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Hello friends,

Well, to get to the point of explaining the title of this journal, let me preface by saying that I've always had big, big ambitions, and these ambitions are not panning out. Some journal posts ago I wrote about my burn out of creating everything for my comics: anatomy practice, 3D sculptures of my creatures for reference, my constructed language, my writing scripts for the sequel comic, my world building, etc. I only shared my artistic ambitions: I have not shared my (recent) ambitions of learning French and/or Italian to fluency so I could go to graduate school in Europe, either for a PhD in a scientific field or go to medical school to be a surgeon (a long-time dream). I planned on doing all of this: comics, French, medical school; I was going places, I was going to be successful, I was going to win my family's approval. If you thought I was burned out with just comic stuff, I had much more I wanted to accomplish.

And then I lost my medical technologist job last winter, and I have been unemployed ever since. So much for paying off my school loans and saving money to go to school in Europe. I couldn't understand what was happening: wasn't God calling me to study medicine in Europe? If so, why was He frustrating my plans? I have been wallowing in depression as I've had multiple interviews and not one job offer. Then I thought of this famous C.S. Lewis quote:

God whispers to us in our pleasures, speaks in our consciences, but shouts in our pains.

Well, I've had pain alright. And amazing how pain makes things more clear: like how perhaps I wasn't planning to go to Europe because He called me there, but because I wanted to go there. I wanted to accomplish my ambitions and be successful, and perhaps finally getting my family to acknowledge how amazing I am. 

Another thing that became clear is that I love Japan. For those of you that read manga, you can see the influence in my early art, and its story-telling techniques prevail throughout the comic. I don't remember when my love affair began--sometime in childhood, I assume. In 2011 I went on a short missions trip to Osaka and the county outside of Hiroshima. I feel in love with the country; one question I had was "could I see myself living there?" And the answer was "yes". But the only opportunities seemed to be 1. become a missionary, 2. have a transferable profession and speak Japanese like a native, even though I was never be accepted as one. I considered the second option for a long time, but between nay-sayers in my life and my own realism, I abandoned it. I never seriously considered the first option: being a missionary isn't respectable, it isn't a real job, or so I thought.

On a less selfish level, I paid heed to what my family told me: that perhaps I loved Japanese culture, but didn't love the people themselves. I took this accusation to heart, and relinquished any hope of even returning to Japan. Surely I wasn't acting in God's best interest. I limited my interest in Japanese things to comics and cartoons and a little language study. 

So I moved on to consider continuing my education in Europe. Moving there and being accepted as one of their own, even with an accent, was possible. All of the languages I could pick would be easier than a completely foreign language like Japanese. Medical school is much more affordable than in the U.S., and I could get a higher degree and get a respectable job. I pursue my dream of being a surgeon and satisfy my interests in medical sciences, be an admired member of the community, and even garner the respect of my family. 

Enter 2018, with every attempt to make my "dream" come true is frustrated. I was confused and bitter, as I thought God was calling me to move to Europe...But during this time of pain, I realized I wasn't acting according to my faith, but according to my striving to win acceptance from my family members. I also feel the pressure from my American culture (I'm not sure how rampant it is in other cultures?) that if I don't accomplish my young adult dream, no matter how hard or easy it is, then I'm a failure. I'm a disappointment to everyone. How dare I give up on a dream and accept an easier route?

...On the other hand, the acceptance of the fact that I'm no less of a person if I change plans, if I follow a plan that doesn't include constantly struggling to be on top, if I have a choice to give up my "dream", has only given me relief. I can be free of a burden I don't know if I could handle. 

So I am considering the Japanese missionary route. In contrast to the European route, where I struggled to find enthusiasm to learn French or Italian, my thirst for Japanese can't be sated. I had an interview with a missionary group via Skype last month: they want to focus on teaching ESL, and they want to branch out to teach (wait for it)

...Medical English. 

Well, if I'm not qualified to teach that, I don't know what I am. I am also finishing up my teaching ESL certificate, and currently have seven ESL students that I tutor, and they are all Japanese living in Boston. There is also promise of more students seeking tutoring. I will get my ESL practice before next year. 

So you might be reading this and think "oh no! She's going to gear her comics towards a Christian audience." Fear not: the sequel comic will be as dark, if not darker, than CRG. The simple reason is that I don't like Christian entertainment: most of it is awful. Lord of the Rings and Narnia certainly have Christian aspects, but the writers were first and foremost concerned with telling a good story. Modern Christian writers aren't concerned about telling a good story: at best they are concerned about giving morals, and at worst they are concerned about exploiting an easy market. The only two modern Christian writers I could recommend are Frank Peretti and Ted Dekker, and the latter has veered towards the secular market. 

The second reason is that...Well, I have a confession: I really like horror. Maybe that's not news to you, if you read CRG. And my favorite manga is Fullmetal Alchemist. And an anime in my top five is Another. No, if I become a missionary, the comics will be a side thing. I did offer to make comics that are family friendly, but only if someone else wrote the story: I am incapable of writing kid-friendly stories. Believe me, I tried, because there's also a huge need in the U.S. for comics for younger kids--but I got nothing. I mostly think of messed up stories. 

Lastly, I am looking at ways to possibly make money from my art. I confess offering commissions scares me: I'm concerned about working on a piece and the buyer "just not liking it" and refusing to pay. And while I have improved my drawing skills, I'm not sure I'm good enough to offer commissions?

The other option is to give up the patron format of Patreon to a tip-based system like ko-fi.com. This site allows a person to pay a single amount one time, and that's it. It makes more sense to me: I'd rather make one payment to support someone than to hope I can pledge whatever amount every month. I also thought of a polling system where tippers of a certain amount can vote on what I work on next. 

Well, I think that's long enough. Lend me your fingertips and tell me what you think. :)

Hestia
  • Listening to: The Echoing Green
  • Drinking: Tea, because that's what I always drink
Hello friends, 

drachenmagier recently posted an update about Facebook's new hate speech policy, which includes:

Expressions of contempt, including (but not limited to)
"I hate"
"I don't like"
"X are the worst"

If you are curious, you can read more about their policy Here

And like she (or maybe he?) posted on the update, I want you guys to feel free to correct or provide suggestions on my art pieces. It's only because of useful feedback on my first comic that I was able to improve on my drawing skills. If I post something and you think "that looks off" or "the facial proportions don't look right", tell me. I know that the only way I can improve is if my art pieces get constructive criticism. My goal is to be more comfortable with drawing the human (or Sha) figure when I start my next comic. 

So please, feel free to tell me what you think. My preference is that you provide a constructive criticism, but it is, after all, a preference. :) Conversely, if you want me to give you constructive criticism on one of you pieces, let me know.

Hestia
  • Listening to: The Oh Hellos
  • Drinking: Tea, because that's what I always drink
Hello friends,

Here's my part 2 of my feature of manga and anime that I will read or watch more than once. :)

Naoki Urasawa's Monster

Monster-by-naoki-urasawa-volume-1- by Hestia-Edwards

This is the manga or anime I recommend to people new to Japanese entertainment: it has semi-realistic style and a tone similar to Western crime shows. It has a basic premise similar to the Fugitive film: a doctor's on the run trying to prove his innocence...But it has so much more. Dr. Tenma works in Germany and risks his career to save a wounded boy, but unfortunately for him (and everyone else), this decision puts everyone in danger. Dr. Tenma is forced to investigate while in hiding, and he and others uncover the mysteries behind the Leibert twins. The story includes brain-washing, neo-Nazis, and the most chilling antagonist I have come across. 

As for the anime...Well, which is better, the manga or the anime? Hard to say. The storylines are almost identical, with the manga having an extra short scene showing the fate of a minor character. I would lean toward the anime merely because it's in color and because you can enjoy the environments of Germany and the Czech Republic: the anime really brings the locations and the settings to life. 

The opening theme is also amazing:





Nausicaä of the Valley of the Wind
5-0 by Hestia-Edwards


We have heard of Hayao Miyazaki: he is the creator of anime films such as My Neigbor Totoro, Spirited Away, Princess Monoke, etc. I would argue he's the one anime creator that has had the most exposure and appreciation in the West. But did you know that he wrote a manga? Indeed, it was the basis of the first official Studio Ghibli film of the same name. It is a post-Apocalyptic science fiction where the Sea of Corruption, a spreading fungal forest, threatens to wipe out all human life. In consequence, the last few kingdoms fight to retain the fungal-free lands. 

As for the film...As opposed to Monster, where the anime is virtually identical to the manga, the film feels like a super-condensed summary of the long manga. In truth, the film is coherent in its own right: it just can't tackle the character development and themes that are present in the manga. The comic has more characters, more kingdoms, more world-building, more of about everything. Still, both are worth checking out. 



Mushishi

6iTtKNA by Hestia-Edwards

The best way I can describe this manga is "it's about magical bacteria"...Not quite accurate, but you get the gist. Mushi are ubiquitous life forces that affect everything in life, and they range from helpful, to being a nuisance, to deadly. It's up to Ginko, the mushi expert, to help afflicted folk and to reign in the mysterious forces. The setting is rural Japan, possibly in the 1800's-- it's not very clear, since Ginko is the only character that wears Western cloths. 

As for the anime, it's pretty much identical. It very faithful to the storylines and to the tone of the source material. Either one would be worth investigating. 

Another
Another-Plakat-041216 by Hestia-Edwards

I have a confession: I love horror anime. I love it: it's the perfect combination of cute and the grim. Here I present my very favorite, with the astonishing length of...12 episodes. It's a slow suspense-building story about finding the cause of mysterious deaths in a class of students and their families. It's not another (hehe) Assassination Classroom anime where students have to kill each other to survive, or have to outsmart others: it's simpler and more sinister. 

There is a manga that serves as the source material, and while they both have lots of similarities, there are also lots of differences. The art style for one:

Another-3154385 by Hestia-Edwards

While the manga has a style more suited to the typical mood of a horror story (at least as far as Westerners are concerned), the anime better develops the mood and the themes and produces a more cohesive horror atmosphere. The manga also has silly humor that breaks the mood, while the anime maintains its suspense wonderfully. The anime also develops the side characters, while the manga focuses on the two main characters.

The opening theme is rather strange, but effective. It has a very strong Greek (or maybe Indian?) sound, despite its Japanese lyrics. 

 


Seirei no Moribito (Guardian of the Spirit)
Seirei03 by Hestia-Edwards

This is one of the few anime where I almost enjoyed it the second time as much as the first. This is a fantasy work set in a Asian-style world. Balsa is a wandering female warrior who is an expert with the spear, and takes on the task of keeping a young prince safe from assassins, and from the magical spirit that decides to call his body home. There is also a fun cast of supporting characters that help Balsa and the prince. It's a charming anime that I would readily recommend to families. 

It is actually based on the book by Nahoko Uehashi, who also wrote the source material for the Kemono no Souja anime. To my knowledge, only a couple of her books are translated into English. 

Bakuman
Bakuman1 by Hestia-Edwards

By the creators of the more famous Death Note manga (which I also recommend) comes the manga about...Manga. It starts with two teenage comic creators who pitch their comic ideas, and it follows them as they gain success in the comic world (specifically in Shounen Jump magazine). Despite the focus on the two main characters, I most enjoy the supporting characters, who are fantastic (and some are wacky). Along with being entertaining, this manga taught me a lot about the manga industry in Japan and how to approach creating my own comics. I also read it as a commentary by the creators about the industry. 

As for the anime...I actually don't know: I started one episode, didn't like the voice actors for the characters, and didn't continue. ;) So you'll have to watch it and tell me how it goes. 

Talk to you later,

Hestia.
  • Listening to: Italian Worship Songs
  • Drinking: Tea, because that's what I always drink
Hello friends,

I thought I would write a fun journal post, related to the long-overdue request of rilargo : a feature of my favorite manga and anime. Rather than focusing on those that I think I enjoy, I will post ones that time has tested true--those that I have read or watch more than once. 

Fullmetal Alchemist

Fullmetal.Alchemist.600.1637717 by Hestia-Edwards

This is a manga I (almost) read on a yearly basis since it finished in 2010. It's also the hardest manga for me to just pick up and look up for reference, because I will continue reading the volume way past from where I started. It has a marvellous balance of humor and weird horror (you thought my Perpetrator was messed up? Watch out). It also has a fantastic balance of emotional development of the characters and action scenes that even I like. The only caveat is that the underlying philosophy is based on the Kabbalah, and to appreciate the manga and the ending, you need to look up some Jewish mysticism...Stuff. There was a forum post explaining a lot of it, that I will link when I find it.

As for its two anime adaptations: they are ok. I have seen each one time each. The first one completed way ahead of the manga, and as such took lots of creative license and essentially morphed into its own rabbit-hole excursion of nonsensical weirdness. It also has lots of angst: if you enjoy seeing characters have emotional breakdowns (ala Supernatural), you probably will enjoy this anime. The second finished after the manga, and more or less follows it faithfully, but since the first covered the Yoswell story arc faithfully, the second didn't bother to include it at all, so new viewers might be confused as to why everyone knows who Yoki is. Or you could just avoid the confusion, and read the manga first. 

Also, a comparison of the two styles of the animes: 
6b8eecbb686c91f41b87baee8d7288cd193f9be1 Hq by Hestia-Edwards


Tezuka's Black Jack

Black-Jack-Self-Operation by Hestia-Edwards

Wait, is he performing surgery on himself? Why yes, yes he is. The "God of Manga", Osamu Tezuka, produced many many MANY manga in his life, including the more well-known Astroboy, but the one I have read many times is his manga about a rogue surgeon for hire. Having barely escaped from a bomb explosion as a child, a surgeon stitched up the young Kuro'o Hazama, which inspired him to become the world's best surgeon. Due to differences in philosophy, Black Jack is an unlicensed surgeon, and will perform any surgery...For the right price. Contrary to his cold austere appearance, he is capable of demonstrating kindness at certain times. And of course, since Tezuka trained as a doctor, most 20-page stories included detailed surgery panels.

As for anime/movie adaptations: there are lots. I am still finding new, obscure ones. The ones I have watched more than once include the 1990's OVA geared to mature audiences (and with good science) and the kid-friendly series from 2006 (with blood-less surgeries). Recently coming Stateside are the Young Black Jack series, which are ok: you can tell the writers don't have any medical experience (there's a doctor character that hates blood?...Really?).

Black Jack OVA
12493 by Hestia-Edwards

Black Jack 2006
Blackjackpinoco2ck by Hestia-Edwards

Young Black Jack
325661 by Hestia-Edwards



Tsubasa Reservoir Chronicles

31772724 by Hestia-Edwards

Whether I intend to or not, sometimes I do things backwards: getting into Clamp manga was one of them. TRC was their attempt to recycle characters from old stories and put them in new stories: old readers found this annoying, I didn't know anything different. Since I read this one first, I could read the older manga works and say "Oh! I recognize that character!" This manga has the premise of having to find pieces of a princess' soul across all dimensions, with high prices to pay. It also has the bragging point of being one of the few long manga that Clamp has actually finished, and bonus points that the ending makes sense...Mostly. 

As for the anime, I think I have watched maybe...4 episodes? In short, I can't stand it: it doesn't keep the spirit of the manga at all, much less follow the plot. If you haven't read the manga first, perhaps you could enjoy it--I did not. 


Xxxholic
xxxHOLiC.full.347817 by Hestia-Edwards

This is the sibling manga to TRC: while they mostly have their own separate storylines, there is a decent amount of overlap, especially in the last few volumes, so it is best enjoyed while reading TRC as well. Watanuki is a youth cursed with the ability to not only see spirits, but also be hounded by them. By chance (or is it?) he encounters the witch Yuoko, who hires him in exchange for relieving his spirits. While TRC has blatant fantasy elements, Xxxholic is more subtle, with magic creeping inconspicuously in modern-day Tokyo. On a personal level, I found myself relating to Watanuki and the people they help, and I appreciate the wisdom bestowed in the manga

As for the anime, it's okay. I actually think the second season (which is hard to find) maintains the spirit of the manga better. The first season does have a catchy opening theme:



The second season one isn't bad either:




Stay tuned for the second part!

Hestia
  • Listening to: Chris Rice
  • Drinking: Tea, because that's what I always drink
Hello friends,

Well, I have been making progress on my Halaina sculpture, and I was so excited to show the progress photos in a long format like I did for my tutorials, but dA has given me the hardest time. It keeps saying my file is too big:

Screen Shot 2018-04-10 at 6.31.00 PM by Hestia-Edwards

No problem, I thought. I would just downsize it like I did my tutorials. Usually, I might have to downsize to 70% or 60% on Affinity Photo (my cheaper version of Photoshop). However, even at 3%--yes, 3%--I still got the error message. Next I tried scaling it down on Gimp, as I use it to scale down my comic pages to load onto SmackJeeves or Tapastic. It still gave me the error. I thought for sure the image was small enough: is was even smaller than the tutorials I previously loaded. Just to be sure, I converted the collage MB size to megapixels to see how the size compares:

Screen Shot 2018-04-10 at 6.31.32 PM by Hestia-Edwards

92.5 megapixels, and supposedly 200 megapixels are supported on dA. Hmmph. I considered that perhaps I was able to load my tutorials previously because I had Core, but I checked the date of my last tutorial, and it was after I finished my run of Core. 

Combined with people reporting that they can't purchase Core or transfer the membership to another person, combined with the fact that most of the time I can't open private messages in Safari, Opera or Chrome, combined with sometimes I can't get my stats to load nor can I individually remove watched items, I have to conclude: dA is no longer being supported as a website. I'm finding more and more glitches. Most of these I have tolerated to some extent, but now that I can't even share a collage of my sculpture progress, but can only load a photo at a time...I guess I can only conclude that I cannot invest in dA like I did in the past. When I get up and running with regular, finished projects, probably dA will not be the site of choice. I will have to consider other avenues.

I do have an Instagram account: www.instagram.com/hestia.creat…
Facebook: www.facebook.com/HestiaComics
Just opened a Pixiv today: pixiv.me/hestia-edwards

I also have a Patreon, and I'm debating about it's status. I noted that when I first opened the account, I got hundred's of views on my dA profile, and then nothing. I think at the time there was an algorithm, or perhaps a feature option, where new Patreon accounts are easily seen, and because I had a link to dA, people wandered from my mostly empty Patreon profile to dA, where I actually have content. If new accounts still get good visibility, it might be to my advantage to quit my current account, create all of the features and content to make it *pretty*, and then open another one when I actually have stuff on there. Even if I don't get patrons, I have successfully loaded my tutorials on there, and it might prove a better platform even if my stuff was visible for free. 

I still have a SmackJeeves account: rosamondgrey.smackjeeves.com/ , and I probably will load the Atannan (sequel) comic there as well. It is not friendly to non-comic art however, unless you want to make a HTML space from scratch. 

As for Webtoons, I have heard promising things about it, and I will try it at some point. I don't know how friendly it is for loading non-comic stuff, though. 

For other news, I've been working on the script of the sequel comic, the constructed language Nansha, the script for such, and of course the sculpture of Halaina, which you can see the head below:

Untitled by Hestia-Edwards

Well, that's it for now,

Hestia.
  • Listening to: Simon and Garfunkel
  • Drinking: Tea, because that's what I always drink
Learn Coloring Class by Hestia-Edwards

         

Hello friends,

The picture above is my current progress in my coloring course, Learn Coloring. The images were drawn by Christopher Kerry, and I am merely following his course and learning the mechanics of color. Color is a lot more complicated, but also more systematic, than I originally thought.


First of all, I have a confession: due to life circumstances (I am in the process of looking for another job) and other things, I have not been working as fervently as I would like to get the sequel comic off of the ground. I have made incremental progress in the sequel comic script, and in learning anatomy, but the enthusiasm isn’t present like before. I have wondered if I am “merely” depressed, or perhaps I am stressing myself out: I have a long list of things I want to accomplish, and when I’m stressed, I get less done than I usually do. Plus, the aspect of marketing myself, and trying to figure out how to improve my art so that it would market itself, has been
tiring exhausting. Marketing in general looks like an overwhelming amount of work: do I have to spread myself onto dA, Facebook, Instagram, SmackJeeves, Patreon, Tapastic, Webtoons, and more that I haven’t yet considered? Do I have to network on each site and hope that people would discover my comics?


I generally do not share my spiritual life on the Internet, but since this is directly related to my comics, I thought this was relevant. I have known along that God wanted my comics to burst in popularity, it could happen: I look at the sad art of Attack on Titan and the (original) One Punch Man, and I know if the content is there, the art won’t prove too much of a hindrance. Yet despite my efforts to show the comic to people online and real life, I haven’t gotten the breakthrough.

 
Lately, both the art making and the marketing has become a chore. I find myself making much faster progress in French, for example. I wondered about this: am I done with comics? Was I only supposed to draw Concerning Rosamond Grey, and call it good? Was I trying to force something that isn’t there? I recall a time when I tried to force a story into being, and I came up fruitless. At that time I felt God was telling me to take a break from story-making, and the fast lasted about a year. Was it time for another “break”? But I don’t have to force any story for the sequel comic: I am actually bursting with ideas for that, and I already know how it begins, what's in the middle, and how it ends.

 
But why am I lacking the fervor and enthusiasm to work on my comic, in any aspect? I prayed about this: something wasn’t right. Finally, in a couple of different ways actually, I felt God was telling me: “what if it is My will that your comics will never be famous?”

 
My immediate reaction was: “…But then what’s the point?”

 
Well, that reaction’s telling, isn’t it?

 
When I started my comics, I had the attitude of “Lord, if only a few people benefit from my comic, I will have accomplished my goal”. With a little bit of marketing on dA, I got a few people to read my comic, and I was astounded that people would even be interested in it. My thoughts changed from simply humility to ambition: “if I got a few readers, what can I do to get more readers?” Perhaps ambition isn’t bad. If you’re like me, you daydream about people admiring your work, and getting general accolades and being interviewed. I think God could and does bless such individuals with success. But the early enjoyment of putting a story on paper changed to “I have to do all of this: I have to draw better, I have to market better, I have all of this, I have expectations to satisfy, I have to, I have to”.

 
But what if I don’t have to do anything? What if I don’t have to spend so much time marketing myself, and just enjoy the process of drawing and creating again? What if I can be free from the pursuit of successful? If God wants multiple people to find and enjoy the comics, what if He can do the marketing Himself?

 
I want to apologize for my lack of anything to show: but at least you know why I haven’t been very active artistically. I hope and pray that I find the pleasure I once derived from having my characters come alive on paper.

 
Hestia.

  • Listening to: Cool Hand Luke (the band, not the movie)
  • Drinking: Tea, because that's what I always drink
...Hi, friends. 

I confess I haven't done much in art lately: I've been having work-related stresses, and am currently looking for a new job. I'm trying not to be anxious, as I'm confident that God will provide another job for me, but sometimes I'm still anxious.

Today, I decided to take it easy and work on comic-related stuff.  I was working on the timeline for Lady Halaina's kidnapping (going month-by-month rather than week-by-week--more feasible). I was also working on character designs. 

The latest development with Nansha, my constructed language, is the debate of whether to have it written right-to-left rather than the typical Western orientation of left-to-right. My thinking was this: I figured Shas would primarily be left-handed (you'll notice that Elaishar primarily uses his left in the CRG comic). As left-handers tell me, it's a pain to write left-to-right, especially when using wet ink. So I'm training my left hand to write better, and using my right to make the letters "pretty". 

I've also taken feedback on my latest ink work (thanks to GPAD ), so you can see the new version here:

WIP: Elaishar and Halaina, Take 2 by Hestia-Edwards

I am also participating in an online coloring class, with coloring assignments of the instructor's art. 

Talk to you later (hopefully sooner than later),

Hestia.
  • Listening to: 1 More French Radio
  • Drinking: Tea, because that's what I always drink
Hello, friends! 

Today's the day I took the dreaded ASCP exam (and failed). I had decided that regardless of the outcome, I would take a (long) break and work on things that have been much neglected: language learning and comics!

I still think that I should pick a couple of topics and focus on those for a month or two; the trick is figuring out which ones to focus on first. 

1. Halaina's Kidnapping Backstory
Unless there is demand to see it, this will be probably be for my reference: I started with the kidnapping of Lady Halaina in California in 1857, and to make it manageable, I'll probably do a year-by-year outline (from November 1857 to the "present" of 1895-1897), and then perhaps week-by-week. I initially started with a narrative covering the first two months, but that will take, like, forty years to complete. ;)

As such, after some research, I found it did not make sense to have Halaina kidnapped outside of Spokane, Washington, because at that time there was nothing there. The main human populations at that time were in California, especially with the discovery of gold in the late 1840's. So you will see a change in the page from the epilogue from this:
Epilogue page 14 of CRG--Original by Hestia-Edwards
To this:

Epilogue page 14 of Concerning Rosamond Grey by Hestia-Edwards

I figured the main plot of the sequel comic will be in the Spokane/north Idaho area (where I mostly lived for the past 20 years).

2. I have also been pondering how to tackle human anatomy, and I realize I'm at an odd spot: I'm not a noob at drawing humans, so I developed my own guidelines at drawing people, especially the head, as you can see below:
Proportions Practice by Hestia-Edwards Early Algernon Savage Sketch by Hestia-Edwards

For adults, I put the eyes on the center horizontal line, and for younger people, I put the eyes below the line. Now the Andrew Loomis books, which are highly recommended on dA, have a different approach to drawing the head:

76c6662324947452f0fc0858aeef4f24 by Hestia-Edwards

The center line is reserved for the eyebrows. I resigned myself to thinking "well, I learned the proportions incorrectly, so I guess I have to learn it the real way". But then I found another anatomy book at my local library, and it surprised me:

51T0rpOztDL by Hestia-Edwards

2017-10-28-0002 by Hestia-Edwards

It says on this simplified page, "the eyes are located on the horizontal center line". 

So...Who's right? :D The takeaway message is this: not all anatomy books are for everyone. You really have to find a book that makes sense to you, and go from there. For example, Proko's videos on Youtube make little sense to; Loomis makes more sense to me; and possibly the Walt Reed book will make the most sense. 

There are other things to figure out, too: I would like at the very least get my naming system in Nansha worked out, I need 3D representations of various Shas, I need to finish the backstory outline, and finish the script for the sequel comic. I have most of it written, in bits and pieces: I just need to connect the dots and have it make sense. 

I'll keep in touch. :D

Hestia
  • Listening to: Paper Route
  • Drinking: Tea, because that's what I always drink
Hello friends,

Long time, no write! I have good news: I finally got some furniture! One by mail delivery (the bookshelf), and one used with extra $ for delivery (I'm too cheap to buy a new desk). All of this hassle because I don't have a car. 

Desk by Hestia-Edwards

Bookshelf and Lamp by Hestia-Edwards

Wait, and a lamp, too?!

Yes: this is a special lamp. Actually the set I got included three lamps, two with umbrellas. These are special lighting lamps for inside photography. I never felt I could take quality pictures of my colored images because the lighting is always poor. Compare the image taken outside in overcast weather, versus using the lamps in a room with no sunlight:

Having Good Lighting Makes a Difference. :) by Hestia-Edwards

You can actually see the yellows, greens, and browns. :D

I love having a work space again: now I feel like an artist again. I haven't actually had a real desk in a year (the epilogue of CRG was completed on a card table). 

Most my free time from now until October 28th will spent studying for my medical laboratory science ASCP exam (blegh), but now I can fit in some art time. Currently I'm tempted by this coloring course: learncoloring.com/course. Tbh, I'm terrified of making colored images: I'm very comfortable with working with black and white. Black and white is like working in 2D, and color is like working in...247D. I've only done paintings with lamp light, because the lighting and color combinations are obvious to me: now painting characters in a field of sunflowers on a sunny day...Not so much. The nice thing about the course is it's not limited to Copics: it's easy to use Prismacolor pencils (which I have). 

I'm also tempted by the Inktober: we'll see.

Talk to you soon,

Hestia
  • Listening to: Capital Kings
  • Drinking: Tea, because that's what I always drink
Yes my friends, I got not one, but two job offers on the East Coast. :D I chose the Boston job, and I start there after Labor Day. I started packing my art stuff:

Untitled by Hestia-Edwards

So I might not do much art practice lately. I did visit the Museum of Fine Art briefly while I interviewed in Boston, and realized...You don't speed through that thing. You need a few days to see everything. 

Upon seeing original oil paintings, it made me wonder: how did these masters learn to draw? I found that the classical art education was called the Atelier school of realism, and a first step is drawing Bargue sketchs:

archive.org/details/C.BargueDr…

Essentially it's learning about correctly drawing what you see, and putting the right black-and-white values. I realized that this was what my art teacher in high school encouraged--she did emphasize realism above all else. It helps me appreciate her a little more, even though I still regret her not teaching us human anatomy. I might make a thread under the general forum posing the contrast between realism and construction.

Well, talk to you later,

Hestia.
  • Listening to: Herman's Hermits Pandora
  • Drinking: Water
(Sometimes I'm totally creative with titles--can't you tell? ;) )

I have been mostly absent on dA and other sites, but I have been busy at home, I swear. Here's some peeks at what I have been working on:

Untitled by Hestia-Edwards
Untitled by Hestia-Edwards
Untitled by Hestia-Edwards

Sculpting character designs, human facial anatomy practice, and language construction and research, respectively. I figured if I am making Minor Shas with odd facial anatomy, I should sculpt 3D versions, so I can reconstruct them on paper. This is how animation studios make characters with unique anatomy, and are then able to have them make sense on the screen: the artists have a 3D concept art, and can understand how the character looks in 2D. Here's an example of a 3D concept character design done by Chuck Williams for Disney:

Mrs-potts-maquette-disney-beauty-beast by Hestia-Edwards
williamsstudio2.com/sculpture-…

Regarding anatomy, I've been looking at Alphonse Mucha, Arthur Rackham, and Andrew Loomis artwork, and I'm interested in adding a little more realism to my character art. I thought I might have to use different guidelines than what I generally use (eyes on center horizontal line, top of circle being hairline, etc). I'm wondering if I don't have to change my guidelines and proportions too much at all: maybe just tweak them.

With my constructed language, Nansha, I've done a fair amount of linguistics research. This is what I decided:

1. Nansha will have SOV word order (John apple ate)
2. The adjectives will follow nouns (John apple red ate)
3. It will have a simple vowel harmony scheme (en.wikipedia.org/wiki/Vowel_ha…)

I still haven't decided if the verbs will show person or number, or not (like in Spanish: yo estoy, tú estás, él está, etc) or not indicate either like in Japanese. 

But most of my energy has been spent on applying to jobs, and studying for the scary certification test:

Untitled by Hestia-Edwards

I also have a phone interview from Connecticut this Friday. :D I'm getting wanderlust: I've been in Idaho for 20 years, it's time to move out and see the world. 

Well, that's all for now folks,

Hestia
  • Listening to: Eisley
  • Reading: In Plain Sight by Tom Smart
  • Drinking: Coffee

I’m afraid I’m going to be honest: I’m not likely going to start the sequel comic this year. There’s a giant list of things I want to accomplish before I undertake that task:

 

--develop the grammar and have at least a 1000 word vocabulary for Nansha (and plan out naming phonology)

--develop and practice character designs for the several characters in the sequel comic (at least 30?)

--practice realistic anatomy, learn how to make different, recognizable features.

--practice perspective

--practice using a color medium (currently thinking watercolor)

--world-building of the Shas (most of it is in my head, or not anywhere, yet)

--clean up Concerning Rosamond Grey pages for hard-copy

--finish script for sequel (I’m guessing I have half of it written: I jump around to write the most interesting parts first)

--make clay versions of some of the Minor Shas, as their anatomy is weird.

--reading and researching

 

Along with that, I have these other time-consuming projects:

 

--study for the medical laboratory science boards, the exam will be in August-September

--study French to an intermediate level by December

--study Japanese (goal currently undetermined).

 

As I currently “work” 40 hours a week for my MLS internship, this will probably be the schedule I’ll maintain for the foreseeable future. I tried making a weekly schedule where I do something different each weekday, but if I miss a day, then what? I also have a hard time switching gears between projects.

 

So, my idea, inspired from a member of the language-learning community I frequent (forum.language-learners.org), was this: pick two-three projects for a month or more, and focus on those projects, and make rapid progress on those. So for the month of June, I’ll focus on these:

 

Nansha language

French

Clean-up CRG pages

(and studying for the boards, of course)

 

I feel that the Nansha is really important, because I’ll use it to make names of individuals, places, concepts, and also their world-view. When I begin reading a fantasy novel, my first criteria to whether I continue is to look at the made-up names: do they make linguistic sense, or did the writer just mish-mash names on a whim? I want my names to at least satisfy these criteria. I’ll also write some stuff to share with you guys, as well. :)

  • Listening to: Indochine
  • Reading: Bringing Elizabeth Home, by Ed and Lois Smart
  • Drinking: Tea, because that's what I always drink
I am currently doing my internship at a clinic on the Indian reservation. I asked my coworker if there was a post office on the reservation. "Yeah," he began, "but post offices charge you an arm and a leg: I ship boxes by UPS". 

While I found the prices to be equally expensive for UPS, this comment made me wonder: why did I prefer post offices? I could ship boxes via UPS or Fedex, two shipping alternatives. My best guess is because when I lived with my folks, we lived in a small town, and didn't have the UPS or Fedex options available. I realized my habit carried over when I moved away for school, even though I now live in a bigger city. 

This past year and a half I realize that I have habits or trains of thought that are not logical. The art related one is that, for some reason, I have felt that book covers should be done in digital art, or traditionally painted. I think of all of the manga artists that are skilled/talented both in their ink renderings of their characters, and in painting their characters. The oil paintings by Hiromu Arakawa come to mind:
Fullmetal-alchemist-vol-16-hiromu-arakawa-paperbac by Hestia-Edwards

For some reason, there was a deeply rooted belief in my mind that "book covers cannot have ink drawings that are watercolor tainted: you must forgo the drawing skills and be able to be a master at watercolor if you are doing a watercolor cover image". This train of thought also applied to acrylic or oil painting, or even digital painting. 

Now, why did I have this belief? That somehow ink drawings were inferior to being able to paint with pencil guidelines? I do not know where this belief comes from: maybe that's a cultural attitude? "Yeah, it's nice that you can draw, but oooh look at that painting over there". Is it because painting requires more control? Why is it that it's okay to make ink drawings for the internal illustrations, but we must paint the book covers? The original Harry Potter books come to mind, as does the Pauline Baynes illustrations for the Narnia books. 

Speaking of Baynes, here is a colored ink illustration she did for inside the Narnia book:
Pauline Baynes by Hestia-Edwards

And then I think of the more obvious rule-breakers: Arthur Rackham! Of course! He did both color and black-and-white illustrations, but they both were featured inside and as book covers for the books he illustrated. He could control the brush, no doubt, but he did not use color when a good ink cross-hatch would suffice. 
ArthurRackham GoblinMarket 100 by Hestia-Edwards

Regarding manga artists, not all of them attempt painting. Tito Kubo is such an example:

300full by Hestia-Edwards

He retains his inking style while using markers with fine results. Clamp is another example. 

With this, I feel that I can accept myself as I am: I am not skilled at watercolor painting, I don't have the time to be as skilled as puimun , but I know how to handle the traditional dipping pen, and I can make fine art with that, with extensive hatching as pleases me, and color to taint it.

How about you? What trains of thought do you just accept, and you're not sure why you have them?

P.S. They might not have printed Rackham's art on covers during his time, because they used leather or cloth with embossed titles. Perhaps, there goes my theory...
  • Listening to: Louane
  • Reading: The Making of a Surgeon, by Dr. Nolan
  • Drinking: Tea, because that's what I always drink
Hello friends,

School has been crazy, and life has kept me busy--I'm glad I finished the epilogue when I did, because I wouldn't have time for it lately. XD I had an opportunity to visit family that works in China, and spent a week or so there. 

I spent most of the time in the Ninxia provence, in central China:

20070615-0000000431 by Hestia-Edwards
I came to China thinking "this'll be similar to Japan." Well, they both have have chop sticks...For example, creativity isn't valued in China. Perhaps because of the socialism, or perhaps because of some other factor, the Chinese value Right and Wrong answers. They are masters of imitation, but not invention. The value imitations of old art forms, but not so much new things. An example is their traditional watercolors, which are far more detailed than what I see Westside:

Untitled by Hestia-Edwards

I was also thinking that since Korea has manhwa, and Japan has manga, that China should have their own comic tradition...Not really. A family member that works there had to find a comic, because the bookstores don't really carry anything other than children's materials. When I told some Chinese that I draw comics for fun, they told me "that's okay, you're still young". 

Untitled by Hestia-Edwards

Untitled by Hestia-Edwards

The art is done digitally, and I thought the four-comic-pages-per-magazine-page format interesting. I'll need to look up these titles and see if they are Chinese natives or imports. 

My internship starts next week, and I'm enjoying not having deadlines. I think I've fainted. My main goal is to improve my art and to make character designs. Lately I practice drawing from a Loomis book, and from a Mucha book:

Andrew Loomis Heads Study by Hestia-Edwards

And some watercolor practice from Stephanie puimun Law's book DreamScapes Myth and Magic book:

Puimun-Law Study by Hestia-Edwards

...And I'll be the first to admit I don't know how she uses alcohol splashes and gets those clouds: I would have an easier time to just sketch them from the start.

I also got a ton of art instruction books from the library. Confession time: I tend to have "book lust"--thankfully it's limited to libraries, rather than bookstores--where I collect a lot of interesting books, and have the time to finish one or two from the reaping. Then I start over again. Hopefully, I can work through at least a couple art books. 
  • Listening to: Louane
  • Reading: The Making of a Surgeon, by Dr. Nolan
  • Drinking: Tea, because that's what I always drink
Hello peeps! I now have my Patreon (mostly) set up, and it's here:

www.patreon.com/hestiacomics

It will mainly have copies of what I put here.

Now, before you start asking, No, I will not put material behind a payment wall. I will continue to put comics, tutorials and other materials online for free. I feel the best way to gain an audience is to provide free material. The Patreon is only to function as a tip jar: if you have enjoyed my work, and you have the financial means, perhaps it will be on your heart to donate. But if not, that's okay.

For other news, I came across a snag with putting CRG into hardback: I have drawn the comic on actual manga paper, knowing the dimensions are different from American comics. As a result, CreateSpace does not have the right dimensions for printing a comic in the B or the A format (B4, A4, etc). I discovered Lulu.com does, but their books look cheap; the last alternative would be...Ingram Spark from the Lightening Source company, which is a huge world-wide book distributor, too. They also make nice-looking books. The catch is that I need to buy my own ISBN code, which costs at least $125, before I can make print on demand options through Ingram Sparks. Since my finances are currently tight, I'm praying about whether I should go ahead and buy one, or wait until I'm working again (come September), or what...

Anyway, for the epilogue for CRG, I imagine at most ten more pages, and then I'll figure out what's next. I confess I often feel bogged down by my lack of anatomy-drawing skills, and I constantly feel that I need "to get good" before I start my next comic. Judging by research on dA and online, it sounds like people spend hours and hours studying anatomy before they're "good", and the task seems unsurmountable with my other priorities (school, then work, then learning French, tutorials...) Then I asked a manga artist here on dA (she drew the art for the manga Wedding Peach) and her answer blew my mind:

Screenshot 2017-03-04 19.42.02 by Hestia-Edwards

I then posed another question:

Screenshot 2017-03-04 19.46.08 by Hestia-Edwards

This encouraged me immensely: certainly, I can still improve, but I don't need to be paralyzed by my inadequacy and "wait until I'm good at drawing humans" before I start the next comic. Now I will probably start the next comic this year sometime, rather than in the distant future. ;)

Question for you all: how does one find beta readers? Most of my beta readers for CRG have newborns at the moment, and I need to find people to tell me if the chapters for the sequel comic are any good or not. 

Well, that's my update,

Hestia.
  • Listening to: Korean rock
  • Reading: The Perfect Gibraltar: by Chris Dishpan
  • Drinking: Tea, because that's what I always drink
My lab classes were cancelled today, and this is the reason:

16178758 250633445349512 2623501801995253983 O by Hestia-Edwards

Snow day! I am a dummy!

For other news, I'm going to try to release bonus material on Thursday or Friday of week, for a little while (more likely Thursday evening). I found the screen shots for the second half of the long comic tutorial (yay!), so I hope to have that finished by Friday. I'll also do short tutorials on inking (cave walls, cross-hatching, Rockburn's hair, etc). I could also do tutorials on how to draw specific characters. Let me know if there's something specific you want to know. There are some topics I don't feel comfortable with, for example:

--anatomy
--perspective
--composition
--watercolor

Mainly because I'm learning these myself. ;)

As I get more comfortable with anatomy, I'll upload more character sketches for the sequel comic. Under Scraps, you can see my anatomy practice from Andrew Loomis books. For now, you can find his books for free here: www.alexhays.com/loomis/

The epilogue chapter is going to be under 20 pages, maybe as few as 10 total. I might do a short interim comic, but my focus will be getting ready for the sequel comic.

Regarding the hard copy of the comic, first I'm going to clean up the pages digitally, finish up the epilogue, and go from there.

I'm also thinking of expanding my horizons: I'm curious to try Wysp and PaigeeWorld. No, I'm not abandoning dA; I'll be here as long as there is an audience. I've also been praying about a Patreon page: I would not have a wall that hides goodies for subscribers; I want to keep everything posted online free for everyone to see. Rather, the Patreon would be more like a tip-jar, or a form of support like "I really enjoy your comic and works, and I want to see that continue". I would not offer rewards that only subscribers have access to.

Regarding watercolor painting, I had a breakthrough moment when I watched this video:



Realizing I can blend without a super wet brush or a super wet paper has suddenly made things easier for me. :D (Big Grin) 

I think that's all for now.

Hestia.
  • Listening to: 1 More French Radio station
  • Reading: Autobiography of a Victorian doctor
  • Drinking: Tea, because that's what I always drink

This evening I got to meet Brandon Sanderson. :) After thanking him for his time (he had been signing books for 5 hours) I was allowed to ask him a question, so I asked: “would you recommend traditional publishing or self-publishing?”

 “You definitely need to consider both,” he said, “if you have a lot of books you want to publish in a year, then that can act as advertising as you write more books. If you only write one book or one every few years, traditional publishing is the way to go, since the publishers will advertise the book for you.

 “What I would do is have at least three books written, and then submit the books to the major publishers. If you don’t get accepted, then go for self-publishing; don’t bother applying to second-tier publishers. Then as you do self-publishing, you already have three books you can self-publish in a year while you work on others.”

 After this I gave him my card with my comic’s information. “Here is my webcomic, and I would be honored if you would read it.”

 “Nice! I love webcomics!” and he set the paper gently on a stack of his things.

Image by Hestia-Edwards

 Image(12) by Hestia-Edwards

News

I confess I’ve been lazing a lot for my Christmas break, and I haven’t gotten much progress done on comics (I have been working on French—I think I have the pronunciation down now). Part of the problem is I feel overwhelmed with the things I want to get done. The best solution I can find is to make a daily and weekly schedule. Some big projects I want to make progress on are:

 

    1.     Epilogue comic (10-20 pages)

    2.     Anatomy practice/character practice

    3.     Writing sequel script

    4.     Working on Nansha, the constructed language

    5.     World-building of the Shas

    6.     Reading research

    7.     Make hard-copy of comic

 

 

I figured the way that I can make progress on all of these is not to dedicate a time each day to them—that doesn’t allow much time—but to focus on one each day for 1-2 hours. The comic drawing and the anatomy practice I can daily in short spurts, but not the writing or the world-building. Those require more time and research.

While I was waiting in line for the book signing, I was talking to a fellow fan about the Hobbit book versus the movies. His comment stuck to my mind: “the book doesn’t have a driving force—it’s about a bunch of dwarves who say, ‘let’s go get our kingdom back’. There’s no concrete goals along the way that push the story forward, and in the movies, they had Orcs chasing them to continue the pace”. While I do not care for the movies, it makes me wonder: should all stories have a driving force? Do I have on in my sequel comic? (this sounds like a question for the Literature forum!)

  • Listening to: 1 More French Radio station
  • Reading: A book about Victorian contraception and abortion
  • Drinking: Hot Chocolate
Hello friends,

I haven't been as active on dA lately, and this is why:

Untitled by Hestia-Edwards

This is the list of Gram negative bacteria that I'm supposed to memorize for an upcoming test. :) And this doesn't include the Gram positive bacteria or the fungi.

More interestingly, I've been working on this in my spare time:
CRG Extended Scene by Hestia-Edwards

I'm adding about four pages between these two pages:

Chapter 3 Page 13 of Concerning Rosamond Grey-2 by Hestia-Edwardsand
Chapter 3 Page 14 of Concerning Rosamond Grey by Hestia-Edwards

This is the part that annoys me the most about the comic as I currently have it: I build up the tension, and then destroy it. With the extra pages, I keep the tension going.

Once break commences I'll work on the epilogue, and hopefully other goodies, like character sketches.

Loves,

Hestia
  • Listening to: Sephardic Pandora station
  • Reading: A book about Victorian contraception and abortion
  • Drinking: Tea (because that's what I always drink).
As usual when I finish a chapter, I review what aspects that I think worked, and aspects that need...Eh, more work. ;) In case you don't want to read the whole thing, if you could post below your answers:

1. If I was to redraw this comic (not likely in the near future), what should I change? It could be plot aspects, it could be art aspects, etc.

2. What would you advise me to do for the next comic? What is something I should keep in mind?

I appreciate your thoughts. :)

Now, the review:

 

As you might have noticed, the last chapter was twice as long as they normally are. :D I didn’t realize it would be that long. Should this go to print, I’ll split it into two.

 

Page 1
Chapter 5 Page 1 of Concerning Rosamond Grey by Hestia-Edwards

I wanted a strong impact for this page, and I also wanted the dwelling to look interesting. I also like the characters at the top, but Oldfellow’s cross-hatching does look messy.

 

Page 2
Chapter 5 Page 2 of Concerning Rosamond Grey by Hestia-Edwards

The Perpetrator was the first character where I followed my own advice: draw him several times before he appears on the comic page. That is the reason that he looks as consistent as he does throughout.

 

Page 3
Chapter 5 Page 3 of Concerning Rosamond Grey by Hestia-Edwards

I love the expressions here, especially of the Perpetrator. He looks very natural and smug here. I continued the trend that you saw in the opening scene where he has his own font, but looking at it now, I’m not sure this was the best choice. I might change it to something else later on. I had a surprising amount of interest in the Nansha language: I had heard that the only people that are interested in constructed languages are the makers of them. xD I will need to continue the development.

 

Page 4
Chapter 5 Page 4 of Concerning Rosamond Grey by Hestia-Edwards

I debated whether to mix up aspects of the visualization of his features, or make it sequential: views of his head, for example. The way it looks like now, it appears that the Doctor joins with Oldfellow’s legs in panel three. Not my best page.

 

Page 5
Chapter 5 Page 5 of Concerning Rosamond Grey by Hestia-Edwards

I’ve been waiting a long time to show this. :) Something I would have to clear up in the sequel comic, or somewhere, is that Oldfellow has these features at all times: he just hides them.

 

Page 6
Chapter 5 Page 6 of Concerning Rosamond Grey by Hestia-Edwards

My attempt to explain the part above.

 

Page 7
Chapter 5 Page 7 of Concerning Rosamond Grey by Hestia-Edwards

Probably the weirdest part of the comic.

 

Page 8
Chapter 5 Page 8 of Concerning Rosamond Grey by Hestia-Edwards

I really debated whether to keep this or not. It’s based on an old idea of mine where Shas can contest and attempt to rescue captured humans, and the solemnity of the occasion when the challenger comes. I don’t know.

 

Page 9
Chapter 5 Page 9 of Concerning Rosamond Grey by Hestia-Edwards

The dialogue originally said “and you are the child of a woman and a Siren…Both are abominations, but we are still descendants of the mighty Shas”. I realized it sounded like Oldfellow was condemning women, which was not what I was going for. So thanks to Kikifuko I changed it.

 

Page 10
Chapter 5 Page 10 of Concerning Rosamond Grey by Hestia-Edwards

I look at Oldfellow’s suit, and I really want there to be more shading. The Perpetrator looks good though.

 

Page 11
Chapter 5 Page 11 of Concerning Rosamond Grey by Hestia-Edwards

Oldfellow’s head looks a little small compared to the rest of him.

 

Page 12
Chapter 5 Page 12 of Concerning Rosamond Grey by Hestia-Edwards

Did I say I liked how the Perpetrator looks?

 

Page 13
Chapter 5 Page 13 of Concerning Rosamond Grey by Hestia-Edwards

Rockburn’s jaw looks a little strange here. Since then I figured out that the corner of the jaw on real people is where the neck joins the head.

 

Page 14
Chapter 5 Page 14 of Concerning Rosamond Grey by Hestia-Edwards

Originally I was going to have a swirling background, to mirror Rockburn’s mental loss of control: but it looked too messy, so the black background is what you get.

 

Page 15
Chapter 5 Page 15 of Concerning Rosamond Grey by Hestia-Edwards

I drew this picture of Oldfellow when taking my lunch break at work. :) What surprised me when I drew this page was my ability to show the doctor’s emotions without seeing his face. I was able to show just by his posture. I was rather pleased with this. I drew the darkness of the cave with hatching, so you can clearly see the figures with dark jackets.

 

Page 16
Chapter 5 Page 16 of Concerning Rosamond Grey by Hestia-Edwards

I was too lazy to draw a mini Rosamond, so I figured she was behind the Perpetrator. I liked the last panel.

 

Page 17
Chapter 5 Page 17 of Concerning Rosamond Grey by Hestia-Edwards

I had fun researching for this page.

 

Page 18
Chapter 5 Page 18 of Concerning Rosamond Grey by Hestia-Edwards

My short stint/attempt at guitar playing taught me that you always tune your instrument before playing.

 

Page 19
Chapter 5 Page 19 of Concerning Rosamond Grey by Hestia-Edwards

I thought this turned out well.

 

Page 20
Chapter 5 Page 20 of Concerning Rosamond Grey by Hestia-Edwards

Thanks to prompting from Manti76, I attempted the scene that his violin playing invokes. This turned out to be one of my favorite pages.

 

Page 21
Chapter 5 Page 21 of Concerning Rosamond Grey by Hestia-Edwards

It was here that gpd called out my laziness—“his hands look like claws!” Okay, time to work on fingers again.

 

Page 22
Chapter 5 Page 22 of Concerning Rosamond Grey by Hestia-Edwards

The pace seems a little too quick here, though when I drew it, I wasn’t sure what to include. Maybe more time for doctor to puzzle over the music piece?

 

Page 23
Chapter 5 Page 23 of Concerning Rosamond Grey by Hestia-Edwards

I figured in contrast to the Perpetrator, who was comfortable with his playing and moved his body accordingly, Oldfellow was very focused (nervous), and thus he is stick straight.

 

Page 24
Chapter 5 Page 24 of Concerning Rosamond Grey by Hestia-Edwards

I also like how this page turned out. :) Something I tried to do was make the violin normal sized, or even big, compared to Oldfellow, but make the violin small for the Perpetrator. It’s tough to find reference photos of big guys playing violins.

 

Page 25
Chapter 5 Page 25 of Concerning Rosamond Grey by Hestia-Edwards

I think I made the Perpetrator’s head too big compared to Rockburn’s.

 

Page 26
Chapter 5 Page 26 of Concerning Rosamond Grey by Hestia-Edwards

That perspective is hard.

 

Page 27
Chapter 5 Page 27 of Concerning Rosamond Grey by Hestia-Edwards

I didn’t know what expression the doctor would have at that moment, so I left him out of the panel.

 

Page 28
Chapter 5 Page 28 of Concerning Rosamond Grey by Hestia-Edwards

I love the Perpetrator’s expression here: “what is this insect doing in my presence?”

 

Page 29
Chapter 5 Page 29 of Concerning Rosamond Grey by Hestia-Edwards

I wondered if I would be able to draw Rosamond normally again; somehow I managed.

 

Page 30
Chapter 5 Page 30 of Concerning Rosamond Grey by Hestia-Edwards

My manikins were so helpful here: I love using them.

 

Page 31
Chapter 5 Page 31 of Concerning Rosamond Grey by Hestia-Edwards

That perspective is hard. I also wanted to show the dark side of Elaishar, Lord of the Minor Shas.

 

Page 32
Chapter 5 Page 32 of Concerning Rosamond Grey by Hestia-Edwards

I thought this page looked reasonable.

 

Page 33
Chapter 5 Page 33 of Concerning Rosamond Grey by Hestia-Edwards

I love anatomy: I took anatomy and physiology at college, and also the cadaver course (I got to dissect the bodies myself!) So I never skip an opportunity for anatomy. I also faded out the bottom of Oldfellow so it didn’t join with the panel below him.

 

Page 34
Chapter 5 Page 34 of Concerning Rosamond Grey by Hestia-Edwards

Nasty, nasty perspective…

 

Page 35
Chapter 5 Page 35 of Concerning Rosamond Grey by Hestia-Edwards

You noticed that Oldfellow must have put the organ in his other hand, at some point. :p This is what happens when you flip the sketch.

 

Page 36
Chapter 5 Page 36 of Concerning Rosamond Grey by Hestia-Edwards

That expression looks weird on Oldfellow.

 

Page: 37
Chapter 5 Page 37 of Concerning Rosamond Grey by Hestia-Edwards

Perpetrator: “I’m terribly annoyed having his hand on my face, but since I lost, I can’t do anything about it”.

 

Page 38
Chapter 5 Page 38 of Concerning Rosamond Grey by Hestia-Edwards

You know that sculpture I made of Oldfellow? I use it as reference for his horns, in particular.

 

Page 39
Chapter 5 Page 39 of Concerning Rosamond Grey by Hestia-Edwards

I was particular about Oldfellow’s head in the panels, so it shows that he’s lowering himself.

 

Page 40
Chapter 5 Page 40 of Concerning Rosamond Grey by Hestia-Edwards

Not much to say here. I still struggle with side views of the face.

 

Page 41
Chapter 5 Page 41 of Concerning Rosamond Grey by Hestia-Edwards

This page turned out well. :)

 

Page 42
Chapter 5 Page 42 of Concerning Rosamond Grey by Hestia-Edwards

Oldfellow’s face doesn’t look consistent here.

 

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Chapter 5 Page 43 of Concerning Rosamond Grey by Hestia-Edwards

Rosamond’s face looks odd here. Here Oldfellow tries to stand.

 

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Chapter 5 Page 44 of Concerning Rosamond Grey by Hestia-Edwards

I really wanted to focus on that, even though he has abilities, he is in a sense, deformed: he is physically handicapped. This adds another layer to his character, and to give him some sense of realism.

 

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Chapter 5 Page 45 of Concerning Rosamond Grey by Hestia-Edwards

This page turned out really well. You also learn a little about Sha physiology.

 

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Chapter 5 Page 46 of Concerning Rosamond Grey by Hestia-Edwards

I hope I made clear that we’re seeing reflections, so I made the ink lines smaller.

Thanks for reading peeps. :)

  • Listening to: Zaz's Recto Verso
  • Reading: I need to start that book on Persian history.
  • Drinking: Tea (because that's what I always drink).
October is fast approaching, and with it, I present an Inktober challenge! If you don't know what Inktober is, it's a challenge to make an ink drawing for each day of October. Here's the link where it started: mrjakeparker.com/inktober

So I have a challenge for you: I probably won't be participating, since some of my readers would be bothered if I paused my comic to do this challenge, ;), but here's the rules:

1. You must be a watcher of my art.
2. I am making a stock folder of pictures I took at the local Zoo. I will have at least 31 photos for you.
3. Make an ink sketch for at least 15 days of October from this stock.
4. When you draw, mentioned my stock or me.
5. The people that have at least 15 inked sketches based on my zoo stock, I will feature their best inked sketches based on my stock in a future journal. 
6. Deadline is November 1st.

Go for it!
  • Listening to: Pandora Radio: Beach Boys
  • Reading: Abraham Flexner's autobiography
  • Drinking: Tea (because that's what I always drink).