SO, two posts in one!
And honestly, it's all the same thoughts, but just with different art. I've been going nuts (in a good way) drawing little tiny details!
I think this is where I left you all last time with Era of Great Wonders:
Smythe is talking about all the various reasons refugees may not have made it to safety, and the distrust many civilians felt after several years of food riots and near-martial law.
I was unfortunately able to find lots of photo references of police beating people.
When I was in college, I was lucky enough to have an incredible professor who talked about when "citizens" turn into "refugees" they lose so much of their "human/neighbor" status in the eyes of other citizens, as well as in the eyes of the law. Does that make any sense? It's a strange thing and I'm still trying to wrap my head around the concept (and it's been a couple of years!)
It's a fascinating (and depressing!) part of societal breakdown. When people are in a terrible place (such as when natural disasters happen) they (refugees) become "the other" - and maybe that's a way of distancing ourselves, so we don't feel the terror of, "What would we do if this happened?!"
I know so may people who believe they would survive the zombie apocalypse. Let me assure you: I would be zombie chow. I'm barely prepared to order off a menu at a restaurant, much less survive the post-apocalyptic world.
Too many words! Let's get back to the art!
Below, crowds of protesters:
Below, I started inking in people running from monsters (as well as getting grabbed by cultists.)
I finished inking those panels; I can vaguely remember working on them. Was it Tuesday? Monday? It was so long ago!
The blue outline you're seeing (the heavy blue border) is my new attempt at drawing the borders on one layer, so that if I need to, I can get rid of them (say, if I'm recycling art in other ways, I don't have to deal with the heavy black lines.) They'll print black but for now they're blue, so I can see where to stop drawing.
I started to ink in clutter and broken cars and things above. I normally don't go into much detail when I pencil - I save most of that energy for inking. However, I'm in the process of migrating to a new computer, and I've been fiddling with the new computer's pen settings, and when I sat down at my old computer, I started fiddling with THOSE settings, and discovered a BEAUTIFUL pencil setting.
Of course, I discovered it right before I migrate to the new computer, and have to relearn everything, so now I've been over indulging in this pencil setting for as long as I can get away with it.
Which kind of leads to madness:
SUPER TINY DETAILS!
I'm not sure how well you can see it, but the above left is actually a section of the city details I copied from the right side of the city. Below, you can kind of see where I got it?
Maybe not. Don't worry about it!
See those inked tires at the bottom left? I then erased all the previous shoot-from-the-hip inking I'd done, and continued in with MORE pencils. I also copied and pasted the inks from this page into this panel, shrinking it down REALLY small to fit, and then turned it into a pencil layer. Can you find the tank below?
Then I added some negative space buildings. Or are they positive space? I could never keep those straight in my head. Whatever. Silhouettes!
Above: Finished pencils!
And then I started inking, and this is where I left off before I had to go do the dishes.
More thoughts on super tiny details: since I'm drawing these at 1200 dpi (which seems like a lot, but... well artists gotta art!) I found that I'm able to take panels like the one above, and pull them into other pages. Because the dpi is so massive, (printers print at about 300dpi for crisp, clean images) and I can resize them to fill up entire pages (or MOST of an entire page.)
I plan to use panels on the pages above in the "what's coming next" at the end of the Era of Great Wonders book (that I'm STILL putting together!)
Back to work for me, I guess!