22 August 2007
Working through the current arc of my book requires, not only my protagonist to wake up, but also his neighborhood to wake up. (I thought it would also add to the mood of the piece). As such, I had to go for high contrast, as at night there aren't any real tones. Therefore I couldn't use my beloved crosshatching/scribble. The results of the opening wordless sequence tuned out better than I expected. Here's how it went:
As usual, I start with the script and thumbnail (below) the page sequence with an ordinary biro on my A5 little notebook I carry with me.
After I've chosen the best scenes to convey my "early morning" scene from my thumbnails, I decide which order they might go in, and then pencil them in on a full-size rough. (Below) - just to get the basic shapes in.
Like many cartoonists will tell you - even though I pencilled in the sequence in the order I thought suited the flow (above) - it ended up changing. So when I pencilled/inked in the final board (below) - the sequence had changed to something I thought 'flowed' a little better. Hope you agree.
I now know why my fellow B&W artists like Tom Bonin, Henry Pop, & Colin Wilson get off on the high contrast of pure B&W's. It's a real kick, let me tell you. There is something I really like about the bare B&W finished ink. I am always tempted to leave it at that - but unfortunantly, it's hard to create the nuances I desire in B&W without some additions like crosshatching or tones. Crosshatching in this case would have detracted from the clean crispness of the still night I was trying to convey.
So I scan it into the computer, clean it up & add a slight 2-tone grey pallette.