Eric Zawadzki

MvM page 1

MvM page 2

MvM page 3

MvM page 4

This is the first four pages for the seven page short story I did for Cloudscape’s Exploded View anthology. Although I did all the pages in colour and to regular American comic size, Exploded View was printed in black and white at Manga size. Unfortunately, I screwed up the black and white conversion and it printed way too dark for the book.

The story is kind of dumb and it all hinges on a cliched twist. Basically, I wanted to draw a silent story with a ruined city setting and just make it up as I go along. After I’d completed the short, I attempted to underscore the stupidity of the story by adding the subtitle “Round 238” to the title. My idea was that if I presented it that way, it would almost set the story up as “yet another story about a robot fighting a machine, please lower your expections.” I’m not quite sure if that worked, though, because everyone I’ve told this to didn’t get that when first reading it. Oh well. I’m hoping it’s at least nice to look at.

Exploded View

I’ve done two short stories for the upcoming fourth Cloudscape anthology. The book, titled “Exploded View”, (pictured left with an absolutely beautiful cover by Camilla d’Errico) is going to be released on March 6. Despite the fact that I drew the upcoming Arcana graphic novel, “The Killers”, several years ago, “Exploded View” will be my first published work.

The Cloudscape guys are a very talented collective of Vancouver artists and I’m proud to be a part of this growing local comic scene. It seems like the professional comic talent coming out of Vancouver has been growing quite a bit lately and this anthology contains a bunch of artists who are definitley going to become some big names in the coming years.

The book’s launch party will be held at the Ayden Gallery in the International Village in downtown Vancouver on March 6th at 7pm. I’ll be in attendance, so if you’re free that night please show up!

I’ll be showing some preview images from my short stories in the coming days.

Here’s a panel from my 7 page short story for the upcoming Cloudscape anthology.

Apocalyptic Vancouver

Here’s a full page done with the Cintiq. Certain elements of the composition didn’t come out exactly as I’d hoped (like the movement of the robot at the end), but I’m fairly proud of the colouring, which is something that’s still new to me.

I loved working on this page with the Cintiq because I was able to easily alter the page after most of the pencil work was done. For instance, the last panel originally had a straight horizon line parallell to the panel borders, but I found it was more effective in conveying the movement of the robot by rotating it quite a bit to the left. The diagonal aspect of the horizon allows the eye to read the character as moving faster because the eye is already traveling in a similar path as it moves from panel 6 to 7. I was also able to flip a panel I originally penciled out in full and add a new panel after most of the page work was already done. Overall, creating the page digitally is much more beneficial because it allows me to more effectively improve upon work already half completed.

Apocalyptic Vancouver

Initially my biggest worry with switching over from drawing on paper to drawing digitally on a Cintiq was how I would be able to do backgrounds without the use of a ruler. Using a ruler directly on the cintiq would be too risky considering how easy it is to scratch the screen and the line tool in photoshop is not an option for me. After a little research, I found that the best option was using Manga Studio because of it’s ruler tool. The tool is amazing and I’m surprised that photoshop hasn’t stolen it yet. It took me a while to get used to it, but I ended up making the ruler grab tool one of my side buttons on the Cintiq, directly under the ink brush button, which made things a lot easier. For drawing out backgrounds, I sketch out how I want it to look, create a perspective plane using the perspecting tool and align it up with my sketch as best as possible, reduce it’s opacity so that it’s just a reference for me, then I create a ruler and put one end point on a vanishing point and then continually move the other end around to where ever I need to use it in the final inking process.

This image is my first shot at drawing a regular comic panel and it looks no different from my regular ‘drawn on paper’ look. All in all, I’m very happy with the Cintiq. I just need to develop a solid workflow and I’ll likely get faster at drawing a full page.

Cintiq 21UX

     I recently plunked down a lot of money on the purchase of a Cintiq 21UX. So basically I’m taking the plunge into the world of completely digital art. We’re heading towards a paper-less world anyway, so what’s the saying? “Evolve or die”? My goal here is to save as much time on drawing as possible without losing any quality. My hope is that it’ll save me several hours a page.

To do pencils and inks on a full comic page on paper usually takes me about 12-13 hours all said. I’m hoping to cut that down to 8-10 hours a page with the Cintiq. My theory is that I can be a lot looser with the ‘digital pencils’ and I can go straight to ‘digital inking’. The undo button is your best friend in this digital world. I’m kind of sad that there’ll no longer be any physical version of the original art, though. Also, comic artists tend to derive a lot of extra income from the selling of their original art and this is probably going to become rarer as the years go by. I understand that artists like Mike Norton and Skottie Young use the Cintiq to do the ‘pencil’ work, print that out in blue on 11×17 paper and ink over it. This way, the physical original art exists and they get to save time on the penciling. I’m thinking that my method is going to be strictly digital from start to finish, though.

      I’m currenly working on my first fully digital comic page using this new toy of mine, so I’m going to post the results soon.