Remember how I said I wouldn’t do Inktober in this previous check-in post? Well, Inktober IS happening!
I got inspired by vigoburrito and their webcomic, The Divine Intervention. They drew that comic one panel at a time and posted it on Instagram.
So I thought, “What if I drew a comic one panel at a time for Inktober?”
Here’s what’s been drawn as of yesterday, October 3rd:
Yup! I’m drawing witch kitties – like from Kitties By Kelci on RedBubble.
What will happen next? Be sure to tune in on my Instagram! I’ll also post once a week here on the blog with updates.
Because of Inktober (and other work), I’ll be updating this blog less frequently. Just once a week for now. But know that other projects (like KickStarter fulfillment and commissions) are coming along.
I’m surprised I never posted this on the blog before. But here she is – The Dragon Mage.
The Dragon Mage is available as a hi-resolution download! But only for Ko-Fi supporters and Patreon patrons. I’ve been posting hi-res downloads for supporters, and I plan on keeping that up.
But maybe there will be more art like this? I’m thinking about it…
If you’re curious, The Dragon Mage is drawn with fine line markers, a brush marker, and color Copic markers. I really like the simplified color palette here.
That’s all I have for now. But maybe there will be more art like this in the future? We’ll see.
In today’s lesson of Writing for Comics 101, let’s talk about making pages you can ACTUALLY read.
How do we do that? By not packing the pages with an obscene amount of dialogue.
Or at least, if you HAVE to keep so much dialogue, how to pace it out so it’s not a word brick.
This technique is something discussed in more detail in Making Comics by Scott McCloud, so what I’ll do for today’s post is share my mistakes so you can learn from them.
Let’s take a look at this page from Seeing Him, written by Kia Crawford and drawn by me:
To be honest, there’s a way to get the information across that we need, without using a fuck-ton of dialogue.
We could:
split this between two pages,
condense the banter,
condense the backstory drop,
change the page layout,
change the balloon layout,
or any combination of these.
At least past me had the sense to split the dialogue into separate balloons. That way the page felt, at the time, a little less like a word brick.
This is me spit-balling some ideas right now on how to fix this page of Seeing Him: we could change the camera focus in the second and third panels, to cut away to framed photos on the walls. Those photos could showcase the history of the venue. With that edit, we can split the dialogue up some more, re-frame where the speech balloons sit, and make the page feel like less of a collection of talking heads.
Compare this page to The Legend of Jamie Roberts, page 65, written and drawn by me.
Here, I let the space breathe and tell the story for me, without so many words.
Whether you can draw or not, comics are a visual medium. Let the environment and scenery describe for you what words could not.
If you have questions, or need feedback, let me know in the comments. I’m happy to help.
The Woman of the Woods is a character I created for Rosetta and the Swan, my retelling of Swan Lake. (The version I’m working on is set around a fictional equivalent of the Baltic Sea. Also it’s the prince who is turned into a swan).
In my retelling of the story, the Woman of the Woods is one of many countless wise women who reside in The Woods. The Woods themselves are enormous and ancient. The people who live in Rosetta’s kingdom know of ONE Woman of the Woods – the one pictured above. She is hardly ever seen in her human form. Usually she is only spotted as a bear.
However, this particular Woman of the Woods has close ties to the royal family. And it’s she who blesses Rosetta with the ability to talk to animals.
All of this is to say…she’s available as a hi-resolution download. Check it out either on Patreon or Ko-Fi (she’s available for download on both platforms).
