I’ll be printing more copies of my new comic (title in the picture above) on monday!
More news about where to purchase it next week.
Since I haven’t ‘Gramed in a while, and so’s people can see the #Ancestor progress
I’m going to be getting copies of my new comic (debuted at APE) available for sale online here pretty soon (within the next couple days).
In the meantime, here’s a thought
If I have no bubble gum, and someone gives me a stick of the stuff, I think the natural thing to say about this circumstance would be that I now have bubble gum. I would not readily say that I have more bubble gum than before - in fact, I don’t think it makes sense to say, strictly speaking, that I do have more gum than before (as if “no gum” were an amount of gum). If I had two sticks of gum, and someone gave me another (so that I had three) then I would say that I had more bubble gum.
Conversely, I wouldn’t describe myself as without bubble gum unless being without bubble gum entailed something else about me. Being diabetic, for instance, would make it so that “being all out of insulin” was an important fact about a person (life or death, even), but “being all out of insulin” is a meaningless thing to attribute to a person without diabetes (this is just an example, I’m a healthy dude, and thus not very knowledgeable about medicine, so perhaps there are lots of other reasons to have insulin on hand - but I trust the main point here is clear enough).
Some of the prints I’ll have this weekend at Alternative Press Expo in San Francisco.
I’ll also have all my comics, of course, and a big pile of original drawings.
Matt Sheean will be sharing the table with me. He has a new comic called Fugue, as well as prints and originals.
maxpeake said: Hello, do you have a store? I have to buy your latest comic.
Thank you for your interest!
The comic will be available online sometime after this weekend.
New comic for APE! Come by and grab one at tables 806 and 807!
also, apologies for the photos not being flipped. I am like a helpless old person with technology sometimes. You get the idea, though.
ornafives said: Hi there, my names Tom and I'm an illustration student! I really like your stuff and really like the colours you use, I was just looking for some advice on how you pick your colours - do you have a method or do you just choose what you think will look good at random? Thanks :-)
In a very general way, I always keep an eye out for colors and combinations of colors that are striking. Right now, for instance, I’m doing a comic and the colors are based on “Lune L’envers” by Blutch.
Even if you’re just doing a single image that isn’t part of a comic I think the below principles still apply. Now, since I mostly do comics stuff, that’s how I think about color, so forgive me if this doesn’t answer your question as directly as it should.
I’m usually thinking about a few things when I color. I want a comic book spread to be visually striking and coherent, even at arm’s length. So I think a lot about finding colors that (1) articulate the “structure” of a page, (2) communicate the emotional thrust of the narrative, and (3) clarify the fictional spaces in the drawings. “True” or “natural” color is only used as a loose touchstone. Here’s an example from two comics that I have available at the moment:
It’s a little unfair to compare these two since they are shooting for such different goals, but I still think they can help illustrate what I’m talking about. The bottom spread is vastly more exciting and visually appealing. It’s from Transformers Vs. G.I. Joe #2, written by Tom Scioli and John Barber, with all the art and lettering by Tom. Should I mention the credit on the top one since I’m going to talk shit about it? I don’t know. I don’t even think there’s anything particularly bad about the top spread (well except for that drawing of Storm. That is truly awful) its just kind of a standard superhero spread.
While Scioli blocks out areas of the composition with bold colors that highlight the fun adventurous tone of the story, the top spread is chained to “real colors” and ends up just being kind of a big brownish blue blob. Colors being bright isn’t a requirement (although I think it helps a lot of the time) but unless the story requires a murkiness then there isn’t a reason to color something the way that top spread is colored. I think, even if Scioli’s spread was desaturated some the coloring would still be much more effective than the top comic.
Really, Scioli is just pushing harder and thinking about the pages as a whole. He colors in dialogue bubbles to reinforce composition on the left page, and to maintain visual intensity in the red panel on the right page. He uses a lot of colors in some areas, like the tall panels on the left page, but offsets that by using the same colors in other areas through out the page.
In the top spread, if the room is a dark grey blue in the 2nd panel, it’s colored that way in all the other panels. Same with Wolverine’s skin tone. It isn’t necessarily bad (sometimes it works to do a section of a story with a really limited palette, for example) but the whole comic is colored in a really restrictive way.
Anyway… I could go on forever about this stuff… I’m really interested in learning about coloring and improving my work.
Malachi talks colors. I might be biased here, buuut I think he’s worth listening to.
yet ANOTHER tease
this boy’s gonna be at APE, along with about 140 other panels inside a little book for you to read.
A quick thought about Character.
One difference between a well drawn character and a bad, I think, might be understood by analogy to romance. The person who loves another for some quality, his looks or her charm, loves them only for what they have in common with other people. Genuine romance, I think most will agree, is one in which both parties are taken by the other’s particular way of being charming or their way of being handsome, that is to say: the particular way in which that quality exists there in that person. The quality must be taken up into the person rather than the person into the quality.
I hope that makes sense.
At the Egyptian city of Naucratis, there was a famous old god, whose name was Theuth; the bird which is called the Ibis is sacred to him, and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters. Now in those days the god Thamus was the king of the whole country of Egypt; and he dwelt in that great city of Upper Egypt which the Hellenes call Egyptian Thebes, and the god himself is called by them Ammon. To him came Theuth and showed his inventions, desiring that the other Egyptians might be allowed to have the benefit of them; he enumerated them, and Thamus enquired about their several uses, and praised some of them and censured others, as he approved or disapproved of them. It would take a long time to repeat all that Thamus said to Theuth in praise or blame of the various arts. But when they came to letters, This, said Theuth, will make the Egyptians wiser and give them better memories; it is a specific both for the memory and for the wit. Thamus replied: O most ingenious Theuth, the parent or inventor of an art is not always the best judge of the utility or inutility of his own inventions to the users of them. And in this instance, you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality.Phaedrus
This won’t be out for a while, but I’m excited about the project, so I can’t help but post a peek.
By Matt Sheean and me.
Malachi is causing me much humbleness with his color work. Tis like observing the tinkering of an ancient color god.
Also! Just for fun, reblog this and when you do, name the artist and painting of the work depicted in the top right of this panel
yet another tease for a new comic that shall be premiering at APE! Stop by, if you’re in San Francisco, and see Malachi and I, now in stereophonic, two table wide beauty at 806 and 807! We’ve got so much stuff we needed two tables.
Mean guy from this comic I’m working on for APE