Comics & Sketches 2019

September 26, 2019

Comics & Sketches 2019 is a new 28 page A5 book of my work, collecting a mini-comics, works in progress and a bunch of my favourite sketches from the last couple of years. It’s a limited edition numbered print run of 50 copies. The price is $10AUD plus postage ($5 Australia, $12 international). Email me via the Contact page if you are interested in a copy.

This weekend, 28-29 September 2019, I’ll be attending Sydney Oz Comic-Con to promote the launch of the comic anthology, The SuperAustralians.

The SuperAustralians

Edited by Christopher Sequeira published by Black House Comics (in association with IFWG Publishing) The SuperAustralians is a full length graphic novel featuring 12 Australian superheroes battling a series of diabolical menaces across the length of breadth of the country. Each chapter features the collaborative efforts of some of the best-known comics writers (26 comic creators in total). The book will be exclusively available at Oz Comic-Con in September, before the going to retail stores in time for Christmas!

The SuperAustralians Cover
Artwork by Jan Scherpenhuizen

I worked on the Dragonblade chapter of The SuperAustralians, as artist and co-writer (with Christopher Sequeira and Ian Gould).

Dragonblade Pin-up Poster

The Dragonblade chapter tells the story of a Chinese Australian teenage girl who inherits a magical artefact and discovers it grants her the powers of a dragon.

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From the Ground Up

April 07, 2019

Scripting Shenanigans…

I’ve just uploaded a new post to Patreon. In it I share my process and approach for nutting out a page layouts for the current comic project, an anthology of new Australian superheroes, and how that related to taking on the role as a co-scriptor of the story.

I talk about what the project is, how I came to be a part of it, where I drew my influences, approach and what I aimed to achieve with it.

If this sounds like something that might tickle your fancy, sign up to buy me three coffees a year! Click here to become a supporter.

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March 25, 2019

Humble Beginnings…

That’s right, I’ve joined Patreon. Patreon subscribers will get an in-depth first hand look at the projects I’m working on as well as detailed behind the scenes updates. I will share my methodology and thoughts from rough sketches to the final polished project by way of high-resolution images and videos.

My first post talks about my reasons for launching my Patreon now and what My intentions are for it. I write about what the current project is, how it came about and how it’s progressing.

Future posts will detail my creative process on this project and of course future ones. I will continue to broadcast across my various social media accounts, but the juicy details will only be shared on my Patreon account to a far greater depth than I have previously.

If that sounds like something you’d be interested in, sign on and become a supporter for as little as a dollar a month! Click here to become a supporter.

Above: Digital pencils for the current WIP


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Work in Progress – ‘Bloodhunt’

August 07, 2017

Following on from last month’s post, I’ve continued to work on James Broadhurst’s script for, ‘Bloodhunt’. James contacted me out of the blue through this website, showed me his script and asked if it was something I’d be interested in working on. After reading it, I readily agreed, it was exciting, concise and with a great twist! We discussed what he wanted for the artwork which was six pages in full colour and lettered.

Thumbnails to Pencils

I set to work immediately, reading and re-reading the script, making copious amounts of sketches and notes in the margins – it was barely readable by the time I’d finished with it! This wasn’t a great concern though, as it had served its purpose in essentially super charging my brain cells and providing the needed stimulus for thumbnail page sketches. I added a lot to the original script here, chiefly by way of additional panels to employ atmospheric devices and better pacing control for action sequences. From the thumbnails I went to full size sketches of the pages, or ‘Pencils’ done digitally, taking the time to add the dialogue and speech balloons, factoring their placement in the layout design. Once the sketch pages were complete, these were packaged up and run past James for his approval and feedback.

Pencils to Inks

Taking on board James’ suggestions and updating the ‘Pencils’ accordingly, I then printed out the pages on A3 illustration board. I could have avoided this step and continued to work digitally, but I wanted to work with ‘real media’ for this one. Increasingly, I find there’s a real reward to the tactile response of the page and I feel it lends a quality that can’t be reproduced digitally. Where I needed to resolve some of the detail in the pencils I used a non-photo blue pencil to work up the illustration. Once I was happy with the details, I began inking using a Fineliner. Knowing that colour work would be done digitally, I kept the line work clean, allowing room for the colouring to take the weight of the modelling. The finished inks were then scanned and cleaned up on the computer by dropping out the blue, removing some of the line work I wasn’t happy with (compare each of the panel fives in the image below) and strengthening the black.


Colouring is always a big job as it needs to somehow straddle both realism and mood. As the story was set in the Australian bush, I also wanted to make a real effort to use a palette that was sympathetic to this. However, the story is a horror story, full of foreboding and I also wanted to incorporate this element. It was an interesting challenge as palettes associated with horror tend to be dark and dense, whereas for me, I often think of the the Australian landscape as being light and sun bleached. There’s always a way though and nutting it out is part of the fun. You’ll see in the last panel of this page the characters are walking deeper into the bush where I’ve hopefullly created as sense of ominous foreshadowing by having them appear to walk into a more shadowy environment.

Thanks for reading. If you have any questions about my process or work and would like to contact me, please feel free to use to the contact form on this website.

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On the Drawing Board

June 27, 2017

It’s been a bit quiet on the website front over the last few months, partly because I’ve been trying to work out the best way to use this site but mostly because I’ve had my head down and thoroughly immersed in a number of creative projects. If you’ve been following my social media feeds, Instagram, Facebook, Tumblr or Twitter you’ll probably already have seen some of the work but may not have all the details. And so, that’s where this website will come into play – once a month I’ll upload a post with details about the current projects I’m working on.

The project I’m primarily focused on completing at the moment is six page horror short story written by James Broadhurst. James contacted me via this website and asked whether I’d be interested in drawing his story. It was an offer that came at the right time as it had been in my head for a little while that a collaboration on a small project would be great to re-energise creative juices and push me in directions I wouldn’t normally go. After reading the script I was enthused and saw a lot of opportunity to play around with different ideas and ways of telling a story and so I set to work.

Character Designs

I started by developing the character designs, liaising with James to confirm that this worked with his vision of the characters.

Page Designs

Once the character designs were settled, I proceeded to reread the script, combing it for details and making rough sketch notes of images, scenes and atmospheric devices. These sketches were reworked into thumbnails of page layouts which were then scanned into the computer and developed into more detailed drawings of the proposed pages.

Inking Process

After running the page roughs past the writer to iron out any kinks, I then printed the ‘pencils’ on A3 paper and used a non-photo blue lead to refine the detail and a fineliner for the inking. When all the line work  is complete, I’ll add an ink wash to build depth and tone to the images – for this reason I’ll use Spot Blacks sparingly.

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