As I said, I've been practicing my brush work to up my comic chi-kung. In the process I did pick up a nib and feel way more comfortable using it for comic work. I can get a nice variety of line width and control. I think I can push it a bit more because I'm not so scared of it going out of control...Not a bad thing but I need to master brush inking, I just prefer the line quality where it's evident, the looseness and flow of the line, Paul Pope and Nathan Fox are two of my favourite inkers for that reason. I'll mix the two for now, nib for tight lines and brush to block in and stuff.


New Gallery

This is a detail of the piece I did for New Gallery Jumble in Camberwell, I went to uni with Tia (who organised the whole thing) and dearsweetagatha was trading there too. It was the first New Gallery Jumble and it went really well, really busy and think I'm going to do some more stuff for the next one... This was done in ivory black and titanium white acrylic then glazed with white spirit and oils, which is something I've never tried before. I haven't tried turps over acrylic but word is it strips the acrylic and spirits are gentle enough to glaze with, so this might be something I'll return to. Used a similar palette to my favourite Dean Cornwell painting, Dean is the man.



A few sketches from my adventures on the trains of foggy London town. The last three people I've drawn have all looked similar, they are all different though, I swear. Plus, I think it's time to get a new sketchbook for this year, working in this water damaged thing isn't doing it for me, I'm going back to a moleskine for my travel drawing. So here they are including a sleeping lady. And yeah I did feel like a creep drawing a lady sleeping, but that's what the man wants us to feel like man. If I want to draw a sleeping lady and she doesn't know it, I'll do it man. You can do anything providing you don't leave fingerprints and dna...right?