Filed under: comic artists, comics, graphic novels, illustrations, my comics, politics | Tags: art, books, children's books, climate change, comics, graphic novels, illustration, politics, sci-fi, science
So this is just one illustration for an upcoming info-comic-book, pamphlet, public-information type-thing, that I’ve been working on with the Supergen Bioenergy Hub. It shows energy crops being grown to produce bioenergy and reabsorb emissions released by the previous generation of energy crops, ad infinitum. Drawn with a brush and ink, but coloured digitally!
Several other artists have been working on the project alongside me, including the brilliant John Swogger whose blog is extraordinarily active and interesting. Check him out.
More on this project soon. Also, A Dream of a Low Carbon Future, shown in my last blog post, is out in print and digital format.
Filed under: comics, graphic novels, illustrations | Tags: art, books, children's books, climate change, comics, graphic novels, sci-fi, science
Take a look at just-a-few panels from my comic for the upcoming graphic anthology novel science book educational kids thing, A Dream of a Low Carbon Future, presented by Leeds University’s Doctoral Training Centre in Low Carbon Technologies.
The book’s a multi-character exploration of a future Britain shaped by climate change and showing how human society can use technology and new ways of living to adapt to a changing world.
The story I worked on is about a girl out of time, obsessed with a past which everyone around her sees as obsolete. It’s a sort of central narrative which ties together other parts of the book.
Filed under: graphic novels, illustrations | Tags: art, books, children's books, climate change, comics, graphic novels, illustration, science
All I’ve been doing for the last month is colouring comics digitally, but I’m finally done, and not a moment too soon. I need to get my hands back on some physical drawing stuff before I lose my mind!
Above: an unused illustration for A Dream of a Low Carbon Future. Looks like brown crayon in the lower part there, but it’s just pixels.
Filed under: illustrations, politics | Tags: art, cartoons, clinton, cruz, election, illustration, politics, sanders, trump
Just created this set of designs in the style of face cards from a deck of playing cards for T.J. Kirkpatrick‘s upcoming Primary Colors project.
T.J.’s photographed beautiful portraits of such significant political figures as Newt Gingrich and Christine Lagarde, but in this project he focuses on ordinary voters and the reasons they had for rallying behind their candidate, be it Clinton, Cruz, Sanders, or Trump, the eventual leaders in these races which, of course, has now been whittled down to just the big two.
But I don’t know, the way Gary Johnson’s polling right now, I may have to make a bonus card for him as the joker in the pack. Or maybe that card you get with the rules of poker on it.
Filed under: comics, comics theory, graphic novels, illustrations, my comics | Tags: art, books, cartoons, children's books, climate change, comics, graphic novels, illustration, science, writing
I’ve been in the habit, for a long time, of drawing TOO SMALL! So right now, working on the Low Carbon Future graphic novel project with Leeds University, I’m drawing these pages at the largest scale I’ve ever done for a comic, and I have to say, it’s very refreshing.
These pages I’m doing are to be printed around A4 size (210x297mm), which is large, so I’m drawing them at something like 500x720mm, not far off A2, which is gargantuan. I think people used to draw comics on paper that large, to be printed on big full newspaper pages, and they scanned them with those massive old drum scanners you don’t see anymore.
Admittedly, I am making this easier for myself by using the ‘french graphic album method’ of drawing two half-pages and then printing them together. It makes having the thing on your drawing board a lot less cumbersome. Anyway, more on this when it’s looking finished.
Filed under: comic artists, comics, graphic novels | Tags: animation, art, books, cartoons, comics, graphic novels, illustration, sketch, writing
I’m actually now redrawing a number of early pages. I started drawing the book at too-small a size, and I decided I wasn’t happy with it, and reformatted to a weird paper size I’m cutting myself (I’m envious of US paper sizes, since the standard formats we get here in the UK never feel quite right (or maybe I’m just that picky)). So I knew I needed to come back to those pages. Since I’ve had something of a deadline extension, I’m able now to go over some of this huge project and spend a bit more time on what’s been some truly tricky drawing.
In addition, I’ve been writing a ton of comics short stories, which has been a lot of fun.
Redraughting and drawing them up is a different matter, though. That’s the curse of comics: it’s all so time intensive, but I’d love to find a way to draw my comics quick n’ dirty in a way that works. At least I’m not an animator.
Currently obsessed with: Toulouse Lautrec’s sketches and drawings. He’s very much an illustrator’s fine-artist. Drawings have to have outlines or my puny mind can’t make sense of them.
Also: Scott McCloud’s The Sculptor. Which I’ve read about four times now and may be the most novel-like comic I’ve ever read. Nothing else I’ve seen by a single creator is as successful as this at giving you the scope and depth of a novel. I understand it divides opinion, mostly due to the kitschy nature of the eponymous sculptor-main-character’s art (according The Comics Journal, anyway), and I’d noted that, too, but in book on this scale, there’s bound to be criticisms of some elements. But the thing as a whole: wow, it’s a great comic.
And that’s Corban’s totally-late-to-the-party review.
Filed under: comics, graphic novels, sketchbook | Tags: art, books, cartoons, comics, graphic novels, illustration, sketch
One of the things that used to cause me no end of frustration when I would draw outside, from life, would be the necessity, sometimes, of drawing buildings. They’re always there, looming above us, often dominating the field of view. You can ignore them for a while, drawing a person here, a tree there, but if you want to depict any scenes from the modern world, buildings and architecture have to get in on your compositions.
It’s only in the last couple of years that I’ve actually taken to drawing buildings: somehow having gained enough self-assurance that I can feel comfortable sitting for long periods of time putting together an office block line by line. When you start to embrace it, it becomes something meditative and fulfilling completely in its own right. These days, in fact, I tend to enjoy sketching urban landscapes more than people, who have the highly disagreeable habit of moving around.
Below: a few pages from a small sketchbook that survived a recent trip to the West Highlands with only moderate water damage.
Meanwhile: back to working on the sketches for my graphic novel collaboration with Greg Neri.