Psi-Judge Anderson commission

Here is a commission I painted a couple of months ago of Psi-Judge Anderson (with Judge Death in the background) from the 2000 AD Judge Dredd comics. The original measures about 12"x18" and is painted in gouache. 

Post-Wondercon post

 

Thank you to everyone who stopped by my table at the big show. I had a wonderful time talking art with so many enthusiastic fans of comics and all things fantastic. An extra thanks to those of you who purchased prints, books, or original art. Your support means the world to me.

Speaking of original art, above is a sampling of the commissions I delivered at the convention. All of them were drawn on 10"x14" watercolor paper in pigmented ink.

Wondercon 2013 pre-show commission requests

Well, it's that time again, folks...Wondercon 2013 in Anaheim, CA, March 29-31! I will be setting up shop in Artist Alley at table AA-117. With the show only a couple weeks away, I am busy making the usual preparations- sorting through my original art, putting the portfolios together, making new prints, and so forth- but I still have a little time for some pre-show commissions for anybody planning to attend and pick up their art in-person.

Here is this year's deal:

1. If you would like a commission, simply hit that 'Contact' tab up top and send me your request. Be sure to include 'Wondercon 2013 Commission Request' in the subject line. Feel free to request anything you want, but please limit your request to a single character. I am open to any and all requests, so be creative. It definitely doesn't have to be a well-known superhero, but of course that's fine if it is. A request for a "cool elf warrior" or "beautiful girl with red hair" or "Morticia from the Addams Family" is fine, too. (Yeah, I know you're gonna ask for Jean Grey). Oh, and feel free to give me a few options to choose from.

2. I'm going to look through the requests as they come in and pick the ones I feel I can do the best job on. I will then contact you to confirm that I have accepted your commission. If you do not receive a confirmation email from me within 24 hours of when I received your request, that unfortunately means I will not be taking on your commission. I will post a note on the blog when the window for requests closes.

3. The commissions will be very similar to the ones I did last year, like this Poison Ivy or Delirium. They will measure at least 9"x12" and will be done with all archival materials as usual. I may decide to mix it up and use toned paper or something if the subject seems to warrant it.

4. All commissions cost $500, payable when you pick up your art at the show (if you would rather pay up front, please let me know when you make your request and we will sort it out). I realize these commissions are not inexpensive, but since I am drawing them in my home studio, I assure you I will be doing my best to deliver more bang-for-the-buck. That said, please feel free to tell other show attendees that I completed your commission in a mere 20 minutes at my table while talking and drinking a Coke.

5. The usual legal disclaimer: I retain all reproduction rights for the commissioned artwork. The sale price grants the right of ownership of the original art only.

As always, I very much appreciate any interest in my work, and I am sincerely grateful for the opportunity to take on private commissions like these. Thanks.

I think that about does it. Let's see some requests!

And just to get some art in this post, here's a sketch of a girl with red hair.

Sketch of a Ziegfeld girl with flowers

'Line' booklet SOLD OUT

Well, that's it for the 'Line' convention booklets. I am shipping the final batch of books today. Thanks again to everyone who purchased one.

I know that some international customers have been waiting a long time for their books; unfortunately, it seems the USPS international first-class shipping can take up to a month to reach certain destinations (despite the expensive shipping charge!), so please be patient.

If anyone does not receive a book, or a book arrived damaged, please let me know.

Last Call for the LINE booklets

I have 0 books remaining, so if you're thinking about picking one up, now might be the time.

Thank you very much to everyone who purchased a book already. I realize $10+shipping isn't cheap for a little book, so I am very grateful for the support. The income from the books, along with original art sales and commissions, is a big part of why I am currently able to focus on creator-owned work.

Thoughts on art - Part 1 - You can not win at art

I was recently given reason to do a lot of thinking about my art, my influences, criticism, and what it is that makes an artist excel. I've decided to unload a lot of the thoughts that have been weighing on me right here on the blog. It may even be the start of a series on art process, philosophy, and technique. I'm sorry if a lot of the following is common sense to my fellow art aficionados, but I'm going to lay out my thoughts anyway; first, for my own therapeutic benefit, and second, so that it might provide some tidbits of insight for other artists out there grappling with the same issues.

I am asked about how to be a better artist probably more than any other subject, and beyond practicing the mechanics of drawing, it's all in the mind, so here's what I've been thinking.


RIGHTEOUS ART
or what I love is better than what you love

copyright DC Comics

I recently spent some time on another blog and was taken aback by how much energy was put into attempting to prove that one style of art was objectively inferior to another (the one favored by the blog's author, naturally). This particular blog is focused on animation art, but we've all seen and heard the same sort of thing about comics, music, or any other form of expression: A critic describes a very narrow criteria for what can be deemed "good" art, and anything that doesn't fit that criteria is quickly dismissed. In this case, the criticism cut me like a knife because the target was art that I hold dear. I took it personally, like someone was insulting my wife, and I was surprised by how much it really got to me. I kept telling myself how ridiculous it was to feel so offended, but I couldn't help it. My head was spinning trying to sort out why that was so.

I'm betting that like me, quite a few artists out there picked up a pencil when they were growing up because they wanted to create a world to escape to. And the art that helped to inspire us to do so- whether it was cartoons, comics, grandma's storybooks, or dad's Heavy Metal magazine you weren't supposed to look at- became sacred. I don't want the places I escape to trampled by trespassers' criticism. My whole existence has been built up on the shoulders of other people's work, and if that work were ever diminished, what would that say about me? The need to protect or even glorify something at the expense of all other things just speaks to our fragility and constant quest for validation as people and artists. We pick things apart, present evidence of its inferiority/superiority (I've even seen such evidence described as "irrefutable proof"), argue endlessly on websites and occasionally in-person, write long treatises (like this one), all in an attempt to prove, once and for all, the unprovable. None of it matters, and none of this art zealotry does an ounce of good in improving our craft or making us better artists. It actually inhibits our growth.


BEWARE OF FALSE PROPHETS
or those who can't, sometimes pretend to teach

Some of the art prophets out there "spreading the gospel" cite their own desire to improve other artists, as if they are doing some great service in telling you the stuff you like sucks. Sadly, some of the greatest art snobbery comes from institutions such as museums, associations, and schools, where the collections and curriculum seem designed to limit students' exposure to a narrow range of acceptable styles and techniques, all under the guise of expanding horizons. Disparaging another artist's influences doesn't elevate anyone's art, and a genuinely experienced and skilled artist or educator would know that.

Just another lazy, inferior manga artist

All sorts of art shapes our view, from technically masterful to child-like scrawling, and it is all equally important. We develop as artists organically, naturally drawn to art that speaks to us, and as our craft improves, we begin to figure out why that is and apply it to our own art. That's why I still love all of the art I grew up with. I never outgrew it, I simply kept adding to my list of influences expressly by not just assuming that whatever art I already liked was superior to another artist or style. That sort of exclusionary mindset is a perfect recipe for limited development as an artist, and not surprisingly, the most ardent critics often exhibit obvious weakness in their own work, if they are artists at all (most professional critics do not appear to be). It doesn't stop the self-styled experts of aesthetic beauty from preaching their superiority, but more than a few are likely talking mostly to their insecure selves, quietly resenting the fact that they actually can't draw a decent manga-style face, even while they confidently, and sometimes convincingly, explain all of the simple, lazy formulas the "lesser" artists of Japan employ to do so.


THAT GUY WITH THE MEGAPHONE MUST KNOW WHAT HE IS TALKING ABOUT

It can sometimes be difficult to discern if an opinion is really informed or not, especially on the internet. In the case of the blog I visited, the criticism was not the usual, easy to dismiss, "it sucks because I hate it and I hate it because it sucks" kind. It was carefully considered and well-presented, almost scholarly. Sometimes it can be pretty convincing, and as much as I hate to admit it, I was even taken in by my own preconceived notion of the author's status in the art world. It's intimidating and influential when someone speaks with authority, even dubious authority. I imagine that's why we regularly elect morons to public office.

"Well, I'm convinced. Kill the monster!"

It's scary when you doubt yourself. Upon reading the litany of offenses my favorite art had apparently committed, part of me was afraid that something I believed in might actually be less than what I thought it was. "Could I have had it wrong? I don't want to be on the losing side of the great style war". That's dangerous thinking, and a great way to lose yourself and start reaching for a pitchfork. When it comes to art, and especially a style of art, you can't be wrong. If you like it, it is good. Really. That's why there isn't much point in seeking out validation from an "expert" taste-maker. Hang on, what about technique? Surely, they can pass judgement on an artist's technique, right? Yes, it might be possible to discern someone's relative proficiency with a brush, but technique alone is not art. I'll talk more about that later. So does all this mean that we shouldn't look at the art we like critically? Of course not, and I'll talk about that later, too.


"THAT'S A 6."
"NO IT'S NOT, IT'S AN UPSIDE DOWN 9!"

When reading the art-assault on the blog I visited, I found I didn't even entirely disagree with some of the author's observations, but I completely objected to the conclusion the author came to based on those observations. We were looking at the exact same evidence but coming to completely different verdicts. Sometimes, one person loves a style for the very same reason that another loathes it. Very often, there is a fundamental difference in how the art is understood by the two parties: I look at what is there and admire the lack of extraneous information, you look at what isn't there and bemoan the missing elements. Technically, we're both right.


REAL CRITICISM
as in the constructive kind

"Sure, but how 'bout some Black Sabbath, loser?"

Does all of this mean the art we like (and by extension, our own art) is above criticism? Of course not. Criticism, as in real constructive criticism, is useful in improving technique, or gauging how well your artistic intent is getting across. But the absurd argument that one style of art is objectively better than another is not criticism, it's competition, and that's not what this is all about. When I do portfolio reviews, I do my best to observe what it is the artist is trying to accomplish, and try to offer advice on how to get there, sometimes by contrasting or comparing the work with other artists. I do not admonish an artist for working in a style not like my own. That would be like criticizing jazz for not sounding like heavy metal, or vice versa.


THE ONLY HEAD-TO-HEAD THAT MATTERS: YOU VS. YOU

My goal as an artist is to put to paper as much of what I see in my head and feel in my heart as my technique will allow, which annoyingly, usually isn't very much. What I see in my mind's eye seems to require a lot of work, and the creative waters don't always flow easily from my mind to the point of my pencil. That's why I am constantly striving to improve my technique, but I need a really strong current of ideas to get my hand moving across the paper. If I listened to the critics, or more accurately, the referees, I'd be building dams to stop the flow of some kinds of art, but the only way the river deepens is to let the little tributaries of influence flow into it freely.

TOFU

Here's a true story. I grew up in small town Pennsylvania, thinking I knew something about the world even though I'd only seen it on TV. I was a classic hick-town ignoramus, openly mocking the weirdos I'd heard about eating some kind of bizarre health crap called tofu. I had no idea what it was, and never imagined I would ever have to find out, as only foo foo people from Los Angeles would eat it. It never occurred to me that literally hundreds of millions of people around the globe ate it daily. I had completely avoided the substance until my mid-twenties, when I met a young woman from Japan. On our very first date, she decided it would be nice to cook us lunch. I'm sure I said I would eat anything, as she was a very pretty girl and I was full of shit. She decided on a Chinese dish called "mapo-doufu". It wasn't until she sat the heaping pile of steaming tofu in front of me that I figured out what was going on. I broke into a sweat. "huh…uh..th-that looks…delicious…". The dish was 90% tofu. How the hell could I eat around it? What the hell was it? As she sat across from me smiling, I knew there was only one way to handle it- down the hatch!

I never stopped eating it. I didn't really understand it at the time, but that first shaky bite of tofu was the first step into a whole new world of food and culture. I eat and enjoy tofu in one form or another almost daily with that same pretty girl, now my wife of nearly 13 years. Oh, and we've been living in Los Angeles for the last 6 of those years.

NEXT UP:

If I continue with more posts in this series, I'll get into some of the more common art showdowns I've come across, my own basic measure of "good" art, constructive criticism and thinking critically about one's art, why keeping an open mind doesn't mean having to like everything, learning from something even when you don't like it, and finally art technique, improving your skills, and finding your voice.

Please let me know in the comments if you like this sort of thing and actually want to read more of it. If not, I'll shut up and stick to posting a picture every now and again.

Thanks for reading, and whatever else you celebrate this holiday season, celebrate the art you love!

LINE book shipping update and returns

I just got back from the post office where I shipped the latest batch of LINE books. If you ordered a book any time before today, your book has been shipped.

The post office has been very inconsistent on the required paperwork for the international orders, sometimes requiring me to fill out customs forms, sometimes not. If anybody outside the USA has already received their book (and in one piece!), please let me know.

Speaking of which, if anybody receives a damaged book, contact me through the website and I will work out a replacement. I tried to keep the packaging minimal to help keep shipping costs down, especially for international orders, but I am sure some of those packages are going to see some abuse.

 Okay, more art in the next post!

LINE books shipping update

Thank you to everyone who has purchased one of my LINE convention booklets. As of today, I have shipped every book that has been ordered so far. I am having trouble marking the books as shipped through Paypal, but rest assured the books are on the way. Thanks again, and my next post will have some art in it!

LINE convention booklet on sale now!

Good news for the folks who were looking to pick up my convention booklet of line art but couldn't make it to a show- it's on sale now in my shop. Just click the link in the sidebar to order your copy. Thanks!

Vampirella

Here's another gouache-painted commission I finished a month or two ago. I decided to paint out most of the line art and allow this to be more of a painting than a colored drawing, the latter of which I seem to lean toward instinctively.

Vampirella is probably a little more cheesecake than I usually do, but Frazetta painted her, so that makes it okay. The original measured somewhere around 12" x 18", I think.

Under Ivy's Spell

Thanks to everyone who made the New York Comic Con a great show. I'm just now getting back into the swing of things at home and will be following up with everybody who has contacted me about books and commissions.

Speaking of commissions, at left is a painted commission I completed recently. Nearly all of my favorite artists worked traditionally, so I sometimes wonder why I am drawn to digital color so much in my own work. Of course, after screwing up something in gouache for the millionth time with no cmd+z to lean on, I don't wonder so much.

More soon.

New York Comic Con!

New York Comic Con is just a couple days away and I am ready to hit the road. I will be sitting in Artist Alley at table 010, so please stop by and make yourself known. Here's a map.

Here are a few details about my convention plans:

Commissions:
I apologize if you contacted me recently about commissions and I did not reply. I have been overwhelmed with preparing for the show and finishing a couple of paintings.

I will be taking on a very limited number of commissions at NYCC. As much as I wish I could draw something for everybody, I just haven't done well with requests over the years and don't want to grind out any more lackluster drawings. Therefore, I will be accepting commissions based on the subject matter, which helps guarantee a nice drawing and my sanity staying intact. Your best bet is to request something with more of a fantasy/sci-fi/fairytale feel. If only superheroes will do, then Marvel characters are generally the way to go because I grew up with them and might have an interest due to nostalgia. That said, I am not terribly familiar with a lot of characters, so if you love something obscure, please bring along a reference picture. I am also kind of an old-school fan and have very little interest in modern takes on comics characters. So, keep it classic and you might have better luck landing on the list. Finally, feel free to break all of the above rules if you really want a certain character. You never know what I might go for.

The price for a commission will be $300. The price reflects my desire to put my efforts into a small number of high-quality drawings rather than a lot of please-dear-lord-don't-let-me-ever-see-that-in-an-online-gallery-somewhere drawings. I will also be bringing some art supplies to add tones or rendering where appropriate.

I am very grateful for everybody's interest in my work, and while I can not take on everybody's commission requests at a show, I will be taking on more through my website in the months to come, so if you don't make it on the list, perhaps I can get to your request at a later date.

LINE, my convention book:
I had another small batch printed up just for this show, so if you missed out in San Diego, you can grab one in New York. The LINE book is $10.

Prints:
Once again, I will have a selection of prints available at the show. My prints are completely archival with pigmented ink and 100% cotton rag paper. I am very pleased with the quality of these prints and will have about 6 large images to choose from, along with a couple of smaller images for those who would prefer something more compact. Prints are $15-$25.

Original art:
I will have a small selection of original covers and other drawings available for purchase. All original cover art purchases will come with a large full color print of the art as it appeared on the book.


I think that about covers it. I am really looking forward to the show. The guest list looks great and there should be tons of great art to enjoy.

Safe travels, and I'll see you at the show!

The Many Moods of Oa

Oa is the home planet of the Guardians, little blue folks with big heads and red robes who float around screwing up the universe and then send out Green Lanterns to fix it or make it worse or something. Here is what I came up with in Photoshop for their central location.

One major problem from an art direction perspective, with GLAS and anything Green Lantern in general, is the overabundance of green. It can be difficult to come up with nice color palettes when everybody and everything in the scene is glowing green. Matters were not made better with the introduction of Red Lanterns, as we now had the world's weirdest Christmas to deal with.

Anyway, I tried a few things with Oa. Some were just different times of day, others were different takes on the palette. I think we went with the greenest one.

    All images © Warner Brothers Animation