the dream of my mother’s six-car fetch quest

I dreamed I was in New Orleans. My mother had apparently left me five or six cars, parked around the city. I needed to go acquire them. My father was helping me get them – never mind that he's been dead a lot longer than she has, he was around in this dream. I was using my phone to help navigate to the first one. Eventually we got there.

There was a gap, and I was walking. A sports car in transit livery pulled up, and I got in. Apparently New Orleans was experimenting with high speed transit, as this car then drove off at high speed with me and the previous two passengers, all in the back seat. I realized I'd just gotten in the first bus that pulled up, and took out my phone to figure out if I was on the right one. It took a while to type in its route number properly (25), but I got it eventually. It was a weird one that went a long way across the city, well outside the eastern and western bounds of New Orleans proper, careening through the Quarter at high speeds, sometimes on the sidewalk – it was not obeying normal traffic laws, that's for sure.

It's worth noting that this is possibly the first time I have gotten any use out of my phone in a dream. It used to show up as blocks of wood carved into the shape of a phone, or 1970s approximations of a smartphone or something.

Then I was faced with trying to figure out where the other cars were, so I could decide if I was on the right route. And I could not figure out how to do that on my dream phone. Especially while also trying to figure out the logistics of my father being the one who drove, and me being the one who could navigate to the car.

The woman sitting next to me asked if I was alright and I kind of unloaded on her about just having gotten off an airplane the other night, and my mother being dead. She looked at me with her weirdly huge golden eyes, which had immensely dilated pupils. “She must be rolling,” I thought to myself. She got off the sports-car bus at a corner where there were multiple people with similar eyes, and even a couple dogs with similar eyes, so maybe not.

As we drove through the corner gas station lot full of these golden-eyed people staring at me, the other person in the sports-bus – an old guy who had seemed to be with the woman – took out his phone and started fiddling with it. Every time he touched a key it made a loud click like an old mechanical keyboard, with occasional noises like a dot-matrix printer spitting out a line that I knew were him hitting return. It was pretty annoying.

And then I woke up.

Initial fontening: success!

Screen Shot 2015-10-25 at 8.14.12 PM

Yeah, I think this is gonna work. There’s a lot of stuff about making fonts that still feels pretty mysterious but I’ll figure it out.

Screen Shot 2015-10-25 at 6.49.12 PM

There’s only one copy of each letter in the font right now. The first order of business is to write a few sentences that include enough of the letters missing from the image above. I definitely need an uppercase Q; it looks like I never used it in Absinthe chapter 1 at all. I may never use it. But it’ll be nice to have it. And several lowercase q’s, and z’s, and a bunch of copies of some uppercase letters and all those digraphs I’ve saved a few copies of. And numbers. And probably some other punctuation like +/*()%$#@^&;:. I need six of each of them, so I can make the font cycle between all these different instances of each letter to make it look more organic. That’ll be a few more hours of mindless tracing in Illustrator, plus somewhat-less-mindless cutting-and-pasting into Glyphs.
Screen Shot 2015-10-25 at 8.26.29 PM

My test words are, um, interesting.

(Glyphs has this cool feature where you can type a bunch of letters, then stay in one window to quickly edit the horizontal metrics of the letters, and to tweak the paths that make them up. I dunno if this is a standard feature of font editors these days; the last time I tried making one was around 2001.)

Right now the font’s called ‘Five Glasses’ but I’m probably going to change it to something like ‘Thieving Raccoon’ or ‘Procyonid’ or somesuch. I’m kinda tempted to use it as the human dialogue for Drowning City, too – I need to see how it looks against the ornate calligraphy I’ll be using for the elves.

Edit. Here’s the acid test – I took page 1 and turned off the layer with the hand-written dialogue, and typed in this font. Barring the lack of an apostrophe and italics, it looks pretty much the same as the hand-lettered page, albiet a little more regular (and a little bit smaller and weirdly leaded, I need to figure that out.). This is definitely working.

1-1

welcome to depression, population: me

It’s gotten to be that time of the year where all I want to do is sleep for a few months. Nothing sounds interesting; everything feels like an unsurmounable amount of work.

This is pretty normal for me now. I’ve lived in Seattle for several years now, and I know it’s due to the lack of sun. I’ve gotten around it in the past: there’s turning up the heat at night so the bedroom is warm enough for getting out of bed naked to not feel like a deadly mistake, there’s the giant sun lamp, there’s vitamin D supplements. There’s weed. And there’s finding excuses to go somewhere warmer for a few weeks.

But my best excuse – visiting my mother around Christmas – is gone now. And my mailbox is a regular reminder of the fact that she’s gone. And that makes me feel even more like shit.

And that little voice that suggests ‘suicide’ as a solution to this overall problem keeps on popping up in the back of my brain. It can fuck right off. I got over my father’s death without listening to that idea, and I’ll get over my mother’s death too. But it sure doesn’t help my overall mood to have to regularly roll my eyes at the part of my brain that thinks this is a good plan.

Another little voice keeps on saying “upgrade your computer” but really it’s not time yet, my tricked-out 2013 Air does everything I need. The only things I’d want are a higher-res display and a bigger HD, and I’d have to switch to a heavier Pro for that. I also know that consuming isn’t going to make me any happier.

And then there are the little self-reinforcing loops like the way being depressed means I’m much more likely to eat something cheap and pre-packaged that’s lacking in all kinds of nutrients and vitamins my body needs to keep working well, which leads to me feeling mopy and useless and depressed.

Upon reflection, maybe I need to plan some kind of trip somewhere warm, even if it’s just me going down to LA for a week or something. Get some sun.

fonts

An important part of a comic is the lettering. Your choice of font will set the tone for the whole story, in some ways.

Most people are happy to just grab a “comic book” font and do it like it’s always been done in the superhero comics: all caps, in a font that probably looks like it was drawn in a brush. Not me. I don’t come from that world; my stories don’t feel right with that tone of voice. I like upper and lower case, for starters.

Rita used Myriad Pro for the vast majority of the dialogue. It’s got bold and italics and multiple weights, and it’s a nice crisp serif font that fit the tone of the comic.

But Absinthe? Absinthe was done in a different era of my craft. Absinthe was done back when I was still nailing things down on paper before taking them into Illustrator. And Absinthe was lettered in the real world, with dialogue that sometimes became a part of the overall design of the page.

I want the new pages to stylistically match the first chapter. But I really don’t want to hassle with getting a paper-based workflow going again. So…

 

Screen Shot 2015-10-20 at 3.50.24 PM

I’m gonna make my own font. I’ll still have to do some things by hand, or by doing a bit of paper lettering and bringing it into the computer. But I figure that tracing a bunch of these letters will give me a good start on a unique font that can have italics and bold. I’ll have to figure out how to have multiple versions of each character that change randomly; I hope that’s doable.

Right now I’m thinking of trying to make it with the lite version of Glyphs, which is a mere $50. If it does what I need then I’ll be delighted to not have to spend the $5-600 that serious font software costs.

(I may end up making the font available as a Patreon perk, as well. Dunno.)

 

edit. Here are some useful-looking links I found on making different character images cycle.

Engaging Contextuality

Contextual feature code samples – I like the idea of having a set number of variants for every letter that cycles with every character, rather than a lengthy hand-tuned set of variants. Seems like there isn’t an actual random number generator available; writing rules for selecting from multiple glyphs is what you have to do. (And what I ended up doing.)

also Common Techniques – I love the idea of making the glyphs move a bit by themselves, in the very last example. Might be a royal pain in the ass though.

making up some numbers

When planning a Kickstarter campaign, it is important to give your supporters a clear idea of where their money will be going.

Screen Shot 2015-10-15 at 10.48.43 PM

errata: I typed ‘book 1’ when I meant ‘book 3’. Whoops. Not worth fixing the image.

getting down from a duck

A question I see a lot of creators asking is “how do I promote my Patreon”. Or “how do I promote my Kickstarter”.

And, well, it just reminds me of the old joke: “How do you get down from an elephant?” “You don’t. You get down from a duck.”

The duck to a fund-raising campaign’s elephant is your own site. With your own work on it. For free. Find a way to carve out time and energy to make your thing, post it all online. And when you post it, make sure that there’s a link to that Patreon right next to it, every time. And make sure that when Kickstarter time comes around, you add a prominent link to that as well.

And put some money into advertising your thing. Promote that. Buy ads in places people who’ll like your thing seem likely to hang out. Use your analytics to figure out which ads do best – not just in terms of people clicking on them, but in terms of people clicking on them and hanging around to look at a decent chunk of your thing. Give your thing away as you build an audience of people who like your thing, then give them a chance to start paying for it. Some of them will. And some of them will promote it for you. Some will even do both.

It’s when I say “give your thing away for free” that people balk. They view every person who consumes the whole thing as a lost sale, and want to lock the whole thing behind paywalls. That works fine when you’re a big name who a lot of people will buy a new thing from sight unseen, sure. But it doesn’t work for you. Not when you’re a beginner. Reproducing your thing on the net is free. Embrace this; give it away. And politely ask that people who’ve read a lot of it consider paying you something, or spreading the word. Everyone who tells their friends about this cool thing they read for free? They’re providing value to you, right there: advertising.

I’m not gonna lie. It takes time to do this. A few years. I’ve been doing this with Rita for four and a half years now and it’s just barely starting to pay the bills. But I’ve found it a hell of a lot easier to repeatedly get down from a duck than to try to get down from an elephant right off the bat; the Kickstarter for the first volume of Rita made its goal in one weekend because I’d already built an audience for it.

(Of course, there is an elephant in the room here: your thing has to be good enough for people to want to pay you for it. That’s another matter entirely. If you’re building your craft at making your thing at the same time you’re gathering an audience, it’ll take longer than if your craft is already pro-level, like mine was when I started drawing Rita..)

an open letter to Adobe

Dear Adobe:

I’ve been using Illustrator since 2000; it’s my main medium. I’ve drawn an entire graphic novel in it.

I’ve got a file full of bugs and feature requests I keep on submitting again and again and again. Some of the feature requests I see other people repeatedly asking for online. None of them ever happen. It’s like i’m shouting in a dark hole, and it’s pretty frustrating.

Back in the pre-subscription days, I could vote with my wallet by not bothering to pay for new versions that offered no new features for my workflow. But now that everything is on subscription, I can’t do that. I just pay Adobe my monthly fee and get to use whatever features get added. And I kind of feel like I’m getting the raw end of this deal when some of my repeatedly-submitted bugs and requests continue to be ignored; it feels like I’m more directly paying the salary of the people who maintain these programs now that I pay every month, with absolutely no say in what they work on next.

I’d love to see Illustrator’s bug/feature requests made public. And allow end users to not just submit them, but to add their support for them. And to know that the top bugs/feature requests will get some resources assigned to fixing or implementing them.

(This probably goes for the bug databases for Adobe’s other programs, too. I’ll bet every pro has a handful of pet bugs or never-filled feature requests they keep on having to work around in their most-used program.)

the dream of uncovering a mysterious conspiracy with my father

Huh. I just had a dream with my dad in it. That hasn't happened in a long, long time. The rest of it was mostly random conspiracy stuff – I was a kid sitting on the handlebars of a bike as we rode out into mountainous terrain behind the house (I grew up in a residential area in New Orleans, there was nothing remotely like that) and found a secret shipping/printing plant where Things were Weird. He seemed to have some sort of adventure there that he mostly kept me on the sidelines of, because I was, well, just a kid. We escaped. With a pile of evidence, that upon looking at it looked like a lot of the standard spurious stuff one sees on schizophrenic-sounding conspiracy blogs.

Then we were in the house I grew up in, and it was windy (as it is outside right now for real). While he was on the phone, I saw the tree outside swaying in the wind a lot; someone had hacked a huge chunk out of it near the base. It fell, but not quite on the house, and took one in the neighbor's yard with it.

Then I woke up, feeling like I'd just been watching an episode of Twin Peaks. Except with my dad. I haven't dreamed of him since… I can't even begin to remember. He died so long ago now.

His birthday's coming up soon. November 1.

raise that freak flag

Apparently today is National Coming Out Day?

Hi, I'm a queer transwoman. I'm also poly, and prone to spanking and role-play in the bedroom.

None of this is probably new to you.

another con weekend

So thanks to Dana sharing her table in the Geek Girl Con dealer’s room, I got to sell some comics today.

I came within about $30 of selling more today than I did in all of APE. And I got in late. And my travel/lodging so far is $20 for an Uber because it was raining this morning when I got moving. It’ll probably be about $40 all told, as I’m bringing in some more books tomorrow and don’t want to hump them on a bus. I ran out of Rita 2, as I just went with what was in my con suitcase from APE this morning.

Definitely applying to GGC for next year.

This is the last of four cons in a row. I really need to never do this to myself again. Next weekend I’m just gonna sit at home and play Bloodborne; maybe I’ll finally manage to kill Mergo’s Wet Nurse, which will mean I’m something like one boss away from the end of the game. JUST IN TIME FOR THE DLC.