Here's a little slideshow of what I've been working on since mid-March... the images are terrible quality because I haven't scanned them in or anything, but you get the idea.
Social distancing in response to COVID-19 has been a strange experience for me so far, as I'm sure it has for everyone.
I'm lucky that 1. I still have my job and it can be done 100% from home and 2. my natural default is to stay at home working on quiet things. I know that considering oneself an "introvert" is all trendy right now, but being in the comfort of my own home working on quiet things is where I'm happiest. I've slowly realized that it's how I recharge, so being able to do that every day - even take work calls from the comfort of my personal desk - means that my social battery is full much more consistently, and a fuller battery means that I have more energy to work on projects.
My company asked my team to work from home the week of March 9th, which was fairly early in the Boston area, and so it's been almost a whole month already. Time slips by pretty imperceptibly and the days melt into each other without the normal commutes and different surroundings to break up the day and mark the time. But I'm really grateful to have an activity that keeps my mind so occupied during such a scary time. I save at least 10 hours per week not having to commute, I get more sleep, and I can still stay up a little later working on projects without worrying about being tired at work the next day (I'm naturally a night owl, as much as I've tried to be otherwise).
In the last 3 weeks, the only places I've gone are the grocery store around the corner a total of four times, and the local Blick art supply store, which I rollerbladed to for a curbside pickup order of art supplies. That's it. Otherwise I've gone for walks around the neighborhood, sat on my deck, and stayed in my house. There are moments where I'm a little concerned about how much time has passed with me moving within such a tiny radius for days at a time - mostly because it's just strange - but for the most part I feel in my element being tucked away in my room with my guinea pig and headphones and a very clearly demarcated 8 hours for work each day that end exactly at 5pm. Then I usually eat dinner with Chris and spend 4-5 hours working on art.
I've made so much progress in the last month and it really knocks me on my butt how productive I can be when I'm not feeling tugged in every direction at work and getting deflated by the rough commute. It's like art school again, where the main expectation I had of myself was to be at my desk getting things done. The more I do that for my day job, the more I can build a routine for it on my personal time and it feels less intimidating to sit at my desk.
Obviously it's not all sunshine and daisies; there is a different kind of stress always looming, you know, the big, lumbering kind that comes with a once-in-a-lifetime pandemic and economic crisis and dread that I have the virus and am asymptomatic. When I go to the store, I've started wearing a mask that I use for oil paint mixing, just in case. And I know I'm lucky that I still have a job and that I can put myself at minimal risk and that Chris is still working, while so many people in my life have been furloughed or laid off entirely or have to put themselves at risk. Chris works as an electrician and technically falls under the "essential" category of work, but he also works with his dad and stresses every day about either exposing his dad to the virus or his dad being exposed on a job site. They just applied for a small business loan to keep them afloat so that they both have the option to stop working and stay home. Chris might even stop at the end of this week just to reduce the risk that his dad is facing, even though they tend to go everywhere together anyway and are exposed to the same people and surfaces. But he worries that if they don't get the loan, they won't have any income.
But it is a relief to carve out a quiet part of this bizarre period to work on something I cherish. I started working on much bigger paper, and am really invested in the idea of working with colored pencils all the sudden. I may incorporate watercolor washes still, but I do love simple contour drawings. That said, I kinda feel like the crayon/colored pencil look with monochromatic shading has been done a lot lately (especially with digital drawing platforms) and it's a bit uninteresting; I don't just want to choose to do it that way because it's popular right now and I know it will be accepted fairly easily. I still don't see that much watercolor out there in the graphic novel world and it's one of my favorite mediums because it can both be extremely bright and extremely subdued without feeling all over the map. I may still push to see if there is a way to incorporate it. But the last thing I want is to make unnecessary work if what I have stands on its own, or to trash something by incorporating too many ideas.
Looking over the year so far, I've made a ton of progress with thumbnailing which is a huge relief. It's not the most interesting thing to post about, but I've tried to force myself to chip away at that and now only have maybe a quarter left to thumbnail somewhere in the second half of the book. It still seems like a lot to go, but I was worried if I didn't start allowing myself to dive into the finished product, I would stall out and get discouraged.
A couple weeks ago, I decided to illustrate a full chapter as a test-run: working speed, efficiency, practice with different faces, level of detail, color pallet, material, size, and texture. So far I have three pages done and I'm loosening up. I'd like to have this as a proof of concept by the end of the summer (I know that seems far away but I'm still learning and drawing comics is still foreign to me). Then by the start of 2021, I'd like to have a couple chapters to start shopping around and see if this could go anywhere. But that's not really the important part. Regardless of where it goes out in the world, I need this story to be on paper and not just in my brain, so it will always be something I'm working on even if people don't appear interested in reading it.
Anyway, yesterday I accidentally messed up some shadows in the last two panels of the third page and they really felt like eye sores to me... so now I'm going to spend the next couple hours tracing everything. Womp womp. At least I can fix some other little things that were bugging me I guess.
PS: I think I can actually draw a bike now without the need for a visual reference! I love the feeling of being able to invent something in my brain and put it on paper without needing to crosscheck Google images; though I do have a rich collection of bike images and other tricky-to-draw things on a Pinterest page, not gonna lie. Reference photos are always super important, but it's a relief when you can stop relying on them all the time and trust your own brain. The easier that becomes, the faster the drawing goes!
Watching the sunset from a plane window / dreaming as the sun comes up / four ships sailing into the distance / free diver floating underwater
Brainstorming some Florida critters for chapter header images. Some other options are manatee, dolphin, iguana, armadillo, coquina...? Only have ~16 chapters though and I'd like to be thoughtful about which critter should be paired with each chapter (either it's directly found in the chapter or the critter mirrors some of the emotion/action). Also, lubbers and scorpions ew.
This would be four pages with one large splash and two small panels on each (latter of which you can't really see).
Trying to keep up with the project. Here are some drafts of a chapter about some sensory memories from my grandparents house. I wrote this last fall so have been playing around with how that could work visually. I kind of like the idea of it reading like a children's book, with text on one page and a visual on the opposite page, recalling how I was a child when I was absorbing these memories.
I've also been working on some less exciting things, like making diagrams, building out chapter outlines, and mapping out different character motivations and intersections to make sure things are closing off by the end.
Whew. 300+ thumbnails in 5 days and have started a final draft of a 20-page scene, so far have drawn 2 pages/32 panels. Been having trouble sleeping though and have been lying awake stressing out about things and am tired all the time, so it's a mixed bag over here.
Recent hospital trip really fueled some thumbnailing. 160 panels to be exact?! These somehow all poured out over the course of 2 hours last night, excited to see where they go.
I've been doing a ton of thumbnailing the last month and a half and finally decided that I should try out a page to see how I feel about one being fully rendered.
It felt helpful, even if it felt like a pretty indulgent break from thumbnailing. Learned a few things though:
Trying to create some structure and routine to chip away at thumbnails coming out of the workshop. So far still motivated and enjoying the setup at my desk.
Here's some cool light cast on my wall, a bunch of panels, and a weird office safari look that I wore to work because it's too damn hot.
Hannah Dunscombe is a painter and portrait artist based out of Brookline, MA.