Archive for Comics
In addition to figuring out how to color in photoshop, I started a tumblr.
Also, I moved to Austin, TX. Probably you knew that.
Hey, ya’ll! In celebration of my having (finally) finished the first part of the Tentacle Kid story that I’ve been working on (print edition to appear at MoCCA, hopefully), I figured I’d share this with you. “The Wolves of San Papel” appeared last year in the Tales from San Papel anthology, edited by CCSers Nomi Kane and Jon Fine, and has the (dubious) honor of being the first Tentacle Kid story of any length. Have a gander, won’t you? As always, click the images to embiggen.
It’s nice to know that I’ve improved a bit since last year, if at the sacrifice of speed.
More comics soon, I promise!
Edit: I forgot to mention that Brain Wolf/wolves are the creation of fellow CCS-er Ben Juers, who’s been working on some wonderful slapstick stuff the last year or so. I wonder what his thesis will be like?
…Sorry for forgetting to link you before, buddy.
Greetings, salutations, felicitations, &c.!
Sorry if it seems like forever since I blogged–we had a big deadline last Monday up here at CCS, and the intervening week and weekend were used up by PIX, which was a helluva good time.
While I was there, I drew some stuff!
The awful teeth came without context, but the SpaceApe–I guess I was thinking about Kode9’s collaborator on Memories of the Future (?)–arrived with the following description:
SpaceApe, the ape from space, lives in the deepest, darkest emptiest expanse of intergalactica available on his limited budget. As a result, his social skills are extremely stunted and he has a tendency to say the single most inappropriate thing possible at the single most inappropriate time imaginable. It is for this reason that the SpaceApe’s appearance is regarded as an ill omen at parties.
I was delirious with some manner of head and chest cold that I’m just getting over today, so I assume that had something to do with it.
Also, these happened:
Further on the topic of that TimeLife volume, it’s already been an amazing resource for me. And I been drawing out of it too! Have some Montana Cowboys, whyncha.
The TimeLife Old West series was recommended to me by Jason Lutes, an awesome dude and one of my instructors here at CCS. The books are really nice–leatherbound, bunches of full-color plates, nice heavyweight full-gloss paper, well-tooled covers with sections of Remington paintings–and they’re (mostly) less than a dollar on Amazon!
My birthday is in December, readers.
As stated before, PIX was fantastic, and I could not have asked for a better first con to table at, even if I was hacking up unnaturally colored pieces of infestation from my lungs. Massive props to all attendees and tablers, especially the following:
- Cupcakes and Comics, who have delicious baked goods and panels,
- Kevin Czapiewski, whose PUPPYTEETH anthology rocked my sore-chested world,
- And, of course, my inestimable fellows Max, Paul, and Lena, all of whom are beautiful people and worthy traveling companions.
If I’m still on this coast the next time this con rolls around, I’ll be there with bells and a SARS mask on.
P.S: If you like friendly and enthusiastic people who are good at doing things, Kathryn Cantrell is the lady blogger for you. Her oil work is enough to bring tears to one’s eyes if one is prone to tears over art, and really, how can one not be?
Like I said last time, I’m going to share how I do comics–or at least one method that I’ve worked out.
Of course, this is going to completely change depending on the project. I’ve found that it’s a lot more enjoyable for me to change aspects of my working method on the fly than to try to stick to a system.
Cos it’s when a system becomes rigid that it breaks down.
Anyway, I start off, as do most cartoonists, with thumbnails and scripting (developed in tandem in my case). They look sort of like this sometimes:
Then I let that sit for a while, usually setting it down somewhere, forgetting about it, doing long division in red pen on it, setting down a cup of coffee on it, etc. etc.
Then, after I relocate the thing after having lost it, I start the pencils. For the Tentacle Kid story I’m working on right now, I’m working pretty small–at about 9″x12″. I usually work a lot larger, but, uh…see above. I usually use a red pencil and/or a red ballpoint when I’m penciling, along with a mechanical pencil for finer details (or things that I’m having more trouble nailing down). Sometimes, the pencils look like this:
Then of course, inks. I recently purchased my first Windsor-Newton Series 7 brush, by which I think most brush-using cartoonists swear. So that’s what I’ve been mostly using for the linework on this project. It looks like this:
Then comes toning. Before I started work on this story I rediscovered my love for Copic Markers–as Nomi Kane put it, “they’re like drawing with butter.” She is correct in this assessment.
I have to lightbox the pages in order to get the tones anywhere even close to correct, so before marker touches paper, the inked page has to be scanned, reduced in size so as to fit on letter-sized paper, touched up, upsampled, bitmapped, etc., etc.
So I throw the dang thing on the lightbox and spazz out with the Copics for a while, eventually producing something that looks sort of like this:
Astute readers will notice that this has been dot-screened in PhotoShop. I’ve never used actual screentones before, and I’m wary of them because they’re expensive and kind of hard to find. Also, I’m not real good with drawing on the computer, so I tend to avoid doing things like this digitally. This method developed as a result of my inadequacies! Yay!
Anyway, more ‘Shopping happens, and by around 3 or 4 am I end up with something that on a good day looks sort of like this:
In other news, those of you out there interested in experimental electronic music should do yourselves a favor and check out Condanna. Periodically I go through a period where I listen to a lot of almost formless, ‘difficult’ soundscapes (my Merzbow phase has yet to end, believe it or not), and Condanna’s first full-length, “E I Vermi Ammerano La Mi Carne” (Italian: “And the Worms will Love my Flesh.” Yeah, it’s that kind of thing.), features just the kind of creeping dread that I desire in my pseudoambience. The screams of tortured machines distorted by rusted ceilings, rhythmic grinding against the hollowed bones of some long-dead leviathan for a pleasure that you or I can barely conceive.
Tomorrow: Unexpected happenstances, followed by a break in which I’ll post a sketch or something.