I’ll be in Portland for the Maine Comic Arts Festival on June 4 (along with the BCR of course). I’ll have “Hooves of Death,” the Maine-set historical romp, “The Jernegan Solution,” plus anthologies galore… Muqtatafat, What’s Your Sign, Girl?, SubCultures, plus who knows what other surprises? And the BCR will be there too, so save the date, and save your pennies… and no matter where you are, it’s worth a drive to Portland, too! Look for us in the Fiction/Music area on the main floor, Portland Public Library, 10 AM – 5 PM.
Latest illustration for Sage Knight’s Living Well column in the Topanga Messenger.
Comics Workbook is probably the smartest and most interesting journal about independent comics, and appears only in print! I highly recommend ordering a copy from Copacetic Comics. besides my article, there’s comics by Aatmaja Pandya, Hannah Kaplan, and Nicholas Offerman, an interview with Rob Kirby, Keiler Roberts and Scott Roberts, and a converbetween Sara Lautman and Scott Longo.
Since there’s no online edition, here’s a look at the article. (And I will point out that this actually came out BEFORE the Angoulême Festival’s problems with women cartoonists… so don’t think I was just jumping on the bandwagon!)
And here’s how that page from Damnes des Nanterre looks in color:
The proof has arrived! The book will available at MoCCA, table B129!
For the back cover of this faux-Golden Age comic, I cooked up this faux-Golden Age ad. This is a combination of digital collage and original art:
If you’re old enough to remember the American Seed Company ads, this will all mean more to you, of course.
Here are some of the real ads that inspired me (and from which I pilfered elements):
And then especially these Cloverine Salve ads, which featured little comic strips like the one I drew for mine (you can click on these to make them more readable):
Some showed how valuable the prizes could really be. You might even use them to stop a rampaging gorilla:
The ads could get pretty bizarre. This one has a strangely apocalyptic tone: the “FUNman” lets the kiddies know that the World is on Fire!
Here is a get-rich-quick scheme for the young folks, basically encouraging Jimmy to become a small-time crooked casino operator:
One of my favorites is this Charles Atlas-type pitch, with art by Captain Marvel artist, C.C. Beck, which suggests an unusual use for your new he-man body: advancing at work by punching out your fellow workers!
Finished drawing the last page of this story, but I had some UN-finished business as well: I had grown disatisfied with the splash panel I drew… oh, nearly six years ago now:
Problems: the horse is too pudgy, and looks more like a stuffed donkey to me. Also not happy with the way I drew the skirt. I’ve done a lot more drawing of horses and clothing in the past couple months, so I thought it was worth updating. And take another crack at the Ghost flying in, why not?
I used a lightbox, so I could just re-draw the figures, and have them in correct positions to insert digitally into the page, without having to re-letter, etc. Other than perhaps the tail, I think everything is better:
Or, if you prefer to compare via an animated gif:
Another bout of obsessive panel re-drawing…. Today, it is the second panel of page ten (next-to-last page of the story!) of “Hooves of Death,” the faux-Golden Age story I’m drawing from a script by Troy Minkowsky….
When I finished the page, I realized that I had messed up the perspective in this panel. Either Betty is about twenty-four inches tall, or the horse is gigantic. I could have probably figured out the perspective if I’d taken the time… but it’s the next to last page of the story, and I’m getting rushed and lazy! I tried to convince myself to just leave it as it is and move on. I took the page to the Boston Comics Roundtable meeting, though, and got some good feedback (as usual). As well as the scale problem, it was pointed out that the horse’s legs are funny — more like table legs.
Well, it’s not like I haven’t studied horse anatomy a bit in the course of this project, but since I’m getting rushed and lazy (see above), I thought I could wing it, and not actually look at horse reference this one time. The result: it looks like the Ghost has had a bit too much to drink and finds himself under the dining room table, which for some reason is on a racetrack.
Again, I tried to convince myself I could live with this… but… my consience nagged at me, and it was draw-it-over time.
What followed was a strange blend of diligence and laziness. I just started re-drawing, perfectly willing to draw the whole panel over and over, but still refusing to do any diagrammatic “figuring out” of the perspective (though I did look at horse-leg reference), going with trial-and-error instead. I just felt like doing it the stupid way (or the intuitive way, to be kinder), that’s all I can say. I got Betty better-sized, but then the relative sizes of the Ghost and the horse’s legs would seem wrong, so I tried it again… and again…
Did I stop when I got it right? Or did I just run out of gas? You be the judge….
I think the Ghost looks too small relative to the horse.
Now I think the Ghost looks too BIG relative to horse, and the horse’s legs are too squat.
A little better. I think my favorite drawing of Betty so far, and the relative sizes of the figures seem okay… though the horse’s right leg looks not quite right… but there’s the bell, class is over!
For nearly 10 years now (!) I’ve been drawing illustrations for Sage Knight’s “Living Well” column in the Topanga Messenger. I just finished one for Sage’s latest, on the theme of “Spring Cleaning.” I had forgotten (maybe Sage did t00) that there was a piece on the same theme back in 2010. Totally different articles, of course, but I thought it was fun to compare the two illustrations.
Old one first, new one below:
The first panel from page 9 of Hooves of Death. I drew this three times. I’m getting into a pattern of allowing myself one re-drawn panel per page.
Maybe the first version shouldn’t “count,” because I just abandoned the entire pass at the page, for reasons not particularly to do with this panel. So I never really finished inking it:
So this was my first “final,” finished version:
I felt that this panel was the weakest on the page for a couple of reasons. I had totally overdone the shading with all those lines… muddied up the panel and the page. It doesn’t look too bad out of context, but when reduced, it really just turns into a gray mess (I’m drawing this story Golden Age-style, “twice-up.” In other words, it will be reduced by 50% when printed.
Also, the pose of the central figure was not satisfactory. So…
Altogether cleaner with simple black and white shading, and by moving the woman to a side view I could call better attention to the baby in her arms. I made the guy eating his hat larger, and placed the crawling better so I didn’t have to crop him. I had to lose some of the background figures… but a stronger read, I HOPE, especially when it’s reduced.