Digital art of a newly-hatched monarch butterfly caterpillar crawling out of its shell for the first time. The shell is translucent, covered with dimples and ridges, with a slight sheen on top. It has a huge ripped hole in one side where the caterpillar exited. The caterpillar is a pale peach color with lines of black spines running down its body. Its legs and face are black as well. It crawls over an extrem closeup view of leaf fuzz, from a milkweed leaf. Where is our little friend headed? Text in the corner is a watermark: http://hmcgill.art

Cocoon Year: 2nd half of February, and a Bit of March Summary
This 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 down — not because I had a lot of work left to do, but because I had so little work to do. I really, really was enjoying working on Warlock’d in earnest, in spite of the ups and downs.

 

 

Cocoon Week 9

I started bringing in my character profiles to the pitch packet. I have one page devoted to Cleric Stone, then one page devoted to demons, a page for supporting cast/murder mystery subjects, a page for a special character and twist in the story, and a page full of props because everyone who likes medieval stuff likes props, too.

I checked out a book on slavery which was…not exactly fun reading, but necessary. Lebeau’s backstory needed fleshing out. I’ve chosen to make them into a serf pursuing the life of a freeman. Paris was a place where people could expand their social boundaries and change their status in the world, as evidenced by the rise of a merchant class. To do this I figured I should look into how serfdom actually worked.

I read the overview of Slavery after Rome: 500-1100 (Alice Rio) and got through the first chapter on how people were made into slaves in the first place. What was most interesting to me was that, after being impoverished by slave traders, the typical thing a group of people would do is then turn on some other group of people and enslave them. It’s an evil that seems to spread that way. It’s also hard to describe people as ‘slaves vs. free’. My plan to incorporate the muddiness of being free or not is to reference it in Warlock’d as something an individual character goes through. After all, North/Western Europeans were supposedly against slavery, and yet serfdom was totally okay? Hmm. Really makes a person think.

The book itself is really clear and direct, much more so than many books on medieval history. I may have to type up a Goodreads review for it, in case anyone else needs a good resource on how this stuff worked back then. The parts that got to me emotionally were the aspects of women as slaves, the ancillae. This is a little dark for where I want to go with my caterpillar-themed comics blogging here but I did swear not to turn away from the honestly awful aspects of medieval life. There were terrible things going on! Just not the way pop culture tends to simplify and frame it!

Anyway I left most of the book unread after struggling through a little bit of it.

In terms of artwork, I moved in on the flatted colors and added shading here and there. I find that comics are easy to overwork. Not everything needs shading and highlights. Sometimes a character reads better when left flat. I really wrestled with the opening Hell page because my first attempt to shade it made in incomprehensible.

I also found myself bemoaning my overuse of purple in the middle pages. Purple is my Problem Color. I always want to use it, but I never use it well.

Cocoon Week 10

This week I returned to a portion of the process that I’m more comfortable doing: Book cover and lockup design! The following is not all of the work that I completed during this one week, but all of the versions of this cover leading up to the one I’ve decided will be in the final pitch packet. To everyone who ever nagged me about never including enough revisions in my blog: Can you just look at these, I’m doing it right here, stop making me anxious, thank you!

First version of a cover mockup for Warlock'd: To Hell, with Love. It's sedate with paper texture all over. Red bands cross it along the top and the bottom.A mass of wings spiral around the title lockup, blue like a barn swallow's but not arranged like the wings of any known bird. The feathers are shaded in the style of a medieval manuscript egg tempera painting. In the bottom band, rigid drawings of birdlike demon legs stamp across the ground, lending an Egyptian tone to the whole affair. Text at the bottom reads:

The very first attempt at making a cover design. I wanted to reference the Egyptian mythos that Christianity pulls from, as well as bring in multi-winged cosmic horror. Because…who doesn’t love multi-winged cosmic horrors? However the tone of this is all wrong. People might expect some paranormal romance and they might not be aware that this is a graphic novel, instead of a prose novel.

Second version of the cover to Warlock'd. It features a bright red border sparingly dotted with floral-ish golden symbols. Interior borders bear paper texture and a gold foil version of 'Warlock'd: To Hell with Love' lockup. A moth perches over the 'lock'd'. Another moth perches on the border. Margo perches at the bottom of the border, chomping a third moth. Behind her, in the snow, Paris burns all over. 'H. McGill' is written on the bottom of the layout under a small red flower.

To help my book look more like a graphic novel, I pulled in a character and glimpses of the setting. I’ve heard that red books sell better but who knows if that’s marketing superstition. It fits the color scheme of the comics. This red is its identity color and around which all color schemes revolve. It’s based off the feathers on Margo’s face. However, there’s not much storytelling going on…I guess there’s a bird who’s eating a moth. It’s not totally important to the story that she eats bugs. I have also greatly simplified my coloring process since I made this version of the cover so all that texturing isn’t going to be present in the comic pages.

Third version of the Warlock'd cover. This one has the same layout as the second version, but the grays have been turned into bright blues and the reds are punched up a lot. Margo is no longer perching but flying, with a devilish grin in her beak, down to Hell. Flames curl all around her and continue to Paris behind her. A golden flower rests over the 'lock'd' in the gold foil 'Warlock'd: To Hell, with Love' lockup.

After rewriting my synopsis a few times I had a better grip on Margo’s character, anyway. She is as proactive as a demon can be. I call this ‘action Margo’. I wanted to make it look like she actively had something to do with the fires in Paris, because she does! I also punched up the blues in the snow and I think it’s a much livelier color scheme. Many graphic novels sit back on their colors and I want Warlock’d to leap out. I left a lot of the framing elements intact for this one but as I was working on sample pages, I discovered that I was rendering fire completely differently than as depicted here.

My latest version of the book cover graphic. It's a digital illustration of a bright red, abstract frame around the image of a city (Paris) cloaked in snowy blue light. The city is on fire. In the foreground is Cleric Stone astride Margo the demonic barn swallow, riding her like a horse with reins made out of oversized wool thread. Margo grips a threadwinder in her claws. She is on fire and bringing the flames from the background to the foreground, where they flicker and grow. The text lockup overhead reads, in gold: 'Warlock'd', and an incomplete daisy wheel arcs over the 'lock'd'. The subtitle is in black: To Hell, with Love. Finally at the bottom, under a very small and complete daisy wheel, is 'H. McGill.'

Here is my final cover mockup, for now at least. Cleric Stone is a main character so he should be on the cover too. This is from a part of the story that many of my beta readers have felt is the most exciting part. I also re-did the lines on Margo with a higher dpi so that she would look as delicate as she does in the comic sample pages. I finally got rid of the fake gold foil effect because I would never want something like that illustrated on a cover, and even if this got printed and published I would not be guaranteed to get gold foil. Finally, I ditched Cloudsplitter for the title typography and replaced it with my favorite serif, Alegreya. This is as best as I can do for now so I’m going to use this in the pitch packet.

Okay. This packet’s getting too real now. The pages are all wrapped up. I should feel happy and proud, and I do, when I look at them. But, I don’t like stepping away and doing other things.

The coloring process went well. I marked three different color schemes throughout the twelve sample pages. I gave myself time to figure out each color scheme. One scheme is very dramatic and wild compared to the other two schemes. I’m not sure how jarring it will be to an outside viewer. I checked on the wild color scheme by itself and it works… but that’s the thing. When inside of the packet as a whole, will it clash with the more natural/understated color schemes I selected for other settings? Or will it show that the colors can expand in a really inventive way?

Client work has gotten vmore tedious than I’d like it to be. I was using Warlock’d as my ‘carrot’ to get through client work. I don’t know what I will fill the space with afterwards. I applied to a comics anthology with some thoughts on the history of locksmiths and prisons. But, I’m not sure how ‘fun’ that will be. I really did want to wholly work on Warlock’d and Warlock’d only through this year. I am dreading letting go of it, even if only for a little bit.

I didn’t feel very inspired to draw my caterpillar graphic this week. I keep putting it off. If I don’t have Warlock’d to work on, I may not need the caterpillars anymore since the art can be freely shared, and it’s easier to crop that for feature graphics on my blog.

I drew up a ‘props’ page featuring different items from Warlock’d’s story. As I was resizing them to look like they all belonged together, I discovered spaces to slip surprises for whomever browses my packet. Hopefully someday I can share this page publicly.

I have come to the philosophical conclusion that, even if I can’t share everything right now, I have this giant stock of images to share later if I need them. This is regardless of rejections or acceptances from agents and publishers.

Do I want to share my packet with trusted friends? Of course. But I am still afraid that I will get feedback that pulls one string to unravel the whole packet. I want to know if there are problems but I don’t want it to be a problem that destroys all of my progress.

 

To Do Next Week:

  1. Complete addenda in character packet, particularly character art.
  2. Export character art and write descriptions.
  3. Edit query letters and figure out who to query first (Probably the editor?)
  4. Perhaps ask for a lookover by editor and writer friends?
  5. Grieve the end of the project, for now.
  6. Draw a little wrinkly caterpillar to put on this blog post (which may already be complete at the time of posting this)

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Cocoon Year: Weeks 5 & 6

Cocoon Year: Weeks 5 & 6

Cocoon Year: 1st half of February SummaryMostly 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...

Cocoon Year: Weeks 3 & 4

Cocoon Year: Weeks 3 & 4

Cocoon Year: January Week 3 & 4 RecapThese 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...

Cocoon Year: Weeks 1 & 2

Cocoon Year: Weeks 1 & 2

Cocoon Year: Week 1 & 2 RecapFor those who weren't in the know, this year is what I am going to call my ‘Cocoon Year’, where I establish my creative process by tracking and describing it. Seeing as social media is not extremely helpful for literally anything I’m...

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