Cocoon Year: Weeks 5 & 6

Cocoon Year: Weeks 5 & 6

Digital spot art of a round butterfly egg. It is gelatinous and the seafoam-green shell is semitransparent. The egg nestles on the hairs of a milkweed leaf. Inside the egg, a caterpillar with a lumpy orange body and a black head is clearly developing. A pair of glasses has playfully been added, developing as a biological part of the caterpillar, apparently. Text on the bottom left reads: http://hmcgill.art

Cocoon Year: 1st half of February Summary
Mostly I mentally re-shuffled how I was going to approach the project, in terms of output and feedback. I picked up a lot of steam on the project as a result.

 

 

Cocoon Week 5

I started the week much less restricted about what work I was ‘allowed’ to do on my pitch packet. It helped to start on pages I had already inked in the prior draft, because the lines were there, they just needed to be finer fidelity. This was a good warmup for the rest of the pages. I roughed in a lot of settings and then, in panels where there weren’t any settings, I roughed in characters.

One thing that pleases me so far is how appealing I can make Cleric Stone look, at least to me. I’m going for a gender-fabulous, monkish/sorcerer vibe, and I think I’m getting there. Regular weekly practice drawing anatomy out of Anatomy for Sculptors (Zarins, Uldis; et al) over the past year has really helped. I’d done figure drawing and studied the human form before, but never had much technical practice. My 4-year college arts curriculum was not that rigorous, but I still regret to this day not going to one of my professor’s figure drawing classes for free. I’d been invited and everything.

I imported my comic page sketches into a lower-resolution Cloud document that I could open on my iPad in order to use Fresco’s perspective drawing tool. I still don’t know why desktop Photoshop does not have a perspective drawing tool. Fresco’s is special. It can ‘snap’ drawing strokes to a perspective grid, 2- or 3-point. However, Fresco can’t handle high resolution files, so that adds some steps to my process. It’s worth it for spot-on perspective art where it matters, but it’s still very slow and I’d like to find a faster way to render my backgrounds. It’s also nice to take a break from the office and curl up with my iPad. It gives me the vibes of being much younger and messing around with my sketchbook on my own.

Once I drew some 2-pt and 3-pt perspective ‘guides’ via Fresco, I brought them back into the regular Photoshop files. I had a day where I got a lot of work done, so much that I felt sad and tired at the end of the day. I had to sleep on it and come back to appreciate my progress in the morning. This is the part of the art creation process where I start questioning the writing, and questioning it, hard. Very dangerous to do halfway through the complete art! I must vow not to restart my pitch packet.

 

Cocoon Week 6

I took a break from all pitch packet stuff over the weekend. I thought I would be okay if I drew for other silly projects but no, I woke up Monday morning with a pinched ulnar nerve in my drawing hand. The sensation that a pinched ulnar nerve causes is different from the usual artist injury, which is carpal tunnel syndrome. My pinky goes numb and my wrist hurts whenever I perform fine motor movements. Only stretching and rest helps with this.

I must still draw. I received a book from an inter-library loan in order to draw the Louvre a bit more accurately. If I kept stretching, my nerve should be okay, and I should complete my Louvre drawing in time to return the book. It was a book that cost $50 on Amazon for some reason. Why buy that when I can snap a photo of a page from the library for free? Besides, it wasn’t even a big book, or a long one. It was like a 24 page picture book in length.

Properly armed with reference, some buddies were drawing in a comics discord so I popped in and shared my Paris-filled screen.

Digital artwork of a rough sketch of the city of Paris, with the Louvre prominently featuring on the horizon. A bird has been drawn in controlled lineart on top.

I immediately discovered a problem with the tower on the next page that I had already drawn and inked. What I thought was part of the Louvre was actually a tower along King Phillip Augustus’s wall. I’d thought that maybe it was fun symbolism for Stone to be off on the side of the Louvre rather than in the middle of it. However, he certainly wouldn’t be on the wall itself, and they wouldn’t keep their (highly valuable) budget documents out there, either. This was quite frustrating because I had already spent a lot of time embellishing the top of my Louvre tower with crenellations.

I reviewed the diagram. I found a note that there isn’t consensus on whether the towers had conical roofs or not. So some quick architectural speculation later and…

A more refined version of the previous digital sketch. This displays the Louvre more convincingly drawn, with the middle tower featuring crenellations and outer towers featuring conical roofs.

I think it works! That big central tower needed to stick out compared to the smaller Louvre towers around it. So, why not: It’s crenellated! And the other towers are pointy! Visual contrast! Hierarchy! No one can say I’m wrong, even if it’s not exactly correct, either.

With my pages in various states of completion, I found it more helpful to start working on them in numerical order. Usually I want to focus on one setting or one character at a time.

Photograph of three copies of the Ilona Andrews Clean Sweep graphic novel adaptation stacked on each other in an array. They're on a fuzzy bean bag texture.  The cover design features the blond heroine brandishing a broom and a spell circle, while her magic cape flows behind her into a hunky brown-haired male love interest. Lightning sparks out of the magic circle. A planet hangs behind them in a royal blue sky. Text in white, whimsical lettering on the book reads as follows: The Innkeeper Chronicles Clean Sweep: The Graphic Novel. Ilona Andrews: #1 New York Times Bestselling Author. Adapted by ChrossxXxRodes. Illustrator: Shinju Ageha. A 'Tapas' logo sits in an orange pill in the left corner.

Oh, and a production artwork project I did with Andrews McMeel came in. I had always wondered if my layouts were too wild but these do look like legitimate manga! It’s so funny too, I knew I’d done 252 pages here but seeing it in person, these books are huge! I could probably throw one at an acid-spitting alien dog and knock it out. This was a really encouraging moment for me because I always tend to look at my own layouts until my eyes cross.

 

 

 

To Do Next Week:

  1. Create printer-friendly, pitch packet document layout.
  2. Finish up inking sample pages.
  3. Client work has returned! As a result my progress on the pitch packet will slow down somewhat. However, it won’t cause any nerve pinching for me to work on it since there’s not a lot of drawing.

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Cocoon Week: 13 & 14

Cocoon Week: 13 & 14

Cocoon Year: March and April SummaryThere was some meandering and then I came to a conclusion by the second week. I will continue treating Warlock'd like it is a webcomic that I am developing in spite of being out on pitch. It's a risk but I will be fine.    ...

Cocoon Year: Weeks 11 & 12

Cocoon Year: Weeks 11 & 12

Cocoon Year: 2nd Half of March SummaryThis is the week I completed all of the art and writing for my pitch packet…at least, completed it enough to send it out. In that sense I’m emerging from my little microscopic shell, and now I have to focus on eating it.    ...

Cocoon Year: Weeks 9 & 10

Cocoon Year: Weeks 9 & 10

Cocoon Year: 2nd half of February, and a Bit of March SummaryThis week became complex for me. I zoomed through my client work and started approaching the end of the pitch packet. As always happens when I have a complex project close to completion, I started slowing...

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Cocoon Year: Weeks 3 & 4

Cocoon Year: Weeks 3 & 4

Digital artwork of an extreme closeup of a butterfly's pale green egg. The egg is ribbed down the sides with ridges and lines of indentations, softly shiny. The egg is nestled in the fine hairs of a milkweed leaf.</p>
<p>A black arrow points to the egg. Text over the arrow reads: "It's an egg! I swear!"</p>
<p>A watermark for http://hmcgill.art is present at the bottom of the piece.

Cocoon Year: January Week 3 & 4 Recap
These weeks felt sluggish at first. I was recovering from a very deep cut edit to my sample pages. I queried my peers for help and was greatly assisted. A big thank you to everyone who reached out when I asked, or who approached me with offers to help. I wasn’t at the top of my game for these two weeks, but I did feel less alone and that helped me feel much better.

Revisiting some older parts of my packet really helped. These two weeks, I focused on the ‘wow’ spread depicting the setting.

All in all I’m building my own personal excitement for this blog post series. I can share more art than I thought! Not all of it, but some very fun stuff.

 

Cocoon Week 3

Something in me reawakened, and I laid out the new version of sample pages. This version focuses on the relationship between Stone and Margo. There aren’t any other characters present in the scene. I gave the ‘blorp’ art version to kind friends who read things for me and tell me when something’s off. It’s still a little bit confusing in this stage but hopefully some line editing will help.

Some feedback that I got encouraged me to explore earlier in the story, to show more of Paris and give some context to Margo. This I can do, but I was really hoping to knock out rough art much sooner. I don’t think I’m going to blorp any art in on the earlier pages unless I can get some eyes on comparing the two scripts.

I also revisited the Warlock’d city spread…This is a drawing referenced from a 14th century painting, but with a WIP Notre Dame substituted in. The intent for this piece is to be an interior liner that leads readers into the story proper. This was the best drawing I could do, lacking visual resources from the 12th century proper. I’ve reworked this piece a few times and this time, I finally addressed the messy coloring found in the details of the piece. I found the progression in color theory very interesting.

Grungy, ashen-grey digital artwork on a two-page spread depicting the artist's best guess at a 12th century Parisian skyline. It's very very gray with hot pink highlights. It depicts a small person with a candle crossing a black Seine river, fleeing the city on the Îsle de la Cité. A tall bridge runs over this river. A title lockup reads:

My very first attempt, trying to control the contrast with a grayscale treatment and color overlay. It’s also painterly and overworked. It was fine enough at the time, but my understanding of color is much more nuanced now.

Digital art on a two-page spread depicting the artist's best guess at a 12th century Parisian skyline. Compared to the previous graphic, the colors are more clearly and cleanly divided into sections. A bluish grayscale is applied to the hills, clouds, and city buildings. Soft orange and yellow is used for the sky and reflecting Seine river. The 'Warlock'd title graphic is now black on a sunrise. The overall effect is still fairly dreary. and the clouds almost look the same as the city.

This attempt was a bit better. I removed most, but not all, of the soft brushing. It was inspired by a Vermeer palette, focusing on red being the star color. Feedback was that grayscale is not a big seller in the comics world. A lot of graphic novels are very limited in color or washed-out, which is also not to my taste. I think I can do better!

Two-page digital art spread of the author's best guess at what the 12th century Parisian skyline might have looked like. Set on a sweeping backdrop of heavenly clouds and rolling hills covered with snow, the city occupies most of the foreground. Towers mingle with homey buildings, encircled by a great wall. A bridge crosses over the Seine river. The water has taken on the orange and yellow glow of the sky. A title lockup is wreathed by clouds in the sky: Warlockd: To Hell, with Love.

This is the latest color scheme rendition. I removed all desaturated colors and I am very pleased that the snow is more snow-like. It was also easier to control the gradients of color once I discarded more of the soft brush. I only left the brush on parts meant to fade into the snow a bit more. I’m really happy with the points of interest I was able to create and this is going to be my reference for snow from here on out.

I grabbed and assembled different photographs of a caterpillar’s life cycle to create Cocoon Year graphics. It’s helpful for me to have a checklist of all the art I need to do. I’m hoping that these smaller pieces help me warm up on drawing whenever I do them. I am also going to learn way more about butterfly anatomy than I ever cared to know.

 

Cocoon Week 4

I started the week with a self-imposed break. I call it…No Comics Sunday! Saturday as well but that’s last week’s break. Lately I’ve been feeling slower and slower which means, even if I’m having fun, I need to step back. Getting 1 or 2 hours of work in every day is worse than getting more solid work done four or five days a week.

We went to a professional tea tasting and it was the perfect reset. Floating Leaves Tea is a shop we’ve frequented for years because it supplies incredible Taiwanese tea. What’s nice about these tea tastings is that we get to go and share her love of tea with none of the work involved in becoming skilled. It’s so nice to have a hobby rather than a drive. Did you know that tea can dance around the mouth, or rest on the tongue, depending on how it’s brewed? It can also be very minty and airy, or grassy, or floral, or ‘big’ or ‘small’, ephemeral or stalwart, and catch in the mouth, throat, chest, or stomach. We booked the whole afternoon for tea and caught up with the shop owner, who is always a delight.

Given time to reflect, I think there is a problem with how I seek and absorb reactions to my work. As a result, I am torn between respecting the feedback and effort of my peers and actually moving forward with the project. When this project lands on an agent’s or editor’s or publisher’s desk, they are going to have their own required changes and I will need to weigh those even more strongly than I weigh peer feedback. However, if I keep resetting my packet before querying, my pitch will never make it to anyone’s desk, so I just won’t know what specific agents and editors want. In any creative field, there is no good, no bad, no better, no worst, and no best…A work only has to clearly portray an idea, and then that either appeals to a specific audience, or it doesn’t.

With this in mind, I’m instituting a new rule for myself where I have to ask my peers ‘given a week’s deadline, how would your critique change?’. This seems like the kindest way to get more information and also move forward with the project. ‘Blue sky’ edits that completely reset the project are more useful when I get an official rejection or a revise/resubmit. I want to leave both options open because otherwise people might feel bad if they gave me the wrong feedback, and that’s quite the opposite! Everyone who has read my work has been most helpful. There is no wrong feedback, there is simply feedback that works better in response to different forces.

I asked other graphic novelists what their pitch packets looked like, and I’ve come to the conclusion that a 5-page synopsis is probably pushing patience in length. I need to make spot illustrations to break up the text. That or, I can really hone my one-page synopsis and let the detailed one be available upon request. From my peers I’ve learned that I can share snippets of my pitch packet, but I need to save the very special stuff for the submission packet. Fair enough. At least now I know I can share some imagery here fairly safely. Especially the stuff I cut from the packet!

One more bad habit of mine is to sit with the INDD document open and just…stare at it. I need to stop doing this.

In closing I’m going to share my favorite cut panel that was removed from a previous iteration of my sample comic pages. I feel like this is the best comic panel I’ve ever drawn, and I’m not even going to use it in the final packet!

Digital sketch of a starry-eyed, innocent-looking barn swallow. She has speech bubbles over her head. Text reads:

 

 

 

To Do Next Week:

  1. Ride the incoming high, and not burn out.

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Cocoon Week: 13 & 14

Cocoon Week: 13 & 14

Cocoon Year: March and April SummaryThere was some meandering and then I came to a conclusion by the second week. I will continue treating Warlock'd like it is a webcomic that I am developing in spite of being out on pitch. It's a risk but I will be fine.    ...

Cocoon Year: Weeks 11 & 12

Cocoon Year: Weeks 11 & 12

Cocoon Year: 2nd Half of March SummaryThis is the week I completed all of the art and writing for my pitch packet…at least, completed it enough to send it out. In that sense I’m emerging from my little microscopic shell, and now I have to focus on eating it.    ...

Cocoon Year: Weeks 9 & 10

Cocoon Year: Weeks 9 & 10

Cocoon Year: 2nd half of February, and a Bit of March SummaryThis week became complex for me. I zoomed through my client work and started approaching the end of the pitch packet. As always happens when I have a complex project close to completion, I started slowing...

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