For the New Yorker about Baden-Baden 1927, four one-act operas. The whole thing is too horizontal for tumblr, so here’s a rotated Europa for you.
Thanks AD Jordan Awan as usual!
Hot water off a baby duck’s back bath under the bridge and out of the mud.
This summer I was asked to design three tote bags for Vogue Italia’s “Fashion Night Out” about shopping and jewelry and buying things. Thanks to AD Alessia Glaviano!
Mr.Vogue kindly sent me a couple of these, so maybe I’ll do a giveaway in a bit.
versusetc asked you:
Hey Roman, your work is beautiful, love what you do. I’m wondering, do you have suggestions in how to make comics that don’t rely on line so much as shape and color, like your recent piece for NYT?
I think color separation is the best way to force yourself out of line-centered thinking. I still make linear sketches, although my drawings are getting increasingly loose and trashy on porpoise. When I do things on paper, I usually ink the layers without any registration reference so there’s an element of chaos introduced after I scan the bits and pieces. Afterwards, I often forget which one goes where, so I end up playing with shapes that don’t necessarily work together. I feel, however, that all of it is still a development of the same general approach, so it would be nice to break off completely and try composing a color-separated picture without any preliminary sketches.
As for shape and color in general, regardless of the execution I think it’s good to keep reducing everything as far as it can go. I guess it’s all part of the permanent editing process: the fewer things you use, the more weight each one of them has. You know when you can’t tell if it’s a cat cleaning itself or a plastic bag swaying in the distance and your mind starts building connections that you wouldn’t have if the cat/bag were closer—I’m going for something like that (at least in my personal work), a mix of exactitude and abstraction.
A comic I did for NYT’s Private Lives column, thanks to AD Alexandra Zsigmond. You’ll notice the published version has three panels edited out and the girl in the first two panels is replaced with various things. The full version has a nicer pacing with the dual timeline, but it would’ve been too heavy and cluttered to go with the article.
Also, since I had to do it in a hotten humid land far away from home it’s my first fully digital piece for NYT, which finally gives me an opportunity to recommend Kyle T.Webster’s brushes. For this one I used “brush beauty.”
Finally, APE this weekend. I’m not tabling, but I’ll be at the Ten Years of the Cartoon Art Museum panel and I’ll bring some of my recent zines and comics with me in case you recognize me. If you’re in town, my originals from Picnic Ruined are currently exhibited at CAM, next to the toilets.
Here’s a constrained comic for Yellow Zine #4, which I’ll try to put out sooner than usual.