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:

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 Year: Weeks 27 & 28

Cocoon Year: Weeks 27 & 28

Cocoon Year: Allowing Synopses to Build on Each Other As I write, I learn new techniques for visualizing entire stories. Learning to understand synopses has been really important for me. One important thing I’ve learned about them is that they’re good for sharing with...

Cocoon Year: Weeks 25 & 26

Cocoon Year: Weeks 25 & 26

Cocoon Year: Finding the Character in Objects Writing progress became confused, dismal. I figured something out between the way I approach problems and the way my spouse approaches problems. When we play a puzzle game called Picross together, we often mess up the...

Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Cocoon Year: A Retrospective of Drafts I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d. For both weeks, I decided to do a...

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