OUIL 405 Visual Narratives END OF MODULE EVALUATION

1. Which practical skills and methodologies have you developed within this module and how effectively do you think you are employing them within your own practice?
·        I have developed digital skills for InDesign and Photoshop, which have helped me to produce high quality designs ready for print. I utilized these skills by transferring photos of the felted landscape I made into a concertina book document on InDesign that I then printed digitally. I would not have been able to do this without the skills I learned in the tutorials.
·        I have been inducted into digital printing and screen printing. I've used these image-making methods before, but this module has challenged me to produce prints to a professional standard. 
·        I tried to develop some of the practical skills I have explored in Visual Language, including Shape and Texture, applying these to the work I made in response to research.
·        I also taught myself additional skills in model making and felting which has made my work more interesting and has made me more versatile as a practitioner.
·        I have practiced ways of telling stories without any lexis, such as sequential illustration, varying perspectives and considering pacing.

2. Which approaches to research have you found most valuable during this module. How have you interrogated your research to identify appropriate ideas?
·        We were introduced to the Visual Journalist brief as 'flaneurs' and I have tried to adopt this role throughout the module, continuing to explore and gather information.
·        I approached research in several different ways, including searching the Ripon Archives and collecting ephemera. Taking photos is a useful mode of primary research but it only captures one view.
·        Compiling research from a range of sources has made my understanding of the subject more thorough and provided me with a holistic view.
·        I valued being encouraged to collect ephemera because I love collecting things!
·        The research has been fuelled by my own curiosity and I have enjoyed discovering more about How Hill.

·        The more interested I am by a subject, the more responses I will have. Responding to the research through drawing and writing, I could then identify which topics and metanarratives I was most intrigued by as to which idea spurred the most response.

3. What strengths can you identify within your submission and how have you capitalised on these? What aspects of your submission are you satisfied with?
·        I have conducted a lot of research, which gave my book a strong foundation based on factual information.

·        I think my strength lies in the passion and interest I hold for this subject. I have committed myself to the task and enjoyed the research process. As a result, my book reflects this personal connection I have with the subject and is charming in tone.

·        I produced a very different body of work to my peers as I didn’t just stick to drawing. I looked for new methods of image making, attempting to be more innovative and exciting in the book I made.
·        I’m proud of the result as an atypical approach to illustration that attracts attention.

4. What areas for further development can you identify within your submission and how will you address these in the future?
·        I really struggled with technical competence in cutting and binding my book.
·        I want to improve my skills in this area; I hope that I will improve with practice, but I could also attend classes to learn how to add a professional finish my products.
·        My roughing wasn’t as vigorous as it could have been. I didn’t spend much time developing my roughs because I got so caught up with research. I need to ensure that I do not neglect any areas of practical work in future modules.
·        I didn’t produce as much drawing as I should have. Even when making models, these structures should begin as drawn plans and concepts. I need to use my sketchbook more in the next module!

5. How effectively are you making decisions about the development of your work?
What strategies informs this decision making?
·        Taking part in group critiques gave me the opportunity to pitch my ideas and get feedback from my peers. The responses that I received helped me to decide which of my concepts were the most popular.
·        Tutorials with Matt, Jamie and Ailsa provided me with the opinions of real, working practitioners. I found it useful to get feedback from those who have ‘been there’ and have experience in the industry.

·        I’ve tried to reflect on my own progress and have used my blog to discuss the work I make. A lot of decision making is about trial and error, finding what works and doing it again, only better. My blog has been an incredibly useful space to analyze my development and compare these attempts before moving forward.

6. How effectively have you managed this project and organised yourself during this module?
·        This module has required a lot of independent studio development time and I have tried to organize my time by making ‘To-Do Lists’. This has been successful in that I have given myself dedicated goals for each session.
·        I do find the concept of prioritizing tricky, as when faced with impending deadlines for several modules, I don’t know where to start.
·        I solved the issue of prioritizing tasks by making timetables and calendars that showed me which work was due immediately and how much time I should offer to each task.

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Final Book

The Group Crit

Feedback:

On felting/aesthetic...

'So much crafting and time put in, the lighting is really warming and cute.'

'Really nice use of texture.'

'Amazing stuff Jay! I love the models!'

'Great to see you exploring materials beyond drawing.'

'I love da deer!'

'That's lovely, I just want to take a siesta on that landscape!'

'The felt idea is amazing and so engaging.'

'Really well considered - amazing technical work. Love it!'

'Yes! Lovely! Craft! Stock! Nice! Sterling job Stelling!'

'So much craft gone into this. Photographs look ace as well.'

'It's amazing, everything is created and made with wool'

'Very brave I really like it.'

'Love the dreamy feel it has to it.'

'Choice of materials is well considered'

'Great at the scale'

'Beautiful use of models.'

On the product...

'Prefer the smaller version on the fancy paper.' - 'Really lovely stuff Jay, I'd have to agree.'

'Good consideration of stock also, what the hell is that paper? It's great and retro looking.'

'So different - media is lovely and good stock!'

'Feels like something straight out of a TV show'

On the concept…

'Most interesting book I've seen!'

'Things work together really well.'

'Not too sure on the narrative.'

'You've just been sat in that corner, hidden away, making magic.'

Is this what I intended/hoped for?

OMG YES. So pleased that people could read the 'dreamy', 'magic', 'warming' themes. I didn't think they would be too obvious, and might just read as plain 'cute' and void of atmosphere, but my book was successful in communicating the mood of the landscape. It was relatable in this way.

 My peers appreciated the amount of work I have put into it. So I haven't painted a photo-realistic portrait, but I have made a (not so) little scene and they accepted this as 'illustration'.

A lil' surprised that people preferred the weird A4 stock? It was just some random laid cream 100gsm paper, but I got several comments about its 'retro' quality that matches my artist case studies (70's children's television). MAYBE I SHOULD USE THAT INSTEAD? Can a professional print be achieved on this stock?

What have I seen that I want to learn from?

Simple ideas, executed with careful crafting. HOW DO YOU GUYS CUT PAPER SO NEATLY? TEACH ME YOUR WAYS.
People are so good at COLOUR, something that is often the last thought in my creative process. Want to get better at colour.
Alicja's book looks so good in printed form! Saddle stitch makes a much cleaner product. I WANT TO BUY A COPY OF ALICJA'S.

HOW DO I FEEL?

Much more positive. Proud. Maybe. Feels great to finally get this work out and let people see what I've been working on in silence for so long! 

It's gratifying to hear people enjoying my work but the silly little Jay that I am still thinks 'I COULD HAVE DONE BETTER! IT'S NOT GOOD ENOUGH. DON'T LOOK AT IT.' But there is still time to tweak the book production that I am disappointed with, SO I CAN SOLVE THAT, and put the actual content to one side as FINISHED & AWESOME.

I'm celebrating and buying a Greggs donut on my way home. Yasss.

Print Zone

Using InDesign
I have only ever used this programme once before having my tutorial. Tutorial made me feel a little more confident about using it but STILL NOT COMPLETELY SURE WHAT I AM DOING.
So glad I saved my notes on that tutorial to the blog! Just followed them eyyy.

Bloody technology.
I made the document (yay! Not TOO hard…) and had SEVERAL issues with the programme crashing, corrupting and then needing converting for use in college. But I got there.
I just know that whenever I use these things, I make some really stupid mistake and ruin everything.
BUT THIS IS A LEARNING PROCESS. IT'S OKAY TO MAKE MISTAKES. JUST LEARN FROM THEM.

Printing

Cost me £12 to make ONE COPY! I expected it to be pricey but KNOWING that I would ruin it/not be happy with it meant that £12 felt like money down the drain. Print quality is impressive and makes so much difference to printing at home/on a basic printer.

Cutting
Instantly chopped a wonky line. Ugh. SHARPER BLADE? Maybe just a quieter, bigger space than my little desk in the studio so that I don't get distracted or interrupted.

Sticking
Of course, I got glue on the front cover! Horrible little black blobs. Attempted to fix with a rubber. BIG MISTAKE. Got in a bit of a state and went home. There are NO MORE PRINT SLOTS AVAILABLE but I can make do with printing at home or in town. Maybe it was meant to be. I need to practice cutting and sticking, maybe I should go back to Nursery.

Printing at home

Okay so my max page size at home is A4 BUT I can use any stock I want and do it at my own pace and not have to pay or feel embarrassed for being an idiot. It's not professional quality though. ):

HAVING ISSUES WITH MAKING THE BOOKS!
What is it that I struggle with about paper construction?

My fat fingers

Creasing the paper

getting glue EVERYWHERE

Had a chat with Matt. His suggestions:

use proper glue you fool! Pritt not knockoff brands.

Stick the pages together before trimming!

BEST QUALITY PRINTS POSSIBLE.

The Creator

I'm printing MONDAY MORNING. Time to make sure that I'm ready for print.

AMENDMENTS after Final Mockup:
Need to make the scene longer.

Creating the illusion of night is difficult because of lighting. Need clear, bright lighting to make the photo read well. Can a moody be achieved through Photoshop?

It's become a lot less spooky, but still mysterious and spiritual - early morning, not night time

IS IT BECOMING TOO CUTE?

Moved my room around to accommodate for the longer scene - it's now more like 3 metres long and I have spent SO MUCH money on felt and needles. Beginning to regret my creative choices. HEY, YOU'VE NEVER USED NEEDLE FELT BEFORE? WHY NOT MAKE AN ENTIRE PICTURE BOOK USING IT? Great idea, Jay.

How do you stop kittens stealing trees?

It's SATURDAY and I still only have about 12 trees. I need more to make it look anything like a forest. This process takes too long. Maybe I should just have stuck to drawing! Debating an all-nighter (not a typical Jay move, I like my early bedtimes) in a desperate attempt to make at least double the amount of trees I have currently.

First attempt at transforming the landscape into night. I had never done this before and followed a YouTube tutorial video to learn how to apply the effects and layer masks.

It looks so magical! I really like it but it's too dark, can't make out the details at all.

How to take a photo of the entire scene... until now I've just taken it from far way with my tripod and then chopped it to fit. Had a go at taking photos closer up and then stitching them together on Photoshop. First try, a total mess. The perspectives have distorted. Need to work out a way to keep the tripod angled at the same position when moving for each photo.

CAN I MAKE A DOLLY/CAMERA BOOM?

Used my wheeled desk chair to move the tripod along evenly. YAS!

This is looking better, seams need addressing though.

Dad said it looks like postman pat lol

I love the original Postman Pat scenes! Look at the detail in the CRAFTING. Makes my face happy.

Making ANOTHER Tower

Um so I've lost count of how many towers I've made…

but this one is at the right scale to fit the scene.

Spoke to Jamie about how to colour it. I think it should be textured and have a brick pattern on the walls, but Jamie said that the white stood out against the busy landscape. Either way, that masking tape finish isn't going to cut it. White acrylic cover will do for now.

MORE TREES! MORE TREES! Bigger ones. These are taking so long but they are just so fuzzy and fun to make. It's therapeutic and the finished felt looks so inviting and tactile. COULD I MAKE THESE AND SELL THEM? LIL' CHRISTMAS TREES! A plant for my desk that I don't have to water!

Umkay shush.

IS THERE A WAY TO STOP THE NEEDLES SNAPPING? I googled it and people say that it just happens… Might be that I am putting on too much pressure and hitting the base of my needle fettling mat with all this stress lolzzz. Requires a steady hand to avoid stabbing.

Deer

Yay! It moves! Ignore the wobbliness and the missing antler.

I intended to make lots of little rabbits but this chap was tricky enough and he is much bigger!

Trees

That's the blank canvas! Just need to fill it in with THINGS.

There needs to be enough going on in each frame to make a page, but also an even spread to work when viewed as a whole landscape when unfolded. Use the camera lens to check this and balance out the spread of objects/trees.

Made some trees, need to alternate the size and form so that it looks more natural. Prefer the grass felted down, looks a little less chaotic!

I am really enjoying the process of felting. It is so exciting to see these objects taking form and standing on their own. What was once a pile of loose fibres is now a sturdy tree! I keep feeling like I'm not doing the right thing because everyone else is drawing, but I am proud of myself for doing something different and learning a new skill.

And there's the deer in the scene! He looks way too big compared to the trees, must make some bigger ones to fix the proportions. I should have determined a set scale before I started.

The tower looks so wonky and there is light leaking from the bottom. need to make a base to go underneath.

Doesn't look quite as spiritual as I would have liked, can I fix some fairy lights to the wall? Some LEDs? Does it need the silhouetted monks? Hmm...

Product

The picture book as a product - what I am proposing:

Basic Concept:

A picture book based on How Hill and its enigmatic history.

A concertina book showing the landscape as a journey from Studley Deer Park to the tower.

Using no text at all, but including visual cues and collected ephemera from my walk taken directly from the location (stones, ceramics).

A spiritual tone of enlightenment and pilgrimage.

Storyboard:

12 page concertina book portrait format. 11x6cm. Scenes built in felt.

Printed digitally onto matte paper (100/120gsm).

Intention:

To INFORM - this tower exists, go and show it some love!

Hopefully make some sales...

TO MAKE A BOOK THAT DEMONSTRATES THE MAGIC OF THIS LIL' BEAUTY!

To make people wonder and want to go exploring.

Picture Book Group Crit

Pre-Crit

I HATE GROUP CRITS

but my last one was really productive and went well, so what is there to worry about?

My main concern this week is people stealing my ideas.

It seems to stupid but I worry about people hearing what I'm doing and then doing the same thing, only better. In my Foundation I would often just run away or not speak and often not get much out of the critiques at all.

WHAT I WANT TO GET OUT OF THIS CRIT:

Feedback on my storyboard - does it make sense? 
Do they like the theme? Is it interesting? 
What is the atmosphere?

If I'm feeling brave enough to show and talk about my felting… is it illustration? Do they think it is appropriate?

Post-Crit

WHAT I GOT OUT OF THIS CRIT:

Have some confidence! So what if someone else does the same thing? It will never be an identical match to yours and you will always have your own take on something. Just make and stop thinking so much.

Storyboards are looking good, I have lots of research and it is obvious that I am enjoying my project.

Steven had a really ambitious concept, so it made me wonder whether I am doing enough! Should I have more pages? BUT YOU NEED TO BE REALISTIC. TIME FRAME AND MANAGEABLE EXPECTATIONS.

Ailsa (visiting tutor today - remember to check her work out later) was lovely and although I was nervous about talking to someone I hadn't met before, she was really helpful and gave honest opinions. Good to have an 'outside' perspective from someone who hasn't heard me whittling on about the tower for the past month already.

Felt confident enough to talk about my felting; positive feedback 'it's charming', 'it's such a different way to approach the brief', 'it's still storytelling, whatever media you use. It is illustration if you put it in that context'.

STOP PLANNING, JUST MAKE!

WHAT ABOUT A BACKGROUND?

I hadn't thought about the background, do I use material or paper or board or just paint? 
Ailsa suggested printing textures and making a wall of interesting marks but would this take away from the scene? It is already a very busy view!

PRODUCTIVE GROUP CRIT
GAVE ME LOTS OF ANSWERS
...AND SOME MORE QUESTIONS
Propaa proud of myself for feeling confident enough to show everyone my work and to accept the feedback I was given.
STAY JAY. Keep doin' what you doin' and stop worrying about other people.
YOU ARE HERE TO LEARN. 

ARTIST CASE STUDY - BENJI DAVIES

An illustrated book with a similar theme to my picture book: 'On Sudden Hill'.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ITYCv4UObGFEFZuv0uEQPmYF_Ti58X-YRrBGHle7nHeg_iVffXvpZQsgxklH9BOQldi3MrbQcyeaRzBJ10LlRtxMI1lDPXhBhQ179phSRF5adXvVbFGybiD5iKcokWBIBSFaN1xMVjfm/s1600/friends.jpg

The location and setting of the book is a hill (of course), matching my own. 

I wanted to investigate how the illustrator Benji Davies interpreted the location into a visual image and how he imbued tone within such scenes.

Although this picture book is intended specifically for children and centres around themes of friendship, I think that studying this book will help me to see how picture books can be presented and how another illustrator tackled a similar location.

I'm not sure how much factual research this story is based on. My project is driven by factual information, whereas Davies might just have been working to the brief of the author and publishers.

http://d28hgpri8am2if.cloudfront.net/book_images/onix/cvr9781471119309/on-sudden-hill-9781471119309_hr.jpg

Davies uses gouache which brings a flat, opaque colour to his illustrations. I think that his application is appropriate in representing the natural elements. Brush strokes are used to communicate the varying textures in the pages, from tree bark to hair. The scene looks bright and full of energy, especially relevant to the themes of childhood in this story.

My hill will be cased in twilight and have a much moodier atmosphere than On Sudden Hill, but the natural beauty of this setting is still similar. I would love to make a scene as lush and natural as this.

I really love the typeface used for the masthead on the front cover. Is it hand-written or a computer generated type?

http://payload310.cargocollective.com/1/4/143032/8513102/yeehah_800.jpg

Benji Davies has a great talent in making noise in his drawings. He fuses quiet scenes, a remote hill, with childhood laughter, all in one image. The pages speak without the need for the words from Linda Sarah.

ARTIST CASE STUDY - SMALLFILMS

Oliver Postgate and Peter Firmin are highly renowned for their classic children's animations for the BBC, including Bagpuss, Ivor the Engine and The Clangers.

I've never really been appealed to drawn animation (especially NOT computer generated); for me, there is just something much more exciting and magical about stop-motion animation using puppets and objects to tell a story. 

Smallfilms did just this, they made creatures and brought them to life for children to watch on the television. Postgate and Firmin have had a very successful career making short videos of their incredibly small worlds.

I wanted to study Smallfilms because they are world builders, 

and world building is what I want to do (in this particular project and within my art in general).

http://ichef.bbci.co.uk/news/660/media/images/78899000/jpg/_78899525_peterfirminpogle.jpg

1960's/70's stop-motion animations have so much charm. It's in the Queen's English narrations, the music-box soundtracks and the entirely handmade scenes. Everything about them holds nostalgia (because they are old and classic, or as my mum would say, 'they have whiskers') but these videos are  also other-worldly, so much more believable than a drawing. The physicality of the props, the real motion that the videos entail have young audiences believing that those little creatures are actually alive.

http://www.trunkrecords.com/turntable/ivor_pogles/B-W-pogle-and-plant.jpg

The scenes are constructed as stages rather than just flat pages for a screen and the depth of a real environment gives the illusion of a world that has been built by the hands of the creator. Stop-motion animation and puppets seem more personal because they are real characters that can be touched, not just drawings that are flat and lifeless.

My interest in puppetry and animation is quite obvious in the work I produce, often preferring to CREATE than to simply DRAW. For my picture book, for example, I have already begun to construct a 3D landscape of How Hill wood and Herleshow. I am not Oliver Postgate or Peter Firmin and I do not have the talent of Smallfilms, but I would like to use similar methods of image-making to achieve a handmade, authentic aesthetic.

https://static.shop033.com/resources/D9/159449/Image/1301blog17.jpg

POGLES' WOOD

This children's series from Smallfilms has quickly become my favourite.

I only discovered this lesser-known Smallfilms production when watching Bagpuss on Youtube (lame Jay, real lame!). Although I hold a strong affection for Bagpuss the memorable saggy cloth cat, the Pogles family exist in their own beautifully crafted miniature wood which I find so enchanting and whimsical. I want to live there.

Pogles' wood is exactly what I am aiming for in constructing my own landscape.

Postgate and Firmin's creations have a low-fi feel, mainly because they worked with a very small budget. It appears even more low-fi when watched today as we are bombarded with super high quality digital production in contrast to this handmade quality.

They used real turf to make the scenes, along with junk and mechanics for the models. This ehtos of recycling and making do with what you have is similar to my own approach to creation - using junk to make something new.

THERE'S A BOOK ABOUT SMALLFILMS IN THE LIBRARY!

Concertina Books

Looking at other artists who have made concertina books for ideas…

How have they made it work? What paper have they used? What size format is the book? What makes it good?

Kevin Steele

http://www.greenchairpress.com/blog/?p=2329

Such an innovative design! Rather than following the conventional concertina format, this artist has chopped and rearranged the pages so that they view as a 3D landscape.

As a book, it's less exciting. It's just a scene and nothing happens. There isn't even any life suggested. It's not really something to 'read', just to look at. I guess it could be argued that my concept is similar, but I hope that there is at least a suggestion of SOMETHING existing in my narrative.

The shapes and textures are lovely but a little too flat and graphic for me - the hills are too smooth and not natural.

It looks like Steele has used a really thick stock to make the pages stand alone. The issue with heavy stock for a concertina is that it is then difficult to fold and needs to be pressed to stay flat when folded. 

Micah Lidberg

http://watmmagazine.com/micah-lidberg-rise-and-fall/

Jamie showed me this one in the studio. It's a concertina document of the rise and fall of the Dinosaurs. This format works really well with the subject and the scene has space to evolve throughout the time span.

The book is printed on both sides, meaning that it can be read in several different ways. The artist has also considered the content of every single page so that the book can be read page-by-page. This book is full of motion and has several narratives happening at the same time.

I'm impressed that there is no writing used at all, because I would be so tempted to explain the scene. The book doesn't need words! It explains itself.

The colours are a bit garish for me, but they are certainly bold and eye catching.

Construction Continued

My landscape isn't long enough!

Instead of beginning with a technical approach and working out exactly how big I needed to make the scale of my scene, I just started making. Now the proportions of the size I'm using doesn't fit into a concertina the length I need it. Ugh. Jay.

I only realised once I printed the photo and tried to see how it would look as a concertina - in order to have 12 pages, the format needs to be a super thin oblong, looks so weird...

SOLUTION

Make the tower and the hill smaller so that the height of the page isn't quite as high.

I made a deer. It took me way too long and looks wobbly. Need to hide the wire structure and make it some friends.

Building the Landscape

It's coming together! I didn't think it was going to work. I really didn't think it was possible to make the landscape with anything other than real mud and grass. IT IS ENTIRELY POSSIBLE.

This is nowhere near finished, but I wanted to document and celebrate where I've got to.

As always, I'm on the hill.

The scene is about two metres wide (a whole metre is missing from this photo because I ran out of green roving).

How does it look with shadow, with light, with filters? 

Second Model - Foam Board

A second proper attempt at building the tower. I wanted a material that is sturdy, easy/quick to assemble (i.e. does not require power tools) and that looks neat. No more cereal boxes.

Got some foam board, nice and tough but light and super easy to cut with a scalpel.

Looking at the roof now, I can see that it's not quite high enough on this pyramid dome. It needs to be steeper. Really want to make some slate tiles for the roof too. What material to use? Needs to look like slate but not weigh down the structure.

Eh, wonky cross. Somehow, even though the cross is tiny on the real building, it is visible from miles away. When you can see this vague tower in the distance, you can identify instantly the cross on the top. It's made of stone, just like the rest of it - what makes it so prominent?

Great job being tidy, Stelling. This is such a mess AGAIN but at least I know how the material works and how to work with it next time. Set up the same rubbish mini torch inside (must look into LED fittings/electric candles - this light is much too white, needs to be a little yellower/less harsh).

I quite like how the light shines through the sides, though it isn't realistic it does add to the spiritual atmosphere - feels holy in some way? Literally holy *chuckle*.

I COULD CARVE THE BRICKS INTO THE WALLS AND LITTLE BITS OF LIGHT WILL SHINE THROUGH THE THINNER LINES OF FOAMBOARD! GENIUS JAY.

Photographing and playing with some groovy Photoshop effects. A cooler purple/blue tone to add to the cold Autumn chill. Crappy photo, you can't see the trees or the cross.

Must get my proper photography lighting equipment out and see how that casts shadows across the scene.

I also need to work out if taking a photo of the entire long landscape will actually be possible and whether that can then be used in the concertina. AGH!

Picture Book

I had my digital print induction (major needing over the tech in there, mm!)

and I have booked in to print my book on the 18th January at 11am.

That means I have two weeks to make my picture book!

Time to get serious and get making.

Following the theme of spirituality at the peak of Michael's Mount, I'm trying to find a way to create the scene that is appropriate to the historical information and that is representative of this ethereal tone.

Had a little play with collage, always something I enjoy. I like the evergreen trees on the bottom right of the page, but they would need to be a lot darker and murkier. I would need to make several more and view them as a 'forest' in order to make a decision as to whether this suits the book. I'm not just making lone trees, I am rebuilding the woods - the reader has to feel lost in the expanse of woodland.

The previous model of the tower was really awfully crafted and very scruffy, but it was loads of fun and had a great, majestic feel to it (being REAL and PHYSICAL, not just a piece of paper).

So this time I am planning it and working out exactly how it will glue together so that I can craft it much more carefully.

If I had more time before the deadline, it would be awesome to go to the 3D workshops and make the tower out of wood or metal. I need to focus on making pictures and the story for now, so I will stick to simpler methods that I can do myself this time.

Ink! I thought I was awful at ink and I always rush it. I naturally draw quite fast with lots of energy, but working with ink is forcing me to slow down which I think is helping me to create a dark and eerie scene. I really like the darkness and cold chill that the ink achieves, but I would like to keep working with it because I've not got my hand steady enough yet. I need to practise more to get precision and neat shapes.