The Ultimate Comic Strip

I see this month’s zipping by, and as busy as I am, I’m just not at a point where I can post anything current and new yet. So instead of that, here’s something old that might be of interest.

This was done while I attended Art Center in Pasadena, back in the early ’90s. Some of the specifics are lost to time now, but I had an illustration class at the time, and for our final, we were to do a self-portrait. The parameters of the assignment and how you could interpret it were wide open.

I wasn’t sure what to do, how to approach it, and was wracking my brains. Until one of my friends in the class made the offhand comment, “Oh, you’ll just do yours as a comic, right?” It was one of those forehead-slapping moments. I was too close to it to see the solution myself, though it was the obvious way to go in the eyes of my friends in the class who knew my interest in comics.

And this was the result. Though I think I draw a bit better now (I did this twenty years ago now?! Yeesh!), I still kind of like this. I think most artists can relate, at some point or another. Anyway, enjoy! I hope to have some new current work to post next time.

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Yet More Teasing

Things are really busy here. I finished one of the projects I teased last month, but I still can’t show off the whole thing quite just yet. However, rather than let the month pass without posting anything, I thought I’d at least show a portion of the final art. It’s another faux comic cover (something I’ve done a lot of). This one I’m quite happy with (So is the client, which is always a good thing when you can manage it), and I look forward to when the whole thing can be shown!

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Once Again, a Merry Christmas and Happy Holidays!

Well, I find myself in a strange position at the moment: buried under a number of various side projects. It’s unusual for me to get hit all at once like this, so I’m not quite sure what to make of it. They’re all the kinds of interesting and challenging assignments that are hard to say “no” to, and should be a lot of fun to see through. Gotta keep them all moving though. If you can imagine me frantically juggling to the musical accompaniment of the “Sabre Dance,” you’ll get the idea.

Unfortunately, though I’ve got all these projects going, they’re all just works-in-progress at the moment. None of them are done and ready to post. Even if they were, some of the people I’m doing them for might not be ready for me to put them up quite yet. And with the holidays so close, I don’t think I’m going to have time to do anything else special for my site right now. So in lieu of that, I hope maybe some sneak peeks at a couple of the works in progress will suffice for the moment. It’s either that, or let this month go by without posting anything.

One brand new item I can point out: I am pleased to announce that I am now being represented by Ellen Ann Mersereau, who works with a roster of some of the most talented creators in the business. You can find her contact info over to your right in the sidebar.

Wherever you are, whatever your current circumstances, I hope the holidays are good to you; that you have a good Christmas, and an excellent New Year!

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Looking Back

This will be one of those schizo posts I’ve done from time to time, where the illustration part doesn’t necessarily relate to the bulk of the text. And “bulk” is probably the right word; this post will be lengthier than usual, so I apologize for that in advance.

Let me explain about the illustration first. My younger brother is writing a book, and asked me to do the cover illustration. Over the years, we’ve collaborated on a number of projects (including our band, back in the ’80s). And it’s always an interesting and challenging experience (in the best senses of those words), because I have a lot of freedom to try things that I probably couldn’t for other clients. Usually, I wind up heading into new and unfamiliar territory that I might not have explored on my own. This piece is a case in point: we wound up with Michelangelo’s The Creation of Adam as reinterpreted through a kind of “street art” lens. Definitely not a direction I would’ve imagined myself going, but I’m pleased with the end product. Though don’t expect to go out late at night and find me throwing it up on the side of some building in the wilds of downtown Los Angeles!

Now on to my main subject: I’ve realized that this month marks the one year anniversary of my site. It seemed like this might be a good point to take a look back, and give something of a peek behind the curtain. When I first began to weigh the idea of putting up my own site, I was very reluctant to bother, to be honest. The only reason I did it was because it has become absolutely essential as an artist (particularly in animation) to have a website. Most studios now don’t want to handle physical portfolios anymore; they’d rather just have a link they can click on to view your work. So this was a case of “like it or not, you’ve got to do the research and get your own site up.”

But I’ve found a really good thing that has come out of having the site. As a kid, I used to love to draw. I’d spend hours at the kitchen table doing it. But fastforward to adulthood, and an unfortunate side effect sometimes of turning the thing you loved doing as a kid into the work you do for a living as an adult, is that you can lose that love. When you spend all day being told what you’re supposed to draw and how to draw it, that can sap your motivation to draw anything for yourself when you’re off work. The last thing you feel like doing sometimes at the end of the day is to pick up a pencil again for yourself. But the thing is, it’s important to keep at least a portion of your art as an outlet for your own expression. Making time to draw for yourself is important. Hanging onto that love for drawing you once had as a kid is important.

And having my own site, where I can draw whatever I want, and in whatever style I want, has gone a ways toward helping me to regain that love. Though it’s a lame simile, it’s almost like my site’s become the internet equivalent of having a giant refrigerator that I can tack my art to, for people to see when they come by.

One other thing I decided, early on, (and I guess you can file this under “statement of purpose”) is that I wanted to stay on the positive side in anything I write here. It’s very easy to go negative. As my friends can tell you, I have my opinions about the things I don’t like in movies, cartoons, comics, etc., just like anyone else. But there are plenty of places on the internet where people can (and do) vent at length about things like that. I’d prefer to be a positive voice. Rather than waste time talking about what I don’t like (why give those things any further exposure?), why not spend my time talking about the things that I like? Why not give those things the spotlight? So that’s what I’ve tried to do thus far, and what I intend to keep doing. That, and showing off new work on my big internet refrigerator when I feel like it. :)

And that’s probably more than enough verbosity for one post! If you’ve actually made it through to this point, I wish all reading this a Happy Thanksgiving!

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Hydee Hits the Funny Pages

I’ve just been given the go-ahead to finally spill the beans about a project I worked on earlier this year. It’s what I was talking about in this post. I got to help with the art for a short Hydee and the Hy Tops comic, which is to be produced as a giveaway. You get to see it all above, for the first time anywhere, probably.

Once again, I was given the opportunity to collaborate with the lovely and talented Jim Stenstrum (who is trying to get together a site of his own. When that happens, it will be in my blogroll). Jim pencilled these pages, while I did all the coloring and lettering. There were no pencils harmed in the making of this comic, as there was no inking in the usual sense. The art style has no containment lines; just flat areas of color, with occasional bits of colored linework only where needed. The look of the comic was based on what we’d done for the flash-animated Hydee feature, which I don’t think has been released just yet (Though you can see some of the work I did for that here in my Galleries).

I enjoyed working with the Hydee characters, both in the comic and on the feature. The scenario was kind of “Josie and the Pussycats by way of the Go-Gos, but if they were being formed now for the Disney Channel,” if that description makes any sense. And the client was a dream to work with (which, as anyone in animation can tell you, is not something you can expect to happen all that often). I wish all clients were that good to work with! If the opportunity presented itself to work with the property again, under the same kind of circumstances, I would not hesitate to do it. It was fun.

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The Man from Planet X

A confession: I like a lot of old movies. And I have a bit of a soft spot for many of the old sci-fi or monster movies. Recently, I had the chance to watch The Man from Planet X (courtesy of TCM and my DVR), which I’d never seen before. I had only ever run across mentions of it as a kid from time to time in library books on sci-fi films. Turned out the film was decent, but nothing really all that special…except for one thing: the title character. There was something really striking about the alien design for this film.

When you boil it down, I suppose there’s not all that much to it. It’s just a nice bit of sculptural design for the head and helmet assembly. The thing that probably sells the alien and makes him memorable is the built-in uplighting they included in his helmet, so he carried “drama” with him wherever he went. Others’ mileage may vary, but the visual was striking enough to lodge in my head at least. It’s a good example of making very effective use of what was probably a limited production budget.

So here’s my shot at the Man from Planet X. I saw it as a chance to play around with some dramatic lighting and black-spotting. It’s a bit of an experiment, in that I tried to ink it the way Milton Caniff and Noel Sickles used to do: banging in all my blacks first with a brush (scary!), then going back in with pen where it still needed it. I do like the whole “lost edges” effect that working this way helps to achieve.

This scene didn’t exactly happen this way in the movie, but so what? It’s my blog, and I can draw what I want! And anyway, it seems a reasonably appropriate image for Halloween.

One last thing here, a bit of trivia: the female lead in the film was Margaret Field, the mother of Sally Field. I don’t know if anything like that would ever come up in a game of Trivial Pursuit or not, but if so, don’t say I never did anything for you!

UPDATE: FCA Editor P.C. Hamerlinck made me aware of the fact Fawcett had actually published a comic adapting this movie, with art by Kurt Schaffenberger, and that you can check out a b/w UK reprint of it here. Interesting to see Schaffenberger take his art in a different direction from what we’re used to seeing him do, and to note that there are places in the comic where they diverged from the movie! Thanks Paul!

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She’s a Sensation!

Though DC’s big reboot has already been sprung on us, I had one more image in that poster style that I had to try. Might as well complete the trifecta, right?

So this time out, it’s Wonder Woman. If you’ve read my previous posts on these golden age characters, I realized I kind of unconsciously set up a progression; I mentioned that I liked Superman, but later confessed I liked Batman a little more. So you might be expecting me this time out to say I liked Wonder Woman the best. But you’d be wrong.

Sorry to say, I really wasn’t all that into Wonder Woman as a kid. I appreciate the strip much more now as an adult than I did back then, for its historic significance as well as some of the aspects that are unique to it (the fantasy elements, the mythological, etc.). Perhaps the golden age art (by H.G. Peter) looked a little heavy-handed and crude to me in some ways as a kid. Looking at it now, I have more of an appreciation for it (It feels at times like a sort of cartoon version of an Albrecht Dürer engraving).

Wonder Woman is an interesting concept that seems to be a tough one for writers and artists to get a handle on. And even if they manage, it seems hard to get a handle on it such that it will engage people and get them to buy the book (Which is probably the more important point). Many approaches have been tried with varying degrees of success, and some don’t get tried at all. But Marston and Peter must’ve had a handle on something when they created her. She’s survived this long and managed to become part of our collective pop culture mental landscape, recognizable even to non-comics readers. I think that’s worth a little salute here.

A confession: this poster is a loose homage (which I acknowledged in how I signed it) to an original poster by Ludwig Hohlwein. In studying his work online, I stumbled across one poster that just seemed a natural to adapt for a Wonder Woman image. It all but cried out for it. So that is what I did!

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Obey the Bear!

Okay, I probably need to explain about this one. To do that, I need to get into a little of the “behind the scenes” workings of WordPress.

A few months back, I decided it would be a good thing to have some kind of a hit counter for my site, running in the background. The beauty of WordPress is that there’s likely a Plugin you can install for just about any purpose. I wanted a Plugin that would give me an idea of how many hits my site was getting, where people were coming from, what they were looking at, etc. It’s been fascinating to watch this info accumulate as time goes by. In some cases, it’s been surprising to see what posts and images get more hits than others. And one thing that’s turned up is that the Care Bears images on my site have been pretty popular.

So, I’m no dummy; it made sense to perhaps generate one more. I revisited a Post-it drawing I did as a goof back when I was working on “Care Bears,” polishing it up in Adobe Illustrator. Some of you will recognize this as a play on Shepard Fairey’s OBEY Giant image, featuring the late wrestler André the Giant done up propaganda poster style. Perhaps it’s a bit of an oblique gag to play off that iconic imagery with a Care Bear, but have you ever had one of those visual ideas that get stuck in your head and won’t go away unless you get them out on paper? You other artists out there know what I’m talking about.

So here you are, for whatever it’s worth. And for those who wonder which Bear this is, I figure it’s probably Grumpy. Because he’s cool like that.

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“I Shall Become a BAT!”

The clock is counting down to DC Comics’ big reboot, and it’s still got me thinking back on the originals. I thought I should get at least one more post in here, before it happens. Superman was looking a little lonely.

Like I said in my previous post, I’ve always had an attraction to the early golden age versions of some of these characters, despite the occasional ruggedness in execution. There was a primal kind of energy there that perhaps got lost a little bit along the way, as the artists and writers got better at their craft, and began to formulate the rules for how you were supposed to do this sort of thing.

Last time, I copped to having an affection for the golden age Superman. But if pushed, I’d have to admit that I probably liked the golden age Batman just a little bit more. Those early strips just dripped with mood: dark shadows, misty nights with almost always an enormous full moon, and plenty of strange characters for the Batman to go up against. When I first began to encounter this stuff in those DC 100-Page Super-Spectaculars as a kid, I had no problem at all understanding why kids encountering these stories for the first time on newsstands back in the golden age were attracted to it. This stuff captured your imagination.

In the same vein as the Superman poster, here’s one featuring Batman in that early 20th Century Poster Style. This time out, I did my version of a classic pose that Kane used a number of times in those early issues. A very big “Thank You” to Bill Finger, Bob Kane, Jerry Robinson, George Roussos, and all the rest of Kane’s “ghosts” over the years who made Batman what he was!

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“Look! Up in the Sky!”

If you follow comics news at all, you’ve probably heard there’s this big reboot that DC Comics is doing in September. They’re starting all their books over from #1, redesigning all the characters and redoing their origins. You can’t assume now that you know anything for sure about who they are, their motivations or the overall scenario.

I’m not going to get into commentary on that here (there’s been plenty of that already in other places online). But I’ll admit the idea of the retirement of the original characters has me thinking back on them a bit wistfully. Though technically a child of comics’ silver and bronze ages, I’ve always had a fascination with the golden age era too. Despite the fact that work was often a bit crude in comparison to what came later, there was a certain life and raw energy to those early incarnations of the characters.

It’s a lot easier to lay hands on golden age comics stories now. Back when I was a kid, mostly you just got to read about them (in books like Steranko’s History of Comics, or All in Color for a Dime). If you could lay hands on one of DC’s 100-Page Super-Spectaculars though, you knew you were in for a rare treat.

Like I say, I’ve long had a soft spot for these early, primal versions of characters like Superman (the proof is at left; a scan of a fake golden age cover I did when I was about 12 or 13). And with the DC reboot coming, I thought I’d revisit the original Superman once again. The new image up top could’ve gone in several different directions, but what I wound up honing in on is a Shuster-esque version, posed more formally. It’s been taken in the direction of vintage poster art from an even earlier era. Because that seemed like a fun idea at the time.

Just my salute to the golden age in general, and the original Superman in particular. Thanks very much, Mr. Siegel and Mr. Shuster!

UPDATE: I recently discovered online these neat Superman pages, drawn by Stewart Immonen some years back. Done in the style of Winsor McCay’s “Little Nemo,” they’re not entirely unrelated to what I’m trying to do here with this poster. I thought these were really neat, and worth sharing. It’s funny how well Superman works in a style like this!

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