Month: October 2012

NSFW Work In Progress 4 SUMMER2012


Dug this out today to decompress a bit. I’m in the process of moving right now to Montreal, QC, so my mind is not interested in working on anything conceptual or heavily technical. Nice flat drawing with no perspective of a sexy dark angel chick is a thumbs-up for me. This is the type of drawing that would be shunned in art school… “WHY!” “What is the feminist discourse behind this!? OBJECTIFICATION!” Let me put it this way: It’s not about any of that, so we’re not getting into it. And why should I draw this? How about WHY NOT? I have some art-school angst that needs to be purged from my soul.

This is the current state of affairs with this drawing. I thought up of a background because I’m not the type of artist to leave things so badly unresolved; she has to be stroking something! I think I had a different idea when I started, but that was a while ago, and I’ve definitely forgotten what that idea was. I think it was as bad as her stroking a wall (WTF?). I don’t think the anatomy and pose worked out like what my illogical mind imagined anyway, so here is the start of a background as it reflects the mood and colour scheme of the picture. I think I started with something dark that is turning light.

Review of St Cuthberts Mills: Saunders Waterford Series


What you see here is the same pencil drawing with masking liquid over the parts I want to leave white and then several layers of dry watercolour. The masked out areas are parts of the ground, the windows on the building in the background, reflective spots in the water, and the electricity shooting out of the car as it reacts with water. The electricity is a bit exaggerated, but hey – it’s drama! This panel should scream panic and disaster when it’s finished.

What watercolour paper is this?

9×12″ block-pad of St Cuthberts Mills: Saunders Waterford Series

Really nice paper given to me by one of my best friends and artistic colleagues for a birthday present. To me, her name is Natasha, but I think her pen name is Pal El and she illustrates comics for an online comic magazine called Premiere Pulp. I would like to be certain of these things, but she’s very secretive.

This image is 1:1 on this paper. It takes watercolour fairly well – I find it takes a while for it to sink, so you have to be more patient with manipulating colours. It’s good if you want smooth, even washes. I would rate how this paper handles wetness as Medium; when it is extremely wet, it does have some minor warpage.

The texture is very smooth. Because it comes in a block pad, you don’t need to pre-soak or stretch it, though I would recommend putting down a wash of water before starting anything to dissolve some of the glue. I believe this would improve the absorbency of pigments.

The front of this pad does say Aquarelles, which are watercolour pencils that take small amounts of water – so I will assume this is what this paper is designed for. Not for heavy-duty attacks like I tend to use. Like with the splash – I will put down lines of ‘dry’ pigment, and soak the whole area with water to encourage it to do what it must.

Here is an image of some of the abuse I put this paper through:


Metallic Taste WIP Crash 1

Sketch for a new panel: Myra watches the meglev car crash.

I’m really sorry for the morbid quality – didn’t think it’d be this bad!

Anyway, as you see, a lot of forethought goes into what I draw so that later I don’t find massive mistakes I can no longer fix. With watercolour and ink, that’s pretty much impossible.

I usually never draw a perspective grid, however I recently learned more about doing perspective properly, so I tried it. It helped with…the ground..and some buildings you’ll see later.