Did you take down the original Ross Boston? And if so, are you selling it anywhere? I really loved that story.
Thank you for your questions, and your kind words about “Ross Boston!” I did take down the original “Ross Boston” comic, for a few reasons:
1) Because “Lotus for Help” is a full reboot, using many elements and characters from “Ross Boston” but in different ways, I didn’t want both entities to exist at the same time. I felt it would confuse people, especially those who had read “Ross Boston” before but weren’t paying close enough attention to see that “Lotus For Help” is a different beast (which is fine, as I don’t necessarily expect anyone to pay super close attention to everything I do). Disassociating the two was a challenge at first, but no longer seems to be a problem. :)
2) I was displeased with what “Ross Boston” ultimately became and represented to me, namely a time in my life that was driven by some very negative thoughts, actions, and feelings. And as far as I’m concerned now, it looks and feels like old work. The best-looking pages were created for Episode 2, but Ep 2 will forever be unfinished.
3) I was paying $12 a month on a website for a project I was no longer updating and felt largely negative feelings toward. Seemed like a silly expense to keep around. (For what it’s worth, though, I still own both domain names that were associated with that comic.)
All that said, I do want to offer the first episode of “Ross Boston” for sale on my Gumroad account, eventually. I wouldn’t charge much for it at all, since as I said, it’s old work. I may even include some concept art for it as an extra thank you to those purchasing it. The handful of pages that were created for Episode 2 will probably forever remain on my hard drive, never to be seen again. It’s a little sad to think about, but oh well.
I think there’s possibly a misconception about me that I’m employed with an animation studio and/or working in the cartoon business, but that simply isn’t true. I desperately want to be working in the animation business, but believe it or not, I make my living doing commissions.
It’s tough. It doesn’t pay very well and - at the risk of shooting myself in the foot - I’m not usually drawing the sorts of things that I want to be drawing. It takes up an enormous amount of time, and the truth is, the payoff isn’t worth it. It hasn’t been worth it in a long time. I’m back in that position where I can’t afford to say no, and that’s a hard place to be (as I’m sure many of you know, particularly you fellow artists). I appreciate the years of business I’ve gotten from kind folks on the internet such as yourselves, and I’ll have to continue doing commissions for now, but I’m sure you can understand where I’m coming from.
I live in Atlanta, but I need to be in L.A. I’m in the process of figuring out the best way to realistically make that happen. I’m afraid to move out there without a job in place, but at this point, just being out there will be good for me.
In the meantime, if any of you know anyone that may be interested in my skills for a position on, say, a show or at an animation studio or something similar, let me know and/or pass my name along. I hate how candid this is…I’m not usually quite so raw openly. But enough is enough. The measly little system I’ve built for myself here has failed me, and continues to fail me, and I’m not sure how much more I can take.
So yeah. let me know. My email is email@example.com
Color Coding, Character Design, and You (well me...mostly me.)
I’m taking a break from work for a moment to just…I dunno, think aloud.
I remember when I was a kid, I had three, garish writing pens that I snatched from my mom’s art supplies without her knowing: one was red, the second was green, and the third, blue. This made me super excited, because it meant that in the event I wanted to draw Link, Zelda, and Ganondorf, I could slap their specifically assigned color onto them with a certain uniformity. These pens produced the most generic version of the three colors, but I was probably in middle school and my color sense was not yet fully developed. What mattered was that it was organized and consistent and separated.
One of my favorite things about Digimon - specifically, season 1 - was how all of the Digidestined had their own magical crests that allowed them to digivolve their familiars further, and each crest had a specific color informed by the trait and by the character it belonged to (and I think this eventually caused the Digivices to change into that color, too). I loved it. It was so neat and tidy. Everyone was color-coded. Those colors were not even left up for interpretation; they were defined by the attributes labeled on the crests.
Nowadays, when I create, I create with color coding in mind. I’m not sure it’s healthy, but it’s what I do. In “Lotus For Help,” the four main characters - Ross, Nicki, Wayne, and Oz - each have an assigned color. These characters exist together but are separate entities, and their color palettes both divide and unite them, and even help define and describe them. It’s weird. They’re all designed to look good next to each other, but they’re definitely organized to exist on their own, too.
If I, say, designed a team that was meant to have a unified color palette, my brain would automatically think that each character in that team was a “lesser” character than a character who had her own color palette that she didn’t share. This is fine. I like designing disposable minions, but if I ever had to make a comic about sports (god forbid), I fear my subconscious may make all of the characters one-dimensional because of their lack of a color identity.
Is any of this making sense?
I suppose the things I watched and read and played as a kid really informed this part of me. Do any of you design this way? It seems to me like the natural way of designing, but is it? Do you notice any specific choices you make in your character design process (for instance, you only include specific numbers or numbers of things in designs, or…I dunno, you tell me)?