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Footnotes: One more thing about this story and this stge of my development as an artist, and thatis, I believe that for quite a while I was using a really crap brush. I was using like a number 3 brush and although I could get a good point on it and as such felt that it was good, it was too big, and its not until a later stage, I dont know when, that I started to use a much smaller brush which essentially meant I was able to detail much finer er, detail, my line work after a certain stage suddenly leaps up to a far finer level. I had sort of forgotten about all that because as I have said so many time, the pencils were all far more impressive, but because I was using a super huge brush is wasn't interpretating the detail as I should have. I still know that my art isn't that great, and even to this day its still wooden, but what the hell, its much better than it was here in 1997. Its worth pointing out that I now use a number 0 brush, Cotman III Windsor Newton and my sense is such that as soon as the tip goes I can tell, I can tell when the brush has had it. I can also tell when the ink is too thick, something that happens after its been sitting around for too long, especially when its hot. In short, back then I really wasn't doing myself any favours by having a totally crap brush but my inexperience left me ignorant to the fact. In fact a fat brush is SHIT. Dont use them.
Whilst I can see that I was trying quite hard in theis story, I can tell by the imaginative use of panels, the structure is essentially a flaw. In fact these days I dont do anything exciting with the panels, part out of lazyness, and part out of the fact that its pointless. When I see fancy panels like this i'm not really impressed. Theres nothing wrong with them, but in short they're not essential to telling the story, and because they take up so much room here they are more of a burden because they're awkward shapes leave lots of space with no focus, leave the central action compromised to fit in the frames.
This whole story is not a favorite. I prefer the stories that say something, that actually deliver something more poignent than an interesting story. This story whilst possibly catchy is not particuly interesting, other than the twist at the end it doesn't leave you thinking. I prefer stories where I say, yeah, that makes sense, I understand that, thats a good angle on that point. Or something like that, but this story just leaves me bored. I can see what I was trying to do also, create a rich adventure through a woodland, detail trees and natural lanscape, and in particular detail a sort of rustic woodsman, an adventurer, a dreamer, someone that gets moss stains on his clothes from rambling across the land, but again, my number 3 brush has left it all a bit rubbish and awkward. Still, its a good book mark for the time, 1997, I dont think I did much then. I cant even remember where I was. I know it was a shit time. Those years were terrible. So terrible I dont even want to rack my brains to figure it all out.
So thats that.