Tuesday, February 23, 2010

Strangulation Pencil

Pencil for one of two pieces for an upcoming group show.

Sunday, February 21, 2010

Xylophone Track, Page 1, Rough Color

Here's the first of three pages with a rough color layer done quickly in photoshop to get a sense of how the final will look. The final will be colored with watercolor.

Thursday, February 18, 2010

Xylophone Track

I found out about the 69 Love Songs Illustrated project and had to get involved, so I got in touch and put myself down for "Xylophone Track".

Today I penciled out the first two pages (it'll be three pages, one for each verse). That's the first panel. I'm looking forward to seeing it finished.

Wednesday, February 17, 2010

Improvised Weapons 5

Fifth in the Improvised Weapons Series is finished and up for sale on Etsy.

Tuesday, February 16, 2010

New Improvised Weapons Piece

Working on a new one. Will be for sale on Etsy when complete.

Props to Niki Yoshiuchi for suggesting the grandma grabber claw in like 2008. I finally got around to it.

Friday, February 5, 2010

Etsy Shop Open

My Etsy Shop is now open.

First piece for sale is the finished Per & Sylvanus painting.

Thursday, February 4, 2010

Comic Storytelling

The writer of the comic has a big job, creating the story, the characters, the setting, plotting overall themes, etc., but it is the job of the artist to carry that story, to communicate it to the reader. Here's an example of a very simple moment in the script that required some subtlety on my part to put into pencil and ink.

The scene is of Adrian dealing with his crying daughter by taking her into the bathroom and dabbing her forehead with cool water. All the while, he's singing her a song to calm her down. The script has the dialogue (lyrics of the song), and explains that Adrian is getting progressively more frustrated.

For a starting comic artist, the first challenge is to be able to draw the same character over and over, the same but different. Same face, different positions. The second challenge is to imbue that face with emotion without losing the features that describe the character. This is very difficult to do, and if you look at most cartoons, you'll notice a lot of conventions we've come to rely on to describe emotions, most of them very exaggerated and over-the-top. Manga has a very specific set of indicators that look weird to first time American readers.

So here's an example of me trying to express these emotions subtly, without resorting to cartoon conventions.

In the second panel is Adrian squinting as he turns on the light.