Wednesday, 30 September 2009


With its (mostly) single panel pages, you can hardly call BLIP a complex comic project, but when you're juggling your creation around your endeavours at Toonhound, a busy home life and three nights of exhausting shift work a week to ensure the mortgage gets paid - well - that's when you find out just what a labour-intensive process this comic making mularky can be.

It doesn't help that I'm not that good at drawing. Sure, I can knock off a quick cartoon, but my technical skills and my ability to draw properly, they can be a bit lacking. And I'm hindered somewhat by having a slightly squiffy left eye that can drag my creations a little askew, at times. That's not to say I'm some dribbling one-eyed pirate. It's just a slight astigmatism that I have to work around. And if you add that to the above, you can see why, more and more, I find I have to be in THE ZONE before I can begin drawing. But finding THE ZONE can be a nightmare, at times, and it can be sent scurrying in to the shadows by the slightest of things: an ill-timed phone call, the dogs wanting out, my turn to cook, etc. Take young Stan here (below). Who can resist a face like his?

If you throw in my near-constant tiredness from all that shift work, you can begin to understand there are weeks when THE ZONE has fled the house altogether and vanished up the street. And it all means that my simple little project designed to get me focused on my cartooning is in danger of becoming a mammoth undertaking. And yet... in a strange way... I'm finding that the frustration of being out of THE ZONE has actually been a good thing. It's been a wake-up call. If I really want to do this cartooning thing full time - which I do, I know with the most absoloute certainty now - then I have to learn to keep on, no matter what. I can't go running after the security of my ZONE when there's a deadline to meet. THE ZONE won't put bread on the table. It won't feed the dogs and it won't pay for our little Georgian house to be properly renovated...

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