Friday, 31 July 2009


Inspired by M.C. Escher and done during my university days. I remember lots of angst at the time. Artists are usually self reflective... some end up crawling up their own @rse... It's a fine balance, truth be told. The subject(s) here have gained enlightenment... of a sorts.


In a quiet moment at Supanova, Greg and I doodled away. This is his version of Beanboy. Obviously he's being radiated with cosmic rays and is about to discover his new superpowers... Stay tuned, true believers! Exelsior! 'Nuff said.

Monday, 27 July 2009


....and here's the finished pic. I seem to recall this took several days work in total, amongst other little commitments I had going on at the time.
Phew! Was I glad to lay this to bed considering the early pencils had been floating around for years... Then again, this whole graphic novel has been floating around in my head since 2002, so this is peanuts. What am I complaining about??


These ones show I started colouring this beast up. I don't show it here but I have a background flat colour of dark blue or something like it so my eyes don't melt from staring at the big expansive white screen for over 8 hours a day. The linework for the kids were on separate layers as well, so I could conveniently move them around as well.


Here's the process for my second Uncle Silas screensaver (that reminds me, I'll have to get Tomto upload it to my website!). The original pencils were done a couple of years ago- you can tell from the crappy proportions of Uncle Silas himself- he's all wrong. To be honest, even Selena is a bit wonky. I'm sorry, but you'll have to read this process post backwards to see it grow. I can't be bothered trying to second guess the chronological system this blog has.

I figured this would be good to finish up and have as a screensaver and poster for publicity sake, so I had to revise the pencil sketch and work it up. Again, you can see just how unfussed I've become with doing the forest background at this point when I'm inking straight into photoshop.
Then of course, the inking came second. I've shown the different stages of layer build up to give you an idea of how many layers I end up having with the complex pictures when there's heaps of detail and overlapping forest filaments and foliage etc... You can also see where I erase underlying layers when I end up drawing over the top. This way, I keep those big smooth arcs of brush lines. Previously when I inked on paper, I'd have to mimic them and it would be so time consuming and laborious.

Sunday, 26 July 2009


I've decided to upload a couple of pencil sketches for some early pages so you can see the difference in my approach. The earlier pencils from when I was inking with traditional brush and ink onto schoellers hammer paper crouched over a lightbox were tighter and more thought out. The linework was well considered and composition was often chosen after quite a lot of mental gymnastics and visual play in my head. I couldn't very well decide later on while I was inking to change things or add or heaven forbid, subtract anything out of the panel.

However, when I started inking up straight into photoshop, I realised I could just lay down the basic bones of the pencils and over my roughs start to improvise a little with details. Especially when it came to foliage and backgrounds. With linework for my characters on separate layers to my backgrounds, I could really start to muck around with things, as well as begin to get some great details with foreground foliage and action sequences. Erasing underlying linework really started to open up the possibilities.

While I won't show you pencils of later pages (why ruin the read for you?) I can show you a couple from what I've printed up in the b+w mini comic.