#arch is learning

Hello All!

A couple months ago, I got accepted to @trafficzine, a digital anthology of pieces by a large group of artists and writers based on the most recent season of the Life Series. I made this piece back in April, but thankfully I kept some notes of my process. 

Heads up - this contains spoilers for Secret Life :D

We were able to choose our own prompt from a list! For this project, I wanted to push my comic making - especially how to communicate a lot of information in a small space. I went through and watched a few clips from the series to see which prompt would fit a comic and settled on Scott’s death.

As usual, I began by getting some reference images and going ham on some big paper. This gets me excited about the project and helps generate ideas. I go for whatever interests me in terms of medium and subject matter, but I try to use a process that doesn’t let me control too much (in this case brush and ink)

initial sketches for fun and vibes :D

During this, I also took the time to transcribe the scene - I wanted to use the dialogue directly, and see how much I could fit into the single page that I was allowed for the zine.

In these early planning stages I make sure to do warm-up sketches to remind myself of the energy I want to communicate. This also keeps things fun and fresh so I'm not ONLY thinking about page composition and making things 'good'. (the expectation for it to be 'good' kills a project prove me wrong)

Dialogue from the clip + warm up sketches

Next up, I started to plan what panels I have on the page. At this stage, some panels might just be a box with some words, and some may have a sketch if I have a clear composition in mind. This stage is mostly for pacing and plot, so instead of focusing on what the panel and page will look like, I will think about:

what will happen in the panel

it's purpose and

what it will communicate

Sometimes I'll illustrate a string of panels that tell the story and fit them on a page after - but this depends on the project and my confidence with the size of it.

After messing around with these and coming up with a pretty clear direction, I draw a bunch of boxes to see how the panels could sit nicely together. At this stage I might realise I have too many panels, and need to cut a few or come up with a creative solution. Nothing is set in stone at this point.

sketching panel layouts

Now begins the fun! I decide on the layout I prefer and I can start putting planned compositions into the boxes. I often do this digitally, or a digital editing process will be involved.

Once planned, I print these out to do a more refined sketch over. I find that my traditional drawings have a lot more life and character to them than digital ones, so I try to keep the majority of the process traditional, with passes of scanning and digital editing.

I tried a version with her looking out at the distance - ready to face the oncoming battle. But it still felt off. So I turned to my slides to ask myself some questions!!

I tried to think of more things that were working - but I really felt like it was lacking a lot. I was going for this slower emotional feeling because that came more naturally to me, but it just wasn't working for this image. The original clip is quite rushed and chaotic - which would be harder to communicate in a comic format but the challenge interested me. Either way, I knew I wasn't happy with this direction so... i decided to start from scratch! Back to the drawing board!!!

In the previous version, I had cut out a lot of the dialogue, but I decided to go back to the original clip and use AS MUCH as possible. Since passing the bow was my favourite part of that first composition, I really wanted to lean into it as the emotional height and final goodbye before Scott's death. It's a moment to slow down and absorb the vibes :D

I made a list of panels along with their descriptions to refer to when trying to figure out the order of panels. there were SO MANY and it was VERY CONFUSING when they were too small to read.

These thumbnails were super small and would not have made sense without my list, I swear.

I printed this tiny thumbnail out at A4, so I could sketch over it and get a clearer sense of flow. Then began a loooong process of printing out tiny photocopies and rearranging the panels to be legible. It was a difficult balance of communicating busyness while making sure the hierarchy/reading order made sense.

After some tweaking, i printed out an A3 copy to draw my panel borders and text.

Doing this on a separate piece of paper means I don't have to worry so much about messing up the text or borders when drawing the characters. This allows me to be more free and expressive with my illustration.

Woah! Quick trip back in time!! During the thumbnailing process I drew these warm up sketches! I looooved the way the linework came out. I drew this on an A3 piece of paper - and the shocked Gem would, in theory, be one of the smallest panels. So I decided to do a crazy thing.

I touched up the sketch digitally, compiling some of my favourite warm up sketches, some traditional sketches made for the panels, and filling the rest in digitally. Then I printed this image out in QUATERS at A3!! This meant the final sketch layer, printed out was A1!! (aka very large, considering the final file would be at A4, about 8x smaller)

I did this so I could get fairly small detailed lines with my pencil while being quite expressive and firm with my mark-making. Slowly, I dlined all of the panels traditionally and scanned them in. Then I assembled the finished linework on Photoshop, along with the text and panel borders and got to colouring :D

final linework :D

For colouring, I played a little bit with halftone but I found the texture made it feel a bit too busy - the panels are already doing enough. Because of this, I also decided to use a limited colour palette. Here are some images of the colouring process, which I won't go into today.

I'm really happy with how this came out - I think it captures the chaos of the moment, while taking time to linger on the emotion of it. Keeping that bow moment really made it, I think.

I think the last panel is still quite weak. Earlier in the process there was a low-angle shot of Gem about to kill Scott which may have been more powerful, but I think I was struggling with my actual drawing skill when it comes to perspective. A lot of learning how to draw, and in particular with comics, is about knowing where your skills are at, how to utilise them best and how to test and push them.

I'm glad that I started again, instead of finishing that composition I wasn't happy with. It was a tough project but I learnt sooooo much from it, and it's been essential skill-building for.... the current comic I'm working on (stay tuned!!! :0) Thanks for reading this incredibly long post! Go check out @trafficzine and look at all the other cool art Cool vibes and silly men,

A cliffhanger!!!! And now I have to wait a month for you to upload the second half?? How will I cope :’’0

For real, it’s so awesome to see your process and the sheer amount of inspiration you take! In particular, I thought ‘Sit on Two Chairs’ and ‘This Was Our Pact’ were particularly yummy. 

I think book covers are really hard. You have to sum up a book’s energy in one image, make it stand out and show just enough so people want more. Exploring the narrative through those full pages is really interesting - though this is something you did for fun, it could be a really useful technique for getting to know a narrative. When I’m designing my comic covers, I always do it last - that way I’ve had practice with the visual style and I’m thoroughly familiar with the themes, so I guess spending a bit of time with the characters and narrative in this way helps for standalone book covers too. Of course, it helps if you have the time for that XD

Okay!! Onto what I've been up to!!! [warning this is a beefy post I'm sorry for your poor reading brain]

The past two weeks have been really enjoyable! I’ve been playing a lot with slow world-building, in sketchbooks, google documents, and voice notes to friends. Letting myself really sit with concepts, think about the characters, let them play in my head with no expectations. With this relaxation and lack of pressure, some beautiful narratives and interactions have been developing. I’m starting to need a name for a world/ the story. I’m not quite ready to give them a full introduction to the internet - I know it doesn’t but it feels like there’s some accountability to *produce something* and this slow development is really important for the quality and my skill building. It’s really hard to take on, but we actually don’t have to make the perfect thing now! In fact, it’s impossible. Pressure on ourselves makes it so hard to make something good if we’re always grasping at the final result.  In the meantime, while those characters develop, I have been working hard on my basic skills. I wrote about characterization last post, but this week I focused on setting and colour. I was inspired (once again) by Hermitcraft. I’ve seen some really incredible illustrations of Minecraft builds in the fandom, and it seems like a great exercise.

Bdouble0's Season 10 Base illustrated by @applestruda [source] and The Red Zone, built and illustrated by Bdouble0 [source]

One of the creators on Hermitcraft, ImpulseSV, created this build in a recent episode. It takes inspiration from the last season of Hermitcraft, where he was part of the ‘soup group’ with two other players, and his current base concept - a cyberpunk city.  I also LOVE his new character design, so I wanted to place him in the scene.

Screenshot from Impulse's video and new impulse design by @maxx-doodles

Here are some initial thumbnails I did, trying to figure out the composition. I wasn’t sure of the vibe yet, so I tried some rough thumbnailing, and drawing on an isometric grid and other perspective techniques. I’m going a bit mad for characters at the mo, so I wanted to place some in the scene. I found the angle of the isometric grid steep to place characters comfortably, so decided against that.

Looking back at it, I love the second! But I believe I was struggling with the perspective. I decided on the last one eventually.

Now, I absolutely adore all of the players in the Soup Group, and I am BIG fan of redesigning their notable characteristics to suit different settings. So yes, I decided to put all of the soup group in the image.

PearlescentMoon (left) from my comic and GeminiTay's Hermitcraft Season 10 design [from this thumbnail] (right)

Here's the sketch of the final image. I really enjoyed coming up with cyberpunk versions of them all. I used the impulse design almost exactly, with a few extra interesting details since he's mostly viewed from the back. For PearlescentMoon (middle) I kept her fringe, dark hair and gave her a glowing moon symbol on her top. For GeminiTay, I kept her long ginger hair, antlers (but glowing!) and took inspiration from her new season 10 design - a dark blue jumpsuit to match her dark blue clothes in her new design, and the braids she is often drawn with. I also gave them edgy new hairstyles. And a robot arm. I don't have lore for that.

As usual, I filled each flat colour-to-be with black and lowered the opacity to play with the values. Then I added colours one at a time, aware might be riso printing it. Originally I stuck to trying to make it printable (making the colours out of ones I could make my layering 2-3 colours at different opacities), but as I went on, I decided to drop that and focus on the quality of the image in a digital format alone. I did keep the grayscale version above with all the separate layers in case I needed that if/when I came to riso printing it. Below are the main two digital colour schemes I tried out.

I settled on the one on the left, with the blue tones - the foreground characters really pop. I put a few details in Gem's hair, colour variations etc, and cropped it for Instagram. I actually much prefer the cropped version - it sits better in a rule of thirds.

Now the moment we've all been waiting for :'')

RISO!!!!!!!!!!!

I returned to Cardiff after a couple of months away and was delighted to spend my first day back at The Printhaus, an awesome shared print studio where I have basically made my home. A few of my awesome friends happened to be there, so I spent the day playing around with this image with their help! (please check them out they're very cool - Gavin helped me a lot (we hung out at Thought Bubble, remember? and Rhi gave good crits too!!)

For those who don't know, risograph is basically a shitty photocopier that can only print one colour at a time. However, you can play with gradients and opacities, and layer colours really nicely to combine. I've done a lot of single-colour tonal work with riso but this is my first go really layering.

First, Gavin showed me how to separate the channels in Photoshop, using the flat image uploaded to the 'gram. We copied and pasted these layers in grayscale and added blending modes to each layer to replicate what they might look like when printed.

With blending modes, the digital mockup looked like this!!

This bit goes into technical details for replicating what the print might look like for those who might want it - feel free to skip :)))

I copied and pasted the Cyan, Black and Magenta layers as greyscale (as you can see above)

I made all of the greyscale layers multiply layers since risograph ink is transparent and we wanted to see how it layers. The ink usually comes out a bit lighter than you think, so it's good to bear that in mind. I used a clipping mask over each greyscale layer and a blending mode. WHEN YOU PRINT, PRINT IN GREYSCALE, NOT COLOUR.

Here's how I split the colours from CMYK to the riso colours, their hex codes and the blending mode I used to replicate the colours:

Cyan - Mint [HEX#82D8D5] Screen Magenta - Fluorescent Pink [HEX#FF48B0] Screen Black - Blue [HEX#0078BF] Overlay Yellow - scrapped for colour scheme purposes

Blue, Mint and Florencent Pink layers in greyscale in Procreate.

Riso printed Mint and Florescent Pink layers on separate paper, followed by the two layered together.

We always start with the lighter colour inks first, because sometimes the rollers can pick up the ink and cause extra marks where you don't want them. The first two colours came out great!

The first time we printed the blue, it came out very dark (left, first image). I have had this issue before - my last book, Winter Wellbeing, came out much darker than I wanted. Now I realise that the blue ink is super sensitive. All the 'white space' that is covered by a low-opacity blue on the left is only 2%, and yet it has come out pretty strong. We tried printing it on one of the misaligned images just to see, but it took all of the brightness out of the neon soup sign at the top of the image (second image). So I changed the values and pushed them way lighter, so it just pushed the values of the darker bits slightly, and brightened some of the lineart (right, first image)

And this is the final riso printed version!! I'm so so happy with how this came out. It's so different from the original digital version, and I actually love that.

I didn't create new colours in the way that I intended to - I wanted to play with overlaying purposefully to create specific colours eg. orange for the hair etc. But!!! I'm really happy with how it came out. That will have to be a project for next time.

Also, many copies are slightly misaligned, so in future I think I'd do flat layers for the colours a more blobby style with the linework on one layer only so there's less of a chance for obvious misalignment. design for the riso, rather than riso the design.

Overall though, this feels like a super cool step up and a milestone for me. Super happy with how it came out!! And I'm excited to play with colour some more. Can't wait to see the rest of the Lionheart brothers! Enjoy your weekend :)))

Gahhhh Shri this has been an absolutely crazy couple of weeks!!!! Hope you are doing well :)) First of all, WOW! You have a lot of goals, and I’m sure you’ll get them done! I’ve worked a lot on my graphic design during the process of making Winter Wellbeing. If you wanna see a blog post dedicated just to that, I can do so! It would be cool to compare notes on the approaches we take for graphic layouts. If you wanna share your knowledge of camera skills when you build that up that would be awesome 😭😭

It’s been a tough few weeks, art wise. I have been reflecting on my process, motivations to create, the ego and all the baggage that’s lumped into the creative process for me. It turns out there’s a lot. I took some space from my illustration practise (literally for a weekend!) and began to realise how dysfunctional it is. I’ve been writing a lot about that so there may be a larger piece of writing coming about that at some point (no promises!!)

But for now, let's talk about little successes!

I’ve been playing with some characters for a while but I’d hit a bit of a block with the plot. I realised the expectation of having a finished project of high quality soon is unrealistic, and an unhealthy expectation to put on myself. I rarely give myself time to play with concepts for a long time and let the characters, plot and interactions evolve naturally. Maybe this in part came from sticking to the short university module turnaround. I noticed that that short turnaround was causing a lot of block, so I have decided to bench it as a comic for now and focus on using it as a playground - falling in love with the characters, creating stories and drawing them for fun. Maybe years down the line I’ll make them into a comic - we shall see! 

I *tried* to do hourly comics day this year and it didn’t quite work for me. I think I made 3 comics? And then got distracted with a bigger project that ended up taking a week or so to complete. Let’s have a look at it, shall we?

[you can find the full version here]

First of all, it’s based on an unfinished fanfiction I started a couple of months ago, which was mostly bad, but there was one nice scene that I liked and wanted to expand on. I started by having a look at the script I wrote and thumbnailing on the iPad. I’m away from home at the mo and usually would prefer to do most of my artwork traditionally, but because I don’t have access to a scanner, the whole process was digital this time. A lot of the pages got scrapped because the dialogue wasn’t necessary, and I’m not drawing pages that aren’t necessary.

some more development screenshots

I thought a lot about posing during the process, acting the scenes out in my mind and sometimes physically, really understanding the emotions of the characters, why they’re saying what they’re saying, their tone and how to convey that though their body language and expression (i find grian really annoying normally [affectionate] but I want this grian to step on me).

Pearl was hard with this because she’s quite erratic and unpredictable in this series, so I wanted her to switch from raw explodey anger to playful jabs at Grian. I’m hoping this comes across as somewhat insane, rather than tonally off and inconsistent. I did super enjoy drawing her and her explosive nature though, especially in comparison to Grian’s coldness.

I played with levels and monotone colour too - I’m not working with multiple colours much at the moment so I’m able to focus on things like values composition, characters and backgrounds. My skills limit the kind of stories I can tell currently, so I’m working to improve those foundations. Maybe when I’m back in the riso studio I can play with colours a little more.

Colours - despite the simple pallete it gets a bit nerdy here.I stuck to specific flat percentages for most of it - Pearl’s hair and Grians jumper are 60%, Grian’s hair and Pearl’s cloak are 20%. Then I added a 14% layer for shadows, using a ahrd blend eraser tool for highlights, making the images quite dark. I fill a layer with texture from Forystr’s riso brush for procreate, and turn it into a 40% opacity colour dodge layer. This gives it some much needed texture and makes the lighting feel low and nighttimecore. It also pushes the values to look really nice - I tend to be too scared to push them by myself.

I tried a few different colour layers to get a *vibe* but settled on a low percentage riso blue in a colour layer. All layers besides the riso blue are in a riso black, colour picked from a riso colour pallete. I learnt these tools - using percentages to get good values - from working with risograph. I really recommend having a look at these techniques and doing some monotone work. It's really improved by character designs, page layouts and compositions.

Greetings! I am back from the dead! I have had a fair few weeks of rest and admin and now I have lots of art thoughts! (lets see if I can get some down)

OMG Shri I am in LOVE with your last few posts!!! Have you considered not hitting it out of the park every time?? I have thoughts about the mind’s eye thing and picturing your work… maybe at some point I’ll write a blog about it :0

I’m working on a super cool comic for some people I can’t yet talk about but I’m going through a HUGE research process for it. It’s awesome, it feels like I’m back at uni. Learning so many skills and documenting my research properly in my slides again 💪💪

Though I can’t talk about the project itself, I would love to share a bit of analysis I’ve been doing on Witch Hat Atelier!! (Heads up - the following post contains spoilers for the first half of the first volume)

Expressions!!!

Though not unique to Witch Hat Atelier (WHA from now on), the manga uses a combination of subtler, realistic illustrations combined with goofy exaggerated ones - in particular using styles found commonly in manga.

The first few pages have quite minimal facial expressions - they’re still obvious (and to a degree, exaggerated in Coco's case) but not goofy. Shirahama uses additional techniques like text and sparkles on the right hand page to communicate Coco's excitement.

Traditional manga expressions, with more exaggerated and goofy features, are saved for comedic moments - in this instance from Coco’s childlike excitement.

Here we have quite realistic expressions, exaggerated by a combination of shadow (right-hand page) and tight close-ups. This. brings us into Coco's wonder, and communicates her high level of engagement.

In fact, the goofy expressions are almost exclusively saved for smaller panels, whilst more high drama or wonder moments take up larger panels and whole pages, so there's space for that high level of detail.

In this spread, expressions are playing a more minor role until the last two panels. In the panel circled in red, Coco’s expression is distressed. Because it’s a smaller panel, mid shot panel, her expression is emphasized by more cartoonish techniques (eg. The lines down her face.)

The last two panels return to slightly more realistic expressions, without the more cartoonish aids. This makes the moment feel more dire. Shirahama emphasises this once again by using close-ups and darkness surrounding them for the appropriate ambience.

Shirahama uses a high level of detail to capture moments of high wonder. They force the reader to take in the extent of the image. These are usually paired with minimal text which also requests that the reader takes time to absorb the image, rather than skimming over text.

Panel Pacing and Flow :0

For the ‘day to day’ ordinary scenes, pretty straightforward paneling is used. On a grid, straight lines, very little overlapping.

This is broken in moments, like introducing Qifrey. A three-quarter image of him breaks the panel structure to say ‘hey, this guy is important’.

Overlapping panels are first introduced in this moment - which is huge for Coco, as she realises how magic is used. The change in format once again tells the reader that this is important by adding more visual interest. The images sit like a bunch of disjointed puzzle pieces, like she’s about to put something together.

On the second page of the spread, the format returns to (mostly) normal as everything slots into place.

Good evening, Shri! I forgot that it is Friday, but at the beginning of writing this, I have an hour and 27 minutes until Friday is over, so I WILL be on time!

Wow, like a lot has happened? But I also don’t have tons to show for it. (it’s because I’m working on cool secret project that I’m not allowed to talk about which is fun!)

Stuff i have been doing

Museums :0!!!! I have been travelling and in my old age apparently, I like old art now???

Gathering a lot of reference images - photos, but also general inspiration

Finally organising my digital space a bit! I backed up like 3 years' worth of Procreate images and cleared out half my iPad

Getting some of my sketchbooks, especially comic development, digitised and onto Google Slides! I follow a similar process to when I was at uni still, with a huge PowerPoint for a project that contains reference images, inspiration, plot bullet points, and links to google docs where I write the scripts, development sketches and finals. It makes it super easy to go back to important parts of the development and be reminded of things I might have lost in the development process

Warm-up sketches because you bullied me into it (affectionate)

Continuing to explore colour

2 things I would like to tell you more about: 1) Edvard Munch!!!!!! If you ever get the chance to visit the Munch Museum in Oslo, do it!! I hadn’t seen a whole museum dedicated to one guy before, but seeing so much of his work in one place, in person really helped me understand it better. They also had a fantastic audio tour to rent that made it super accessible. I had just come from thinking about colour last week and becoming more comfortable with darker colours, and I had been thinking about personality and narrative in settings and backgrounds - both of which he does really well. In particular, The Sick Child, Eye in Eye, and The Sun stood out to me.

2) Play. AGAIN!!!!! I feel like I’m constantly having to fight myself, reminding myself to let go, play around, and explore without the expectation of a final outcome. You told me to try some 20 min warm-up and cool-down sketches - which I’ve been doing and has been going great! They’re not all perfect and aren’t supposed to be, but I’ve also had some really fun outcomes that wouldn’t have happened otherwise. I also feel like I’m getting more of a grip on colour :0

Plus, I’ve found that I haven’t wanted to post my terrible sketches or even my better ones?? Which has been nice to make without the need for sharing. However, I have found myself craving a final image to share with all of Tumblr and Instagram, thinking of possible images that would do well on those platforms. I think there is a small part of me that wants to create those because it would be fun, but I think it’s mostly to fix the number-shaped hole :/ Hank Green made a good video which mentioned the fact that platforms are EXTRA BAD with teaching creators to be addicted to them, even more so than consumers. Video here. It’s good.

I was listening to the Imp and Skizz podcast earlier (Episode - Rendog pt 1), it’s a great podcast, they chat about Hermitcraft a bit but mostly about what being alive is like and being a creator, I really recommend them too. Anyway, Skizz said he was once told to ‘create videos that he wanted to watch.’ And I think it’s a good approach to have when creating. What do I wanna see/ read?

I would love to chat to you about the balance between dark tones and silliness in storytelling too, but it is 11pm and I do have to get up early tomorrow. Plus, I’m not sure I have enough thoughts yet. But for now, it’s left me thinking: what do I want to make? Am I campable of silliness in stories? I want to tell stories with an undertone of darkness, that discusses difficult themes, but how to we do that while keeping it entertaining and not just Too Much(™)?

I dunno, just thoughts I’ve been having. I wanna get them down, even if I don’t have any solutions yet. In the meantime, please accept these sketchbook pages in lieu of philosophical answers. 

Thank you for listening to my rambles once again!

Love <3 Archie

For the past several weeks I’ve been creatively resting - playing a lot in sketchbooks. Most of the time, I find myself a little bit addicted to the grind of making polished, finished projects, but I’m trying to take a break from that at the moment and just have a play around! This has mostly involved drawing a lot of fanart (I’m on a minecraft yt hyperfixation right now - kill the part of you that cringes!!!!) which you can find on my tag #archillustrates if you fancy. 

Though I’m trying my best, I find it hard to ‘just play’ in sketchbooks. There’s part of me that feels stuck if I’m not improving on every single drawing I do - which is just impossible. This does give me a drive though, even if it’s not entirely healthy. I’ve been enjoying playing with new materials - here you can see some experiments with a new dip pen I was given for xmas and some lovely inks. I’m loving the range of thickness you can get with your linework with this nip, although it’s a bit hard to control. (These are some OCs that might make it into a comic one day)

I’ve been playing with more cartoony styles and proportions for several weeks now, and I feel like I’m reaching a limit in my development of those styles before I have to go and study more anatomy. I think taking anatomy study slowly is key for me. I find it draining and don’t have a natural inclination to do it most of the time. Adding a little bit here and there in different projects and in between other themes I find more engaging makes me more interested in learning. We can’t become perfect overnight, and the pressure to do so is what kills the fun. Right now, as I’ve been playing for a while, drawing some observationals feels right. So here’s some I’ve been doing!

Hey Shri! <3 

Wow!!!! I’ve seen the finished Brothers Lionheart cover already, but those thumbnails are just incredible. I know you plan to move away from the dark/horror vibes of those images but they’re so impactful!! For sure save those compositions for something else. You’ve put so so much thought into those compositions, it’s inspiring me to put that level of thought into my images too. It's nuts!!!

So y’know how the plan for this blog was to take it easy and do a little at a time? Maybe just pop in and update each other on what we’ve been working on, or even what’s been inspiring us? Well, we haven’t exactly been taking it easy have we :// At the beginning of writing this I thought it was gonna be a chill one but,,, it turned out not to be.

I was lucky enough to be back in Cardiff for a bit the other week, so I hit up the Riso studio. It was super lovely seeing everyone - really made me realise the value of having an artistic community. (for context, I have been travelling recently and it’s been weird, after uni, to not be surrounded by other illustrators)

About once a month, my shared print studio has an event called Open Haus, where we’re open to the public but also loads of members will come in, have a cuppa and a biscuit and talk about art stuff. I happened to be doing some riso printing and Gavin, who’s a right babe and an excellent riso artist, was once again giving me a hand. I love working with other people in the studio, bouncing ideas off them. It sometimes helps me get out of my head (though with practice, I’m also learning to do that by myself!)

Here’s a bit of development work for the print I did a few days before printing. It was actually a bit of development for my comfort characters’ home - but as you know i love building my skills through fun things like that! Trick yourself in to improving xD

This is the print I made!! It’s titled ‘Space Fyn’, named after a place I associate with home <3 

I ran into a bit of an issue with the blue, which I originally planned to use. Once I printed it, I hated it (blehhhhhh), so! We tried a mint out instead. I still didn’t like it. But thankfully, Gavin did this thing where he made me step back and view it from afar and then I liked it again (this has happened twice now I think I need to learn to step back without his help ://) Also, there were about 10 people in the studio, and they all voted on the mint, so I printed a run of 15! (ps. you can order them by dming me on Instagram)

Later, I was showing a friend the progress and she made some great points. The dark blue gives more of an evening vibe, while the mint gives more of a sunrise vibe, a bit brighter. But also, it totally changes the tone! This has led me to think more about how different colours can be used for particular vibes :0 and how can we bend that and make it more interesting than ‘red danger’ and ‘blue sad’. 

Some notes I took from our conversation

Looking at colours in particular genres (they are used differently in specific ways in different contexts) 

for example in Westerns, good guys wearing a white hat and bad guys wearing black hats - misc characters wearing brown.

Light sabres in Star Wars very clearly symbolising ideology

Characters attached to colour - she uses blue and red to symbolise characters that oppose each other in some way, for example.

Character designs, using colours that match well for more grounded characters, and colours that clash for more unstable characters

Power rangers!!

What colour is your ‘normal’ for the world? And how will specific characters break that or blend in?

All of these are just prompts and thinking points of course, it’ll take a lot of exploring to know how i want to apply these to my work.

I was lucky enough to attend Plymouth Comic and Zine fair!!!!! (this is me :0 !!)

It was very lovely, I really enjoyed seeing people from uni, the general Plymouth illustration scene, and those few illustrators you know but only really see at fairs. I also got the opportunity to have some awesome chats about illustration (shoutout to that one hermitcraft fan who let me ramble about Minecraft builds and setting design for a bit <3). I had a chat with the wonderful Ben Wright and Jess Holloway about colours, especially in narrative, and here are some ideas I took away from that!

They didn’t have any specific suggestions for books about colour and narrivite,  but again, film came up! Colours in film are discussed a lot, and vary a lot in genre, so i’ll have to do some looking into that.

In particular wes anderson might be good to look at 

Hero by Jet Li - haven’t looked at this yet

How to take colour that we may associate with a particular feeling and instead make it do something else. (eg. how to make blue happy)

Colour in context with shape and composition

I was very excited after PCZF and got hyperfixated on a little drawing. You and I were chatting about folds in clothes at the fair, so this image was to play with that a bit.

Yes this is an image of my favorite block lady. I love her. [Illustration of GeminiTay, along with her season 10 skin]

I decided to use the colour pick tool from my reference for accurate colours, which I don’t normally do. I do have a habit of going too light with my values, and a bit swampy and desaturated with my colours. When I started with her trousers, I thought it was wayyyy too dark, but I decided to stick with it till the end anyway. Even though it clearly worked in the reference image, I was still surprised it worked on mine. This has proved to me that it’s okay to push and use some darker colours - which is a bit scary but I’m going to give it a go.

'messing around with colors with imp and skizz' by @applestruda

I also saw this incredible image by @applestruda using wonderful colours! This led me to play around with some high-saturation images. I wanted to draw one of GeminiTay’s builds with the spooky vibes she’s been trying to capture. I downloaded applestruda’s image, colour shifted the hue to one that fits the energy I wanted to capture, and used it to create a high saturation colour pallet. This is a great starting point since I’ve never worked with this kind of colour palette before - it gives me a starting point rather than drowning in indecision and cluelessness XD

Here’s a timelapse of the study!

Once I’d finished, I hue-shifted them for some alt colours. I find this a helpful process for figuring out colour stuff that I would never consider normally. I think I like these more, actually. The one with the reddish wood and green accents feels like it has the vibes of the original image, but is exaggerated a bit. I think it pops. And the pink is cool. I think I could have pushed the values further again, but I'm pretty happy with the final images.

So those are my colour thoughts over for now - I’m hoping to keep playing but use of colour is for sure a lifelong skill. 

The past few weeks have been so awesome. I’ve just been so so moulded by conversations with my artistic community and it’s been so lovely!!! I’m really enjoying running around the country and visiting all my pals. It was so nice to see you at PCZF and I’m looking forward to more of it!!! :D

Ps. Here are some sketches I did at the fair

Can’t wait to see more lionheart lil guys :0

Hey Shri and folks!! LOVED seeing part three of the Lionheart Brothers cover. Stunning!! And awesome to see your process. Also cool to see what you’ve been looking at lately - I’ve just finished a rewatch of Firefly and the characters are still living in my brain a bit. 

Life is a bit relentless, huh. I’ve spent a lot of time and energy working on disability stuff - meal prepping, sorting silly government forms, all that sort of thing. Exhausting and super easy to burn out on - but also sets me up for the future in my personal life and for illustration! I want to discuss the balance of pushing and burnout this week with an excellent example - I tried foreshadowing to make a comic in a week. 

When I was in uni, it was easy to create cool stuff regularly - you’re constantly receiving prompts, doing activities, getting feedback etc. I still have access to these things, especially through my shared studio community, but it’s not as easy as it used to be. I miss creating finished books, in particular, so frequently. So! I challenged myself to make a comic in time for Something’s Fishy Zine Fair in Plymouth tomorrow, which was just over a week from when I started.

I had come up with the concept for the comic while travelling, written the script and done a couple of sketches. I often come up with concepts while travelling - I just don’t often follow through :P Here’s a couple of sketches I did on the journey.

I’ve been chatting to lots of people about what they enjoy about art - I’ve noticed that I tend to crave the end of the project and having the physical thing with high expectations of myself, which doesn’t lead to a very enjoyable process. Many people I’ve spoken to enjoy the ‘zone’, the focus of the project where you’re just figuring stuff out and not thinking about anything else. Bearing this in mind, I wanted to make the process as fun as possible - this comic is for fun and not for the purpose of having the thing at the end. 

I started with a few development sketches of the characters and the vibe. I used ink and my funky kakimori dip pen, plus some brushes. These mediums are hard to control, which makes them good for development for me - they don’t have to be good, this time is for gestural drawings and ideas generation. Some continued doodles in my sketchbook from some downtime :) Fish wouldn't leave my brain.

After a bit of character development, I began by adapting my script into pages - I read the script and try to feel the vibes on how I want to pace the comic, considering:

How much dialogue and plot do I want to put on one page?

Do I want it to be more text or image-heavy?

Do I want it to feel fast and snappy, or slow and dreamy?

Which parts of dialogue feel like a page-turner?

Are there any twists that should be separated from the rest of the scene by a page-turn?

Are there any moments that should sit next to each other on spreads?

You can see me changing some dialogue around, writing as I draw a bit. Also playing around with some weird looking fish?? With noses???

I got a bit stuck at this stage. I was scared my script wasn’t good enough. And worried about if I could even draw fish. After a couple of chats with art friends, and some rambling in my slides, I reminded myself that the lesson this time is fun!! Have fun goddamn it!! No point doing it if you’re not having fun. (it’s not like we make any money from riso printed zines anyway)

Screenshots from my slides - these things are wonderful for gathering inspiration and venting when you run into a problem with the project.

So I decided to just go for it. Not even thumbnail, but just take a scene and draw it. I asked a studio friend to choose a number, and I drew that scene.

Because of the chatty style of the comic, and how much dialogue there was gonna be, I knew there would have to be a LOT of panels. I decided to make it A4, and use a 8x6 grid. I’ll draw the images at A3, and than scale them down to A4 when it comes to printing.

left: A3 grid on the lightbox, for tracing over || Right: A4 grid with boxes of different sizes for me to reference while choosing the layout - this way I can see the final print size

First drafts of a couple of random pages from Moon Noodles.

The first day I drew several pages that I was really happy with! It gave me a lot more confidence in my script - seeing it come to life with the characters on the page - some pages even got some laughs which was nice. I would look at the page plan, script, and spend a few minutes thinking about the pacing and how I wanted the dialogue on the page, and the go straight in with the dip pen - with the awareness that it might be wrong. This process taught me an important lesson - you have to just do it. The thing is, if you do it and it’s bad, you just do it again but different. Repeat. Staring at that script thinking it wasn’t good enough wasn’t actually going to get anything done, be fun OR make nice stuff. You have to do the thing. Then you make it better.

The other thing I learnt from this process was to give it space. There was a day where I did one page, hated it and thought the pacing was off, and spent the next day trying to translate it into two pages. It didn’t work. I came back the next day and realised the first page I’d done was fine and just needed a couple of tweaks. Do the thing. Let it be.

Here’s a little picture of my setup.

(Sorry all of Printhaus for hoarding the light box and getting ink all over it :( love u)

Useful stuff!!!!

Finished pages to refer to, plus more A3 paper underneath for future pages

Laptop with script

Dip pen, ink and water for keeping that little guy clean!

development sketches for relevant scenes

Page plan (you can see I have shortened it considerably since last time - now it's 20-24 pages and noted on scraps of paper so I can move them around if there's any changes of plan)

A4 sheet with boxes to show the sizes of the final print

also scissors??? i don't remember why they're here

But then monday morning came. I realised that if I wanted to get it all printed by friday, I needed to:

Plan and 12 pages on Monday, and 12 on tuesday

Get the final files for every one of the 24 pages by Thursday 

Print friday morning

Travel down to devon Friday afternoon

Fair Saturday

Not only is that basically impossible, but it would be very bad for my health, make for a rushed comic, and most importantly, not be fun. The thing is, I’ve made whole comics in a couple days before. I figured I could still do it. But that’s not actually a good thing - my skills and taste have increased, I'm aiming for bigger, more ambitious projects and yet I expect the timelines to stay the same? It doesn’t exactly work like that now, does it?

But I kept going anyway. 

Tuesday morning, I decide to get the cover put together so I can get the preorder post-out. I get pulled into an unexpected meeting, and then spend the rest of the day inking this thing and getting the files sorted. At this point, I know for sure It’s not possible to get this done. Thankfully my two Printhaus besties were in. They helped me drop it. I love this comic, it feels fun and joyous and I’ve enjoyed working on it - lets not rush it and end up with a bad product that will bother me. Let’s take time, explore it and really enjoy the process!!!

All is not lost for Something’s Fishy Zine Fair, though! Originally, I had planned to do a print of the Moon Noodles Cover for preorders only, but why not print that for Something’s Fishy?? Anyone who buys the print will also get a discount code for the pre-order :D (also here’s the pre-order link)

So here’s a few images of the Moon Noodles cover print and the process!! I hope to see some of you at Something’s Fishy. It’s a joy to visit Plym again :D

Sketch printed out at A3, and 2 of the layers. I scanned these in and edited them on photoshop to get the files ready to print.

Coming to terms with the fact that 1) I don’t have illustration superpowers even if my expectations are that high and 2) I’m disabled (yes it’s been years and it’s still hard to face) is really hard!! I need to spend most of my time when I’m well preparing for when I’m not AND fight the urge to work until I burn out, which I always lean towards because it’s nice escapism. 

The thing is that living, and not being too exhausted to move is much more important than a comic. And if I am gonna spend my functioning time making comics, they’re gonna have to be enjoyable to make. Otherwise your life slips away from you and you haven’t been really living it.

Hope that hasn’t got too deep for you. I think that stuff is important to face, especially since the creative life is so incredibly busy.

Thank you for reading this goddamn essay, I hope that it helped in some way! As usual, feel free to drop an ask if you have any questions.