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.

Care to read more?

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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Cocoon Year: Weeks 1 & 2

Cocoon Year: Weeks 1 & 2

Digital artwork of a monarch butterfly perched upside-down on a decorative seafoam-green leaf. The butterfly has bright orange wings with stark black outlines. White spots line the edges of the wings. The butterfly's body is covered with black fur that also has white spots. It has laid approximately one little pale green egg. The leaves form stylized curlicues.</p>
<p>Text on image reads as follows:</p>
<p>'Me' over a black arrow pointing directly at the egg, referring to me being 'born' or getting laid, perhaps? Not in the naughty sense, I'm literally being laid in this picture, inside of an egg.</p>
<p>'My Creative Impulses' is over a black arrow pointing at the butterfly, implying that I am a creation of my own desire to make graphic novels.</p>
<p>'http://hmcgill.art' is on the bottom of the image as a watermark to go to my website.

Cocoon Year: Week 1 & 2 Recap
For 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 doing, I’m cutting out small, social-media-friendly pieces in favor of developing larger projects. Chief among these projects is Warlock’d: To Hell, With Love.

Some of my friends have reached out to me about Warlock’d, concerned about its progress. I’m concerned too. I’ve had iterations of this cozy mystery graphic novel in various stages but never feel happy with the writing.

Progress is slow without feedback. Feedback is difficult to get. Either people don’t understand the project, won’t talk technical tips in an attempt to be encouraging, bash it subjectively, aren’t familiar with my target audience, or don’t understand that I’m deconstructing medieval pop culture stereotypes.

By the same token, at best I am an amateur historian, just like how, with RAWR! Dinosaur Friends, I was an armchair paleontologist. I’m making do with the information I have available to me. It’s not always the most up-to-date, largely text-based, and I do not fully understand the most complex parts of this time period. I fear sharing much for this reason.

Demons are difficult to talk about. For some people, demons are very real, present-day entities, for good or for evil or for silly. Demons are part of religious history, so religious and spiritual discussion inevitably crops up. From an art historian perspective, many demons are racist caricatures. None of these are safe subjects to talk about on a whim.

I have some friends that I would love to share Warlock’d with, but I fear wasting their time if the writing is not quite good enough. Luckily, I’ve been working really hard and this is getting easier. I often feel bad for wasting people’s time. If I get better at writing then it’s less of a waste for them.

It’s also hard to share progress for a project that oscillates between being an indie webcomic and a published graphic novel. I can’t ever tell how much I should share, and if things I’ve shared publicly hurt my chances of getting published (or if I even want to be published…I literally have everything I need to do a webcomic!)

With all this in mind, I participated in #DVPit this year and got so much attention on Warlock’d that I feel it’s best to query, at least a little bit, before I settle in on this project as a webcomic. Having a very polished and workshopped pitch is also good for indie development. I feel like sharing my progress shouldn’t hurt my chances, as long as I talk about my trials with writing, revisions, and synopsis hell. I may keep my character and cover artwork close to my heart until I get rejections from querying.

I have never once actually queried Warlock’d. I have taken it to workshops and reviews. There’s been interest from agents but I suffer the curse of perfectionism, as well as not knowing whether this project is an indie webcomic or not.

I also have some very wonderful friends who have taken an increasing interest in reading my work…and are even willing to read revisions. Once problem I had in a past writing group was that revisions weren’t allowed! It was so hard to keep track of people’s progress beyond slapping down the first draft. To me, revisions are where writing gains depth and interest. It hurts to feel like my critique went nowhere.

Ideally I could have this book picked up by a publisher and share my process in great detail on my blog. I fear marketing mishaps if I retcon something I worked on in this blog but honestly, I don’t know of anyone who’s ever blogged their graphic novel creation process from pitch to finished book. There might be a reason for this, probably that graphic novels are soul-crushing work. It’s something that still feels very helpful to me. SAWgust was very good for tracking a shorter project. Having a whole year might be great for tracking a longer project.

Game development is also a recurring distraction…I’m currently working on a little physics-based platformer where players wreck our house with our cat. It’s nice to get away from comics every now and then, although game dev is its own challenge. Having to wrap my head around how sprite cat heads work on a rotating circle body was the most recent challenge.

Anyway. In the spirit of what I want to do with my blog, my comics career, and my website, here’s a breakdown of how my first three weeks in 2024 went:

 

Cocoon Week 1

I started out with an existing synopsis that I’d written in October 2023. Several people read it. It was deemed ‘fine’ but not amazing. A big problem was character motivation. The villain felt evil for no reason. I had a reworked synopsis that I shared with no one for fear of it being too long. I wrote a ‘shorter version’ that, of course, became much longer. However, I feel pretty good about this long “short” synopsis. It feels more focused.

I have a lot of questions about cozy mystery structure. Initial research tells me a cozy mystery-style murder ought to have been committed for a specific and clearly-defined reason…but a lot of Warlock’d’s emerging themes involve a chaotic reality under a spiritual ‘veil’ that appends meaning and order where otherwise there is none. I’m leaving a couple parts of the story as accidents, but they do feel like  temporary pins for the time being.

I also wrote a sample script to show off how Margo and Stone (formerly Pierre) interact. It’s pretty good and has been workshopped very intensely, but Stone’s motivation never feels strong enough via his dialogue. Maybe he’s too chill, or too masked. I wonder if I should lean into this and make it part of his devil-may-care attitude.

Margo, on the flip side, is the easiest dialogue in the world to write. She’s ranting in the same cadence as a barn swallow chirps. I find that the more I type freeform, run-on sentence, shitposty even, the more I hit Margo’s voice. She has been a fairly popular character in past versions of Warlock’d, so at least there’s some aspect of the project I understand.

 

Cocoon Week 2

I stalled out on remaking my sample pages. I had a version of the pitch in roughs/inking stage but the writing was too complex. This version tried to set up Tittivillus alongside Margo, and Stone’s character was just getting lost between them. As a result I was getting too precious about the art that was furthest along in the panels. Rewriting according to that art wasn’t producing a good set of sample pages. I’d also caught some illness in between starting and stopping the sample pages, and looking at it reminded me of feeling sick.

I worked on character designs instead. I’m not sure how many of these characters will fit into a pitch packet. They’re all mentioned in the synopsis, save for Tittivillus who goes into the story and then gets cut frequently. Poor guy. One cutesy idea I had was to format the characters like a suspect lineup, with lines behind their heads. I suppose I should do a pitch packet layout in InDesign. I want feedback on the text parts first.

I also stalled out on making a ‘cocoon year’ graphic for the blog, and thus postponed creating a blog entry for the week after. I think queueing content is a healthier thing to do than write up to the blog post deadline I set for myself. What I’d like to do is have 24 evolving ‘cocoon year’ graphics to show a caterpillar doing its thing, every other week until the end of the year when I see what the butterfly looks like. I really like Monarch butterflies so I’ll go with that.

 

To Do Next Week:

  1. Make Cocoon Year posts easy to update by prepping artwork.
  2. Slowly rebuild momentum on my pitch packet, especially the sample pages.

Care to read more?

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...

Want to chat about this?

You Don’t Meet in a Tavern Promo

You Don’t Meet in a Tavern Promo

Digital artwork of the absolute oh my god edgiest edgelord dagger ever. It has an obsidian blade, purple leather wraps, a brass handle with a weird clover design on it. It's surrounded by a halo of abstract angels and pool-table green fields with fleurs on them. You can probably order this knife out of a knife enthusiast magazine. It would also not look out of place in Hot Topic. And this knife is not a phase, Mom!

Where to Stick This Knife?
One fine morning a little over a year ago, I set up a silly poll on Twitter. I asked everyone, since we were all thieves in a treasure room, which item to steal. About thirty-seven thieves weighed in and decided upon, among other things, taking a single knife from the treasure store.

In response to this, I created the absolute shiniest treasure knife possible. I streamed its creation live on my weekly Twitch stream. I gave the knife an obsidian blade, per chat’s insistence. Then I messed around with the symmetry brush because that seems to draw people in. I imagine it looks really cool live to see a mandala spiral out of nothing. I based a color scheme on the silly obsidian used to craft the improbably blade, and while it somewhat reminds me of the green felt on a billiards table, I liked it.

The knife then sat, fairly un-used, for a long time. I came up with a mystical moonphase archery set to accompany it later, but there’s something a little more special about the knife.

Digital artwork combining medieval lunar charts with book illumination, a wooden Ottoman horse bow, and fletched arrows. It is gilded with gold. The lunar chart combines the phases of the moon with eclipse patterns. A green orb representing Earth is in the middle. The bow has an arrow strung to it and is aimed downwards.

Flash forward to Geek Girl Con ’22. It was going to be my first in-person convention since the end of the Pandemic. I’ll have a more detailed post about this con later. It was very, very good. It was sort of a reinvention for me, moving away from painterly offerings and into more comic-book style art.

Photograph of my table at Geek Girl Con, courtesy of AnnaMarie Jackson-Phelps of Violet Daisy Games. The Warlock'd zine is posed on top of a gold tablecloth. More copies of it and the Crab Rare Arts Best zine are cropped by the composition. In the background, there's a couple of prints: One is the moonphase bow and arrow set, and the other is the edgy obsidian knife.Hey! I recognize that knife back there. Photo courtesy of AnnaMaria Jackson-Phelps.

One of the reasons I go to conventions is that I meet so many great people. The person I met of note with regards to this post was AnnaMaria Jackson-Phelps, a game photographer and TTRPG designer. She took this and many other photos for me. Then AnnaMarie granted me permission to share the photos on my blog. It was really kind of her and I hope she had a great time!

You Don’t Meet in a Tavern
In the follow-up email, AnnaMaria asked if I’d be interested in participating in her upcoming TTRPG prompt book, You Don’t Meet in a Tavern. While I couldn’t immediately commit to making new art for the book, I wondered…Maybe…maybe there was a home for my edgy obsidian knife here? I had a really honest open conversation with AnnaMaria about art licensing and I’m definitely very happy with what we decided to do.

I’m pleased to announce that my knife will appear in this collection! Keep an eye on Violet Daisy Games for more information.

Care to read more?

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...

Want to chat about this?

A Fossil Returns to Life

A Fossil Returns to Life

Digital art of a very fancy tea part being raided by three small yellow pterosaurs. One is coming in for a landing over the manicured lawn. Another is fishing the tea bags out of the teapot with its beak. The third has adopted an overturned teacup as its home, where it can secret stolen sugar cubes. There's a rainbow over the scene. The tea party was shaping up to be pretty good before the pterosaurs arrived: A petit four, cupcake, donut, and fancy cutlery lie askew on a patterned tablecloth.

What Do We Do with Old Art that People Really Liked?
I’ve been doing conventions for awhile now and find them very personally fulfilling. I have so much fun setting up my display, rehearsing my sales strategies, and figuring out which things sell and why. Of course, my favorite thing to do is make merchandise in the first place. When I was starting out, I learned quickly that fancy prints are good for attracting people over to my table. I learned which paper and which printer to use to get the best-quality prints. There’s just something very nice about making a piece of artwork and then packaging it up to go to someone’s home.

Earlier version of the digital art featured in this blog post. It is much simpler: Just a teapot, the three pterosaurs, and one sugar spoon on a blue handkerchief. This is all on a plain white background.

The original Ptempest in a Pteacup, circa 2013.
I did this in Adobe Illustrator with vector shapes because…I enjoyed pain.

Of all my prints that I’ve ever made, I’ve sold the most copies of Ptempest in a Pteacup. As much complex analysis of this piece as I want to do, the general consensus when I ask is that it’s ‘cute’ and ‘like nothing I’ve ever seen before’. I think the fantasy of owning a small prehistoric creature is a common one, or at least one that can be tapped into easily when observed for the first time. I think people liked the clear silhouette and ability to make out what was going on, and the weird/shiny surfaces.

It hurt to retire this print. It also hurt to sell more of them.

Why did I stop selling it? Well, it’s a very slow style rendered in vector graphics. I can’t easily or quickly replicate this style. The underdrawing also isn’t something I particularly adore. It looks kind of lumpy. That may have been part of its charm, but I’m not that artist anymore. I’m a different artist now! Finally, the size wasn’t large enough to fetch the higher prices I could see it selling for. This was an 8.5 by 11 print and the maximum I feel comfortable charging for that is $25. I wanted to make it an 11 x 17 so I could charge $40 per print. Most home printers can’t do 11 x 17 so I want the novelty of a larger print to factor into its appeal.

On the docket: A size update, and a style update. How do I do that while preserving the magic of the original? Do I truly understand what people liked about my own work? I’m going to ask this question over and over again. What do people like? How do I update something people like, but still have it reflect the original work?

Digital sketch of the final art. It's more or less what we see in the final, but scribbled in and not colored in yet.

My 2nd or 3rd attempt at a sketch. Not sure where the earlier ones went, but this is where I landed.

My goals with this sketch were to fill out more of the page, make it more of a full illustration instead of a spot graphic, really justify the scene by printing full-bleed. I also wanted to make the perspective on the teacups and teapot cleaner, and just in general make the designs more elegant. I’m not the greatest at paleontological reconstruction but I felt like the pterosaurs deserved more care in their construction and posing. One of the pterosaurs was moved into the sky so that the viewer can see a whole body and how it flies. This should make it easier to imagine the rest of the other pterosaurs whose forms are hidden.

Some very rough color studies, one with a sunny day and one with a rainy day.Color studies. Sunny day and rainy day.

I only did a couple of color studies here. I knew I wanted to keep the pterosaurs yellow so that they’d jump out at the viewer as ‘odd’ when passed by. Purples and blues were there to support the yellow. I messed with the idea of a rainy background but sunny foreground, a fox’s wedding effect. Ultimately that felt a bit convoluted for this piece and so I moved on and vowed to keep it simple. The rainbow was a joke but of course that’s the thing about jokes…Perhaps my friends who join my drawing livestream dared me to leave it in!

Digital lineart of the pterosaurs attacking the tea party. It's blank and ready to color.First iteration of lines. Available to freely color under a CC-BY-NC 3.0 License

This, I felt, was pretty good. I’ve been getting faster and more confident in my lines. It’s approaching the balance I want between polished lines and getting the lines done at all. Right now I’m really enjoying the monowidth look done with Pencil tool. Maybe I’ll expand it with thinner lines on some of the surfaces in the future, but for now, I let colors do most of that work.

Simple flat coloring on the lines of the pterodactyl artwork. It looks very dull because no shading or highlights have been added.Without much of a variety of color studies, I explored my way through this scheme.

Some color schemes can be explored through. I would never do this with a client, but in this case I needed to do it for myself. For fun. Because that’s all art really is, right? I also started plotting where the highlights would go. Highlights function to draw attention to key parts of a piece.

Closeup of a sketch depicting a Victorian manor reflected in the surface of a teapot, warping and gleaming included.I also had a small adventure figuring out the landscape around the picnic.

What was I doing here? I was figuring out what would reflect on the teapot, and where. I think porcelain’s reflectivity is not too high so I felt comfortable blotting in colors and leaving it at that. One feedback I got on the original pterosaur piece was that the ‘shiny teapot’ was very desirable. I didn’t like how artificially shiny it was and so I sought a more sophisticated effect here. Which leads to designing a small Victorian garden that most people won’t see. That’s life. And art.

Digital art that is the same as the first image in this post, but there's one thing missing...I sat on this for a couple of days.

And so, many layers of shading, rainbow gleams, research into confections, spot black applciation, and a custom repeating pattern for the table cloth later, this is what came out. Something still bothered me about this piece. I think it was the proportion of subject matter. The teaset seemed to be the main part of the piece. I wrestled with what to do. I didn’t want to add another whole pterosaur, because that would be too much pterosaur. It was like measuring out milk and sugar. The tea flavor still needs to come through.

Closeup of the pterosaur hunkering down in an overturned teacup.Hang on. This one’s looking a little cramped there. Where’s the wing going?

Same screenshot as above, only this one has been edited so that the pterosaur's wings are free of the pteacup and spread widely outward.Boop! Wings. Done. 🙂

Care to read more?

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...

Want to chat about this?

So I Went Adventuring…

So I Went Adventuring…

Digital artwork of a chipper, perhaps even smarmy, kingfisher on a branch. The kingfisher is decked out in fantasy royal knight regalia. This includes a blue cape with ermine fur on the inside, a small buckler strapped to her shoulder, a sword strapped to her back, and a dagger attached to a belt wrapped under her distinctive red 'belt' of feathers which marks her as a Belted Kingfisher. The sky is big, bold, and blue behind her, ripe for adventure!

Lady Sigrid von Eisvogel
“Lady Sigrid von Eisvogel of Gürtelfischer Manor (she/her) is an adventuress who has gained some notoriety as a skilled and fearless swordfighter in recent years. Her origins are somewhat mysterious. While she is more than happy to talk about her home and family, neither she nor various other interested parties have been able to turn up a single other person who has seen or even heard of the realm she claims to come from. Those of a more sceptical disposition might say that it is rather convenient for her that nobody can verify her claims of being a warrior-princess. However, while she may or may not be a princess, the “warrior” part is evidently accurate, so it is wise not say such things within earshot of her.”

-R. Kraft, Avians & Aviaries

About This Piece
Lady Sigrid here would not exist without the chance sighting of a kingfisher by my photographer friend, GettoKnowNature. Kingfishers are notoriously elusive photography subjects and here was one just chilling on a branch one winter morning! The bird had so much character, I was equally smitten when Nature’s luck.

Digital photograph of a belted kingfisher perched on a branch full of lichens. The sky is super blue behind her. The kingfisher is female because it has a rusty brown 'belt' around her waist.Photograph byGettoKnowNature. Displayed with permission.

So, I did what I do best when I see a cheeky beak: I drew it! I also found out tangentially that kingfishers are related to kookaburras. This was related to noticing the beak and crest being kookaburra-like.

Where Have I Been?
I have been right here, busy as ever. Perhaps busier. I had to put the blog on the backburner when contracting picked up a little too much to maintain everything I wanted to accomplish. I return with thoughts on how to continue making the two-week schedule I’d originally envisioned here managable.

Simpler Posts
Step one, from here on out each post will simply be that. I won’t add tutorials to the end. These tutorials were taking a lot of my time. I couldn’t trust that they were accurately conveying the concepts I wanted to teach. Finally, each one kind of contained enough information to be its own blog post, which often felt at odds with the subjects I was actively blogging about. Therefore, whenever I make a tutorial post in the future, it will be its own fullblown post! I think this would be very fun and make the amount of work involved feel like it’s worth it.

Status/Update Journaling
Step two, there will be times when I don’t precisely have a finished product to show. I’m opening myself to status updates and observations that come with that. I’m already experimenting with it via my Amphiox project and it feels great.

Blog Redesign
I would also like my blog to feel less detached and all-over-the-place. I’m going to revisit the layout and make it easier to navigate through posts and find posts with similar tags and categories. I think it should feel like it’s part of my main website rather than a different area.

Up Next
I’m tabling at GeekGirlCon! This is one of my favorite, favorite conventions. I’ll be at table 915 so if you’re in the Seattle area on Saturday 5th November, I’d love to meet you. I will have a new zine and tons of new prints, plus some returning goodies from years past. It has been a long time since I tabled anywhere due to COVID but I’m looking forward to getting back into these. I love meeting people so much.

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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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Goblin Week 2022 Retrospective

Goblin Week 2022 Retrospective

Digital artwork of seven gangly goblins.

Throwing Down on Social Media
I don’t often participate in big group challenges in public, but this one caught my interest: Goblin Week! It was started by Evan Dahm in 2012 and every year, the goblins just get more goblin-y. I created seven different goblins with different goblin careers. One aspect of the challenge that I was proud of was testing out how fast I could conceptualize a goblin, draw it, and color it. I could make a couple per hour with my new lining and flatting style. The goblins didn’t make as big of a splash as I’d hoped on social media but I am happy with them and hope they live lovely little goblin lives.

Comics Tip

Developing a Following for a Comic via Community Events
Big community challenges aren’t necessarily great for exposure. Many times, artists who already have a following are the ones who are going to get big numbers within a large group event. I’ve done many community challenges in the past and have a few thoughts to share about them, besides simply honing your skills.

Digital art of dragons chasing a tiny Margo.One of my old Inktober entries. Margo has attracted quite the following.

What is the trick to gaining followers from community challenges? I would say, picking smaller challenges that occur frequently is a great place to start. Why is this? Well, if you think about advertising, it’s something that has to happen consistently to ‘take’. A person often won’t click on an ad the very first time they see it. If the ad is persistent, they are more likely to click it. The same goes for following an artist. A person who sees that artist’s work multiple times is more likely to recognize and follow them.

If the only community event an artist does occurs once per year, and is already oversaturated with the works of other, bigger artists, then that is not going to result in many new followers. Sure there are oddball lucky submissions that do numbers, but for stuff like Inktober and Goblin Week I could tell that artists who already had followings were being seen and shared the most. My own submissions for just the one year reached a couple of new people, but this was only with the help of those who already followed my accounts (about 2-3 thousand people across my various accounts, as far as I can tell). So, this makes me think that the really big community challenges aren’t necessarily the best ones for comic artists hoping to attract new eyes to their work.

Try Small, Repeating Art Contests
My suggestion for those looking to build their following would be to start small, with small challenges, that repeat frequently, so that your work gets presented to the same audience on a relatively frequent basis. People love to watch growth so even if your work isn’t up to par at the beginning, it could get there eventually. Persistence is going to win the day if your goal is to build a following. Pick one or two monthly challenges with consistent deadlines, such as on Facebook or Twitter, and add to the community there. Then, once momentum builds from the smaller communities, it’s easier to make a statement in larger community events.

My final note, of course, is that social media is inherently meaningless on its own, so some thought ought to be put into what a following may be used to leverage. Don’t build your following for a comic at the expense of making the comic, is all I’m saying.

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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...

Want to chat about this?