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 Year: Weeks 21 & 22

Cocoon Year: Weeks 21 & 22

Cocoon Year: A New StartI keep saying I'm not going to restart the outline, but I wasn't having any fun writing my rough draft and I think that's a sign. Re-simplifying the story should help get the finish line closer.   Cocoon Week 21 I wrote things. Mostly, I went...

Cocoon Year: Weeks 19 & 20

Cocoon Year: Weeks 19 & 20

Cocoon Year: May WoesI keep saying I'm not going to restart the outline, but I wasn't having any fun writing my rough draft and I think that's a sign. Re-simplifying the story should help get the finish line closer.   Cocoon Week 19 I wrote many scenes in Warlock’d...

Cocoon Year: 17 & 18

Cocoon Year: 17 & 18

Cocoon Year: April into MayI re-did my outline and dismantled my trello, just to set it up again for more writing madness. I have a definitive list of 20 scenes that I’d like to have in my story and now I’m going to see how they look all fleshed out.   Cocoon Week 17...

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