This is another test (it’s a test post to see if my various social media are sharing the way I want them to — I’m technologically impaired)… but its also a new drawing for MCC so enjoy!
From one of my ‘drawing a day’ things.
Last year around this time I self published my comic, Dagon, in a zine format for Gencon. Subsequently, it was picked up for an upcoming issue of Tales from the Magician’s Skull (I think it will appear in issue #3). The Magician’s Skull version will feature a few small changes including an additional page and a written introduction which will appear in this aquatic themed border (above).
In other news, I have updated my illustration portfolio with some new work… check it out here.
The above illustration will be printed in gold foil on the back of a leatherette book cover in a future publication (the large black space in the upper LH area is for text). When working on an illustration for gold foil, the tricky part is remembering to simplify the design just enough so it will print clearly in gold foil (but not too much since I think much of the visual interest in a drawing comes from the twists and turns of line as they describe the subject).
This image was inspired by a drawing by Virgil Finlay illustrating H.P. Lovecraft’s story, “The Color out of Space.” I think Finlay used scratchboard on his original illustration. It’s a great drawing — both in terms of technique and composition. The silhouetted figures in the foreground are particularly nice.
As previously mentioned, I’m working on a comic book version of the classic Clark Ashton Smith story, “The Mother of Toads.” Above is a time lapse video of screen captures at short intervals of me working on the spread for pages 14-15 of the short comic… I’m currently using Manga Studio for the drawing. FYI: There is no sound in the video (so don’t worry — your computer is working fine… I just haven’t added sound yet).
I released a comic book version of Lovecraft’s “Dagon” at Gencon last year and people seemed to like it so I decided to release another this year. This year’s release was supposed to be “The People of the Pit” by A. E. Merritt, but that comic got picked up for publication in “Tales from the Magician’s Skull” so I had to come out with a replacement comic for release this year — that is why I am cranking furiously on this one, trying to get it finished and printed before Gencon. My plan is to continue to do various horror comics based on lesser known tales from classic horror/weird fiction authors until I have enough to publish an anthology.
I’m hoping to make more tutorials and ‘work in process’ videos in the coming year, perhaps using a platform like Patreon to help defray costs. If you have had experiences (both positive and negative) with Patreon as a creator or as a patron, please let me know in comments.
I can’t remember if I have mentioned this yet, but I’m currently working on a digest-sized comic book based on Clark Ashton Smith’s short story, “The Mother of Toads” for (hopeful) release at Gencon in early August (knock on wood). 16 pages in black and white… possibly there will be a color cover depending on cost.
This makes the third “Appendix N” author story that I have adapted to comic book form (last year I released Lovecraft’s “Dagon” and I also adapted A.E. Merritt’s “People of the Pit” to a comic book — both will be appearing in Tales from the Magician’s Skull magazine). Eventually I hope to publish a horror collection of these comics so if you missed out on the originals, do not despair.
There is some nudity and toad sex … so be warned. “The Mother of Toads” is one of CAS’s less well known stories, and, AFAIK, I am the first to have adapted it to comic book form. I was excited to see that there was a film short adaptation (part of the 2011 horror anthology film, ‘The Theatre Bizarre“), When I rented “The Theatre Bizarre,” I found myself underwhelmed. “The Mother of Toads” segment was, in my opinion, pretty good (although they made some narrative choices I wouldn’t have), but, after watching 2 more segments, I got bored with “The Theatre Bizarre” and gave up. I’m pretty hot-and-cold when it comes to horror… sometimes I enjoy it a great deal, but some stuff (particularly slasher horror) just bores me, so take my review with a grain of salt.
For an upcoming project. India ink and gouache on paper.
Upcoming project work in progress.
Work in progress of a recent commission for DAMN Magazine. The subject is ‘Tiger women” who inhabit a jungle environment on the front cover and a great snake on the back cover. The whole is to be painted as one picture using acrylics and washes on stretched watercolor paper. The paper will rumple when I apply the paint so I have to soak it, staple it down onto a piece of plywood and then let it dry before I start painting.
We start with a pencil sketch on stretched watercolor paper. When printed, the front and back cover will be split down the middle. Details are to include a tall, tower-like temple structure and a thick jungle. This is the pencil underdrawing which is ~80% done. With sketches to figure out the layout, etc., this represents 4 to 6 hours so far.
Once the pencil is complete and I am sure I have all the details where I want them, I start working in thinner washes of color. I think this is probably the most critical part of the painting… normally I grow impatient and want to dive in and start painting whatever I find more interesting, but when I do so I usually end up screwing it up. Through experience, I’ve decided I get better results if I start working the overall painting first, trying to work in shadow areas and the background gradually and building up layers of color. I’m guessing we are at eight or nine hours so far.
Once I have the first layers of background and environment done, I can start working on the figures and other elements. I don’t have lots of specific rules as to the order I work on things, but I like working cool colors into shadow areas in order to give it a more atmospheric effect and I have had more success in layers darker colors over lighter ones rather than vice-versa. In addition, foreground elements get a shorter edge and outline and greater contrast than background elements.
I’m reaching the point where everything has at least some paint on it. One of the obvious advantages to painting the ‘tiger women’ after I paint the trees and plants they are standing in front of is that I can get a crisper edge on the foreground figures that helps them feel more defined. I’m liking the way the orange figures are looking against the green of the forest but think the tiger women of the front cover and the giant snake of the back cover are too similar in color so I want to fix that… I want to make them “the same but different.” I’ve been working on the painting for around 15 hours at this point.
The final painting in a good quality scan. Previous images were just photos taken with my mobile phone (I can’t scan the painting while it is attached to the plywood), so the colors in previous photos are are not as vibrant. I went over the snake with a thin wash of yellow… I think it looks much better. The last hour or so is spent on going over it and fixing little things or using various shades of white, blue and brown to pick out shadows and highlight areas. The treatment of the temple/tower is ‘just about right’ at this point in my opinion and I have to remind myself not to work on it too much… I feel like it currently has just the right amount of detail… too much more and it will compete too much with more foreground elements. My favorite part is probably the way those twisty tree trunks frame the temple. The last thing I do is add my initials to the lower RH corner. In total I probably spent about 20 hours total on this from start to finish.
Got a lot of stuff I am working on, but here is something recent for an upcoming project (look for it in early August). Drawing in white on black is a lot of fun… one of my goals for the future (when and if I ever get caught up) is a series of wood block/lino prints in 2 or 3 colors, printed in editions of maybe 50 or 100 to keep the prices low.