Christmas Shoppe

Compliments of the season to youse all. Here’s a reminder of the things you can buy from me which are all GOOD PRESENT IDEAS*:

1 – I, YETI PRINTS

Luxury 2-print set of Graphic Short Story Prize nearly-winner:

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2 – COMIC & POSTER MEGABUNDLES

Super cheap comic dealz:

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3 – POSTER PRINTS

Nice drawings to look at, discounts for multiple purchases:

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4- A DRAWING COMMISSION OF YOUR CHOICE

Anything you want (decency laws apply) for £25:

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Please get your orders in by 17th Dec to ensure Christmas Delivery. Ta!

P.S. MANLY BOYS AND COMELY GIRLS

From Avery Hill:

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*sorry for yet more advertising.

 

 

 

Banal Pig’s Royal Assortment for free!

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Here it is! As I only ever printed twenty copies of this (and i ruined a couple of those due to cackhanded folding and stapling), i’ve decided to make it available to the billions who missed out and put it online- I’m trying out Issuu for this purpose, and on first impression it seems pretty good.
The comic itself features the all-new ‘Vampire Weekend’, a very simple premise for a strip that took far to long to execute, ‘I’m Off’, a strip originally for Comix Reader 3, the infamous ‘I Yeti’, and ‘The Internet’, the strip i did for OFFlife #2 which i’ve tweaked and changed the colours on for this publication. Yet another gift for you from Banal Pig Comics, enjoy!

Colouring In- Process Special!

Whatson, process lovers?
A few people have expressed an interested in how i colour my artwork using photoshop, so I’ll tell you. Firstly, I’ve got to say that I based a lot of my technique on these fantastic series of posts by Dustin Harbin, so have a look there for much more technical info than you’ll find here, as mine’s a simplified version of that. Let it also be said that I am by no means a photoshop expert, and this is just the way i’ve found (via a lot of trial and error) that seems to work ok and deliver decent results. Anyway, here’s my ten penceworth.

I used to use the most straightforward way of colouring line art, which is to scan the black and white art, and have that as the background and then simply create a new layer with the properties as ‘Darken’. This means the colour layer sits behind the line art it’s pretty straightforward if you’re doing a simple colour job, and I’ll still use this technique occasionally if it’s just a quick colour job. The downside of this is when you need to keep coloured layers separate as the image gets more complicated, you need to split everything up. So-o-o:

1) Lineart

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Taken for granted at this point you’ve scanned your image and you’ve got line art that your happy with, you can extract the line art from the background by going to Select> Colour Range and clicking on an area of black (it should be fairly easy at this point to separate the black from the white, but if you have other colours on there you need to experiment your fuzziness to make sure you don’t any phantom greasy looking ghosts in there). Your line is now highlighted, so liberate that bad boy by opening a new layer, then go to Edit> Fill and fill it with the black in the bottom right corner which is apparently the blackest black. If you then open another layer and fill it with white (and move your line layer above it) you’ve got the two things separate, and you can get rid of the original background (I usually keep it until near the end anyway just in case of any disasters though).
The above image shows those two layers from a page 3 of I, Yeti, which i’ll use as an example cos it’s got loads of colouring on it.

2- Background Colour

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Although I don’t stick rigidly to what goes on in these layers, and keep tweaking all the layers til it’s finished, I like to get started by getting as much colour into the background as possible as a rough colour guide. My best friend here is the gradient tool, which i use loads, even if i paint over it all, it seems more natural than a block of flat colour, particularly in skies and that. I’ll very rarely use solid colour, and i’ll then start to add texture using a normal paintbrush at about 50% opacity, and blending these by selecting the semi-opaque colours again to get an increasingly light tone. I’ll also blend by increasing the brush size, but decreasing the opacity to about 20% to subtly blur it a bit more. I don’t use a special brush or anything, just the standard at 100% hardness. I’ll work from photos a lot too, and usually I’ll take the colours directly from the source via the eye dropper thingy, although with jpegs this can sometimes be a bit hit and miss.

3- Foreground

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So the foreground objects will naturally sit on top of the background, but still underneath your line layer, and the colouring technique is largely the same. Fun fact: I based the yeti’s colouring on a polar bear. If there’s different layers to a background, i might stick this in the foreground too, as long as it doesn’t interfere with the other elements i’m colouring.

4- Special Effects

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The fire and it’s glow (bottom 4 panels) was a bit of a pain in the arse to get right. Same thing again though, semi opaque brush tool to build up a blended effect.

5- Snow

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Unusually, i had a layer on top of the line art for this one, to try and capture the blizzrd effect of the snow in panels 9 & 11. I selected the text on the line layer using the magic wand in panel 9 though and deleted it from this layer so the text wouldn’t be obscured.

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with this last one you can see the layers and how they’re ordered- it’s usually a good idea to label them but i don’t always (layer 5 is the snow layer).

Obviously this is a technique that works for me, and as i am a painter at heart, i like a rougher painterly quality.  Hopefully there’s a bit of insight here though, and please feel free to get in touch if you have any questions (not super-technical ones please) and i’ll endeavour to answer them.

If you want to see the complete I, Yeti, it’s here, and you can even buy it as a set of 2 prints here.

Stevo’s Bigg Review of 2012

At the end of 2011, I was considering my position as a comic artist and maker after a poor showing at Thought Bubble 2011 and a general creative rut that can happen when things are a bit shit, plus the fact the fact that after all the hard work I was putting in, I was barely breaking even. Here’s what I wrote at the time:

I’m going to take a step back from everything for a bit, not worry about the scene and what other people are doing, and try and recharge my appetite for this lovely genre which still hasn’t seen its potential realised. i’m probably gonna do a bit more drawing for drawing’s sake, maybe a bit of painting (the recent posters are possibly evidence of me cheating on comics a bit) and soak up a bit of proper culture, not just off tweets and blogs”.

Not long after this, I decided to pack in my rubbish office job and see what would happen if I tried to be a full time creative, and with the support of my partner we said we’d give it three months and see what happened.

The break from comics and the freedom to follow my creative whims meant that I was raring to go in January, and luckily I got a couple of jobs doing copywriting which provided some actual money as I tried to work out how to turn my comics and art into a living (I’m still working on it, let me know if you know how it’s done pals!- ed) and I came up with a few ways of trying to monetise my skills, setting up an animal portraits business and advertising a one-hour drawing service for £20, both of which had a bit of uptake without ever coming anywhere near paying the bills.

My other intention was to try and get some illustration work, and to this end I spiced up my illustration site, and also paid a large amount of money to join the AOI, but to this day, I’ve not had any genuine interest from potential commissioners, so that’s a bit shit, but I don’t really know what I could have done any different.

So three months into the experiment, and I was doing alright. I was still in the honeymoon period of having a list of things to try, and the copywriting was more or less paying the bills, leaving me enough time to draw things in the afternoon. LACF4 took place at the end of April, and I wanted to make a new comic (I hadn’t done one since Chris Sandwich in May 2011) but with my new business head on as a freelancer I wanted to make something that was cheap to produce but had a bit of substance to it.
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This necessity was the mother of Christopher Wren- In Search of Excitement, a comic created from one piece of A3 printed both sides, that I could fold myself without staples. I’m really pleased with how it turned out and how the unfolding of the paper has its role in the telling of the narrative, and the format meant it was possible to have two different endings, another possibility suggested by the unusual format. This went down pretty well, and LACF4 was the best attended and most lucrative of the five Leeds Alternative Comics Fairs that me and Hugh Raine have hosted.

The free time I had allowed me to explore a lot of new ideas, and during these glory days I worked on a number of projects including Banal Pig 5, aka the Banal Pig Apocalypse, where a nuclear explosion throws our pals from the BP universe into chaos, with hilarious consequences (I’m about 12 pages into it currently), The Space Wars Colouring and Activity Book (19 pages complete) Monsters Of the Schwarzwald (just the 2 pages). I also actually finished some things, including this Star Wars painting (which I also turned into a print), stuff for Comical Animal and this animation, which i’m pretty happy with:
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So, three months became six months and the honeymoon period was over, slowly but surely the copywriting jobs started to decrease, but I thought I’d use my free time to put together an entry for The Observer/ Jonathan Cape/ Comica Short Story Prize. I’d entered a few half-arsed efforts before, but I basically spent the majority of September to make my entry ‘I Yeti’ as whole-arsed as possible, and I felt I had a decent chance. Pig lovers will know what happened next, a creditable 2nd place, a lot of exposure and by the time it came around a very welcome prize of £250. More than the money though, this piece of recognition has given my freelance year a point, and it’s satisfying to have something to show for my efforts- I was seriously considering jacking the whole fucking thing in if I didn’t get anywhere, as I was getting pretty disillusioned with all my efforts coming to nothing.

The exposure from the competition provided a welcome boost to my coffers, but unfortunately it wasn’t enough to keep me in bread and water, and in December I had to return to exactly the kind of irrelevant and uninspiring office job I had left at the beginning of the year. We also did another LACF, and i printed a very small run of Banal Pig’s Royal Assortment, a collection of recent stuff and although the fair wasn’t the worst, it was pretty disappointing in terms of sales and attendance.

So what have I learned in my year out? Firstly, it’s really fucking hard to get people to pay you to do something that you like, even if you’re (>ahem<) good at it. I’ve also decided to stop making small press comics for the foreseeable future- my experience over the last seven years has been that the small runs of comics I’ve made have taken a long time to sell, and there is such a small profit on each comic that it really doesn’t make sense for me to do it anymore. I was happy to do it for the love in the first few years, but I can’t see a viable business ever evolving from this.

My strategy therefore is to focus my efforts onto a big project, namely a book version of Untitled Ape’s Epic Adventure, which I will be working on this year and will hopefully be taken on by a publisher. I will also be looking to put other stuff online for free, as if I’m not making a profit anyway I may as well cut out the middle man. Hopefully, at some point I can go back to freelancing, but I’ll have to do a bit of earning actually money first, and hopefully I’ll find something where the remuneration actually reflects my skills and the effort I put in. Ha ha ha, i wish!  Happy New Year Pig Lovers! xxx

Banal Pig’s Royal Assortment, New for LACF5!

Ding Ding! Here’s the cover to my new comic, the 18th banal pig publication, created especially for the 5th Leeds Alternative Comics Fair next weekend (or specifically, the top half of the front cover of the comic- there’s a comic on the bottom half). The comic is 8 big, full colour pages and was originally planned just to be a vehicle for my I, Yeti story, but I have expanded it to include a previously unseen story called Vampire Weekend and two full page strips that are slightly tweaked versions of comics that have been printed in other anthologies. It will be a limited edition so if they all sell at LACF5, that’ll be it. Get in touch though if you can’t make it and you’d like one reserving.

I’m planning to move away from self-publishing for a bit as I’m gonna concentrate on Untitled Ape’s Epic Adventure after LACF, so this might be my last small press comic for a good while…

NEWZROUND: Laydeez and LACF5!

Hi Pals
Firstly, I want to say thanks for the great response I’ve had to the ‘I Yeti’ strip, I put a lot of work into it so it’s nice to be recognised, even if my moment in the spotlight is now over. I’ll be selling prints of the I, Yeti strip on here very shortly (UPDATE- now available here), and it will also feature in a new comic, more of which to follow…

So, on with the NEWZ:
This coming Monday the 26th November, I will be one of the speakers at the inaugural meeting of the Leeds branch of Laydeez Do Comics (details here), doing a short talk about my comics and co-organising the Leeds Alternative Comics Fair. So if you’re a comics laydee, please come along.

Speaking of LACF it appears I have been remiss in not posting my poster here, so here it is:

All being well, I will be selling a special, very limited edition comic called ‘Banal Pig’s Royal Assortment’ a full-colour collection of new and recent comics including ‘I, Yeti’, a few one-pagers and the all-new strip ‘Vampire Weekend’:

Well, you get the idea of that, I’ll have to get my cheeks in gear to get it finished though, still got to do a cover and that.
Also, if i’ve got time, I’m gonna attempt some linocut christmas cards for your pleasure.

The last thing in my newsfest is that i’m working on the possibilities of a print version of Untitled Ape’s Epic Adventure. I’ve pretty much worked out the main story now, which will be six chapters, but there will be a difference between the webcomic and the book as I’m gonna expand the character’s stories and have a few more sub plots weaving their way into the main plot. Here’s a sketch of some of the characters you can expect to see in coming chapters:

This is as much as you’re getting for now, but I’ll keep you posted as things develop, and keep an eye on the webcomic as I’ll still be posting new pages…

Very lastly, please have a look at Banal Pig vice president Gareth Brookes’ blog which he has updated with much gusto in the last few months, and is packed with tasty nuggets of art, comics and books.