I've been doing a lot of sketchbook drawing lately. I told myself that I wasn't going to do that anymore because I always got all crazy on the drawings and took them to finish, then people would want to buy them and I couldn't sell them. This problem is solved by not working in my book made of thick file dividers. When the paper is able to accept any amount of painting I get anal about it and try to make every page a masterpiece, even painting over old pages I didn't like. I stopped using that book for now and am just drawing in a canson sketchbook of crappy paper, this saves me from myself because the paper does not accept paint at all. #1) I like to draw from old national geographics, especially from the 50's. This one was from the 80's I drew the shark first, then flipped a couple pages and found this hunter and drew him under it. I like the juxtaposition a lot and I'm going to try to convince this band that it would be a good record cover.#2)This is from a Nat. Geo from the 50's. I spelled mustache wrong, but what can you do?#3)Also from a 50's Nat. Geo. The pictures weren't as sharp back then so they provide a little challenge as reference. I like that I can't get all the information I need from the picture because it makes me flex my brain a little bit and improvise.#4) I drew this in the Laundromat today, it's from an 80's nat geo. I thought that kangaroo in a clear sack was kind-of creepy.#5) There was this homeless dude passed out next to me and I drew him in a couple minutes. I could have taken all day, though, because he was passed out stone drunk after someone gave him a roast-beef sandwich that he showed no thanks for. The attendant apparently didn't like that I was drawing him, as if I was somehow exploiting him, and tried to wake him up 3 times. He didn't move one inch; stone drunk. I never do life drawing these days, but I'm starting to see the advantages of drawing drunks passed out. I think you can tell I was a little shaky. I was most interested in his hands.
I got a job doing some illustrations for Ellipsis Magazine. I will be replacing Ben Templesmith, a well known comics artist, because he apparently has a scheduling conflict. It's for a story by a writer named Brian Evenson that will be published in 6 parts. Templesmith is doing the first 3 and I'll be wrapping it up. This means I'll have to do 2 b/w illustrations for 3 issues. I'm getting paid in magazines and ad space, which is OK because it's getting my name out there and I need that more than anything right now. Getting gigs has been exceedingly easy so I'm feeling proud of myself, and I'm told that free is where you start and the money comes later.