This week: more amateur inking, some old videos, and articles about terraforming, grain elevators, and comics.
Did some of the experiments I wrote about last week. Testing inking on tracing paper, this week I scanned the pencil sketch and enlarged it to 2x and 1,5x the original size (78x62 mm, arbitrary panel size that fits well in my small sketchbook), then scaled it back down to see what difference it’d make to the line style. My target is capturing a certain feel, not drawing pretty.
I was sure I’d come up with this exercise myself, but (like the earlier quickies) it’s inspired by Brunetti’s “Cartooning”:
Making photocopies of our originals is quite instructional, because we get a clue as to how our work will look when reproduced and how to “size” our artwork by considering the final reproduction as we create our original. We may need to adjust and clarify our drawing if our lines do not reproduce as intended.
Avoid frills or unnecessary elaborate flourishes; simplify your range of gray tones. As Art Spiegelman wrote in Dead Dick, his Dick Tracy homage, “Never stipple when you can hatch. Better yet, use black.”
...and this quote from Kirchner:
I could never adjust to the “half-up” (150%) scale at which mainstream comics had to be drawn. I preferred to work twice up and that wasn’t an option.
I often photocopy a sketched frame, reducing or enlarging it to a size I think more pleasing, and then tape it back on the tracing paper, which looks like a patchwork quilt by the time I’m finished.
Anyway, this is the result:
Still trying to improve my skills with anything brush-like, but I think the 2x brush panel (bottom left) already looks a lot more interesting than the 1x tech pen panel (top right).
Maybe it was simply because I’d warmed up at this point, but something clicked with the second attempt, and the shackles came off. The double-up size was more comfortable, but I guess half-up is still big enough for me to splat my brush around, but too small to give me any ideas about precision brushing. The first drawing is lifeless and the second suffers from unconfident strokes, but the last one feels more genuine to me – still sloppy brush work, but at least it looks like it owns it.
From 1913 until the 1960s, residents of West Mifflin, Pennsylvania, parked their cars along an embankment to watch trains pulling enormous cars with massive cauldrons full of molten rock. In some cases dozens of cauldrons were emptied at once, pouring their molten rock down the side of the hill in eerily beautiful rivers. Observers said they looked like symmetrical rivers of fire and lit the sky red.
“There’s a feeling in many of these towns that if they don’t have a grain elevator, a sense of identity and community has disappeared,” said Ali Piwowar, an architect who grew up in the prairies. “Some people say they feel their town could just blow away without the anchor point of an elevator.”
Ivan Brunetti breaks down a brilliant Lynda Barry strip from “Ernie Pook’s Comeek”. (Nice how Barry mentions him as a great inspiration, and here he’s tipping the hat right back.) Looking forward to more of these, looks like Brunetti’s going to have a regular column.
Someone’s used AI to upgrade a 124-year-old video to modern standards, and it looks like it could have been recorded yesterday. Completely mindblowing how good it looks, I’d have an easier time accepting an elaborate fake than getting to grips with this technology.
Report about the random number generator “ERNIE” from BBC’s “Nationwide” in 1971. Love the shots from the huge paper archives.
Probably a PR campaign more than a real Mumbai traffic solution, but still a funny idea with a funny video.