Hello! These are some side notes for this update. I’m bullet listing them, as the scattered thoughts they are:
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Progress have been a lot slower than I expected. Sorry for that, and thanks a lot for your patience, dear patrons. February is always a particularly slow month for me. I had some days out of town, where I managed to clear my mind a bit, but now I’m trying to catch up with this comic.
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This part of the comic ends up with a repetition of a dialogue. (Not a typo, but part of the plot) The next part is where we find out why.
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On the subject of drawing: the software (ClipStudio) has tools for drawing straight lines by sticking automatically to the guides, which is faster, but less satisfactory. I’ll keep up with it for some of the lines here, but I’ll revise afterward if I want to keep doing that for the next comics. In the end, I prefer architecture and furniture drawn with shaky lines, (although it’s harder). I wish I could draw shaky, organic straight lines the way Taiyo Matsumoto does, but he’s a master of the craft, obviously.
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I found out that I enjoy drawing sneakers, even if I don’t get to a high detail level, there’s something in their shapes that I find appealing. Speaking of specific preferences, it’s always fun to read, in comic artists interview, when they list what they like and hate to draw, because they tend to be unexpected things. And I think I remember Peanuts’ Charles Schultz praising specifically the drawing of bedside tables in Bill Watterson’s Calvin and Hobbes. That struck me as an oddly specific comment, back then when I saw it in a book blurb, but I think I may have now a better understanding of what he meant, and why he said that. There’s a particular level of reality (jumpy, dinamic) in Calvin and Hobbes that seems to show even in common details. I don’t know if I have that kind of attention to the aesthetic of details, but I find myself enjoying more some small things in the world of the stories, than in the past.
Thanks again! I’ll see you soon with the follow up to this story.
