Couldn't draw for shit yesterday. Or write for that matter. Mind and body paying the price for recent insomnia. Got a good night's sleep in though, and today and I cranked out two pages. Sneak:
A good friend stopped by and brought us a jasmine tree! đ
So nice to see a human face (even if 6 feet apart)!
Will take a short comix-reading break now before drafting tomorrow's newsletter, followed by dinner prep and kicking back with a movie, maybe.
Good day.
When I started to fall asleep at 9:00PM last night, I thought to myself: okay great, my body's finally going to make up for lost sleep from the nights prior.
Nope, by 12:00AM I was wide awake. It is 2:00PM now and I have yet to crash.
I think my body's just training itself to deal with the first few weeks of impending fatherhood?
On the upside, finished a page and it's only 2 o'clock, so plenty of time to get started on (and finish) the next.
Just about barely finished penciling a page, pretty loosely at that. Was planning on getting two in the can, but several hours were lost to trying to efficiently pay for and print USPS shipping labels directly through the online shop without jumping around between various applications or dealing with excessive amounts of copy-and-paste. It's either a case of no one having yet designed an intuitive enough system or my having reached an age where I may require millennials to explain shit to me.
I prefer not to ink on the same day I pencil. Only because it requires a slightly different setup given the change of tools: ink, brushes, water instead of just pencil and eraser. So I'm trying to work towards a system of 2 pages a day for penciling followed by a day for 2 pages of inking.
Minus weekends, that would give me 20 pages of finished comix a month. Of course in my case I still have to letter them, so add 4 more days on top that.
In the past, it would simply be impossible to plan things this way, because I'd constantly get invited to fly out to give talks or workshops or put on an exhibition, any of which could take up an entire week at any given time. Now that all of that is gone for the foreseeable future, I can (and should!) operate purely on the basis of a steady producing-from-home/online-retail existence. ÂŻ_(ă)_/ÂŻ
âThe line between subject and object blurs in Colla and Ganzeer's clever illustrated chapbook, a narrative formed by prose poems.â
What a lovely review for our unusual little chapbook in Publisher's Weekly.
Found myself creating an alternate version of yesterday's piece today.
My RSS fetcher (Newsflow) was overflowing with too many unread posts (600+), so I spent a bit of the morning skimming through 100+ posts until I decided it's okay to obliterate all the rest and start fresh. Every once in a while I get into the habit of developing The Fear [of missing out], but then remind myself that it's okay to not keep up with all the things and just limit to the input my lifestyle's bandwidth can handle. Just as we gotta be realistic about our output, it's not a bad idea to be realistic about our input (and hey, maybe that'll give us more time for more output đ). Removed a few feeds and unsubscribed from a few newsletters to bring it down to a manageable input flow.
Today is farmshare day where we pick up a box of fresh veg before venturing to the supermarket for kitchen staples. Papertowels and handsoap were still nowhere to be found last week.
There should be enough time to fiddle with a TSG page which I estimate will be finished by tomorrow.
It is a steamy 29C/85F today and very oppressively humid. Inbox down to 2, iced coffee keeping my brain in operation. No coconut oil in this one (it would solidify). Instead, a spoonful of coconut sugar, which I'm told is even healthier than the raw turbinado stuff.
What can I say? I've never been particularly good at escapism.
This is one of those things that came to me and I just had to immediately get out of my system in absolute heat.
Available from Garage.Ganzeer, by the way. Limited to 100.
I lied; I couldn't let it go. Cut out the two figures that were bothering me the most and I think the page is now much better. Will probably redraw them and paste directly onto the original pages (because I hate having sub-par originals).
Tried the thing I wanted to do with the gutters and I think it works (Although, what is included right now is just some preliminary text for a quick mockup, just to get a sense of the look of the thing). You get a real train-of-thought vibe, like this character's mind is really at work and he just can't shut it off.
My initial idea was to have it all handwritten instead of typed, like such:
Looking at both of them now though, I can't quite decide which one I like better.
Not the best to be honest, but it's one page in a 400+ page book, so I may have to learn to live with it.
There's an exhausting idea I'd like to try out with the gutters, but that may have to wait till Monday. A bunch of house-maintenance stuff to do this weekend.
Coffee is shaken, not stirred. That's what creates the foamy top, together with a tablespoon of coconut oil and a dash of goat's milk (I used to take my coffee extra sweet for years, but I've been off sugar for two months now and the coconut oilâalthough nowhere nearly as sweet as sugarâcuts through the bitterness some).
It's time to ink today. For which I'll be using a series 795 Round Loew-Cornell #2 brush for the first time (I usually use Trekell's Kolinsky Sable Round 7000 series in a size #3 for brush work, Zebra's G nib for, uh, nib work, and Staedtler pigment linersâmostly 0.3 and 0.1âfor straightforward âcleanlineâ styles).
(Which should not be confused with the European âLigne Claireâ approach, which still offers a degree of line-weight variation. That's what the Loew-Cornell is for, it's what Chris Ware uses. The Kolinsky #3 is what Eisner used, and offers thicker strokes. G Nibs are used by Naoki Urasawa (I think?), and pigment liners are used by Mignola.)
Excited to see what the Loew-Cornell will do.
My good friends at the Boulder Weekly have decided to publish my demented vision of the future and use my art on their cover this week.
Still working on that cursed âisometricâ page in THE SOLAR GRID. It's coming along rather well (albeit a little slower than a âstandardâ comix pages).
Elsewhere in the back of my mind, I'm thinking of the weird surrealist art that used to adorn many science fiction paperbacks of the 60's and 70's, and that maybe, just maaaaaybe... I might like to do something along those lines for THE SOLAR GRID once complete and collected.