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I've started a new project that I've been kicking around for a long time. I'm giving Oink my graphic novel from the mid 90's a digital overhaul. It's also the author's cut and will be distributed as the 'Digitally Remastered' edition.
I'm going to blog about the whole experience putting up my progress before and afters. The original series is 96 pages, with roughly 400 panels that will be retrouched, repainted, with entirely new page sequences.
Here are some of the very first pages. If you want to follow this experience check out my blog, give me feedback, this is going to be a long ass road I could use some company.
Last edited by JohnM; December 21st, 2010 at 11:35 AM. Reason: edited the first images in the thread
great going .. its amazing how one tends to make the anatomy more natural when one paints .. i'm also doing a graphic novel in digital concepta art style painted ..
best of luck
Loved Oink back when it first came out. It's always a little scary when something is redone that had such an impact on me back then. I hope you're able to keep feeling of materiality as you convert to digital. The thing that was great was the unique vision. Not jumping on the bandwagon back then. Good luck on the conversion.
here's my page for today, I think it's a great example of what excites me about this, there were just some things at 23 I wasn't very consistant about...all horsepower very little steering back then, haha. This scene takes place at night, but in the original I just didn't care about narrative as much as I did what paints I had in my box...I must have had a lot of red...art store was closed that day...I don't remember.
It's important for me to maintain the visceral nature of the story, priests screwing pigs, crucified pigs and all, this endeavor is me on my own....as usual.
For my point on view(is only thath, another point of view), the first one, the original, will be always better. I say it really sincerilly. Whith really bad Inglish, but sincerilly.
I think, when you do something for fisrt time, you do it whith magic. The way from brain to hand is very short, and the drawings can spek from himself. When I read Oink, a lo of years ago, I feel things, thath drawings make me feel, Herbert make me feel.
The second version, could be better drawing, better colored, better all the things in the world, but never will be better than the original one. Never will be more authentinc. Imperfections are part of the game, imperfections make something UNIQUE. Maybe if you repeat thath, you will thing again, ok, I do color better, and drawings better, and narrative better... but is not perfect,I will repeat again! Because I want it to be just PERFECT! But the thing, is thath this comic was just PERFECT. Now you can do better? I really think so. But I really think so you can do something completely diferent better. Maybe another Oinks history? Maybe a Western?
Really, I am noone to say thath kind of things, but I say thath because I loved Oink. I don' t want to get up tomorrow, and loock to my library, and seeing that the comic has change.
Is fucking crazy that you did Oink whith 23, you are a GENIUS, and genius always do new things. For me and I think for a lot of people, it will be great to see something new of John Mueller.
Anyway, the best wishes for you, you really make me feel whith Oink, Heavens Butcher. In spanish, el carnicero del cielo=)
Orionlesc- Thank you! The Spanish version from Norma was one of my favorites. I totally agree with you, I went through this same arguement with myself. One of the driving forces behind this is that Oink has been out of print now for over a decade, this edition is not intended to replace the original, it will just be it's own thing, I think it's an unusual set of circumstance that allow me to do this.
When I did the first few pages of this I spent a lot of time thinking on it to see how I felt about the work, what I came back to was that the work still comes from the same place.
I do plan on doing new stories down the road, but my full time job in games makes that very hard. These pages only take a few hours, so that's also why this edition makes a lot of sense. It's still going to take me 2 years probably, ha!
Thanks, great hearing from you!
Good idea. . .reviving your book so a whole new generation can discover, while giving those old enough to remember the origional something new. It's cool to see how your work evolved. . .the origional art is so early 90's Simon Bisley, not a bad thing, but seeing how your style has grown into something more sophisticated is very cool. When will it be available? Best of luck to you.
gallery link below:
Wow this is interesting.
Personally, the original just grips me. I'm seeing it here for the first time and it looks like something I will go out of my way to buy. You can say it's pure horsepower, but there's still steering, it just doesn't seem to be purely rationalistic .. and it works, honsetly. How stylistic and edgy it is, and the color is so raw it makes everything so energetic.
The best comparison is the first panel, the new one is just beautiful and the emotion is really penetrating. On the other hand, the original is just as good, but in a different way, it's just powerful, piercing look, while the new one is deeper.
It's just a question of what fits better to the story.
Just my humble opinion, and not even sure I got it accross, your work is really inspiring.
This is totally great! I love your artwork and seeing this on a new light is really exciting keep it up dude!
Gyahh!!! this little thing doesn't take much time with a little help from photoshop, I was able to use the base of the previous panel, liquify, paintover, and I redrew the hand. I used Jaime's brushes, there are some brilliant brushes in this set. If Jaime asked me for a license fee I would totally give it to him without hesitation, the set is BY FAR the best set I've used for natural media feel painting...It's the only set I use for anything. I think Jaime is on this forum somewhere, Jaime you should license these!!!
I also use a very good tip I picked up from Kieran Yanner. I get a lot of the fog FX using the smudge tool set to a high opacity. Just lay your fog color down really fast on a seperate layer, pick a smudge brush that has a lot of grain in it, turn off 'sample all layers' moosh around until it looks like fog or smoke, and voila- instant fog, cut into it with an eraser to get your streams, and smudge until you get desired effect.
I'm actually a with this technique.
wow..sick art man. Why so bloody???
-- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- --
So the process to get this stuff into my computer has been a learning curve. The series was originally drum scanned which produced color separations that I have, but the scanning is not cheap, the most affordable way for me to do this is to actually shoot all the art work myself digitially, and retouch from that. The first pages I did were at a questionable resolution, just barely comic format under 300 DPI, and shot with my Sony point and shoot which really didn't get a very crisp focused shot. I don't mind painting over stuff, but the original art has some nice character that I was worried I was losing...enter the Nikon D5000 I purchased today! The resolution and crispness is really incredible, I'm still trying to figure out the right settings for my set up...I just discovered tweaking white balance...so no more yellow shots! Yay! The camera's auto features make it pretty damn hard to take a bad shot.
I'm really happy you're redoing this.
I'm a fan of the original, and you definitely appear to breathing new life into it.
Hopefully, a whole new generation will learn to appreciate it as well.
As for the 2 page sequence you just posted;
it looks really nice, but I'm bothered by the last panel of page 1.
Oink is holding the guy's head in his right hand, but then in the next panel, he is holding him with his left.
Yeah, it's possible he swapped hands, but it ruins the flow regardless.
I'd really consider revising that, maybe even just flop the panel.
- Dan Dos Santos
Hey Dan! Thanks for the encouragement!
I was wondering if anyone would notice the hand. I noticed it this morning, but in the flow of the day I just forgot about it. I was all set up ready to go on the next page, so thanks!! I'm going to take the flop route you suggested with a little adjustment.
Huh... nice to see Oink again. I was interning at Kitchen Sink when the 2nd book came out, I think my name's in there. I BELIEVE I did a little ghost lettering, too, but can't recall.
Tom Martin, stuff-drawer
I own and love the original version (the spanish edition) and its great to see a digital remake. Some parts look awesome with atmospheric light effects and subtle effects.
Anyway, be careful not to soften some parts. For example the original image of the tool smashed head against the wall: I love the original blood trail, it makes the image really powerful instead the "CRACK" letters in the new version. Keep the wild rage of the original, its what makes it so good.
Great job, keep it up.
New page with the original below. I'm adding some panels to help the narrative, my goal is to be able to read the action without text.
I also wanted to foreshadow the page after next with the homing device in the back of his head.
Reminds me of Simon Bisley's work.
My SketchBook http://www.conceptart.org/forums/sho...d.php?t=139784
http://www.conceptart.org/forums/sho...d.php?t=192127"Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."-John Huston, Director
awesome work. Thanks for sharing
New page for the week, this was a tough week! I can't really say how much fun it is going back through the series though. A month into this I'm really looking forward to getting the series back in print with a fresh coat of paint so to speak....of course I have about another 17 months to go! 1 page per week, 96 pages.
These are awesome John! Its been a while , hope your doing well.
That cover looks amazing. keep inspiring us.