Original Art Sundays no. 305: Sharp Invitations: Curt, p.45

 Once more into the breach, dear friends. When we left our intrepid couple, Curt had made his intentions clear. Read on.

First, we discuss the story.

Events unfolded in this way, but there was a 24 hour gap between him telling me to go and my exit. We had out of town company the next day, quite awkward. I do wish I'd put on the other pants! The cop is modeled on a Madison cop who used to work security for Rocky Horror when I was running the Majestic in Madison. Really nice guy. We had long talks about Stephen King. Last time I saw him was after I transitioned and he was still decent to me, something I haven't always experienced from law enforcement. I remember him fondly. I wish all cops were as respectful to trans people as he was to me.

Art notes: I went a bit overboard on the first panel, with a wild pose inspired partially by the Bob Clampett classic The Great Piggy Bank Robbery. I do enjoy that loose style, but it doesn't always serve the story. One of my occasional beta readers suggested that the left (back) arm could swing out a little more. I followed that suggestion and it worked. 

The rest of the page is pretty procedural. It was a lonely, scared night and I wanted to show that without saying it outright. Given where I went, it was fairly easy. 24 hour groceries have mind numbingly even lighting. It's very disconcerting. For the last 5 panels, my goal was to include sufficient detail to communicate and no more. The characters inside the police car are a visual idea I want to work on more - characters seen inside the environment, as opposed to placed atop it or in front of it. Characters behind desks, seen through foliage, wandering through ruins with large bent metal in front of them- you get the idea. It encourages deeper involvement in the story. Some of the lines in the last panel dropped out a bit. I'll push it more in Photoshop, as is my way.

Same equipment list as last week, so I won't repeat it. There is the notable inclusion of a couple new tools: a Copic small brush marker and a Deerfoot 1/4 Mini Detailer brush. It's an angled tip, very chunky, and gives a delightful scumbling line. Very thick handle, feels good to hold. I suspect it will get a lot of use as a dry brush tool. You can see some of it in the "light lines" around the lightpost in panel 3. 

Next week: the shelter.

Original Art Sundays No. 162: Surrealist Cowgirls, p. 18

Only six pages left to this story!
Here's the latest installment:

So the Zen Master is the villian? Okay...
In my Comic Writing course, which ends tomorrow night,  we've been talking about the challenges of doing written humor, either in comics or in prose. Humor is dependent on timing, and when someone else is reading your work, you surrender control of timing. This is usually remedied in comics by visual exaggeration- think Howard Cruse, Robert Crumb or Peter Bagge- but that's not my style, so I find other approaches. My most common tools are puns and surrealist visuals.
These tools can be tricky. it's hard to be over the top and subtle at the same time. On this page, I aspire to a sense of menace, and hope to achieve it without losing (or forcing) the silliness. The surrealism scenes usually begin with a random image, and are honed by making the design work in a plausible way. I don't want it to seem cluttered, while I want to retain a sense of a full-tilt surrealist desert and world.
Overall this is going the way I want it to (except for Taz the kitty's continual insistence on jumping into my work space). I'm continually inspired by Bob Clampett, Carl Barks, Jim Woodring and Mary Fleener in doing this work.
More and more, I see this as either a Golden Age 64 page book or as an 80-page Giant comic, old school DC style. With the completion of this story, I'll have about 47 pages of Cowgirls material total.
Page 19 is almost done, so let's look forward to next week!