G A N Z E E R . T O D A Y

TSG

6 pages to color and 33 to letter.

Lettering moves pretty quickly, but digital coloring is slow and loathsome. So many hours sat in front of a computer screen which makes me feel like a zombie at the end of each day. Can't wait to be done with this part already.

Started reading Kazuo Ishiguro's NEVER LET ME GO sometime ago, which started interestingly enough but I largely lost interest by the last third of the book and now find myself winding most evening's down with a film instead. This however is also likely due to the above-mentioned zombie status induced by long hours at the computer desk.

Today's screening: LOST HIGHWAY

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Inking is done.

Tones, touch-ups, and colors where they apply remain before moving onto lettering.

Lords help me.

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9 pages worth of inks to go.

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Come next week, I shall be entering full hermit mode for a good month in an effort to finally bring THE SOLAR GRID to a close; only inks, letters, and some colors remain on the final chapter. Without a kitchen though, proper hermit mode can be difficult to pull off; it kind of necessitates a great deal of meal prep. I've got my microwave, kettle, minifridge, and grill outside, so I think I can make it work.

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Bout of insomnia gave me enough of a window to pencil through the remaining pages of the final chapter of THE SOLAR GRID the other night. Despite having thumbnailed the entire thing prior, when it came to work on the actual artboards it became evident that a couple extra pages were necessary to allow a particular sequence to breathe. That happens sometimes. Especially vital when closing a story. You don't want things to feel too rushed. Or drag on forever either, it's gotta be just right.

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First day in Cairo without human contact since arriving (around 50ish days now). Also first day without contending with house fixups. Just me, my music, and drawing table.

Penciled in half a page of TSG so far today and figured out that I have around 30ish [uninterrupted] days' worth of work to bring TSG to a close once and for all. The “uninterrupted” bit is the tricky part, for days like today are evidently extremely hard to come by, at least until all work on the house is complete.

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Work-in-progress from the final THE SOLAR GRID.

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The epic that is THE SOLAR GRID—the project I've been working on for the better part of the past 9 years—is now 91% complete.

Entering into hyperfocus mode to push through the remaining 9%.

I'm hardly ever on social media, but this reel about Chinese filmmaker Gao Xiaosong's time in an Israeli Kibbutz is too funny.

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THE SOLAR GRID #1 is completely sold out. Issues #2-8 are still in stock. I'm sure the time will come when I look upon these single-chapter editions as the strange time capsules that they are.

Started THE PLAGUE by Albert Camus. This being my third Camus, it's now very evident that Camus' writing appeals to me. Adequately sparse, just the right words in exactly the right places in a way that evokes more than what is being said. Something I don't find entirely true of most contemporary authors who lean towards the extra telegrammatic. The buildup of eerie over the first 30 pages in THE PLAGUE is really perfectly paced.

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It is hard to believe that this chapter may very well be the last time I draw her for a very long time if not forever.

My plan for the day turned out to be a little too ambitious after all, but TSG pages are coming along smoothly.

Today's background listening included:

  • Bret Easton Ellis interviews Paul Schrader — Really great. I particularly love the few Pauline Kael anecdotes Schrader shares. Kael is grossly overrated in my opinion, and I say this having enjoyed a number of her books. She did good to bring actual critical criticism to the field, but neither her taste nor how she expressed it really jive with me.

  • TRACKMARKS by Hamed Sinno — Sinno, who is one of the most talented and creative people I know, was on a train in London when it got held up because a man on the tracks in what was apparently a suicide attempt. Folks on the train started to get irritated, and that irritation soon ballooned into rage, directed squarely at the distressed man who messed up their schedules. Hamed was wise enough to record this vocalized rage and weave it into a powerful song together with lyrics drawn entirely from advertising slogans seen on the London Underground. 👌

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