Unfortunately, I could not sleep last night, so I had two days as one so to speak, with two regular daily drawing sessions. I‘m a bit surprised I did manage to get two panels out today, which is great.

What is not so great is that the characters seem out of scale in the second shot, at least to me. In my head the placement made sense, the men in the background would step farther away from the fire and Felipe in the front would of course stand closer to the camera. But I don‘t like how the drawn results look next to each other. That is really good to know for the future. I‘m glad I got to experience this now and can watch out a bit better next time.

Also we have another first. I intend to censor a lot of curse words and violent content by fake graffitis. That fits the street theme and might look interesting when instead of actual blood words spill or something the like. We will have to see how that works out.

Lighting advice

I read a bit of Hogarth‘s Dynamic Light and Shade tonight. Apparently now is the time that that book can help me. I could finally understand it. There is so much to do, but I‘m enjoying the journey. I found out what one of my main problems had been. I love dramatic dark shadows, but they don‘t look good in every context. And it‘s not even a given that they always look good in themselves. Hogarth has an idiot-proof rule of thumb for artists like me: light and shadow are mutual. So if you want strong shadows you have to have strong lights. The secret to overcast therefore is to have meh shadows accompaning the meh light. Black shadows would not work here, unless context like the absolute darkest corner in the room that does not get hit with any light. Also, a lazy statement about the highlights of a form and direction of light is better than none says Hogarth. That actually stuck with me since days. A lazy statement better than none…and I started making at least lazy statements and they got me curious to pay more attention and think about ways to make better statements.

PREY christmas special

In the early afternoon I zoned out and wrote down a PREY christmas special. This is not an announcement of it in any form as it‘s pretty late in November and I have a lot of other things to do. But it sparked my curiosity and I have a script. I could imagine making a compromise and like…drawing the first pages and calling it a day. But it depends on how the next weeks are. If they are as ‚hellish‘ as this one and the last one, I might be good with what I‘m doing on a daily basis now. But what is very visible is how differently I treat an idea like this popping up compared to about 100 days ago. No sweat breaks, the idea just gets written down. I sit back and think about it, then I write some more. No stress having a rough first draft that nobody except me will ever see. Life is good. I even had a rough idea how many pages that might result in if I pack 3-4 panels a page. I‘m a slow/low paneler and love to take my time. That preference might change over the years, I can‘t know how and where to I will develop, but for now it is that. At the moment I’m more worried what the point of the PREY christmas special is. What does it give to you in exchange for your time? A warm fuzzy feeling? Is that enough? Learning more about how Rich and Willard became a couple? Telling you that it doesn’t matter whether you believe in christmas (Rich definitely doesn’t), opening one’s heart for love(not only the romantic one, you know) is a risk worth taking. Anyways, I‘m very grateful for the 100 days of making comics. Only two days to go, wow.

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