lot, but most of the time when I'm drawing there is a lot of intention in it. I'm doing sketches for a page. I'm doing character design. I'm trying to figure out how to get it so a giant who has been shot by some sort of bazooka looks right while he's falling. I hesitate to say that doing such things is serious, but it's not really playing when I'm putting the lines on paper. I have purpose. It's very adult.
And what's really sad, is that when I sit down with a piece of paper to draw with no intention whatsoever, it's a struggle. Taking a walk with a line and just seeing where it goes has become particularly difficult. I spend so much of the time knowing where the line is going, and it's just hard to let go.
But I'd like to.
I've worked hard to get whatever skill and style I have, but sometimes it feels a little bit like I'm trapped by them.
Sunday, April 19, 2015
Tuesday, February 10, 2015
I have a fear of routine. There's something numbing about it. Walking the same way to work every day, you stop noticing anything about the walk. It disappears, in a day or two you won't even remember it. You'll only know it happened because it's what you always do. If you walk down a different side of the street, you suddenly notice new things. The walk becomes memorable.
And maybe because of this fear of routine, I've never found a method of comics that I stick with. Some people have a locked-down process, but mine has remained loose. In fact, it constantly changes. I don't work the way I did last year, and the way I worked last year was different from the way I worked the year before.
My current project, a space-fantasy called Hedra, is heavily focused on the design of the page. The goal is for an interesting page that forces the eye to go in different directions than it normally would. Each page is something of a puzzle. The plot is very simple, which allows the telling to be complex. My hope is that the book will be something of a riddle, perhaps confusing, but enjoyably so.
There is no written script, just a loose plot in my head. My documentable process begins with layouts on 3x5 notecards, which are small enough to let me keep the whole of the page in my head. A page will often go through a number of iterations.
After I've found a design for the page I like, I work on 11x17 bristol.
For the straight lines I use Microns or Faber Castell PITT artist pens. For characters I'll use a Pentel brush pen. This page is heavy on the geometric, so there was almost no need for the brush pen.
I color the page in Photoshop. My intention is to self-publish this book with Risograph, so I've been working on trying to create a full color feeling with only two colors. I'm not sure why, but pink and blue have just felt right to me.
Monday, February 9, 2015
I was recently asked how to create this cute little Zip-A-Tone dot effect using Photoshop. Here's a detailed guide. It's super easy!
A. You need to make sure the image mode is on Grayscale.
B. Throw some grays down (you can also take a photo and blow it up to create some interesting effects).
C. Go to Filters, Pixelate, Color Halftone.
D. Fiddle with the pixel radius to get the right size dots. It depends on the dpi you are using and how big you want the dots to be.
You can create similar effects in color, but when you do that it gives you CMYK dots, and I kind of feel like you have less control. When I've been working in color, I've created the dots in grayscale first, and then switched to RGB or CMYK.