This is the scene I mentioned earlier that is a flashback within a flashback (actually... within a flashback because the whole story exists in the memory of myself in 2016).
I'm still working on it, and might end up splitting the text of the last panel into another one, but hoping it comes across clearly.
This scene fits in with the central introduction of me as a child, pouting because of my own sensitivity. My grandpa happens to be telling my dad about how my mom learned to swim, and how at first she was afraid of the cold lake water. I'm hoping this will juxtapose well; I go from being really scared of fishing to alerting my whole family that an alligator is right near the dock. The goal is to show my childhood self through a similar growth in hardiness/courage, and how that was inspired by both my grandfather and my mother.
We'll see how it comes across once it's colored and inked!
This portrait was for a friend of mine from high school. He wanted to surprise his fiancée with something personalized for Christmas and chose this family photo from right after they adopted Luna the corgi. I used my new lamp with a hollow opening to record a time lapse (almost) start to finish, which I've never done before. I may need to look into a different app however; the one I've been using only records for 20 minutes at a time.
Yesterday afternoon I unpacked and then we had a few friends over and watched a few epsidoes of The Chris Gethard Show before heading to bed. A couple friends may come over for New Year's Eve, but it will probably be a very small affair.
In the meantime, I brought out all of my comic storyboards and am trying to pick up where I left off. A roadblock that I am experiencing right now is that so far I have started with a scene that leads into a flashback, and within the flashback, a memory is shared. I want to illustrate the memory, but I'm worried that it's too multi-level to have a flashback within a flashback, à la Christopher Nolan. I suppose it's an interesting problem to solve, and it could be a good opportunity to break away from the traditional framing that I've been gravitating toward just to give myself structure. But I still feel a bit out of my depths. Hopefully something compelling comes of it.
I got this mug during my return to Alfred last spring; my memory card had just failed right after I had finished documenting a painting of mine that I stumbled upon in one of the administrative offices. I was really excited to see it, so figures that I didn't end up getting a photo of it. By the time I realized there was a glitch, the offices were closed, so instead I wandered around the book store looking for a replacement and getting nostalgic, wondering why I had never stocked up on school memorabilia before (answer: I was an existing student and was poor). I got a couple of t-shirts and this rather simple cup. I'm not really a coffee drinker, but every now and then I will have half a cup to avoid falling prey to dangerous weekend nap impulses.
Here are a couple of photo updates on the comic I've been chugging away on. I haven't shared much about it in writing because I am still figuring out where I want to take it (though I do have a lot of storyboarding done, and have a growing set of Google documents that include a story framework and various thoughts, ideas, and memories). That said, I have very little time to work on this project with my full-time work schedule, not to mention 2 hours of commuting every day. But I'm still trying to chip away on the weekends for now, even if each set of week days seems to negate my weekend momentum.
I recently listened to a really wonderful interview with Debbie Tung (creator of "Quiet Girl in a Noisy World"), hosted by The Introvert, Dear Podcast. She talked about the struggles of choosing to quit her full-time job as a developer and pursue art full-time instead; they asked her if she recommends this choice to other artists out there, and she was hesitant to encourage that choice because it makes life quite hard economically. Not to mention, Debbie lives in the UK, so there are not the same concerns about student loan debt and access to healthcare. Here in Boston, it's almost impossible to afford rent even with full-time work - not to mention a mortgage (condos around here typically start around 400k, and houses are basically inaccessible unless you are up for paying 600k or more). I sometimes daydream about moving out to the country into a little cottage, where I can be alone with my brushes and pens and enjoy an uninterrupted creative process, but it's something I'm far too anxious to pursue in this stage of my life. Right now, I have health and dental care through work, a 401k, and a stable paycheck, which is a lot more than I had working in retail. Plus, comics are very hard to make a living off of unless you have proven success through a book deal. It's not the same as running an Etsy or doing commissions, which I take here and there but don't actively pursue or advertise. For now, I'll continue to cherish my free time and continue my work during the week.
Hannah Dunscombe is a painter and portrait artist based out of Brookline, MA.