Thursday, 22 December 2011

Thursday 22nd December - Evolution of a 5 page comic.

These were the initial 4 pages I designed, working from some pretty chaotic and unorganized thumbnails, these were a draft more than anything.

Making limited changes (I should've made more/done some alternative pages, but it was the summer holidays, and Artsfest was more important). I redrew the whole thing onto A3 Watercolour board, and inked with dip nibs and indian ink.

After much rage and frustration was shared over the lettering, the solution was to get more board and pretty much draw over the initial speech and stick it on, hiding it.

An annoying task, which was sheer tediousness at this time of year. But, with that done, it was an easy task to then add digital lettering, with movable and adjustable speech bubbles, so if any issues arise now, it's an easy task to edit.


Thursday, 15 December 2011

Thursday 15th December 2011 - The Ins and Outs of Paper.

Well, ambiguous title, actually, only the concerns of paper within the arena of screen printing. As I recentley had the opportunity to give silk screening a bash with my xmas picture (Can see here: ), I also unintentionally got a crash course in papers which were good, and those not so good.

This is the original: It was made with Indian Ink and Sable Brush on a Highly textured Fabriano Paper at around 325gsm - something which is perfect for inks and watercolours. The original has yet to be painted.

In order of worst to best, this is first. Fabriano Artistico Paper at around 240gsm. It has a slight texture, but even that played around with the silk screen - It was hard to achieve a clean and defined line with all the bevels and nicks in the paper.

This is next, which is a shame, as I bought it especially for my screen prints. Another Fabriano paper, this one has an unknown weight and slight texture. But even that was enough to grant a fuzzy and discontinuous line. The squeegee had to be pulled twice to ensure a half decent line.

This stuff is amazing for anything I've thrown at it so far. Some miscellaneous Bristol Board type paper stock I nabbed from Uni, it has a highly smooth finish, but not glossy. This once again required two pulls, but the lines achieved were the closest to the original out of all the paper stocks tried.

And the best possible that I found. Somerset Watercolour Paper at ~280gsm. This has the smoothness of the bristol board, but combined with the harmonious effects of watercolours achieved on the heavier fabriano papers. The only thing that stopped the Bristol Board being best is it's aversion to inks and colours - it's a very absorbant board.

Friday, 9 December 2011

Friday 9th December 2011 - Working Process Case Study

Yeah, we had to do a 3 minute video outlining our working process for a uni assignment. In short; I hated it. However, the physical act of making, editing, and then reviewing a video is far better than doing a presentation. Plus; I now have something to spam my blog with!

Enjoy, or don't. I don't really care.

Friday, 4 November 2011

Wednesday, 19 October 2011

Wednesday 19th October 2011 - Even rougher, but slightly different layouts.

After drawing up some alternative panels at the behest of my tutor, my 4 pages for The Battle of Hastings have improved greatly in terms of dynamism and composition, but as it's merely a digital collage of sketchbook pages and original sketches, it's all a little rough and ready at the moment...

The next job is to sketch out an elusive fifth page... ...again.

Tuesday, 11 October 2011

Tuesday 11th October 2011 - Rough Layouts

4 pages, still very much roughs, of what I've decided will be the subject of the next 3 or 4 weeks (read: 3 months of working on this instead of actual uni assignments) of work: The Battle of Hastings, decanted down into 4 pages.

Short self analysis:
Page 1: I like, Panels 1 & 2 need flipping round; they're the wrong way around.
Page 2: Mostly good, as with the rest of it, I need to sketch possible alternatives to panels to see if anything better crops up - apparently this is a weakness I need to address.
Page 3: Need some more alternative fight scene things to replace potentially weak panels 3 and 4. Panel 5 works, and panel 2 with the inset works, but the main #2 needs good reference.
Page 4: This whole page needs working over: Final panel I want as William with the crown/helmet thing on, holding his banner. I also quite like the idea of him turning the crown over in his hands. Other than that, i'm assured there are more succint alternatives to what i've done, which I now somehow need to hew out of nothing with little to no influence passing over from my already finished draft.

Harumph, I am confuse.

Tuesday, 4 October 2011

Tuesday 4th October 2011 - Some Inking.

So yeah, back at uni today, I was quite riled to see that one of the tasks was to pass out our own scripts, then pencil someone elses! And, if that wasn't enough, The pencilled pieces were then passed around again and we had to ink- I'm sorry, "finish" something written by someone else, then pencilled by another someone.

Anyway, I was initially perturbed, but quickly warmed to the idea, and, to be honest, the freedom I had with the pencils I was given meant I could really get into inking this, what I can only assume, is some form of sorceror's tower? Wizard's abode? All I can tell, is the penciller, or scripter, I have no idea (was forced to fly blind with no script, and only work from the pencils), is there's a distinct 'Lord-Of-The-Rings-tower-of-Mordor' feel to it... All I could do was push that further! Winding staircases, cracked externals, buttresses, spikes, all set in a blasted land.

Hopefully I can get around to painting this soon, so I can see how it will look coloured... Or, at least... ...painted.

Tuesday 4th October 2011 - Ink-Soup holiday project

Yeah, long time no update, boo, hiss, blah blah blah. I hate September. It is my most loathed month of the year, nay, put 12 years of Septembers together, put me in a chemically induced coma for a year and i'll come to feeling much better than if i'd lived through it normally.


This was the result of me having to do a five page sequential piece in a week and a half due to preparations and what not for Artsfest (which went swimmingly.). 

What I learned from this: Using calligraphy nibs is as close to a religious experience as a Black Metal loving illustration student can possibly hope to achieve.

Friday, 9 September 2011

Friday 9th September 2011 - Artsfest Supplies

All of these will be available from Stall 14 of 'Art on the Railings', at Brimingham's Artsfest on the weekend of the 10th of September. Any stock left will probably be sold off through this blog, on a first come first serve basis.

Size: 25mm Pin badges 
There will be approxomately 60 badges sold singularly at £1 each, if they go particularly well there will be some more ready for the Sunday.

Size: 25mm Pin badges
As well as singularly, they will also be sold in sets of four for £3.50, they have been printed in batches ranging from 2 to 7, so they're pretty limited.

Size: Roughly A5 (145x210mm)
Stock: Cover: 275gsm Oil Stencil Card
Pages: 180gsm Fabriano vanilla paper stock
Hand registered, bound, stitched and designed sketchbooks. There are 15 of these, all have 16 sheets (32 pages), 11 of them have a quote on the inside cover, and the remaining 4 have a quote plus an original sketch. The cover is wax treated card, so is slightly showerproof, and the paper is 180gsm Fabriano vanilla stock. These are £4.

Size: Roughly 150mm^2
Stock: 260gsm Fabriano Artistico Watercolour Paper
I have, in total, roughly 80 etchings for sale, broken down into various individual styles, each running for a series of inbetween 10 and 20, so once again are pretty limited. Each etching was hand engraved onto 2mm perspex, hand printed in a 2 gear press and then adorned with inks. These are also, £4 each.
Disclaimer: As each etching is fully prepared by hand, there are differences and anomalies between each individual print, making each, technically, unique, not to mention how different the ink splashes are on each - there could be more or less than the ones depicted.

Size: A4 (210x297mm)

Stock: 300gsm cotton rag matte paper

These 2 prints are part of a series of 10, printed on 300gsm cotton rag card, so have a very nice matte texture, and are extremely thick. They are both £4 each.

Size: A4 (210x297mm)

Stock: 280gsm uncoated digital photo paper

280gsm uncoated card prints. These are semi glossy, semi matte, so have a nice feel to them, without being too thin or shiny. They're prints of digital works, so are as close to an original as you can get with them, these are part of a series of 50, and so are quite numerous. Due to the costs of printing such quantities on such stock, these are also, £4 each.

Size: A4 (210x297mm)
Stock: 280gsm uncoated digital photo paper
280gsm uncoated card prints, this time of traditional pieces. The way they were scanned meant they retained some of the initial texture of the paper they were painted on, as well as picking up some of the texture of the print stock, and the combination looks quite nice. These are yet again, £4 each.

Clearance Stock!

Size: A4 (210x297mm)
Stock: 140gsm glossy photo paper
These were printed way back before christmas, on 140gsm glossy paper. Due to the lower quality of both the image and the stock, these are only £2.50

 n.b: This is a photo of the print, rather than a digital copy; I've misplaced the .psd of the file.

Size(s): A5 (145x210mm)
Stock: 140gsm glossy photo paper
These are the same as above, a glossy, low weight paper print, and are only £1.50 each.