I colored this drawing quickly on photoshop, just to experiment, and I liked the way it came out. It's mostly experimenting with the blending modes. I think if I have to color my comics in the future they will look like this. It was quick and easy and I like the way it looks. I've done some work using the standard "liquid!" type of coloring and I found it to be tedious and time consuming.
I've been working on setting up a new for sale section on my website. In the future when you click the "For Sale" link you will instead be taken to this (in progress) blog. I'm working out the paypal business account thing so I can accept credit cards, and there will be a shopping cart function. You'll notice that there aren't really any prices, there will be, on everything in there, but I'm waiting to "debut" the new section until I get my California resale permit this week (hopefully). If you don't live in California it won't affect you. Once again, I can not take credit for this idea at all, thank James Jean www.processrecess.com If you don't know about James Jean you should; he's one of the most talented, prolific, and innovative illustrators around, seriously. I look up to him a great deal. On top of being amazing, the guy at Super 7 told me he's a really nice guy, and he's only like 26, so there you go! Part of me wishes he was a well-known asshole so I could hate him, but that's just because I'm so jealous! There's another guy I found out about through him named Kenichi Hoshine. He is also amazing and you should know about him. I wish that my gallery work looked like his. I don't know if he's a jerk or not, but I hate him anyway with my rampant jealousy!!! HA!!!! He's probably the nicest guy ever and I'll regret having said that one day. Oh, those links are such a strain on the spell-check, grrr.....
This is probably finished. I plan to submit it to a group show at the Boontling Gallery called "Overhung 2". The owner is a friend of mine and he always asks me to submit. I didn't feel like any of my newest work was appropriate, mostly because it's all on the illustration side and not good for gallery work, or it's too big for this show, or I don't want to sell it for any small amount (like the tentacle one I'm quite fond of). So here it is. If it doesn't sell at the show I'll put it up here. I want to set up a paypal account through this blog, and on my website. Basically I want it set up the way James Jean has it (processrecess.com). It's a good system. I forget why I didn't get one the other day..... I got a check yesterday that made me laugh. It was for prints and it read "For: Organs and Lobotomy". It could seem weird out of context.
I've still got so much to do. People just keep asking me to do things, and I can't say no or ask for a decent amount of money! Maybe I should get an agent. Anyway, I'm putting down everything else to work on a painting. I was asked to submit to a group show at boontling gallery, and it's got to be done by Sunday. Just a little one though, no sweat. The problem is sometimes when I have a close deadline I draw things that are MORE complicated then I would normally draw, making extra stress for myself. There must be some psychological reason I do that. At least I always make the due date and it looks good. I'm going to try to combine the political zine drawing I'm supposed to do with a painting. There will be no free time or weekends for me until I get frequent and lucrative work; it'll be a while.
This is one of 3 or 4 drawings I'm doing for a zine called Guerilla Artfair. This months issue is "political". I'm not really into making political art these days so this is a bit of a challenge for me. I follow world events and listen to the news and whatnot, but I don't normally find it inspiring.
I got 2 assignments today for b/w 7 inch covers. One is for a band called E.M.D.C. and it will be a zombie doing a hand-plant on an old-school skateboard, at the request of the band. The other is for a band called Fatalities and it will be a classroom reading and one kid stabbing the teacher in the neck with a pencil, again, at the request of the band. It's not what I'd ideally think of as awesome in the idea department, but I'm going to do my best with it. I just don't want it to be an ongoing thing where every skate-and-destroy thrash band wants me to do a zombie or skeleton skater for their record. It actually makes it a lot easier on me if they already know what they want and I just have to draw it. The hard part is coming up with something original that fits well with the project.
This was a little costume party at the convention. My brother is Batman, then there's Green Lantern, Indiana Jones, and Laura Croft from Tomb Raider. They were just kind-of geeking out, talking about how hot it was in their costumes. I always thought it was bizarre how people dressed up for these things, but my brother must have had thousands of pictures taken of him, and seeing these little kids get so excited made it seem worthwhile. It's like anybody can be a celebrity if they make a costume and are brave enough, at least within the confines of the convention.
These are some pencils I did the week before Wondercon. Each page took at least a day to do, which was frustrating. I sometimes do paintings in a day but somehow having to draw tight pencils from reference took a long time. I suppose it's because I'm normally drawing or painting a couple people, but here I have to draw many people from every angle. In the future I'll probably just print the pictures out and trace them, or not use reference at all. It depends on what I envision for the pages. I'm perfectly good at drawing from my mind, but sometimes it's not the style I want. I actually don't like the way these look. I'm not a pencil fan. I'm going to ink them and see if they start to appeal to me. The script I used is from Steve Niles' "30 Days of Night". I obviously didn't reference the original Ben Templesmith art at all. The comic convention went really well for me. I showed my work to the people at DC and Darkhorse and got positive responses from both. Both were especially impressed with my illustration portfolio, or I guess you might say the things that had cover potential. This was very surprising to me because I know they only have the "stars" of comics do the covers. I thought it would be much easier to shoot for a penciling job. The Dark Horse editor liked my pencils and loved the illustrations. It was a very informal meeting with no lines or set times or anything. She mentioned something about a short comics collection that I might work on. She echoed what many said, that I basically have to make a book and propose it to a publisher. Dark Horse, like just about every other publisher, doesn't do a lot of "work for hire". This all makes sense and I got some great feedback and criticism. The DC editor saw my pencils first and thought they were pretty good but not applicable to "super-hero" comics. He gave me some really good comments and we talked a little. Then I showed him my presentation case with my illustration portfolio. We talked about some other things as he flipped the pages. I said something and he replied along the lines of "What? I'm sorry, I'm just so caught up in what I'm seeing here". At that point he gave me his card and told me to send him some samples. The rest of the interview he seemed a little awestruck and I have the impression that he doesn't see a lot of portfolios like mine. It went exceedingly well I think. I went downstairs and ran into one of my favorite instructors from CCA, Barron Storey. I told him what happened and he made me think that being asked to send files to the editor is basically a green light. He also said "Be careful, these people are sharks". I'm horribly afraid of sharks, real ones at least, so that comment will stick with me. The best part! I brought my art of Hellboy book today to have Mike Mignola sign it. Surprisingly, there wasn't really anyone around him today, friday and saturday he was swamped. I walked right up and had him sign it and asked him if he would look at my artwork. He did this thing. This thing that's hard to describe. Whenever I asked an artist if they would look at my portfolio they did this thing where they want an excuse not to and feel kind-of pinned into looking at it. So a lot of people went "um(look around)...yeah..uh..sure let me see what you got there". I can tell they're looking for any excuse not to but are generally to nice to say no. I believe thier aversion stems from there being so many terrible artists at these conventions that it puts them in a really awkward situation. However, everyone I showed my stuff to changed their attitudes very quickly when they saw that I'm not a hobby artist or anything; it's understandable that they would think so because I'm so young. So Mike made a nasty face and looked down the (sudden) line of people and said "errr..yeah..ok". He was honestly amazed, probably a pleasant surprise. He complemented me on how great the work was and was very verbal about his liking my paintings. Then he asked me a couple things and said he wanted me to mail him prints of my work, and gives me his business card. He said something about needing painters for projects. He even said "I LOVE this one with the refrigerator" and the way he emphasized love I could tell he meant it. If you know his work and that peice it makes perfect sense. I still cannot believe I got such a good reaction from one of my all-time favorite artists, not to mention his stature in the comics world. It couldn't have been better.
First post! I've noticed that a lot of my favorite artists are doing online journals, or blogs, whatever you like, so I thought I would as well. They're great because you can get some really useful insight into their process or the most up-to-date news about their exploits. I'm going to scan some images now, then I'll have a new post or two. I've got a lot to say about my weekend at Wondercon.