This year, Tom and I have been experimenting with new ways of collaborating on art and artefacts.
Creating this image was a joint process. It began with my idea to re-imagine well known works of art in the Hopeless Maine setting. We chose the art to jam on together, but working out how to take familiar images into the world of Hopeless was largely Tom’s doing. Above, you see the Millais Ophelia re-imagined into a world where the water is murkier and has things living in it.
Tom did all of the original drawing. I then went through with coloured pencils. Colour impacts on mood, shape, depth and in this case I had the partial translucence of water to contend with as well – it’s without a doubt one of the most challenging things I’ve ever worked on. I then handed the piece back to Tom and he reasserted some of the hard lines, scanned it, and did the things in photoshop that keep the scan looking more like the original. We’re trying to do as little computer tinkering as possible.
I’ve written about collaborating before, but to reiterate, there are key things to making this work – letting go and letting the other person do their stuff is necessary. We also talk to each other a lot while we’re working, feeding back, working out how to make it go as a joint project. What emerges is, I think, far more than the sum of its parts. A third artist who can most easily be called ‘Brown’.
A lot of comics art these days is done in photoshop, which can make it very smooth and shiny. Holding my nerve to be ok with the medium showing is something I struggle with – in this case the pencil marks, in other cases the brush marks or the oil pastel smears. I like the organic, messy physicality of working with materials, but I also feel a kind of pressure to produce shiny industry standard smoothness, which of course, I can’t…