Filed under: comic artists, comics theory, my comics | Tags: art, cartoons, comics, graphic novels, illustration
Inspired by Alan Bennett’s Talking Heads, Seth’s Wimbledon Green, and a little bit of Irvine Welsh, I drew a comic called The Wonderful Experience straight in to an A4 sketchbook with no planning, character design, scripting or roughing. This is the method Seth used to create the entirety of Wimbledon Green, so I thought I could have a go at a short comic.
Now I’ve tried this sort of thing before; going straight in to finished pages, making the story up as you go along, and my god does it rarely work. Most of the time you get three pages in, declare that what you have done so far is irredeemably awful and is only going to get worse. Then you go away and watch the telly or something. You’re always so inspired when you start out, that’s the sad thing.
Only on two other occasions have I ever completed a comic using this method. In 2007 when I drew a 180-page comic called Wasp and Bee in just five days, and in 2009 when I completed a 24-hour comic called Or, which has since been lost/destroyed, but involved a weird collage of orange and white cardboard and very little story.
This time the ‘no-planning’ method came out fairly well. Although I sort of did plan quite extensively in my head as I got further in to it, but I refused to write anything down. I thought it might ruin the natural flow I had going.
Anyway, it’s a comic about a pitiful character trying to come to terms with his paralysing lack of sexual experience. This is very much me writing from the point of view of a character whom I dislike, but still feel empathy or sympathy for. This is something Irvine Welsh does that I really love, especially with the character of Begbie. He lets you get inside the head of this horrible, violent bastard, and you can’t help but begin to understand his actions just a little bit when you see them from his point of view.
Everyone is the way that they are for a reason, after all.
Click the image to read the whole comic.
Filed under: my comics | Tags: art, cartoons, comics, competition, graphic novels, illustration
Last year I entered the Thought Bubble festival’s Northern Sequential Art Competition with Phoenix, and above are some panels from this year’s effort, Boundary. Click on the image to read the whole comic.
The aim of this contest is to create a single A3 comics page that tells a complete story, at least six panels, black and white or colour. Sounds simple, but the hard part is getting a coherent story (with a beginning, a middle and an end!) in to one page. My secret? A whole load of tiny panels. Chris Ware eat your heart out.
This one is about a young man who, to say the least, isn’t very well traveled. The drawing style was inspired by David Small’s Stiches, Joff Winterhart’s Days of the Bagnold Summer, and Seth’s Wimbledon Green (which continues, year after year, to be a big source of inspiration). As for authors who are inspiring my writing and storytelling right now, Alan Bennet and Paul Auster are the current big influences. No wonder this comic is so bleak (and listening almost exclusively to The Smiths doesn’t help, either.) It’s undoubtedly a far cry from last year’s entry to the contest both visually and in the tone of storytelling.
Anyway, what am I trying to say here? I hope you enjoy it. That’ll do.
Filed under: illustrations | Tags: art, cartoons, children's books, illustration
There’s an Isaac Asimov story; The Fun They Had, that I’ve wanted to have a go at illustrating for a while. It’s a kid’s story in many ways, but also a science fiction story that’s still relevant 60 years after it was published. Though it is certainly dated, you can’t blame someone in 1950 for not knowing exactly how computers would progress. It’s about two children in the future who come across a book. You can actually read the full text here, it’s not a long story.
Over on my portfolio page there’s another piccy for this story, plus two illustrations for another short tale; The Wall of Darkness, this one by Arthur C. Clarke.
Currently working on another short-comic for the Cape Graphic Short Story Prize, it’s about a post box. I think it has a lot of potential… It’s about a post box.
Filed under: my comics | Tags: art, cartoons, comics, competition, graphic novels, illustration
This is a panel from a four-page comic that may or may not be my entry in to the Cape Graphic Short Story Prize that’s coming up soon. I’ve actually finished this one well in advance of the competition deadline, which is a first for me; for the last three years I’ve entered this, I’ve been scribbling away up to the last minute and praying that my entry arrives in the mail in time.
Read the whole story here, in the comics section. I haven’t done loads of short stories lately (i.e. none), on account of working on the graphic novel, but this is a bit of a step up from all my past efforts at short fiction, even if I do say so myself!
I will be working on more stories for the competition though. Lets see if I can top this one.
Enjoy.
Filed under: breaker's end, my comics | Tags: art, cartoons, comics, graphic novels, illustration
I’m working on several comics right now, with a mind to entering one of them in to the (deep breath) Observer/Cape/Comica Graphic Short Story Prize 2012. This is the competition’s sixth year and the fourth that I will have entered. Last year my entry was an s.f. comic called Ripe which you can read here.
The simple little panel above is from the strip I’m puzzling over at the moment, titled But I Can’t, about two girls who have an obsession with ufos and alien abductions.
What I really love about this competition is that, giving them a real purpose and a definite deadline, it forces a lot of languishing cartoonists to force something out. I suspect that for a lot of entrants it’s the first comic they’ve ever completed, or the first after a long dry spell. It’s a good kick up the bum to start and (wonder of wonders) finish a comic, which is extremely easy to not do most of the time.
The graphic novel (Breaker’s End) is on a brief hiatus, but I’m tantalisingly close to finishing chapter three, and well over half way through drawing the thing. It’s been a heck of a learning experience, this one, and I can’t wait to see it finished two years after first dreaming it up and scribbling out the first draft. Still a way to go yet though, mustn’t jump the gun.
Filed under: breaker's end | Tags: art, cartoons, comics, graphic novels, illustration
It’s been quiet on this blog for some time now since I’ve been focusing all my attention on drawing Breaker’s End, which, after working on it for so long, has reached a sort of critical mass and is being propelled rapidly to completion.
After creating the first chapter for Myriad‘s First Graphic Novel competition last year, I had to spend a long time working on the story and producing a full rough pencil draft of the book, but now I’m fully in to the phase of producing final artwork and in a couple of months, it will be complete.
I’ve taken on a lot of influences for this book, studying other artists and writers closely for the effects and techniques they use, such as David Small’s extremely loose, ragged, and oh-so-powerful linework or the warm, heavy quality of light in paintings like A Philosopher by Lamplight by Joesph Wright of Derby.
I became particularly enamoured with a Monet painting; Towing of a Boat. Squint at the image and you’ll see how he’s created one big, very dark shape on the left which defines the whole image. No matter how much you squint you can still tell what’s going on in this painting, and I realised this should be used more in comics; figuring out what big shapes define the scene in each panel, and then using that to communicate what’s happening in the story.
You can read chapter two and chapter one and a bunch of other stuff in the comics section.
Here’s an illustration I created recently as the front cover for an archaeology thesis regarding North Norwegian gaming counters from the medieval era. I like how this one came out. It shows an archaeologist holding a chess king as found today, and a medieval hand using the piece as it would have originally been, painted and new.
And below, an unused alternative digital-painty version.
The above is a piece I call Mountains of Mars for a project called Vladimir which I can’t say too much about yet. The brief was simply an interpretation of the word ‘majesty’. An alternative version is shown below, with mountains from across the Solar System, however the artwork needed to be red, so this version remains unused, whilst an exaggeratedly red Mars was perfect for the project.
In other news, Breaker’s End is progressing to a very good point. I’m polishing off the ‘full-rough’ version and it’s actually shaping up to be quite close to how I envisioned it. I’m very excited about finally getting stuck in to the finished art so hopefully I will be uploading some soon.
One more thing: I’m to be a featured illustrator in How to Illustrate Children’s Books by Martin Ursell, published by Crowood Press. The book will show examples of my work and an interview with me about my working process and thoughts on illustrating novel-length books!
Filed under: breaker's end, comic artists, comics theory, illustrations, my comics | Tags: art, cartoons, comics, graphic novels, illustration
I’m working on chapter two of Breaker’s End at last, and really trying to pin down the right sort of style and aesthetic for the whole thing. I will eventually return to chapter one and redraw it, I think, since it was very much a rush job when I drew it last October.
All the images above from Breaker’s End are work in progress, only half inked with pencil lines still in there, but I quite like them in this state and thought I’d share. Oddly it does seem that sometimes inking a panel or page to completion can kill a lot of the life that was in the pencils. I recently read the graphic novel Local written by Brian Wood and drawn by Ryan Kelly. Kelly’s inking is very heavy and impressive, employing a wide range of techniques to get different effects, but at the back of the book, in a commentary about the art, he said something that rang true with me;
“Usually, my methodology follows something like this: I pencil out a face and it looks great. Then, I ink it and it looks like dook. Finally, I spend an inordinate amount of time nit-picking at the face with white-out, correction tape, and numerous power tools.”
Nevertheless, Breaker’s End is fully thumbnailed and I’ll be working on it steadily throughout the year. It’s shaping up to be quite close to how I envisioned it when I originally dreamed up the idea, so I’m going to keep working at it and see it to completion, come hell or high water.
I’ve also just illustrated three articles for the coming Spring edition of Live magazine, one called ‘Culture Awards’ about upcoming cultural events in 2012. Above you can see a couple of cartoon illustrations for that piece. On my portfolio you can see all the little illustrations for that article plus images for pieces about an agnostic visiting different religious buildings, and Facebook bullying/addiction.
Finally, I’ve been doing some work on a short film called Frank Filleh, about a great man who, working his way through solving all the world’s problems, loses his genius. I’ve drawn images for a magazine and book covers to be used as props in the film.
I think even if I was drawing from life twenty-four hours a day I wouldn’t feel as though I was doing enough of it. It’s so easy to neglect sketching and yet it is the main way in which one enhances one’s ability to draw. It’s the only real way to learn how to draw new things. It seems to be a bitter pill to swallow for people new to drawing that you haven’t a hope in hell of becoming adept unless you go out and actually look at the things you aim to draw. If you’re not doing it every day, you need to ask yourself why not (usually it’s a mixture of laziness and forgetfulness).
One of my strongest desires is to get better at drawing, and I know that to continue life drawing is the way to do so. So to all artists, including myself; never forget to draw from life!
Corban Wilkin 
