22 August 2007

Working through the current arc of my book requires, not only my protagonist to wake up, but also his neighborhood to wake up. (I thought it would also add to the mood of the piece). As such, I had to go for high contrast, as at night there aren't any real tones. Therefore I couldn't use my beloved crosshatching/scribble. The results of the opening wordless sequence tuned out better than I expected. Here's how it went:

As usual, I start with the script and thumbnail (below) the page sequence with an ordinary biro on my A5 little notebook I carry with me.

After I've chosen the best scenes to convey my
"early morning" scene from my thumbnails, I decide which order they might go in, and then pencil them in on a full-size rough. (Below) - just to get the basic shapes in.

Like many cartoonists will tell you - even though I pencilled in the sequence in the order I thought suited the flow (above) - it ended up changing. So when I pencilled/inked in the final board (below) - the sequence had changed to something I thought 'flowed' a little better. Hope you agree.

I now know why my fellow B&W artists like Tom Bonin, Henry Pop, & Colin Wilson get off on the high contrast of pure B&W's. It's a real kick, let me tell you. There is something I really like about the bare B&W finished ink. I am always tempted to leave it at that - but unfortunantly, it's hard to create the nuances I desire in B&W without some additions like crosshatching or tones. Crosshatching in this case would have detracted from the clean crispness of the still night I was trying to convey.

So I scan it into the computer, clean it up & add a slight 2-tone grey pallette.

Bada-bing, bada-boom.


06 August 2007

First off, If anyone new is ever unsure of 'what' the pub looks like that we have our monthly 'get-togethers' in at the first Saturday of each month- it's looks something like this:

Ok - with that out of the way, it's onto the 'meet'.

Funny thing is, this month I bought myself one of those 'freshly-squeezed' juices at Victoria Market food court (where the above photo was taken.). It was called an 'immunity' juice (supposedly designed to fight off flu's etc) - well... it (somehow) drained me of energy. I swear - during this months meet-up, I felt FLAT and grey. I can only put it down to the juice. Yeah, that'll do. It was the juice's fault.

Anyway - it was a cosy meetup this month of the regulars. The was a new guy-girl who showed up (only for a short time) - but never had a chance to find out names. Basically it was all the regulars at this months meet. About 10-12 people.

James (thats his hand in the bottom-left) brought along a stack of comics that he just picked up from Minotaur that Tom was rifling through. Michael (right) brought along his newly inked stuff & was showing it around.

Colin Wilson was excitedly telling us about the 'Pixar' exhibition at the Fed Square NGV. He couldn't stop raving about it (as can be seen in his 'blurry' hands.). Bruce Mutard (in the lumberjack shirt) kindly brought along one of his 'Street Smell' comics that I was missing from my collection.

"This was a great meet." - was heard by Greg gates when it ended. Though I was a little 'out-of-it' this week - i have no reason to doubt him.

Til the next one.

(PS: Where I'm not buying anymore juices.)

02 August 2007

As promised - here is the development of Darren Close's Killeroo sketch that I penciled for him at Doujicon.

Upon looking at the Killeroo comics, I noticed that everyone who had done their version of Killeroo stuck to a tough-guy cliche. (ie. Looking mean, on a bike, beer, girls, etc) - so I thought I'd do something left-field. I thought about Killeroo ironing his 'wifebeater' singlet. Something 'sensitve' - if you will.

"I got it" - I thought.

I'd do killeroo shaving.

Here is the sketch I did at my table:

After I got home from the convention, I proceeded to light-pencil the sketch (in blue) onto the card stock I use for final inking. I do this via my trusty little lightbox.

Once I've lightly finished penciling the basic shapes and forms onto the board, I take it over to my drawing board and proceed to 'tight-pencil' it. While refering to the original sketch as a guide, I put all the detail onto the board. With all the detail penciled, I can put the original sketch away.

I add all the 'fiddly' bits in so I don't have to do any 'guess-work' when I'm inking. Then I unscrew the ink-well , grab my dip pens, and begin the fun 'artistic' bit.

Then after a few hours - whala... it was finished.

I would have been finished sooner if Darren hadn't picked such a hairy character! (I was going braindead - dash, dash, dash, dash...)

I then scanned the inked board into the computer, cleaned it up, did subtle shading, added lettering, etc, etc - and it was complete.

Hope you enjoyed the peak into my madness.