First of several chapters starring Baian, a rebel hero with a strong sense of justice and a very dark past. He is a holocaust survivor.
He has the ability to elongate his body and shoots a magic bow with fire arrows.
Miron gets closer to the truth, closer to the frozen ancient sepulture.
This is where things start getting cold with plenty of snwo, ice, isolation and broken memories.
After a pitch-perfect script by MarianComan, colored in nuances of beautiful by AndreiTăbăcaru.
This is an illustration for a science fiction book cover. I enjoyed the process of drawing so much, I had no idea it will be turned down. So this is a rejected cover. The blame is not on any pornographic element, but editorial. Mainly the central figure did not mach the figure in the mind of the author. It sure matched the one in my mind, I thought it was a perfect representation for the character and his relation to the rest of the cast.
Perhaps 60% of the time was spent drawing the numbers with ink, drawing-gum and white-out. The book still got out but with a different cover.
I had no idea of what I should do with this drawing. I still don`t but meanwhile it stays here. What do you do with your rejected art?
One year ago, this time I was working on a book called Mickey pe Dunăre. Written by Alexandru Berceanu, with a cover by Sorina Vasilescu, edited by Jumătatea Plină, in a project produced by the Czech Embassy in Bucharest, represented by Petra Dobruska. This book was the first in a collection of books. A collaboration between Jumatatea Plina and the Czech Embassy. The second was Aripi de oțel(Wings of Steel) by Adrian Barbu and Jiri Sitler, third was Karel Liman: Arhitect by Maria Surducan, forth Dolki-n trei straie by Ileana Surducan and Petra Dobruska. More books are to follow.
The book is about the Prague Spring in 1968, when Russia decided to invade Czechoslovakia, with troops and tanks, in order to overthrow the government for being too liberal, too democratic and too socialistic. That in itself is no problem, but in the global context of the time, this was a danger to the world order. The reason given by USSR was the infiltration of infiltrators ready to destroy the country. In any case, the Romanian Red leader at the time, was strongly opposed to the Soviet intervention and was one to refuse sending troops.
Actually the story is more detached to these events, but rather it is about a family of Czechs visiting Romania at the exact date the invasion was taking place. How does Mickey(Mouse) get on the cover of the book? I cannot answer that. Well I can, but won`t.
This is the first book I officially publish. At the beginning of 2014. Worked on it in a rush since the editors told me they need it yesterday. Looking back, I wish they would have given me more time, but the good thing, one year later(now) it`s almost sold-out, people like it, the story is nice and it was fun to work on.
I tried drawing four pages per day since I was asked to hurry, but I would loose myself in the process and start adding details, difficult angles. Initially I wanted to draw everything in a static approach, equal panels, similar poses, but I wasn`t in that much of a rush, so now and then I would really get to enjoy setting up a page, constructing a layout I would find interesting, experiment brush strokes. At the end of the day, my main goal was to make the story as clear as possible. Help the reader understand what`s going on but also give them some understanding of the setting.
When I first read the script, I thought there should be close to two hundred pages. The kind of decompressed book, lots of large horizontal panels, that is IMO perfect for a more dramatic story. One that had limited action scenes. The end result is a 56 pages book. So I had to shrink every panel, make them mostly vertical, short so I could fit everything inside the book. This gave me a constant feeling that I`m letting things out. The printed page is close to a A5 format, so the information in each page is limited by the size of the paper. In order to enlarge certain panels I resorted to using allot of bleed panels and to vary their size depending on how much information was inside each rather than focusing on tempo. This created very interesting layouts for me, but even as I tried creating an easy flow to everything, I think the more freestyle arrangement can cause some confusion, especially in new readers of the comic book medium. I wish to apologize to those, and say that on the pages I am drawing right now, I am paying special attention to making the panel layout as clean and easy to read, as possible.
One other aspect I guess I should have payed more attention to, is lettering. It can work on a larger format, to write freehand, but as the page gets smaller, as the letters shrink, they should be drawn in a cleaner fashion. Or digitally.
These are fanart drawings of Sikay, Reika and Julia Laurant, for Otaku Fest Luky edition #7. They are drawn with a nib on A4 paper. I`ve used strong-photo-reference. It took me about 18 work hours each and it took more because of the strong heat drying the ink in the pot and on the nib but except from that it all came out just right.
Drawn with in eceptionaly balck China INK using a sharp maru-pen, cilindrical quilt on Paper board.
Dimensions: 21/19cm plus a passe-partout.
I did not look at the clock or calendar as I drew this piece. It took allot.
click(to see image) then right click > open image(not the same in all browsers)
Colosus888 is a comic-book-anthology that publishes several Romanian artists.
This book has a certain aspect of avantgarde in regards to layout design. It is a well known fact among publishers that printed material is far less popular to the young generation than is used to be in it`s golden age, mainly due to color animated screens that grab most of the public`s attention. As a means to fight back I think a more interactive printed press is a common answer. More articles, in a given space, more titles, more pictures, shorter texts, brighter colors. Copying the digital environment into a more traditional one.
Inspired by contemporary Chinese manhua monthly publications, that contain several comic-book-pages and ads on a normal book page, we took it upon ourselves to add as much as we could while still keeping this mainly, a comic book publication.
This was in a real sense a colossal project for the team, since it involved a great deal of post-production.
In an eighty pages long mag we managed to fit some 300 shrinked and extensively edited comic-book-pages, some few hundred webpage ads with functional QR codes attached to each, some few hundreds propaganda texts, to encourage young readers to read, draw and publish comics for themselves. Each comic page has it`s own translation into English, so it makes this a bilingual mag, and some few other elements to make this as interactive as cheap printed paper can be. There are also editorial texts, fan-letters and fan-art.
Personally I like this idea and I hope I will get more chances to experiment with it in the future.
Colosus 888 was offered as bonus at festivals and book events to those who purchased DIY products from our booth.
The book saw the light of viewer`s eye for the first time at SainInk.
This was a co-production of OtakuEnt, SefeuCorp. and CCSReșița