Emerald City 2012: The Crown Jewel Of Comic Cons

Visiting Seattle is always fun but it is a special pleasure when it's in conjunction with my work. The Emerald City Convention is a highlight of my year and this time was no exception; I met many fantastic people and more than a few of my heroes. Thursday night I finished making my commission sign with a giant sharpie that probably lowered my IQ by a few points via the fumes involved. Friday was fun and busy; lots of costumes, kids, new attendees and audible laughter in every direction.

These sketch cards are all for sale at 30.00 each. You can also request a custom set of your own 12 for 350.00
Saturday started with a visit to the Crumpet Shop at Pike Place Market where my friend David is the baker. The show floor was more of the same enthusiasm seen on Friday but with many many more people. The convention apparently broke attendance records; I didn't get to leave my table. This is a good thing because I got to do a bunch of fun commissions, sold some of the things I made (books, prints and charms) and met many of the wonderful people who read my comic. I was in a huge island with many of my dear periscope studio friends and the magnetism of their amazing abilities and charisma certainly helped bring over some new people. In fact, some people told me they were sent my way by specific studio members who are unfailingly generous and supportive of my efforts; Dylan, Jeff and Steve... I'm looking at you.

They measure 2.5 inches by 4 inches and are painted with watercolor on 90 lb Winsor newton watercolour paper.
Sunday was fast and frenzied with me catching up on commissions, giving away all of my business cards and rushing to the train station. I talked with the amazing Patrick Reynolds on the train ride back and cajoled my seat-mates into at-least 30 games of bananagrams. Lindsey came to get me and brought Ethiopian food. We were both super happy to see one another. She had intended to go but a death in the family prevented her traveling. Next year will be great for many reasons but chief among them will be that she will most likely come along.

I also take requestes for sets or singles of any and all characters at the rates noted above. Avengers, Game of Thrones, Parks and Recreation... you name it.
I learned that need a tall banner, a money box, a system for organizing prints and a published version of Tragedy Series. I'm fortunate to have a forthright readership and most all of those who came to say hello either asked when there would be or emphatically insisted that there should be a collection of the comics. I am going to do what I can to have that very thing around for next year. With stumptown coming up I've got another chance to practice my best 'I'm not giving you the hard-sell' Hello a few hundred more times.

Lastly, here are a few con-improving tips for those less-considerate attendees:
If you are seeking an autograph for your collectable book do the signee the courtesy of a cursory glance at their merch. A bit of genial conversational interchange never hurts either.

When people say a simple and friendly greeting to you it isn't necessarily preamble to a telemarketer-style spiel. you can say 'hi' back rather than just shuffling by with a facade of ambivalence or distain.

In the event that you find yourself enjoying an artist/creators' work to the point that you linger, when you clearly had no initial intention of doing so, and subsequently laugh out loud multiple times, it is an small but valued gesture of thanks for that bit of entertainment, to make eye-contact and acknowledge attempts at a dialogue. After all, they made the thing you were just digging; it didn't just happen and it's nice when people affirm that connection.

Show cartoonists that you value their work by offering something appropriately compensatory or by asking nicely for something small (if you want it free) when you approach them with your sketchbook or commission request. It is their livelihood and a skill set that all of them have been cultivating their entire lives. It is greatly appreciated when people express an understanding of that dynamic.

Girly Stuff.

I've been swamped with my Star Wars project for a long time now and I have not had much in the way of free hours. Still, what little time there was manifested a few lady-specific sketches: I do make a point to draw Lindsey as much as I can, I was commissioned to do a portrait of an ailing but brave girl fighting a brain tumor and, finally, I happened to have a 20 minute period where I put way too much effort into a little wonder woman doodle.

I like to draw women but there is a fine line to walk between being playful in exploring what you find attractive or enticing and being a total perv. I've come to a point where I'm just going to draw what I like measured against the context I'm working in; trying to find that balance.

I was talking with Periscope's current Intern Ainsely Yeager, about what gains a person success in the field of comics, and I said something along the lines of 'if you don't have boobs you should learn to draw them' to which she replied with a more concise "(to succeed in comics) you better be a hot chick or know how to draw them." It's true that being an attractive girl can go a long way in endearing your work to comics readers.

It has occurred to me that, since I like science, it might be a worthwhile thing to try an experiment along these lines. Will more people take an interest in my work and promote me if I spend the next month drawing hot ladies and popular subjects rather than my usual fare? The question really boils down to whether people are more interested (generally) in subject rather than approach. I suppose there is a balance to be struck between drawing weird niche images that satisfy me and the things that please people.

we'll see aye?

Help Me Obi-Wan Kenobi: It's Our Only Post

I have been occupied overly with my industry projects as of late. However, with some difficulty, I've been able to fit in a few commissions. I was recently approached to do a piece that featured 3 female characters occupying the same space without knowing if any of them were favored by the client and or what kind of composition they wanted. The way I start a job like this is to draw out around 10 thumbnail images to get something down on paper. I like to do more depending on what sort of image has been requested of me. You can see the whole process below:









I wanted to post this Before November was over.

Know that I haven't forgotten about the blog. I've just been so busy that, between my professional and personal commitments, I've had to let some things lay fallow. Unfortunately this has been one of them but I'm going to make a vow to post once a week at minimum during December. My holiday gift (to the ten of you that read this blog) will be more posts!