Who is this young merkid? And why is she hanging around with this ne’er-do-well of an octopus? Aha! They’re a team! I wonder what Chirikik would think of this?
This is probably my favourite panel of the whole story! I decided to use a kind of all-over, abstract design for the sequence rather than panels, to reflect the chaos of what probably only took a minute or two in story time, but had a lot of action to convey. Octopuses are really fun to draw, especially if one can anthropomorphize them a bit and give them expressions. And there’s a bit of a nod to Tin-Tin’s Captain Haddock’s inventive curses with the alliteration here. I think I’m going to have to work on Root’s colourful vocabulary for her future appearances in Mermaid Music!
Night has fallen and this is getting spooky! What has Root found in her boat? Did she forget and leave the microwave on while cooking up some marshmallows for s’mores?
Another technical Photoshop note, for those who may be interested: you might have noticed those soft fuzzy edges to the panels. It’s easy-peasy; just select the white area around the panels; if you already have outlines, head up to the Select menu and find Modify>Expand, and set the pixels to enough to cover up your lines.
Then go back to (or if you don’t have outlines, just start at) the Select menu and find Modify>Feather and set the pixels for the feathering to your own taste; I think I used 10 here. Then Edit>Fill with white, and you’ll have these lovely soft edges!
I really enjoyed doing this full-bleed page, and challenged myself with some extra perspective stuff. Dig the shadows and light on the ceiling! It was also a lot of fun writing the dialogue for this, and placing it to simulate the hubbub that goes on in a crowded café. And of course I had to mention the kraken, since it was for the Kraken Komiks anthology!
Happy New Year, everyone! I hope it will be full of good things, resolutions realized, and creativity for you!
Speaking of creativity, you may have noticed by now that this comic has quite a different look to the main story. Whenever I do a short project like this, I like to challenge myself to try something I haven’t done before. In this case, it was to use digital greyscale (but wait! it isn’t grey—don’t worry, I’ll get to that later). I also used digital lettering, which I’ve done before, but not for a while, so it’s good to keep those skills up.
The comic was drawn somewhat larger than I usually work for Mermaid Music, and inked with a brush-pen (sort of like a cartridge writing pen, but with a brush instead of a pen nib), which was the reason I drew it larger—it takes a lot of control to work small with that tool, and I figured I’d give myself all the advantage I could. Still, when I initially finished the inks, I hated them! But going back and looking at the originals now, I’m much happier. Sometimes you have to get a little distance from your own work, and forgive yourself for the imperfections.
I scanned the inks (as tiffs) to Photoshop, cleaned them up a bit (there is always paper tone to get rid of, and, oh my, there’s an ink splotch, and arg, a fingerprint!), and settled down to figure out how to add the tones. I set the mode to greyscale, added a layer to do the “colouring” on, and then started selecting areas to drop in the major tones and gradients. I used several different methods to select for this, which I won’t bore you with here (if you’re learning Photoshop, and want to know more of the gory details, ask me in the comments, I’m happy to answer if anyone is actually interested).
A note about layers—if you’re not familiar with Photoshop or other image-editing programs, visualize a bunch of transparent sheets of acetate (which is how we used to do it in the bad old days), which can be re-ordered, made more or less opaque, and made to affect the other layers in different ways.
Then I added another layer, and sometimes two, and proceeded to do some brushwork, adding shadows and highlights. This gave it a more natural look than if I’d just stuck with the flat colours.
I added the lettering right in Photoshop. Usually I do it in Indesign, but I wanted to test out Photoshop’s capabilities. It involved a lot of layers, which got confusing rather fast, (though I did figure out why one would want to group layers)—I think next time I’ll stick to Indesign for a longer project; however, the convenience of just doing it all in one program makes using the Photoshop tools worthwhile for only a page or two.
For the final image, I made a copy and flattened all the layers, made sure to delete any channels that were still lingering from saved selections (these can play havoc with trying to view the file in anything but Photoshop), and the final tiff was then ready for publication in Cephalopods, the first Kraken Komiks anthology.
I wanted a bit more colour for online, though, so back to Photoshop—first, I changed the mode back to RGB. Then I made an extra layer and set it to “overlay”, then filled that layer with the colours I wanted. Overlay is cool, because the colour you use affects the main layer in proportion to the lightness or darkness of each area. So if an area is white it doesn’t show up at all, and if it’s dark, it makes it a dark version of the selected colour. I’ve only tried this with greyscale (I used it to “sepia-ize” a whole book’s worth of pencil drawings), and I just realized that I don’t know what this would do to a colour image. I’ll put that on the list for future experimentation.
Why not just colour the whole comic? Well, several reasons. First, I really liked the look of the greyscale, and wanted to keep a limited-palette feel; second, the sepia (and soon blue tones) echo the flashback and night/underwater sequences of the main comic; and third, fully colouring it would have been every bit as fiddly as doing the greyscale in the first place, and would have taken ages, and this is supposed to be giving me a vacation!
Well, that’s enough about me and my comic—if you’ve gotten this far, and want to know more, please ask me a question and I’ll do my best to answer!
Hello, Dear Denizens of the Deep, I’ve reluctantly decided to take this week off of posting a comic page. ‘Tis the season for surprises, and I got a rush commission for a book cover this week (yay!) that used up pretty much all my available time and art-creating energies (boo!). Also, ’tis the season for art events and such, and I was involved as a participant in three such extravaganzas this weekend. *whew*! I am now a person-shaped puddle of jelly with my feet up on a pillow.
So rather than drawing the next-to-last page of this dramatic scene between our youthful mer-rascals with a shaking hand and drooping eyelids, I’m going to rest up for a couple of days, get back on track, and provide you with the next bit of the story at the regular time next week.
In the meantime, I’ll give you a sneak peek at what kept me from the ongoing undersea shenanigans — a book cover for a new Spam, the Cat story by Elizabeth Ann Scarborough. I took progress scans as I was going along, and will be doing a blog post over on my other blog about that, but remember, you saw it here first! I’ll post a link when I get the in-progress post done, which will also tell you where you can get this fun seasonal e-story.
And yes, it has nothing to do with Mermaids, but hey… cats! And a raccoon!
It’s probably up for other countries as well; just do a search on whatever link to Amazon you usually use.
UPDATE 2: Finally got around to making that blog post about the process!