WirePrint is a project by a Human-Computer Interaction group at the Hasso Plattner Insitute that allows printing of 3D objects as wireframe previews. By extruding filament directly into 3D space instead of printing layer-wise, it achieves a speed-up of up to a factor of 10, allowing designers to iterate more quickly in the early stages of design.


What did I do with my last two days of reading week (besides sleep & work on thesis a bit)? THIS THING!

It chronicles a strange nighttime chase scene featuring giant wolf-fox & the mighty space deer, and If I can manage to get it scanned/printed in time, I might have it on the table at Canzine as an accordion fold zine-type thing.

Even if I don’t I’m happy to have finished it, as I drew the pencil outlines for it before Canzine 2013, meaning it’s been lurking in my studio for just under a year, waiting to be painted.

I experimented with my new acrylic inks (as it was already such a delayed project I wasn’t too attached to the imagery - I am glad it turned out well, though!) and the paper was also different (some sort of printmaking stock), so it was an adventure all the way through.

I do like the waterproof-ness of acrylic ink, which made the lighter washes I did after the dark background way less stressful (no horrible bleeding! Always a good thing, really), but found that it soaked into the paper/dried more quickly than watercolour, leading to the cloudlike texture of the sky (I made it work…I always make it work).   

The whole thing is pretty huge - the final printed piece will be about 6” tall by 32” wide (eep), so if anyone has any recommendations for places that do gigantic double-sided prints in Toronto, uh, let me know?

(I’m also considering making it into a less exciting but more practical booklet…we’ll see how it goes.)


*Long Post* Anyway, here are the gifs from my storyboarding demo this afternoon. I apologize that I wasn’t able to save the stream (gotta remember my naming conventions….). Basically I just wanted to show a little progression of shots and such showing a character. Also wanted to practice my posing. Enjoy!

gifs belong to http://sketchinfun.tumblr.com/

anonymous said:

HELLO, witchy is the best webcomic ever and could you please show us your progress of how you create a comic page? It would be very helpful to me. thank you!


hi! thank you for the kind words, it means so much to me that people enjoy witchy this much! Here’s a gif showing my general work flow. 

1. Thumbnails. I usually only have a very vague script written down as to what happens in a scene, bc I prefer to draw as I write dialogue because for me it’s easier to visualise and focus that way. I rewrite the dialogue here ALOT and usually just hand write dialogue over old dialogue in a new colour. The first pass for my dialogue is always quite awkward or choppy because I’m just thinking about the general feeling or sentiment I want to convey.

2. Usually when I’m working on the previous page I’ll have ideas as to how I want to write the dialogue on the next page to make it flow more naturally from one page to another. In this case I’ll write the idea down quickly in the next page’s file. (a quick note: I made a file naming convention for every page/chapter from the get go to make sure everything is always organised. Do not underestimate the power of organisation when starting a webcomic!)

3. Initial sketch. I didn’t do it for this page but usually to figure out a layout I’ll grab the thumbnails I think will work in a single page and play around with them using the transform tool until I find a balance of panels that works. I’ll then go over it with a loose sketch like you see here.

4. I make a new layer and go over the parts of the loose sketch that need refining, which usually involves hands, more nuanced facial expressions, and perspective or background issues. 

5. I draw in the panels! all my panels are freehand because I really like the feel it gives to the page, and I think it really works for a fantasy comic like Witchy. It was slow going when I first started the comic but I can draw in panels super quickly now. I think even little details like panel style can really add to how a comic looks, but at the same time you don’t necessarily need to add something quirky to your panels; simple usually works best.

6. Inking! I try to turn down my sketch layers super low so I don’t lose the spontaneity when putting down lines. While I admire people who can ink super precisely, it’s not something I like to do. I prefer a more organic and wobbly feel to my work. That being said, I think inking well is about CONFIDENCE. even though I strive for an organic look, I still want my lines to be confident. I usually use Kyle’s rough inking brush for inking.

7. Unfortunately I don’t really have any screenshots of my colouring process here, but usually I rough in colour and then figure out my placing of dialogue, and then I draw the balloons in so I don’t have to do any polished colouring underneath where the placement will be. There’s some good articles on the subtleties of comic lettering here, here, and here, that I recommend looking at, but also taking with a grain of salt. I break these rules often and you shouldn’t be afraid to break them either. Comics are a constantly evolving medium and you should make your own rules. (although it can be good to be aware of the pre-existing ones)

8. I don’t have much to say about colouring here because I already decided on the palette for this whole scene on an earlier page, but if you ask nicely next time I’m working on a new scene I can do a tut for you. I usually flat and then add in a bit of shading with one of the default soft brushes in photoshop, nothing fancy.

9. Finally I add all the little details like some magic sparkles and some colour adjustment/glow layers, depending on how I feel, but I don’t always use them on every page.

It’s important after reading this that you don’t take my process to be the be all and end all of comic making methods. Find your own way to do things! I am CONSTANTLY finding different ways of making comics. Just last week I figured out a new way of making a page’s palette that really works for me. don’t limit yourself and don’t be afraid to experiment.


Death Like Winter [speedpaint]!

In entertainment, an awful lot of stuff happens behind closed doors, from canceling TV shows to organizing music festival lineups. While the public sees the end product on TVs, movie screens, paper, or radio dials, they don’t see what it took to get there. In Expert Witness, The A.V. Club talks to i

Very flattered to be included in this piece with some excellent artists and colourists. Very interesting piece by Oliver Salva for the AV Club, well worth a read.