Cocoon Year: Weeks 15 & 16

Cocoon Year: Weeks 15 & 16

Digital art of a small monarch butterfly caterpillar creeping up a milkweed leaf and eating it as it goes. The style of the art is crisp thin outlines with cel shading. The caterpillar is peach with black rings around its body, a black face with shiny eyes, and little bitty nubs for antennae. The milkweed leaf is rendered with seafoam/aqua tones. The watermark on the image reads: 'http://hmcgill.art'.

Cocoon Year: April Summary
These weeks, frankly, saw a loss of focus, some deep questioning of what I’m doing, before ultimately returning to progress as normal.

 

 

Cocoon Week 15

My Troubled History anthology submission continues through the sketch and lineart stage. Since some of my roughs have to be done on iPad, sometimes I’ll take a panel to lineart before everything else is roughed. This also forces me to make decisions and keep to those decisions. No walking anything back.

Screenshot of a page during the 'blorp art' stage. If you squint, you can see what looks like a lopsided key in the top panel, and a doodle of a prison from beyond the barbed wire fence in the bottom panel.

This page in particular went through some interesting changes from the ‘blorp art’ stage. At first I envisioned art that strictly referenced a front-on photograph of Washington State prison online. This would have allowed me to very accurately depict a prison compound and not have to invent anything about it. However, I had some concerns over copyright and what this prison actually looks like. Many photographs of this place don’t look the same as each other.

Sketch of a two-panel comic page. The top panel has a modern housekey drawn more competently, with ridges and details. The bottom panel's prison sketch is more refined than prior, but still lacking in interesting qualities. It just looks boring. Too many horizontal and vertical lines.

I didn’t quite get the sense that I was referencing the photo correctly here. Neither did the composition say much other than: Prison. Barbed wire between viewer and prison. My initial idea was to use a very subtle 3-pt perspective grid to make this slightly more interesting. As I played with the grid tool something else emerged.

An even more refined version of the page above. The key has been properly outlined with clean lineart. The prison, meanwhile, has sketchy structural lines putting the viewer far below the prison and a large barbed wire fence, looking up at the institution's imposing stature.

The new layout makes the place look more imposing, and it lends a Z-shape to the imagery within the panel. As a comics layout artist I’m always looking for subtle paths to lead the eye to the next bit of text. I don’t do the typical Sunday Funnies layouts where text appears in the same place every panel. So, I need to hunt for angles that play into the order that people read things. I love to load up my illustrations with luscious detail but that doesn’t matter if the reader can’t find their way to the next bit of text.

Finally I let the barbed wire form a barrier between the reader and the prison. I think popping out elements of an illustration from a panel really sets off the mood for this page’s concept and manner.

How the page is currently looking with complete lineart: Both panels have crisp, thin lineart, ready for coloring. The barbed wire fence cuts through the entire bottom 1/3rd of the page and extends into the bleeds.

At the moment an earlier draft of my story is still percolating on the editor’s desk over at the Sequential Artists’ Workshop, but I feel confident about the story and art. Hopefully nothing needs changing.

I wrote some fast drafts of Warlock’d alongside all this, but nothing felt like it was ready to go. It’s a lot easier for me to edit than to produce so often I just have to shrug and trust myself to return with more wits about me.

Cocoon Week 16

Digital art of a barn swallow character named Margo perched in the dirt. The style is thin, delicate black lineart with cel shading that follows a clear light source. Being a barn swallow, Margo is deep  blue with semi-iridescent feathers, and orange patches on top of her head, around her throat, and along one wing wrist. Her feet are blue and her cream belly is largely hidden by the wings and feathers folded along her back. Margo has a cartoony, overly grumpy expression. Her black beak is set in a deep frown. The inner yellow skin of her mouth is slightly revealed as she croaks the word

Lately I’ve been depressed that I’ve had nothing to show online for Warlock’d, even though I have all this media that I can’t share. So, I drew Margo and patterned her after ‘Lying Cat’ from Saga. She’s so grumpy about crimes! People seem to think she is instead committing crimes, instead of investigating them. I’m not sure how much trouble a barn swallow can cause but this is Margo we’re talking about. She’ll find a way.

Margo is based on several conflating ideas: That the human soul is shaped like a bird, that demons can take on different forms, that demons are aerial in nature, that the souls of the dead can become demonic, or even that a demon can be shaped for a specific task by unnameable universal forces.

Also… … … talking birb! It funny when birb mad.

Writing is the aspect to this project for which I have the least confidence. I used to write a lot of character studies as a roleplaying teen but lining up events for a plot is no joke. Writing alone is also very different from writing with a partner or a group. A lot of times ‘evil’ or ‘bad’ characters need to be deliberately toned down for games because there are still social contracts in play; players need to feel safe from negative social consequences. The immediate feedback of a writing game is a huge pleasure and bestows the same benefits of just hanging out with friends.

Writing alone is…writing alone. You know? Just by yourself with no feedback. Also, it is difficult to get over the hurdle of making sure your characters are always following correct social contracts — a character who gets along well in a dressing room game or a play-by-post forum is actually a boring character in a book or other form of media. Since the reader doesn’t have a stake in the story, or a character of their own to bob back at the writer, I suppose it creates a safer boundary for the reader.

In roleplay some subjects shouldn’t be broached at all, but in books it’s okay to explore deeper because 1.) If the reader doesn’t finish a book it won’t insult the author directly and 2. ) Books come with summaries and warnings and won’t suddenly change or do something unexpected, unlike in a roleplaying writing game.

Which brings me to the idea of voyeuristic media vs. interactive media, and some thoughts from viewing an article on the state of graphic novel sales. A kidlit group I’m in discussed the phenomenon of Spiders Georg and how it relates to top-selling graphic novels, and I’m sadly inclined to agree. Dog Man and Smile are that one guy sitting in the cave eating tens of thousands more spiders than any normal person would. People still grow out of comics. There aren’t enough dragon graphic novels and there aren’t enough fantasy graphic novels and there aren’t enough romance graphic novels and graphic novels cost twenty bucks apiece and a fortune to produce.

On one hand, this is an empty market to explore. On the other, what sort of risk do I represent to someone who would acquire my graphic novel? It has to be written, edited, laid out, drawn, inked, colored, printed, distributed, reviewed, and read.

Suffice to say, I got to thinking about the sheer amount of medieval history information that I don’t know what to do with, and how I can present it in a fun story format. I’ve always felt the push and pull of readers who wanted more, and readers who wanted less. A comic can’t really go both ways. But…something electronic could.

Just imagine: Warlock’d: the JRPG! Readers explore at their own pace and examine objects, taking in information where they need it and ignoring it where they don’t. I could make some nice pixel art for it and wouldn’t have to worry about actually creating a physical object. Literally get five dollars for doing nothing if it’s up on Steam and someone buys a copy.

Don’t worry, I’m not being totally serious.

But the idea…I see the appeal.

In other news more and more of my Troubled Histories story is coming together. The hardest panel so far has been this cutaway/3 pt perspective scene where someone inside of a castle reacts to a noise coming from outside the castle. I’ve had to run this image back and forth from iPad to computer a few times. I really hope I can get all the lines done before May so I have plenty of time to color it all.

 

To Do Next Week:

  1. Do perspective guides on Troubled Histories pitch.
  2. Clean up my 5-page synopsis for Warlock’d.
  3. Try not to regret sending in my pitch ‘too early’.

Care to read more?

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...

Cocoon Year: Weeks 15 & 16

Cocoon Year: Weeks 15 & 16

Cocoon Year: April SummaryThese weeks, frankly, saw a loss of focus, some deep questioning of what I’m doing, before ultimately returning to progress as normal.     Cocoon Week 15 My Troubled History anthology submission continues through the sketch and lineart...

Cocoon Year: Weeks 13 & 14

Cocoon Year: Weeks 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.    ...

Want to chat about this?

Cocoon Year: Weeks 13 & 14

Cocoon Year: Weeks 13 & 14

Digital art of an arrangement of milkweed leaves, rendered in soft teal colors. It's a stack of leaves on a stem with one big leaf thrust into the foreground via foreshortening. All the veins can be seen in this one big oval leaf with a pointy end. Eating its tiny way through this leaf is a tiny caterpillar, near the tip. It has a lot of leaf to get through if it wants to become a proper butterfly.

Cocoon Year: March and April Summary
There 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 Week 11

I heard nothing back on the Warlock’d pitch packet (not that I was expecting a quick response). I went ahead and put together a ‘blorp art’ draft of my Troubled Histories anthology. ‘Blorp Art’ looks like this. It’s for lettering and getting the layout to agree with the artwork. I draw it directly in InDesign with the pencil tool, on my Cintiq tablet.

Screenshot of four comics pages in grayscale, with very quick, gestural art under lettered speech balloons.

I sent this draft in for editing but a friend also offered to read it for me. I sent it to my friend who pointed out a lot of clarity issues and things I needed to think about. Even though I value the editor’s feedback over at the Sequential Artist’s Workshop, I hadn’t heard back from them, so I decided to work on the artwork and get the drawings set in stone. The story has wound up with a little background story that goes on under my narration and it didn’t quite make sense, so I’ve been wrangling it and trying to get it as polished as my main message.

Digital sketch of a very ornate old lock, meant to hold a church door closed. It has crosses sticking out of it everywhere, as well as guardian animal heads and ironwork creatures twining around each other. A large crude keyhole is in the center of the lock.

Here’s the rough of my ‘cover’ page for the anthology. I’ve well and truly fallen in love with this 12th century lock that used to be on a church — perfectly conveys the meaning of ‘security theatricality’. This lock would be simple to pick, but you don’t want to make the person who owns such a fancy lock angry, would you? There’s so many dragons guarding this place…

Cocoon Week 14

I made the executive decision to proceed with working on Warlock’d as if it is not out on pitch. I need a rough script anyway. Back to my usual hijinx with a Trello board and Google Docs links, then!

Screenshot of a Trello board with stacks of digital notecards in columns. The background is a wood texture with metal studs poking through.

I like separating the story into arcs because I feel like, within a larger narrative, the reader looks for ups and downs, but they may not keep track of every single detail. ‘Oh yeah’ moments and other twists do need to be obvious but they can’t be hidden in flavor descriptions, small character interactions, or other unfair nooks in the story. Arcs set something up, bring the reader somewhere new, and resolve a setup so the reader no longer has to worry about that information as they read. After I make an outline and a detailed synopsis, I like to separate out arcs and then name them.

The arc labels could work as chapter names, but there’s only so much room in a graphic novel so I typically don’t like to separate longer stories into chapters. Separating them spends a page per chapter and every single page matters in such a visual medium.

Ideally, I want to have a rough draft of the whole graphic novel ready for whenever I secure an agent. I have several rough drafts in the past but this is the first draft that feels like it’s snapping and like I won’t regret adding detailed art to it. The writing gets riskier the closer to polished it becomes, because editors may want to have a say in what I’m writing. If it hits layout stage then it’s extra difficult to edit. However, I still think that treating this like a webcomic is my best bet moving forward. Nobody gets to dictate what I get done until they buy it!

I’ve been flipping between Warlock’d scriptwriting and more detailed roughs on my Troubled Histories project. I got notes back from the editors that matched my friend’s notes fairly closely, so I sent in a new version of my anthology submission that has more drawings on it.

 

To Do Next Week:

  1. Do perspective guides on Troubled Histories pitch.
  2. Clean up my 5-page synopsis for Warlock’d.
  3. Try not to regret sending in my pitch ‘too early’.

Care to read more?

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...

Cocoon Year: Weeks 15 & 16

Cocoon Year: Weeks 15 & 16

Cocoon Year: April SummaryThese weeks, frankly, saw a loss of focus, some deep questioning of what I’m doing, before ultimately returning to progress as normal.     Cocoon Week 15 My Troubled History anthology submission continues through the sketch and lineart...

Cocoon Year: Weeks 13 & 14

Cocoon Year: Weeks 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.    ...

Want to chat about this?