Wednesday, February 28, 2007
The second (Battle for the Mind: A Physiology of Conversion and Brain-Washing) I found after a search for well reviewed books on the topic of coercion, persuasion and brainwashing which, at its center, will be what CORA is about. There is a well known mantra among writers to "write what you know", but in this case I am writing about what I don't know but plan to place characters that I am now very familiar with into situations that will further define them.
I can't express how much this kind of research helps me. It helps expand my knowedge of subjects that I may have a narrow or generalized view of. Research not only makes our work better, but helps us become more learned as well.
Monday, February 26, 2007
I'm in the process of converting all the pages to sepia, fine tuning each one as I go. The book will be around 185 pages. Many of you have asked when the book will be released as one volume and here it is. (Hopefully I'll have the US version available next year.)
This is a sample of what the book will look like (fine tuning still to come tho).
there has been some saturation loss from the conversion to web colors.
Sunday, February 18, 2007
I have used quite a bit or reference material in the making or Rose and Isabel and now Cora, but I must admit I'm not using enough. Too often I find myself trying to wing it and ending up with results that are inferior to what I could have come up with had I used reference.
Take the pic above for example; this was one of the ones I used to help me represent the anguish expressed by the two sisters in the Rose and Isabel book. Often times there is a tendency to rely on stock expressions or preconceived notions of what emotions look like on the face and they tend to be one dimensional. When someone is sad or crying, do the eyebrows always tilt back and the mouth point downward into a clownlike frown? Not really. It's very complex what happens when the face contorts to represent emotions. What I noticed about the expression above is that the eyebrows are pointing down, as if on an angry face, the mouth curls in both directions, up and down, almost adding a bit of an odd smile to the mix and the hair is falling across as well; details that would not necessarily have occured to me had I not looked at this film still.
These combinations are not only just true of the extreme emotions either; a subtle face can convey any number of complex feelings. The slightest tilt in an eyebrow (and I'm not talking the cocked eyebrow combined with the slightly crooked smile that you see on a million character's faces when they say "hey baby, what's happenin'?"); the slightest tilt of an eybrow or lilt of a head or how the eyelids are (specifically the bottom lid) can mean a TON of things; most of which are combinations of emotions that don't fall into the general categories.
When I was drawing the comics, I tried very hard to avoid purely happy,sad,angry, etc. faces. There is something behind those emotions that bring them to the front -- is the anger caused by frustration? boredom? ego? I try to find out what it is before putting it on the face and using reference is a great way to acheive it.
Here is an early sketch of Rose holding her brother at the end of the story that I really liked, but this particular shot never made its way into the final book.
Tuesday, February 13, 2007
CORA is coming along very slowly but the first 30 pages of the book are starting to take shape; I'm discovering who Cora will be as a person, something that I can't do very effectively with just writing. The drawing of the pages on the fly is leading me in new and exciting directions.
Monday, February 05, 2007
Thursday, February 01, 2007
here and part two is here. Be sure to check out the rest of their podcasts by clicking the banner below!