Rob & Sam (2005)

This is a sketch (done in 2005 I think) based on a photograph of my husband and nephew on the evening of their first meeting on Rob's first night home from tour. It's actually a pretty good likeness of Rob, if I say so myself, although I couldn't be bothered to draw the actual pattern on my nephew's baby-gro and just scribbled some nonsense with bunny rabbits instead.

The style - spattery ink, smudgy pastels, rough edges, scratchy pencil marks still showing through - is one I really love working in, and if I could, I'd have everything I draw look this way - so I'm posting this, I suppose, as an indicator of future developments. The trouble is, I find it hard to work consistently and quickly in this style, which is not so great when you're trying to maintain a consistent look throughout a comic.

Unless of course you decide that inconsistency is your Thing and a Stylistic Choice, and any mistakes are in fact Deliberate And Meaningful and there for the audience to decipher. I like to call this the Peter Greenaway Effect. Or, having rewatched Prometheus last night, perhaps the Scott/Lindelof Effect.

(Why isn't it LV426? What's the point of that?)

(And why do they all take their helmets off?)

(And why would David do anything to endanger Weyland, such as deliberately infecting Dr Not Tom Hardy with the alien black oil while on the ship?)

(Why did they have to bring alien black oil into it anyway? Did they learn nothing from The X-Files?!)

(I should say, I love Prometheus in spite of all its many many flaws. It's just right up there with Bram Stoker's Dracula in the list of Pretty Films That Make Me Wish I Didn't Speak English.)