I can imagine it must be awful, and I'm feeling with you. Quite good for a left-hand work though. And I have read that drawing with your left hand (if you're right-handed that is) helps developing your brain towards greater creativity and such.
Now that I'm rambling, I've wanted to ask you: In "The brain that wouldn't Virginia Woolf" there seems to be a style shift during the scene after he got beat up. Like you did the part before that with a brush, and then shifted to the pen. How come? I really like the look of the brushy panels by the way.
Yes, TBTWVW consists of three parts. I wanted them to have a different look, so it would be easier for the reader to see the break where the story skips back in time. The first ten pages, the darkest part, is inked with very free brushstrokes. The next ten pages are also inked with a brush, but more carefully and controlled. And the last ten pages, showing how they met, is inked with a pen. So the inking is connected to the mood of each part.
I can imagine it must be awful, and I'm feeling with you.
ReplyDeleteQuite good for a left-hand work though. And I have read that drawing with your left hand (if you're right-handed that is) helps developing your brain towards greater creativity and such.
Now that I'm rambling, I've wanted to ask you: In "The brain that wouldn't Virginia Woolf" there seems to be a style shift during the scene after he got beat up. Like you did the part before that with a brush, and then shifted to the pen. How come? I really like the look of the brushy panels by the way.
Yes, TBTWVW consists of three parts. I wanted them to have a different look, so it would be easier for the reader to see the break where the story skips back in time. The first ten pages, the darkest part, is inked with very free brushstrokes. The next ten pages are also inked with a brush, but more carefully and controlled. And the last ten pages, showing how they met, is inked with a pen. So the inking is connected to the mood of each part.
ReplyDelete