May 2014

This strip makes use of a greater range of gray markers as well as a colourless blender, which gives a distinct mottled look when used incorrectly, as seen in the face of the second panel. There is a temptation to want to use every single new colour and tool available, subsequently this comic ended up taking around four hours- an unsustainable amount of work for this type of daily output. I have attempted to lead the eye with the face position in panel 2, looking down to the third panel, where I have framed the action within white space and the literal frame of the window, while adding perspective and outside detail for visual interest. This it also an example of embellishing the literal truth and adding an amount of fantasy to give the emotional weight it required. I don’t like swearing and hesitate to use it but on this day I was definitely feeling pissed off- although I have used ‘that word’ I have covered it a little to not make it too obvious, while giving a nod to the inherent ability of people to fill in the missing pieces. 

I got my new pack of 72 copic markers delivered, and what better place to try them out than right here! This strip makes use of a much greater range of colour than any others previously, and I think I still managed to keep it somewhat subdued. This strip has three panels of disjointed ‘vignettes’ from throughout the day and one min strip at the bottom. Again, I spent way too much time on this.  

Here playing around with strong coloration to give a feeling of sickness to the scene. I am a fan of colourists that lend a scene it’s own distinct hue, in particular the colours of Dave Stewart who works on Ed Brubaker’s and Sean Phillips’ books. 

Scene to scene transitions that may lose or confuse readers due to the jumps in time and space. A friend commented on this, “so your mum lives in a car?” Although she was joking (I think) it shows where the interpretation can go wrong if the jumps are too drastic.
I have tried to use complimentary colours within the panels and also across panels- the main colour of panels one and three are also complimentary. Unfortunately the whole piece does not hang together well.  Once again the scene to scene transitions are perhaps too jarring, and a continuous colour theme may help to hold it together better.

A straight black and white, quick and easy. Staying within the same scene, a small slice of conversation- these ones seem to get a stronger response on social media as well. Shaded version below. A small amount of tonality goes a long way.

Here are two versions of the same thing, the original (above) and the edited version (below). I used unreal colours in the second panel to signify a dream scene, however I did not carry it over into the third panel. The colouring from the first and the third is also different. The entire thing is fragmented and hard to read as a result. In the edited version I laid a red filter over the third panel, however I could not get it to match up to the second, and by this time decided I had already spent enough time and could instead learn from the experience.

Although the panels are all coloured nicely there is still no overall colour scheme to tie things together. A unifying colour across the board and a limit to the amount of different colours used would have helped unify the three panels.

Here I have given consideration to the overall colour scheme, and made sure that the colours are kept simple, with a single distinct light source within each and simple gradation of shading. This was fairly quick to complete but has achieved a satisfactory cohesiveness and is simple enough in its narrative to understand quickly. Back to the established visual method for this one, although playing a little with the text in the first two panels- I wonder how little you can put and still have people able to understand it?

A lot of text, but hopefully the visuals make up for it. Layout is a bit messy on this one- it was something of a rush job.

Another one of my diary comics where I am in a hurry and need to work quick, and end up spending over 2 hours on a single page. Above is the original, a little cramped with some panels falling into others. I have given the page more breathing space by enlarging the gutters (below), hopefully facilitating an easier reading. I’m more familiar with the copics now, this entry uses a lot more of the tonal and neutral gray markers. 

A look at the many different hats we wear on a daily basis. How many identities do we take on, how do we define ourselves and how much of who we are is dialogical in nature- that is, dependant on the social interaction taking place?

Back, happily to the brush and ink. Lettering and bubbles added in Photoshop. The speed with which this was thrown together is awesome, and you often don’t know what you are gonna get with this medium, as opposed to felt tip pen and copic marker. This image has an added layer of white gel pen for highlights and background details, which gives a nice effect I haven’t explored before.

Riding is much less combatitive these days since I’ve started obeying all the road rules, no matter how ridiculous. Amazing how people are so happy to scream at you when you break road rules, while oblivious to the fact that their massive four wheel drives and SUVs are clogging the roads and guzzling fossil fuels, while you on your bike are kinda saving the earth and making their commute a little less crowded.

A full day of extroverted engagement is completely exhausting. Fulfilling, and fantastic when people appreciate your work, but tiring nonetheless

Can you get a refund if the trailer shows something completely different to the actual movie? Give me an intelligently written movie with Bryan Cranston in the lead, with only snatches of the actual monsters, in the vein of ‘Cloverfield’. That’s what I paid to see. But, some people complained of not enough action, not enough Godzilla. Different strokes for different folks