Who said that?
No no no. The first draft is the simplest. It's finding the picture hidden within the woodchip that takes time, patience, and a lot of lurking about making absurd guesses, regretting, starting over.
Completing the first draft of board one, was a no brainer. The question is what comes next? Who did what to whom, and with what, at that bridge? In fact, is it a bridge at all?
I don't know, so naturally I turn to my Viking on the other board. Did I tell you about him?
Board 1, the big one, 8' x 4', has had a picture imposed upon it, without much participation from the woodchip itself. Board 2 on the other hand is a free spirit, an artistic director [possibly dictator]. I just watch and learn. So I asked the only thing yet to emerge upon it - the head of the viking with a big roaring mouth,
'What are you doing on my board?' I said, out loud.
To my surprise, when I listened I found he was singing. And then I saw it, under his giant hands, a giant harp.... Well, I suspect it's really some kind of building he is playing as a harp, since he's a giant.
That sudden transformation, from marauder to musician was a moment of delight, a kind of visual alchemy. And that is what I am going for in both panels.
It would be simpler to work to a theme like oppression or depression, or even a title, 'What I did to my sister'. But how much more interesting if the title is 'DISCOVER what you did to your sister' This escalates it into an artistic whodunnit. And that is what interests me. The discovery of things not yet known that are hiding both in my mind and in the panels. The picture is only finished with a fusion of these two things, an eclectic mix of unlikely events converging onto an assuming chunk of hoarding.
For visual intrigue and entertainment.