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Post by Sarah on Mar 17, 2013 12:06:08 GMT -5
Where is Gloria City? In the US? Gloria City was conceived as an analogue to New York City, in the vein of cities like Superman's Metropolis or Batman's Gotham City. Of course, Page 16 when Cat is walking home puts me to mind of some areas of Boston, and some readers have been reminded of Toronto, so I think it successfully encapsulates the "everycity" feel that you get with Metropolis or Gotham. |
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Post by Sarah on Mar 17, 2013 12:07:01 GMT -5
PAGE TWO!  |
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Post by thewordiebirdie on Mar 17, 2013 12:17:10 GMT -5
It's lovely how supportive of this project and you daughter's work you've been, Arabianaccents, it warms my cynical heart  Sarah, what aspect of MSCSI do you feel most engaged by, and how does that feed back into your artwork? |
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Post by Will on Mar 17, 2013 12:19:03 GMT -5
I have a couple questions for Sarah.
The lighting in MSCSI issue 1 is really effective - not just attractive but adding a new dimension to the shape and depth of the space. There are many panels where you've made Cat's face, for instance, far more solid and rounded than it would have been in line art.
How do you work out the lighting, in terms of direction, sources, strength, colour -- is it a natural feel and sense, or is there any actual science and physics in there? Do you think about where in the space the light would come from, and how powerful it would be, and how it would hit the planes of Cat's face and the folds of her clothes?
Question 2:
I have had the pleasure occasionally of going on research and practice trips with you, like some kind of Sherlock and Watson with me in a long coat and you in a little hat, and you have taken regular phone photos of textures, flowers, signs and so on.
How (if at all) have your phone photographs of environments you see when walking around entered into MSCSI?
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Post by Sarah on Mar 17, 2013 12:21:03 GMT -5
It's lovely how supportive of this project and you daughter's work you've been, Arabianaccents, it warms my cynical heart Sarah, what aspect of MSCSI do you feel most engaged by, and how does that feed back into your artwork? My mother is best Really, the entire project is massively engaging to me. I love working with Will and Suze and the standard of work they create, which makes me want to ensure I do just as good a job, too! |
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Post by Will on Mar 17, 2013 12:25:32 GMT -5
What advice would you give to anyone (particularly a woman, perhaps) who is considering a PhD now, or is in the middle of her PhD?
What do you see as the relationship between theory and practice in your work? Does your art express ideas and theoretical questions?
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Post by Sarah on Mar 17, 2013 12:27:39 GMT -5
I have a couple questions for Sarah. The lighting in MSCSI issue 1 is really effective - not just attractive but adding a new dimension to the shape and depth of the space. There are many panels where you've made Cat's face, for instance, far more solid and rounded than it would have been in line art. How do you work out the lighting, in terms of direction, sources, strength, colour -- is it a natural feel and sense, or is there any actual science and physics in there? Do you think about where in the space the light would come from, and how powerful it would be, and how it would hit the planes of Cat's face and the folds of her clothes? Question 2: I have had the pleasure occasionally of going on research and practice trips with you, like some kind of Sherlock and Watson with me in a long coat and you in a little hat, and you have taken regular phone photos of textures, flowers, signs and so on. How (if at all) have your phone photographs of environments you see when walking around entered into MSCSI? 1. Lighting has always fascinated me since I first saw shading on characters in animated films. I wanted to do it and do it well. Of course, this meant I would spend ages on lighting assignments in college--one in particular stands out, the infamous King Tiger page. King Tiger was wearing a karate gi, standing on a red Cadillac as it drove toward a sunset, and the brief was to make sure the car looked reflective, and King Tiger's clothes appeared white but affected by the tones in the sunset. I spent two weeks on King Tiger. I tried testing out similar textures and surfaces in my dorm room, to make sure the results were as accurate as possible. Ten years later, I still bring that level of involvement to lighting, but I look up references online when I don't test them out on my own 2. They're going to turn up in the Issue 2 mindmap, is all I can say for now.  And I do miss our Holmes and Watson excursions. |
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Post by Will on Mar 17, 2013 12:32:38 GMT -5
Maybe we should see this infamous King Tiger page.
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Post by Sarah on Mar 17, 2013 12:36:41 GMT -5
What advice would you give to anyone (particularly a woman, perhaps) who is considering a PhD now, or is in the middle of her PhD? What do you see as the relationship between theory and practice in your work? Does your art express ideas and theoretical questions? 1. If she's considering a Ph.D., my advice is to have you as a supervisor! If that's not an option, research supervisors and make sure they give you the right balance of challenging/testing your ideas AND support. One of my best friends, for example, is doing a Ph.D. in mental health nursing and her supervisor consistently tore down her work without giving her the necessary tools to improve it. She's changed supervisors and is feeling much better about her work moving forward. This is another issue--do not be ashamed to change supervisors if the fit is poor. I was especially fortunate, but this is sadly, not always the case. But the most important piece of advice I can give is this: There will be days, maybe even weeks, where you want to throw out the entire project because there is no end or progress in sight. There will be days where this happens: www.darcomic.com/comics/2006-04-20pinch.jpgIn my case, it was my mother coming in with a fruit plate or "you haven't left the house in four days, you need to take a walk!" in addition to the pinching. And this is normal and not something to feel bad over, because it'll pass. A Ph.D. is a huge commitment and undertaking. Be patient with yourself; you're not only creating new knowledge, but evolving as a thinker and researcher. 2. Yes, it does! My art is an extension of my theory as well as a means of expressing it. After the Ph.D., this happens unconsciously to me now. |
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Post by Sarah on Mar 17, 2013 12:38:18 GMT -5
Maybe we should see this infamous King Tiger page. I need to find it. It's on a zip disk from 2002, but I know I printed it out on glossy paper and have it in a portfolio somewhere. It may be a while before I hunt it down, but when I do, I'll definitely share it here. |
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Post by Beth on Mar 17, 2013 12:38:50 GMT -5
Hello, Sarah's mother!
I'd like to see this King Tiger page too.
Am I right in thinking you mainly do the colouring for MSCSI Sarah? How difficult (or not!) is it adding colour and texture to someone else's drawings?
What's it like working on a collaborative process rather than your own things?
What have you enjoyed about working on MSCSI so far?
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Post by Beth on Mar 17, 2013 12:41:39 GMT -5
It's occurred to me, reading your reply to Will's last question (thank you! it's so nice to hear that's normal from someone who's survived the PhD process) that you're very similar to Cat. Do you, or might you, see that similarity, and if so how does it feel working on a comic about someone who's going through similar things to you?
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Post by Sarah on Mar 17, 2013 12:46:50 GMT -5
Hello, Sarah's mother! I'd like to see this King Tiger page too. Am I right in thinking you mainly do the colouring for MSCSI Sarah? How difficult (or not!) is it adding colour and texture to someone else's drawings? What's it like working on a collaborative process rather than your own things? What have you enjoyed about working on MSCSI so far? When I was in college, the coloring class that resulted in the infamous King Tiger page also saw me color pages from Hellboy, Superman (Metallo was showing off his "brand new bod!" if I recall) and Mystic, as well as Batman. This was a great grounding in getting used to coloring other artists' work, so I'm very comfortable with it. Working on a collaborative project, in particular, this one, is like being part of a non-bickering superhero team. We're all making our work stronger by working together, and it's helping my own work come out more well-rounded as a result. I've really enjoyed realizing these characters and their world, and being part of taking them from script and concept art to the comic pages. |
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Post by Sarah on Mar 17, 2013 12:49:22 GMT -5
It's occurred to me, reading your reply to Will's last question (thank you! it's so nice to hear that's normal from someone who's survived the PhD process) that you're very similar to Cat. Do you, or might you, see that similarity, and if so how does it feel working on a comic about someone who's going through similar things to you? I do see it, actually! And it really does make me feel a kinship with Cat. I'm also a lot less shy about displaying my knowledge in conversations and when networking, partially because of her. |
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Post by Will on Mar 17, 2013 12:51:38 GMT -5
Are you looking forward to meeting Suze one day at an MSCSI real-life reunion?
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And I do miss our Holmes and Watson excursions.