Reprimanding groupmese/going back to trashy line style for bits of YZ5.
And no, I don’t think there’s enough hands on foreheads in this world.
Here’s a commission for Dustin Harbin, who asked for something Russian. I didn’t feel like drawing bears, booze and homophobia, so I did a thing inspired by Petersburg, the highly demented modernist novel by Andrei Bely that has passages like this:
"The factory hooter wasn’t hooting, the wind was absent; and speechless was the dog." (quick crap translation by yours truly)
Of all the Russian books I’ve read this one most thoroughly seems to capture the Russianness of Russia, its language, patterns and colors while moving the story in the most fantastically hysterical fashion. As far as I’ve heard it’s actually more accessible in English, though I can’t imagine how its wordplay and rhythm can be translated.
I also drew 10-15 other commissions (sending next week), but I can’t be bothered to scan them. Good night.
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.