I have gotten the paper that I need, or prefer, to commence my work on the pages of my comic. The only thing that is special about this paper is that is tabloid sized Bristol board. which is nice, because then I don’t have to waste time cutting down paper to that size, it will fit on my scanner easily, and the detentions will be spot on for when I have to downsize it for the comic book size. It’s a win, win to me.
Beyond this, I have been working on other projects, researching other well known comics/authors/artists, making my small, small (cozy) studio efficient and organized as possible, and working my day job at an art supply store.
As far as Number 19, I finished the working cover for the first issue and now I will be diving into completing the pages. I hope to have it fully inked and coloured in a few months, well for the first part.
My current reading are:
Hellboy (as per usual)
Mœbius’s The World Of Edena
And what books I’m listening to are:
H.P. Lovecraft (all his works)
A Farewell To Arms
Libraries are amazing! If you don’t use yours; you’re missing out!!!
In short, what I have been up to has mainly been reading. Primarily books about how comics are structured and what guidelines there are for making them. Through that research, I have been focusing on finding and creating a clearer direction for my comic series Number 19. When I was originally creating the story, I had very limited prior knowledge making comics (Understanding Comics by Scott McCloud, and various comics that I got). With that, my first go at comics was good, considering I’d had no formal training or understanding and only limited time of guidance from the new head of the department at GVSU.*
The story itself is set and practically done [‘practically’ meaning that, if necessary, I will make changes or additions to the story]. What is still brewing in my mind is how I am going to make it visually, which is like standing in the middle of Times Square during rush hour and trying to take in and understand everything. I’m essentially trying to find the best way to tell this story, weighing the questions, and meditating on them. Is color necessary, or can I tell it in black and white? Should I use gray scales or ink-washes? If so, do I also use color too or leave it out completely? What about using color for flashbacks? Should I stylize things more? Etc. Most likely, I will still use the ink-wash and I will probably use color for the purpose of storytelling and design. That opens up more questions about what paper I can, can’t, or should use. Although I can do it all on heavy bristol board and color it digitally, sometimes doing things in the traditional manner is still the best, and that will be a page-by-page assessment. Finally, I still have to figure out what size I want it to be in, a factor that is also dependent on who I publish it through.
So I am reassessing all the questions that I skimmed over quickly when I made the preview edition of Number 19 due to time constraints.
The only constraints that I have now are my day job, my mind’s ability to function after a long day at my day job, and my personal life. To think I was busy in college. I am just as busy, if not more, but I am making less short-term work. That lack of making something new every week or day is strange still. I don’t feel as successful, which I know is rubbish.
In all, that is where I am at currently as of Feb. 20th, 2017
*Side story – So, In the second to last semester of my undergraduate, the head of the illustration department retired and the new head took over on the start of my final semester. Which was awesome because he helped to push that understanding and drive forward for comics more than the last head of the department could. Ed Wong-Ligda > Durwin Talon But don’t get me wrong. Ed was an amazing teacher and I learned scads of traditional methods from him along with all the amazing professors in GVSU’s art department.
As of December 2016, my current long-term project is Number 19, the story of a mutant bear cub, Theō, who has twisty blue antlers, telekinesis, smart-ass wit, and an unsatisfying hunger for ice cream. As a secret weapon made by an undercover U.S. government agency to combat the Russians in the 1950’s, Theō must find a way to escape the fortress lab and the evil scientist who keeps him there. In the process, Theō may find out who he really is and what his fate will be: a destroyer of nations, or a part-time fighter of evil and full-time, albeit out-of-place, ice cream and food critic.
I started this project as my undergraduate thesis back in February-March 2015 and finished the first draft in September 2015. I made the comic portion over a two-month and a quarter span, and exhibited the thesis portion of it in December 2015 for my senior gallery show.
For the past year, I have been revamping the script completely, adding more dynamic scenes, developing the characters, and making it all the better. So far, I’m about 45% done with the script rewrite. After I finalize the script, I will revamp and expand upon the comic portion of it. That process will take the most time because I am doing everything, from the penciling, to the inking, coloring, and lettering. So it is my hope and plan, if all goes well, that I will have this done by the end of 2018, if not sooner. From there, I will seek out publishers (DarkHorse, IDW, Oni Press, Image, or others that I see fit as a home for my story) and look into having it translated into other languages, especially Japanese, to tap into that market. So when this project is done, the first volume will be ready for distribution in comic format. This will allow me to start working on the next few stories in this series.
Yes, I know my way of doing it is unorthodox, and yes, there is no guarantee that this will succeed at all, but I don’t care. There are a lot of success stories of people who have gone about things their own way and have succeeded brilliantly. (George Lucas and J. K. Rowling to start with.)
Personally, this is something that I want to do and will do no matter if it makes me money or not. Which is how many brilliant things are created. The creator had an immense desire to create something, so the creator did without care if he was rewarded.
If you wish to support me, please consider donating money to me to help me fund and complete this project. That would be brilliant of you and I will be soooo grateful!
If you donate any amount under $50, I will mention you name in the thank you section of the comic.
And if you donate anything over $50…
I will work on setting up awards and prizes on a crowdfunding site for anyone who donates more!