Quick Q&A over at Jetpens.com

Pen Pals Interview Dog Eat Doug Webcomic Artist Brian Anderson – JetPens.com

No secret by now that 99% of my drawing supplies come from jetpens.com. That 99% does include every pen I use. They were kind enough to post a small interview. Leave ’em a comment and tell them what they think. Or what you think about my answers. Or general statements regarding puppetry and Tesla’s squirrel training manual. Your choice.

Parade float for #Inktober

Parade float for #Inktober

Inktober Doodle Number Six

Another quickie for Inktober.

Another quickie for Inktober.

Today’s Inktober Doodle

#inktober

#inktober

More Inks for Inktober

inktober4Inktober is the perfect opportunity to loosen up and work fast.

 

Inktober

Inktober #2

Inktober #2


Taking little breaks to doodle up some images for #inktober. Sticking with my Pentel brush pen. Little bit of watercolor.

Enter to Win a Free Copy of Monster Chefs

Goodreads Book Giveaway

Monster Chefs by Brian  Anderson

Monster Chefs

by Brian Anderson

Giveaway ends October 31, 2014.

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Working without panels

image

Quick peek at some art from page 40 of the webcomic. For this project I have to work fast and small. Usually on letter size paper. And fast. Did I mention fast?

One draw back: after a time, I tend to suffocate my work under those constraints. Panels become flat, emotionless. So, to break out of that, I draw the shots and scenes on larger paper. Let my hand move further, wilder. That lets me work fast and punch in some emotion.

After the shots are drawn, I’ll composite them in photoshop in their letter sized pixel cell.

Cover Process for Book One

cover_process_screengrab

Inking the cover for book one. I’m trying to keep my line art thin and clean. Once I had the rough layout, it took a bit of mind twisting to decide on a final style. I don’t want it coming off as overly comic bookish and at the same time I didn’t want to do a full on painted piece. Mostly because it’s not my strength and also, I didn’t want to stray to far from the interior art.

So here is the beginnings of some clean inking. Already made a color guide so that part shouldn’t be as challenging as it normally is for me.

 

Testing Colors and Techniques

comic book covers

color test for comic book cover

Testing out some techniques and color guides for the cover. Trying to keep things bright. This is close to the color schemes I want to use on the artwork for the novels. But I think the art for the book covers needs to be tighter and a bit more realistic.

First Drafts

The Conjurers Book One, first draft

The Conjurers Book One, first draft

So this is what a first draft looks like. At least the hand scribbled part. After the notebooks, I transcribe it all in to the computer, cutting and patching bits as I go. Then I give it one more look, jotting down a few notes of things that need renovating and it’s off to my editor.

There’s lot’s more to be done. Rewrites, cover art and interior art. All of which I am greatly looking forward to.

On the mend.

image

Little equinox recovering from a mysterious leg injury. Possible snake bite. No sitting in my lap while I write for now.

Morning jog

So where do I get my ideas. Hmmm. No clue.

 

Where the Wild Sophies Are

where the wild things are

where the wild things are

Can’t believe I’ve never tossed a reference to this in the strip before. This is a little peek at a strip that will run in March.

Burning through Moleskines

Time to open a new notebook. A fresh, Hobbit Moleskine. For the most part I'm writing this novel longhand. Means quite the workout for the Lamy. The advantage to pen and paper is the ability to write anywhere, anytime. Gotten used to that over the years. This also means a chance for some chunky editing when I transcribe the words into the computer. I used to try avoiding the whole transcribing process. Save time. But really, it's a huge advantage. Mainly, by not getting into the habit of having to sit at the laptop to work, I can squeeze a lot more words out of the day.

 

Butt in chair time

A quick morning post to loosen the fingers. It's butt in chair time. Last night was the pre-visualization for what I'll write this morning. No make up trailers, or camera shots to set up. Get the actors on the page and let 'em have at it. Let the agonizing fun begin.

 

 

Puppets. Always some puppets.

No matter what I do, puppets always work they way into the story. These guys were a bit of a surprise. However they became a fun way to convey some backstory and foreshadow upcoming scenes.

Landscapes Doodling

Spending some time sketching out landscapes and bits of architecture from around the Conjurian. Helps on two fronts. For one thing it helps discover new places that might be useful to the story. And, when I'm writing scenes, visualizing them in ink makes it easier to focus on the important details.

 

 

Religion in the Conjurian

Here's a quick concept sketch for the Dedites, a religious order that believes Dedi created the Conjurian. They sprang up when I worked on the origins for this world. Their counterparts would be the growing majority that Dedi merely discovered the Conjurian. However, as you'll see in the first novel, the truths behind their beliefs will play a huge part in the future of both worlds.

The monk pictured here is loosely based on another of my favorite magicians, Kenton Knepper. A brilliant thinker and a major influence on many of the effects I perform.