Grace Ritchie Answers...
Share 1-3 things about your technical process. (ie. how do you color separate?, how do you decide which colors, binding method, or paper to use?, is your process traditional, digital, or both?, if it's collaborative what does the back and forth look like?)
My process always starts traditionally, usually with pencil thumbnails then ink or marker. I often trace parts of sketches on durlar and scan them into photoshop where I put them together into a full piece. This allows me to redraw an element easily until I'm happy with it as well as shift or resize anything thats out of place. When its formatted how I want digitally I can move to printing.
I usually color without specific riso colors in mind then separate the finished image with black and white adjustment layers and clipping masks. This allows me to easily manipulate the colors in the image and test which riso colors will look best for the print.
Share 1-3 things about your creative/conceptualizing process.
Coming up with ideas has always been the most difficult part of making work for me. I get so stressed out by the blank page and the possibility of spending too much time making something that will end up not feeling worth it that I freeze up. Drawing with no intention of showing anyone or using it for a project usually yields the best beginnings!, , My creative process is a lot of reusing and experimenting with the same imagery. I'll often start with an image I don't love and use it in multiple different projects until I'm happy with it. I also draw the same imagery over and over- cars, athletes, specific shapes and patterns. They always grow and change in surprising ways.
What did you have on your mind when you were working on this project/piece (or in general)? (ie. Does your work (this or other) relate to a particular current movement or concept?)
When working on this piece I wanted to focus on finding an interesting way of portraying speed and impact in a sequential format. I played around with the idea of a car hitting the side of a panel and warping as it made contact and took it from there! I have since combined what I learned from this piece with the themes I'd been working with the year before and my work has centered around the spectacle of masculine violence and masculinity as an American ideal.