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!
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.
I couldn't share this in-progress shot at the time because it was for a surprise commission, but here it is retroactively. You can see how much "gridding" went into getting the figure exactly accurate. Below that is an image the owner sent along of the framed finished product, which hangs in their entryway. The original is one of his wife's favorite pieces of artwork and he wanted to bring that into their home to enjoy daily.
Copy projects are always so fun; my method of copying the drawing is pretty mathematical, so that I can interpret the paint application more freely once I get to that step.
I was in the city this weekend and stopped by Kremer to restock the pigment pantry. And then my mom surprised me with the new set of retouching brushes. This is all in preparation for a very dear project coming up involving a diner from 1940s upstate New York. All those bricks should be interesting...
Hannah Dunscombe is a painter and portrait artist based out of Brookline, MA.