Cocoon Year: Weeks 7 & 8

Cocoon Year: Weeks 7 & 8

Digital art of a caterpillar munching its way out of a translucent eggshell. The caterpillar is chunky with a shiny black head, and little black grippy legs. Just the head of the caterpillar pokes out, while the rest of its body curls around inside of the shell. The egg rests on a nest of fine, curly milkweed hairs.

Cocoon Year: 1st half of February Summary
I started out strong, felt some lag, and came across an unexpected second wind while designing supplementary graphics for my pitch packet.

 

 

Cocoon Week 7

This week some client work landed on my hard drive. It may seem unethical of me to split my days in half for client work, but it doesn’t matter how I allot my time, so long as I hit my deadline. Typically, I’m only good for a 4-hour stretch of mechanical lettering. Any longer and I slow down, then make mistakes. It makes sense to start the day doing production work because by the middle of the day, I’ve lost focus on it and need to switch gears anyway. Developing my personal comics is great for that, and also related to my career.

I’m looking back on my pages and feeling really pleased with myself. My previous serious attempt at a comic, Amphiox, still felt iffy at this stage. It didn’t seem to matter how much I edited, re-sketched, or re-did the lines, it still felt somewhat amateur. However, I have over half a year of weekly anatomy drawing study under my belt, and it’s really showing. I’m not only drawing faster, it’s also showing up the way I want it to look. Perhaps this is my physical skill catching up with my aesthetic ‘eye’. Eventually that eye will once again speed ahead to something I can’t draw yet. For the time being both seem to be on equal terms.

Cropped shot of a heroic-looking Cleric Stone. This is black-and-white digital ink work looking up at him. He has a tyopgraphic halo that is on fire. He wears his hair in a series of braided box braids. Inscribed on the halo is the Latin phrase 'Flectere si nequeo superos acheronta movebo', translated below in text.

This page, sample seen here, was the messiest through the whole process, and now it’s one of my most favorites. Apparently, the trick with heroic upshots in cartoons is to draw the jawline anyway, even if it’s not correct to the perspective I’m referencing.

“Flectere si nequeo superos acheronta movebo.”
(If I cannot move Heaven, then I will raise Hell.)

As I was going I mentioned to Devin (spouse) that I’m no longer allowed to sit and stare at my InDesign file without doing anything. He responded that maybe I should enjoy looking at my project sometimes.

Fine, DEVIN.

As I worked this week, I discovered that Thursdays are going to be a problem while I have client work on my plate. I host a figure drawing study group on the Sequential Artists Network and it knocks out my entire morning. The very thing that’s making me better at making comics is…stopping me from making a comic! That’s all right, though. If I just accept this as part of my schedule then it’s easier to move along.

As far as breaks go, my schedule also needs to change as I fit client work in. I need one day every weekend where I do NO comic work at all, and one day where I choose what comics-related thing to focus on for the whole day. I’m allowed to draw or write, it just can’t be Warlock’d or client work. To be honest I haven’t officially ruled against ‘comics’ in general on the weekend, I just know I’m not in the mood to start another comics project. I did send in a small pitch for one of SAW’s nonfiction anthologies so I’m hoping that doesn’t burn me out.

No no, I’ve been doing pixel sprite art. Video game assets. Stuff like that. Things I can call ‘complete’ very quickly.

All that said and done, I’ve made great progress on my client work so far. Even better, I completed the inking and the lettering on my Warlock’d sample pages. I’m really happy with the tone that they convey, and how the layout interacts with the illustrations. I’m ending the week with the next caterpillar drawing for the post I’m going to make two weeks from now.

Cocoon Week 8

Client work feels slow, even in half-day bursts. The greatest part about this work is that I know how to do it, and that’s also the worst part. There’s no reason to ask anyone how to do anything, so I don’t get much collaboration. Revisions are mostly small nitpick things with little active discussion. It’s just busy work. It’s stuff I can do while listening to something else. There aren’t many thoughts going through my head while I do it.

Digital pixel art of a magnificent bird/fish monster. It's mostly pale off-white with luxurious blue and pink feathers. A decorative tail curls around its body while it stretches its wings. It's a combination of the pokémon, Milotic and Fearow.

Increasingly I’ve been fond of doing pixel art. There is a giant, fan-made RPG maker game that calls for over 200,000 individual 288×288 px sprites, and they’ve set up an automated art direction and QA process for it. It uses bots, post formatting, and artist vetting to make sure feedback is allowed. It’s not a perfect system and a lot of the art that gets through has varying quality. Surfing for feedback there feels really good, though. I wish more people would pick at my stuff. I think I’m just craving an environment where I can actively talk to someone else while working on a project.

That brings me back to Warlock’d, which felt awful to work on this week. No matter what I do to speed up the process, flatting never feels fun. However, if I ever want a chance at an environment where I can obsess over Warlock’d with someone else and we all get paid for it, flatting is what I must do. Flatting is also what I must do if I fail to pitch it well enough and it turns back into a webcomic (again…for the fourth or fifth time).

I’m not feeling great about my twelve sample pages as I wrap up the flatting. However, I also felt bad about flatting Amphiox. I think any freshly-flatted comic lacks all the carefully-plotted focal points since I haven’t set up any shading yet. A lot of the shapes are blending into each other and lack clarity. It makes it feel like there’s so, so very much work left to do on them, even though I’ve been working on them for weeks.

The only solid decision I’ve made is that Hell needs to be depicted as lifeless. For this I’m returning to my previously-scorned Vermeer-inspired color scheme, that largely hedges on grayscale, reds, and a little bit of gold. Here’s hoping it won’t be a turn-off, as Hell is featured in the very first page. However, I feel like being upfront about Hell’s aesthetic and purpose in the story is important. Otherwise I can’t imagine why someone would pick up a comic with ‘Hell’ in the subtitle. It’s ‘Warlock’d: To Hell, with Love’, not ‘Warlock’d: I Guess Hell Is Involved Somehow but Feel Free to Put it Back Down if it Makes You Uncomfortable’.

Another problem is how to handle firelight, and interior lighting in general. Medieval people did not have great interior lighting whatsoever. To make this feel natural I have to invoke braziers and torches and sunlight. I guess I have to trust that a print production designer later on will just shake their fist at me and some of my poor CMYK choices. Some of these colors are extremely dark!

So far loneliness is my biggest foe. I really want to talk to more people about my pitch. However, I’m worried I’ll get feedback that makes it harder to share to other people.  There’s always someone out there who wants to sharpen their fangs on a work-in-progress, for no reason other than an easy slam dunk. This is not to say that ‘Wow! I love it’ is all that helpful, either. What I really need is neutral shop-talk. Figuring out where my concept is confusing, cleaning up art, etc.

Over the weekend I consoled myself by expanding the sample pages into a full pitch packet document. I drew a stylized border to go around my synopsis page. For some reason being able to quickly make a border like this cheers me up a lot.

I’ve also decided to omit the glasses from future caterpillar artworks. It feels weird to be so snarky at myself when I’m putting in such an honest effort, and people seem to like just the caterpillar drawings on their own.

 

To Do Next Week:

  1. Shade and color sample pages
  2. Compile ‘Suspects’ character page
  3. Draw props
  4. Draw more caterpillar shenanigans
  5. Find someone to look at Warlock’d and not make me start over again.

Care to read more?

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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