When
I told my art director that I wouldn’t be hiring an assistant to
help shade HEY, KIDDO, he was nervous. Rightfully so—how would I
ever make the deadline? When I told him I’d be using traditional
materials and not digital brushes, he thought I was crazy. Rightfully
so. I love digital tools, but there is something very unpredictable
when you mix ink with water. Depending on the ratios, you get very
different effects. Plus, with some of the intense emotional scenes, I
didn’t want to be in full control of what happened on the page,
just as I wasn’t in full control in those real-life moments. So for
every page of linework, there is a page of ink washes. And yes, they
were merged together using digital tools. And my studio assistant,
Sam, helped with scanning and file prep. It was still a monumental
effort, and I am glad that I stuck with my vision.
Here are some of the ink-wash pages. Perhaps you’ll recognize the scenes.
Here are some of the ink-wash pages. Perhaps you’ll recognize the scenes.
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