Our Little Editors: A Paw-fully Good Zine About Pets

Our Little Editors: A Paw-fully Good Zine About Pets

Digital artwork done in the style of a 14th century illuminated manuscript piece. A small calico cat is angrily plinking away at keys on a pipe organ, while passive-aggressive flowers curl and twist up to the cat's thoughts: "Mother!!!" the cat thinks, "Leave me alone. I am composing!!". The 'M' in 'mother' is lovingly painted and guilded like a medieval capital.

Our Little Editors Zine: Out Now!
My contribution to this pet zine is based off, of course, a medieval illumination. I swapped in my own cat for the striped white creature in the original, and expanded the floral treatment into some typography hanging overhead. Originally I did this as a one-off illustration for my own amusement, but then I heard about a small zine project and knew it could live there. I expanded the design and added more flowers and typography above the organ-playing cat.

Scan of a medieval illumination featuring a white cat angrily playing a little medieval pipe organ. Intense floral designs surround the cat.Hook of hours, France 15th century.
Bodleian, MS. Douce 80, fol. 106v

This zine is full of one-page observations about our pets. It spawned from a casual Friday Zoom hangout hosted by the Sequential Artists Workshop (SAW). This zine was curated by Adrean Clark and Annie Mok. 32 artists banded together to make this zine. My work is featured on page 20.

As for the title, well…That was my suggestion! Like any good hands-on editor, my cats are destructive in the kindest of ways. This zine is freely available as a pdf file.

 

Click here to download
the FREE Zine!

Comics Tip

Digital self portrait of Adrean Clark, drawn by her. It's a simple but elegant sketch of herself with thick blue lines, holding her chin with one hand and going 'HMM!'Guest Tip by:
Adrean Clark

How to Organize a Zine
As I have no experience organizing zines, I decided to ask Adrean Clark about her experience compiling pieces and organizing them into a coherent collective whole. Here is what she has to say:

“Zines are meant to be a playground for ideas. They are different from books in that they allow you to experiment at a smaller scale with a broader range of finish (from scribbles to polished art).

If you’re making the contents of your own zine, then it’s a personal relationship between you and your reader. Your focus is on communicating with your audience. Anthology zines add extra layers to this relationship. You’ll be thinking about communicating within your own work, managing the contributors, and connecting with the audience.

A good anthology zine revolves around a clear concept. It has to be something that sparks interest for potential contributors – an idea that is easily explained in one or two sentences. What makes you excited to participate in a social project? What are some common ideas that could appeal to a broad range of artists? What would be interesting for people to read?

After the concept, decide on the format. Your contributors need to know what size, dpi, and medium to work in. Be detailed as to the deadline, where to submit the finished files, etc. If there is money involved, such as printing books, sales, etc. – it is extremely important to keep that information transparent with your contributors. Pay people on time.

I strongly suggest a signed agreement between you and the contributors, so that everyone is on the same page with expectations. You will spend a lot of time outside of your own contribution in communicating with people, so think carefully about how much time you want to commit to the project. It’s better to start with smaller collections and build up your skills from there than to try and swing for the fences with a huge Kickstarter-type project.

Personally, I enjoy doing anthologies because they’re a fun way to push my own work and socialize with other artists. It’s neat to see how people interpret ideas in their own ways. At the same time one has to be attentive to the dynamics of the project. It’s ok to scale things back or change gears if something isn’t working. Chalk it up to experience, and keep making art. :)”

Adrean Clark, ASL Deaf Author, Artist, and Advocate

So there you have it! To make a zine, make the zine. And remember to communicate with everyone who pitches in.

Care to read more?

Gastronomy Chart

Gastronomy Chart

This one-shot editorial illustration represents mashups of foods that I personally enjoy and celestial bodies. I wanted to make a large print for sale in-person at conventions. Someday, I may open an online shop as well, but for now this exists as an exercise in creating a compelling illustration out of lots of fiddly bits.

Terminal: My New Graphic Novel Pitch

Terminal: My New Graphic Novel Pitch

Making a New Graphic Novel Pitch: Terminal!After attending a comics event via SCBWI, I realized that my fantasy graphic novel Warlock’d was better off self-published. If I self-publish Warlock'd, I could teach myself how to make a graphic novel without the threat of...

Afterlife

Afterlife

The Composition that Social Media Made This piece didn't start out as a reflection of some unrelated personal stuff that happened to me lately. It was defined via a Twitter poll where voters decided I was going to draw yi qi dinosaurs next to a stream and color them...

Want to chat about this?

Biscuit Mountain

Biscuit Mountain

Digital comic depicting a bicycle outing by H. and their spouse, Devin. The top graphic is an embellished ‘Biscuit Mountain’ in an arc over a man climbing a mountain of American (not British) biscuits. Panel 1 depicts H. and Devin riding their bikes under an overpass on a road lush with trees and roadside buildings. Devin: I’m not going to get the Biscuit Mountain again. Panel 2 depicts H. and Devin taking off their helmets. Devin: It is an unreasonable amount of biscuits. Panel three has H. and Devin in a restaurant. H.: What’ll you get instead? Devin: Eh… Panel 4 shows the menu. The first entry is one biscuit on a plate, labeled ‘A reasonable amount of biscuits.’ The second entry is a pile of biscuits. It’s labeled ‘Biscuit mountain.’ Panel 5 has the waiter attempting to take Devin’s order. Waiter: Hi! Can I take your ord— Devin (interrupting): Biscuit Mountain!

This is a personal diary comic about one of many bike rides to this awesome breakfast place. Every time we go to this restaurant, my partner Devin claims he will not order the Biscuit Mountain. Every time we go, Devin orders the Biscuit Mountain. The denial is part of the ritual at this point.

Most diary comics are a lot simpler than this, and possibly funnier. I wanted the reader to feel like they were on a crisp spring bike ride under an overpass with me. So, I went for that feeling. This took a lot longer than drawing talking heads but I enjoyed the environmental practice and composition challenges of rendering people inside of a restaurant.

For reference, I ducked into Google Maps and took a screenshot of the street we bike up. For privacy purposes I will not be sharing the actual screenshot. I also did not trace it or use a ‘correct’ perspective grid. This was eyeballed for my own practice.

Comics Tip

Quick and Easy Perspective Grids in Photoshop
I didn’t use ‘true’ perspective grids in this comic, but here’s how to make them quickly in Photoshop if you’re doing environment studies.

 

First, establish a horizon line in your drawing.

Next, go to the ‘Shape’ tool and pick ‘Polygon Tool’ from the options.

Set up your polygon to have these values.

When you create your polygon with the Polygon Tool, it’s going to look like a big hairy star. I’m deliberately choosing not to acknowledge any double entendre, here.

Put the polygon’s center on the horizon line and make it bigger. Instant 1-pt perspective!


For a 2-pt perspective grid, try sliding the first star off the canvas. Add a second star off the other side of the canvas, also on the same horizon line. We keep the vanishing points off to the sides of the composition to avoid a ‘warped’ look to the resulting composition.


To convert your 2-pt perspective into 3-pt perspective, add a third star and drag it off the top or bottom of your canvas.

Have fun drawing goofy buildings!

Care to read more?

Gastronomy Chart

Gastronomy Chart

This one-shot editorial illustration represents mashups of foods that I personally enjoy and celestial bodies. I wanted to make a large print for sale in-person at conventions. Someday, I may open an online shop as well, but for now this exists as an exercise in creating a compelling illustration out of lots of fiddly bits.

Terminal: My New Graphic Novel Pitch

Terminal: My New Graphic Novel Pitch

Making a New Graphic Novel Pitch: Terminal!After attending a comics event via SCBWI, I realized that my fantasy graphic novel Warlock’d was better off self-published. If I self-publish Warlock'd, I could teach myself how to make a graphic novel without the threat of...

Afterlife

Afterlife

The Composition that Social Media Made This piece didn't start out as a reflection of some unrelated personal stuff that happened to me lately. It was defined via a Twitter poll where voters decided I was going to draw yi qi dinosaurs next to a stream and color them...

Want to chat about this?

SAW Graphic Novel Development Month 5/6

SAW Graphic Novel Development Month 5/6

My graphic novel characters from left to right: Pierre in his red robe and black cape with gold trim, Margo hovering as her barn swallow self near Canicula's nose, Canicula smacking his mace against one hand while decked out in sumptuous furs, and Lebeau, charging in from the right in their secondhand armor.

Character Redesigns and Styleguide Revamps
As I’ve been thumbnailing the script of Warlock’d as my self-assigned work during Sequential Artist Workshop‘s Graphic Novel Intensive, I’ve also had to sit and revisit my comic’s styleguide. There has been some character shuffling as my previous script draft evolved and became thumbnailed. I believe some of my earlier designs that I had prior to taking this course are too literal. I might take advantage of some stylization to not only make these people easier to draw, but also make them look more interesting as well! Here’s how my redesign process has gone for each of the three main characters in Warlock’d, with different goals and style considerations for each.

Painterly versions of Pierre in purple robes with a book and a sun behind him. Margo is yelling at him from the side.

As I’ve stated in earlier blog posts, my initial pipe dream was to create a very painterly comic. This met a swift end with the realization of how much revision goes on with my writing process, even in the midst of creating art. Working by myself and wearing all the hats is a lot different from being on a team. On a team, I have to accept the contributions of the other professionals as-is, and I only have input over my specific area of focus. As an indie comics artist doing all of the things, I have the power and freedom to change things if they aren’t working whenever I want…But if I don’t make it easy to change things, then I’m hampering myself.

Same portrait of Pierre and Margo, but with a half-painted, half cel-shaded look. Still muddy and murky.

Here was my second attempt at a comic style, for use in a pitch packet. I decided to wing the colors and coloring style, which resulted in very messy colors. The feedback was to simplify and stylize my characters more.

Full-color comic page done digitally with four panels. Panel 1: The Abbey of St. Germaine in the dawn, labeled as such. Panel 2 is full bleed and runs under panels 1, 3, and 4, zooming in on the roof architecture of the abbey. Panel 3 is of Pierre with his back to the viewer, framed by an arc window. Panel four depicts Pierre lecturing Margo about angel lawsuits.

Here is a page that was done in the same style as above…Results were muddy! Additionally, I didn’t have a set number of concrete steps to take to get the page to a ‘finished’ state, so some things would get lots of detail and shading, where others would not, and there wasn’t really a system to it. I was glad to get feedback on this so I could make it better.

A cross-section of colors, with bright red, orange gold, warm blue, and seafoam green.

With all of this in mind, I set out to further simplify and code my process as a series of specific steps. First thing on the docket was a pre-defined palette for use throughout the entire comic. I simply cannot be trusted with purple, as it turns out. So, I drew inspiration from the limited palette of medieval illuminated manuscripts. They didn’t have access to purple, so neither would I. Instead, I would rely more heavily on a medieval person’s favorite colors: Reds, golds, greens, and in special cases, blue.

Pierre and Margo, same poses as previous image, but now they have clean coloring with broad, flat colors, less shading, and more highlights around areas of interest on their designs.

The result is much more clean, more vibrant, richer and simpler. Also it’s easier to put together. Really, portfolio reviews are worth it.

One more go at Pierre, only now he's wearing a red robe with a yellow lining on his cape.

The yellow robe on Pierre proved difficult to make clear within the context of a comic panel. I’m not sure why, but I think it’s because my backgrounds are typically very light on the contrast scale. I swapped his cape interior and his robe to make the yellow something he could discard for scenes where it would be unclear. The reds and yellows have practical significance (He’s able to afford fancy dyed cloth), as well as spiritual significance (He’s been assigned the medieval zodiac sign of the Sun, which is a bearer of good and bad signs, and the sign of kings and rulers).

Same page as above, but instead of smoky pink and purple, it has been rendered with bright orange and gold tones, with slate blue shadows.

This did get me to thinking, though — how committed did I want to be to such literal character designs? The environments are one thing — I really enjoy developing the details on those and getting the perspective all lined up. But the characters…Do they have to hew so close to real people? Also, what if I find feet really annoying to draw? What if I want to quickly see how tall all of the characters are? I developed my next round of character designs with this consideration in mind. Preview only for now, but I’m hoping to have a post cataloguing each character in the story next month.

Full spread of characters in the graphic novel, Warlock'd. From left to right: Pierre, Margo, Canicula, Lebeau, Renoncule, the Lieutenant, Ferrand, Briande, Janet, the Prévôt, and the Bishop.

In my re-write, I’ve incorporated the new character of King Phillip II. Since I have a compelling scene near the end that features this king, I need a design for him. Here I wanted to explore telling the audience as much about this character as possible from one glance, since he’s only physically present in one scene and it’s at the end.

Stylized digital artwork of King Phillip II, or King Phillip Augustus, the ruler of Frankish kingdoms in 1190 AD. He sits on a throne carved to look like two dogs facing either side. Torches blaze behind him. He spills wine casually, the same way he spills blood. He wears beautiful clothing and ermine furs, with a crown of rubies on his head. He holds a scepter in his other hand. Behind him, the Oriflamme (flag dyed with the blood of a saint) flaps.

Where am I going with all this?
Frankly, not quite sure just yet — this is all pre-production work. I may alter the designs if they offer unforeseen challenges during the roughs stage of drawing the comic, which will happen after lettering. It’s nice to have a starting point, though!

Comics Tip

Writing Reference

While I’ve been writing Warlock’d, I’ve made use of many books to help inform the details of the speculative world in which it takes place. Without the following resources, I’d have never even thought about the political structures, architecture, culture, diet, or technology of the 12th century. While my comic will not be historically accurate, I found the following resources inspiring and important for filling in empty spaces in the setting. I don’t believe in strict accuracy when it comes to fiction, but it sure is fun to be curious and find cool things to bring back to the manuscript.

As of writing this all of the following resources are freely available online for anyone else who is interested in this time period.

Going Medieval – by Dr. Eleanor Janega, medievalist

JSOTR – Sometimes has free access to primary historical resources.

Goodreads – A compilation of print books that I’ve read. Most of these are available at a library. Hope the reviews are of some use.

Mandragore – Searchable database for old manuscripts — it’s in French so it takes some finessing to figure out.

Gallica – More French manuscripts, and other vintage oddities.

 

Care to read more?

Gastronomy Chart

Gastronomy Chart

This one-shot editorial illustration represents mashups of foods that I personally enjoy and celestial bodies. I wanted to make a large print for sale in-person at conventions. Someday, I may open an online shop as well, but for now this exists as an exercise in creating a compelling illustration out of lots of fiddly bits.

Terminal: My New Graphic Novel Pitch

Terminal: My New Graphic Novel Pitch

Making a New Graphic Novel Pitch: Terminal!After attending a comics event via SCBWI, I realized that my fantasy graphic novel Warlock’d was better off self-published. If I self-publish Warlock'd, I could teach myself how to make a graphic novel without the threat of...

Afterlife

Afterlife

The Composition that Social Media Made This piece didn't start out as a reflection of some unrelated personal stuff that happened to me lately. It was defined via a Twitter poll where voters decided I was going to draw yi qi dinosaurs next to a stream and color them...

Want to chat about this?

SAW Graphic Novel Development Month 3/6

SAW Graphic Novel Development Month 3/6

This month in the Sequential Artists Workshop (SAW), I explored making short comics as practice for the final pages in my graphic novel, Warlock’d. This comic in particular was completed for a Graphic Novel challenge hosted by the Society for Children’s Book Writers and Illustrators (SCBWI). My entry didn’t go anywhere, but a couple of my peers were recognized for their excellent work, and they have allowed me to re-share their entries as well as links to their respective portfolios.

 

A two-page comic spread of teal, orange, and pink. In the first panel, Jade looks at a delicious mango hanging over head. In panel two, she climbs up a tree that spreads all the way across both pages. Then she sits in the branch and plucks the mango from the canopy. Panels 3-5 are devoted to peeling the delicious mango. The final panel depicts Jade enjoying her well-earned prize.

This memoir spread by Jade Vaughn, an Austin-based comics artist, depicts an exquisitely simple moment. I liked being able to experience the mango alongside Jade, after traveling up the tree alongside her. The layout has cinematic qualities and the color scheme is just juicy, there’s no other word for it. I can’t wait to see what other magical comics work Jade has in store!

 

Two-page horror comic by Suzanne Fiore Murata. It is drawn in grungy greens with red lettering on aged paper. Panel one is a bloody red splotch with narration written in it:

I was also pleasantly surprised to see Suzanne Fiore Murata’s horror-themed entry get a nod. Media for small kids frequently gets watered down by well-meaning adults, but comics are one of the safest spaces to experience fear and work through complicated feelings. I was already a fan of Suzanne’s work prior to this conference, so I loved that the judges agreed with me on the quality of her craft. Just love the textures, the mood, the lettering!! Very, very good.

 

Takeaways
The SCBWI Illustrator’s Day (Graphic Novel edition) was a nice nod towards graphic novels. Within SCBWI I’ve found it hard to find resources or events that welcome graphic novels, rather than prose books or picture books. That said, there was an implication that only people who were spotlit in the event should submit to the guest agents or publishers. Their tastes were very different from what I want to create, or where my art style is currently residing. I also would not feel great being a risky option for them to consider without having at least one complete graphic novel under my belt. There’s nothing wrong with experiencing success on a smaller scale first.

By far the most helpful feedback on this comic page came from my independent writing group, with a layout adjustment that I feel improved the clarity of the page. With regards to the SAW graphic novel intensive, this exercise did confirm that I want more technical feedback, both in volume and in intensity. However, it’s not fair of me to demand that of anyone in general within the network. It’s home to many people who are making comics as self-expression or who aren’t as keen on technique, for any number of valid reasons. I have also been enjoying it as more of an accountability/socializing thing. That said, I’m more likely to ask some of the friends I’ve made for critique over expecting anything too in-depth from my posts to the SAW course feed.

I’m also excited about getting to start on the final drawings and lines of Warlock’d in 2022, maybe even as early as December! Every time I work on something with lineart and coloring it feels good and natural, even though I still have some things to learn about the art.

Comics Tip

Art Contests, and When to Enter Them
Art contests are either opportunities to mingle with the art community at large, or straight-up scams. At their best, friendships are forged and skills are assessed. At their worst, institutions prey on amateur and entry-level creatives by offering one prize while soliciting as many entries as possible.

The key factors to consider when looking at an art contest are:

How will the art be used?
Is the institution going to use the submissions for profit? Logo design contests in particular are notorious about this. Why should a business get to use a logo as their trademarked identity for perpetuity if their prize is only a one-time prize payout? Logos and brand identity are worth a lot of money, more than most contests offer. If a business is going play fast and loose with its own identity, that’s not a good sign for both present and future professional involvement.

Is copyright retained by the entrant?
Some contests require entrants to forsake copyright on their work upon entry, causing all entries to become property of the contest holder. Do not do this! The work you create for a contest should remain yours upon conclusion of the contest, even (and especially) if it’s not chosen as the winner. No prize is worth forfeiting copyright upfront over.

Would I make this art anyway?
When looking at a contest, if it’s something I’d like to make outside of a contest, I’ll usually go for it. The contest gives a firm deadline that can be great motivation for just getting something done, even if it’s small.

In this instance of SCBWI’s memoir challenge, I needed more short comics as practice, the entries weren’t going to be used for any business enterprise, and I would retain my copyright after the event wrapped up. My chosen childhood memory may have been a little too weird or convoluted for this audience, but at least it’s an entry in my portfolio from which I can learn and move on.

…And yes, the depicted outfit in my comic was real. I’m sure that was the burning question on everyone’s mind!

Bless you, The 80’s. Never change.

Care to read more?

Gastronomy Chart

Gastronomy Chart

This one-shot editorial illustration represents mashups of foods that I personally enjoy and celestial bodies. I wanted to make a large print for sale in-person at conventions. Someday, I may open an online shop as well, but for now this exists as an exercise in creating a compelling illustration out of lots of fiddly bits.

Terminal: My New Graphic Novel Pitch

Terminal: My New Graphic Novel Pitch

Making a New Graphic Novel Pitch: Terminal!After attending a comics event via SCBWI, I realized that my fantasy graphic novel Warlock’d was better off self-published. If I self-publish Warlock'd, I could teach myself how to make a graphic novel without the threat of...

Afterlife

Afterlife

The Composition that Social Media Made This piece didn't start out as a reflection of some unrelated personal stuff that happened to me lately. It was defined via a Twitter poll where voters decided I was going to draw yi qi dinosaurs next to a stream and color them...

Want to chat about this?

Aesop’s Crow Fable Comic

Aesop’s Crow Fable Comic

A two-page, full-spread comic that encompasses the entirety of Aesop's crow fable. Panel 1: This panel stretches across both pages. On the left page the crow flies. On the right page, the sun bears down. Panel 2: The crow sweats, mid-flight. Panel 3: The crow notices something below! An exclamation point is over his head. Panel 3: The desert island landscape offers up but a single, black-red-and-white lekythos jar. Panel 4: The crow alights the jar. Panel 5: The crow peers into the jar. Panel 6: Closeup of the crow's eye, seen through the jar's round hole. Panel 7: A divider bearing the pattern of the lekythos. Panel 8: A cut-out panel where the crow wobbles the jar back and forth in an effort to get the water inside. Panel 9: The crow appears to be looking at a skeleton nearby... Panel 10: The crow was actually looking at the pebbles around the skeleton. It picks one up. Panel 11: The crow drops the pebble in. Panels 12-15: The crow continues depositing pebbles in the jar until the sun goes down. Panel 16: The crow finally tastes the sweet liquid within the jar! Panel 17: The crow guzzles it like a fool. Panel 18: It's possible that the liquid inside of the jar wasn't water at all, as the crow drunkenly sings into the night.

During a Push/Pull Graphic Novel Workout zoom class I took with David Lasky and Greg Stump, I was challenged to tell an entire story using only two pages. In this ancient story, a thirsty crow must be clever and work hard to survive a harsh desert environment.

About Aesop
Yes, I know — if I fall into a research rabbit hole, I’ll never complete a comic. However, respecting the origins of this fable seemed like an interesting thing to do. Today we so often take these fables as always existing…something that just appeared, like magic, in our childhoods. Aesop was a real human being who used stories to gain favor from his fellow human beings, so I used his history as a pin to inspire the look of the overall comic.

This image from Aesop’s wikipedia article may or may not depict what Aesop actually looked like. Due to its easily editable nature, Wikipedia requires some double-checking, but the sources a Wikipedia article cites are always fairly solid. So, it’s okay to use Wikipedia as a starting point for research! I don’t have any plans for this short comic re: publication, so cursory research was fine for my purposes.

 


About the Setting
Aesop lived in ancient Greece, so I hunted for desert-like areas around that area and stumbled upon the island of Lemnos, Greece. It has lovely dunes, rocky outcroppings, and a fierce sun beating down. Perfect for dehydrating our crow-tagonist and forcing them to be clever. Maybe I’ll visit Lemnos someday!

 

About the Crow
Most people would opt for your standard black crow. I definitely have a fondness for the beaky fellows because a family of them sets up shop in my backyard every year. However, corvids come in a lot of shapes and sizes, so I looked into what sort of crow might be hanging out on a Greek desert island. I found the Greece-native Hooded Crow and felt like its duotone aesthetic was quite nice. The dramatic shifts in tone across its feathers look sort of like the lekythos’s design.

Also interesting: Crows actually do drop pebbles into water to raise the level of it! They are clever problem-solvers. Even back in ~600BCE (Aesop’s time), people were making accurate observations of nature that still hold up today. Perhaps I should do a followup comic of Aesop grumpily discarding all the pebbles a crow put into his lekythos.

 

About the Jar
I could have just grabbed an amphora and been done with it, but I needed something that could stand upright on its own so that the crow could interact with it more. I trawled the Smithsonian Open Access collection and came across this lekythos. A little bit of simplification on the design so it wouldn’t overpower our crow, and there we go! A period-appropriate pottery prop. Aesop himself might have touched one of these.

More photographs of this piece from the National Museum of Natural History (NMNH) can be seen here. You’re welcome for the giant, sprawling rabbit hole that the site is!

 

 

 

Comics Tip

Use Stories with Expired Copyright to Jumpstart Your Comics Portfolio
Say you’re not a writer. All you want to do is draw. You could hunt down someone to write a story for you, or you could wait for scraps of scripts from friends or writer’s blogs. But what if I told you, there’s a place where all the greatest works of literature from the past have been carefully digitized and proofread as ebooks…entirely for free? And which can be adapted as comics, even comics that can be sold?

Check out Project Gutenberg!

Works you might recognize that have expired copyright:
The Wizard of Oz series
The Odyssey
The Works of Mark Twain*

Project Gutenberg even has a ‘random’ button that will fetch you a surprise work from their vast selection. Get cultured!

*Twain reportedly fought for perpetual copyright extensions, so this one is pretty ironic.

Care to read more?

Gastronomy Chart

Gastronomy Chart

This one-shot editorial illustration represents mashups of foods that I personally enjoy and celestial bodies. I wanted to make a large print for sale in-person at conventions. Someday, I may open an online shop as well, but for now this exists as an exercise in creating a compelling illustration out of lots of fiddly bits.

Terminal: My New Graphic Novel Pitch

Terminal: My New Graphic Novel Pitch

Making a New Graphic Novel Pitch: Terminal!After attending a comics event via SCBWI, I realized that my fantasy graphic novel Warlock’d was better off self-published. If I self-publish Warlock'd, I could teach myself how to make a graphic novel without the threat of...

Afterlife

Afterlife

The Composition that Social Media Made This piece didn't start out as a reflection of some unrelated personal stuff that happened to me lately. It was defined via a Twitter poll where voters decided I was going to draw yi qi dinosaurs next to a stream and color them...

Want to chat about this?