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  The Treban AffairMay 03, 2013 3:59 AM PDT | url
Added 2 new A* pages:We've heard the name "Treban" three times before this episode. Do you remember? Well here's a triple hint--okay it's blatant links to the exact pages: from Mar in episode 1, from Proctor in episode 9, and from the Major in episode 18. I will also mention that, figuring in travel time, clone generation time, undercover time, etc, episode one took place just a bit less than seven years prior to where we are here in episode 19. I think. I generally don't like to give time frames but sometimes it's useful for adding up to something.
I think I made some progress in pencil style today, apparently the key is to stay up all night obsessively trying to beat a ridiculously high video pinball score (finished at 7:00 am! Take that, Big Shot! : P). ... I don't think I'll do that again, though, so I'll just have to muddle on somehow.
Although I did have trouble processing page 16, because I sketched the eye way darker than the other lines of the head, so when I tried my usual way of just raising the black levels some, the eye was way too dark relative to the lines:
Oops. I tried some things but wasn't happy with them so then I figured I'd just redraw all the other lines. ... This did not work, it's basically like inking, with most of the drawbacks therein, primarily that I can't redraw things without losing something significant of the original. This was the result:
That was getting bad so I went back to my original scan and this time adjusted the eye separately from the rest of the lines, tinkered with gamma and white levels too, and, well, at least the end result looks like the eye more or less belongs in that face, even if the overall black/white contrast is more severe than I would have liked. This was distressing because the previous page, 15, of Massimilia, came out about as perfectly as I could hope for, black/white processing-wise I mean; but I think that was because I'm exaggerating "realistic" features slightly for her face, so it's ever so slightly cartoonish which means I don't worry nearly as much about making it look perfectly real, and I guess that makes me feel free to lay down more forceful lines, rather than sketching things out and feeling my way along toward a more realistic result.
Did you know there's a 1916 D.W. Griffith (and others) short film in which Douglas Fairbanks plays a coked-out Sherlock Holmes parody named "Coke Ennyday"? Yes. It's freely available online but I'm not going to point you directly to it because I'm still not sure what to make of it all. They made some pretty crazy movies back then.
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