Original Art Sundays no. 363: Sharp Invitiations: Esther's Hands, p. 5

Next page of the story. For continuity, this story comes after the squirrel story and before the job story. I've been reorganizing the book. While there's still much work to do, I'm pleasantly surprised by the progress I've made. 

When we left, Mother was patching together a life for herself and her five kids.

I made a text change to the previous page, throwing in a line about my baby brother. I am reposting that before the new page.

 

Hm. Posting multiple pages reinforces narrative. I've made this observation before, but it's easy to forget. 

When I started this book, I prepared a 64 page outline/template. This part of the story was a point where things were about to change for the better. I reviewed the outline, and found I was about to leave out some vital background information. After a couple experiments, I found the layout in the outline was almost exactly what was needed. This page sets up the evolution of the family and builds on my childhood. It also shows Mother's character in the grape incident! To this day, I try not to "sample" in stores.

Art notes: This page is sparse, but it works. I'd like to push these pages a bit farther in terms of light/dark, but my work tends to be fairly bright. More dark on upcoming pages, so perhaps balance is a good thing. I made a layout gaffe in setting up the page, but was able to make it work anyway. Fortunate, since I didn't discover the problem until I was almost done! Using the old saw of adding line for background texture in panels two and three. First panel: maybe it could be darker. I tried a couple things on overlays, wasn't happy with the results, and decided to leave well enough alone.

In the original layout, the turkey panel was another group shot. I didn't want to overuse that, especially as we had a full family shot on the previous page, so decided to just do the bird, so to speak. In general, a pretty straightforward page. Necessary to the story, but not stunning. I'm happy with it anyway.

New tools this week: Added a .25 Copic marker and a Pentel click eraser to the toolbox. Otherwise, largely the same as on past pages.

Next: the brush.

Original Art Sundays No. 362: Sharp Invitations: Esther's Hands, p. 4

 Back in the saddle again, with another page. This one took a while, mostly due to other time commitments. The page itself was a simple enough page, but it gave me fits. For some reason, I couldn't get it to work. It was a serviceable page, but so dull. The first tier was okay, but the second tier- snore.

After several false starts and a collaboration with Kevyn Lenagh, creator of Domino Chance, I came up with a pragmatic approach to the second tier. Split out the right panel into two, and change the perspective on the first panel. I was finally able to put the page to bed today. I was pleasantly surprised that she liked the page more than I did!

When we left off, Mother had four kids, and Dad, who was away on military duty, had just met someone - else.

Narrative notes: At a family reunion recently, I talked with my sister and my cousin about the ethics of naming names in this work. Their view was that if someone is living, they should not be named. I don't completely agree, but when I'm done with this work, before I go to press, I will delete the name of Dad's second wife. In the text of the first panel, I bounced back and forth between "your kids" and "our kids." I landed on the former, thinking it was consistent with his abrogating responsibility while she didn't. A crucial detail, the fact that Mother was pregnant again when Dad made his announcement, was left out of this page, but will be worked into the next page. I alluded to it by having 5 kids instead of 4 at the dining room table.

Visual notes: This page is intended to provide more background. It is, of necessity, a "workhorse" page. With the framework in place, I can be more adventurous on the next page. The top tier is fairly effective- the old saw of the phone cord works on pre cel phone stories. I like the graphite as night in panel 3. Panels 4 and 5 do what they should do and advance the story, but still lack emotional impact. In this case, I reluctantly decided that it was best to let the text carry the story. I kept the original top tier and reworked the second tier on a separate page, then went into Photoshop and mashed them together.

No tool list this time. Pretty straightforward.

Next: the kids grow a bit and Mother starts to find her way out.