Life's a bitch, and then you live.
Issue 2, Page 5 - Bugger Your Stupid Face.

Issue 2, Page 5 - Bugger Your Stupid Face.

June 24, 2012 in Issue 2
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Caley Tibbittz Collopy 24th Jun 2012, 9:33 AM edit delete reply
Caley Tibbittz Collopy

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***Update: The puppy is dead. Thanks to Bruce Johnson of Oklahoma City, MI for sending it me. Lucky I already had the hacksaw. Good eatin'. Anyway, still hard at work, WILL POST TODAY.***

***UPDATE II: I tried like hell, but I've been up since 5:30 am and I can't do the last 3 hours of work this page needs to be posted. WILL be up 06/27 if I have to kill a puppy to do it. Someone please overnight me a puppy. IT'S SO CLOSE TO DONE BUT MY EYES ARE BLEEDING.***

***UPDATE: Bulk of inking done on page 6, I will letter it during work, then try to finish/post it before midnight PDT.***

Hi. It's still Saturday in Hawaii.

So, this was the hardest page to Photoshop since I had to resize the first 8. Every time I thought I was done, there were three more things to do. The repeating panels aren't meant to be a cheat; I was going for a rhythm.


Jack's still wearing the Edgar Allan Pope PAIN IN THE ASS t-shirt. And I had to scale the last panel so that Cheri's badge will be visible in the print version (the tip, at least). I'm so tired, I forgot the easy way to do this with a panel above overlapping and tried a couple PAIN IN THE ASS ways first.

I'm pretty happy with this page overall, but the last one was a little more fun to do. This one was a technical PAIN IN THE ASS.

Lettering was pretty straightforward, especially after the last two pages.

Anyway. Enjoy?

Madness' methods:
I use the black Pentel color brush (as recommended by Michael Lark). The ink is SUPPOSEDLY waterproof, but I have had issues of it getting muddy when I need to apply white paint for corrections.

Anyway, I keep the tip pretty dry by not squeezing the ink reservoir too often. The way to learn to do this kind of shading (for me, anyway) is too do it in pencil for a while first, and then try to duplicate it in ink.

I'm learning on the fly, which is why the technique improves from the start of issue #1 onward (the dry brushing on pages 1-7 was all done with a sable brush). I'm so used to it now, I can do it while waiting for calls to come in at work.

If you want to try it, start by using it more as a flourish for large black areas as you're getting used to it.

Final note: the gray ceiling on page 16, panel 1 was done with a pencil. Sometimes it's impractical to do it in ink.

Soup Sock,
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smbhax 24th Jun 2012, 1:52 PM edit delete reply
Ah! Interesting, 'cause I was just trying to do some with the Pentel Pocket Brush as an experiment; the ink in that one flows automatically so you gotta move fast--sorta hard. I have one of those black Color Brushes, so I'll have to try with that. The ink in them is *not* waterproof, though (the Pocket's is). Thanks for the info! You've really got it looking good.
Caley Tibbittz Collopy 24th Jun 2012, 4:12 PM edit delete reply
Caley Tibbittz Collopy
Thanks for saying so, I do try. I have the pocket brush as well, but it's a real pain to keep it from being too sloppy. So, I use it when I want sloppy, like Issue #1 Page 24. Kathryn was done with the color brush, but all the splashy blacks on the desk and floor were done with the pocket brush.
smbhax 24th Jun 2012, 10:46 PM edit delete reply
Ah, interesting! Yeah I haven't been able to do much more than doodle with it--which is fun, admittedly--because it feels like the ink just keeps coming go go go aaaaa
Jackarais 3rd Nov 2013, 11:11 PM edit delete reply
I must ask--why is it that you copy and paste so many panels? Compared to the tremendous amount of work you put into your separate panels, it seems...unprofessional, and even lazy. The odd copy-paste here and there on a handful of pages is nothing to worry about, but I find that you do it quite often.

Is it because you spend so much time drawing everything that you have trouble finding the time to draw the other panels, and that it's easier to copy and paste? I'm merely curious, because I feel that it's taking away from your comic's otherwise professional feel.
Caley Tibbittz Collopy 6th Nov 2013, 10:16 PM edit delete reply
Caley Tibbittz Collopy

Some of it is theoretically meant to save time, though it sometimes takes as long as drawing BUT it uses different muscles. My drawing hand gets very tired drawing, then I type for a living in a call center, and THEN I write future installments of EK.

Something's gotta give.

In THIS case, I was cleverly using it not as a time-saver, but for a beat-beat-beat-beat cinematic effect, which I do quite a lot in EK. Here, we're looking at a tense situation in a span of seconds. Both men are bitter and stiff.

Copy>paste was meant as art here.

I also use it to enhance iconographic motifs; Kathryn's inflexibility is enhanced by a repetition of her threatening Karma with a spike. I escalate it with a meaner-looking face when she rises from the backseat to threaten Erica, and then subvert it by flipping her upside-down in a pool of her own blood, still gripping this phallic stabby weapon, this outlook and way of life that isn't working for her.

I also use it too much, and a few of them are acting as placeholders. The print version will have a few fewer copy>pastes (which I'll then put in the web version as well).

I hope you didn't want a longer answer. ;)
Jackarais 7th Nov 2013, 12:45 PM edit delete reply
Oh no, I'm actually surprised you wrote that much. :'D I totally see what you're going for here, it works way better on some pages than others. I suppose life gets in the way of these things, and when you already draw so slow, you don't want to go any slower. I sympathize, because my pages take a long time, too (albeit for completely different reasons) and I often cut corners with line quality or how crisp things are to get the page done quicker.

It's lovely to see that your reasoning is more about being artful than quick. Thanks for the info! :)