Here’re are a couple of recent drawings I took out of my sketchbook and inked/colored in Manga Studio: The Who and Richard Hell And The Voidoids. The former is from the cover of a recent Mojo Magazine; the latter’s from the back of the album jacket.
As you probably know by now, Oyster War is coming out this fall from Oni Press. In support of the book, I’ll be doing a series of convention appearances and signings around its release. Here’re the dates that are currently lined up. I’ll be signing/sketching in copies of Oyster War and will have some of my older material available for sale at the conventions. I hope to see you at one (or more) of the following events!
September 18-19 – Small Press Expo (SPX), Bethesda MD. Oyster War debuts at this year’s Small Press Expo! This is a two day show, so I’ll be there both Saturday and Sunday. I’ve been to pretty much every SPX since 2000 or so (one was canceled, I missed one for a wedding) but this is the first time I’ll be debuting a book at the show. I’ve got a full six foot table, so I’ll have plenty of stuff with me other than Oyster War: older books, minicomics, original art, my Wrath of Khan screen-print poster, etc. I’ll update this post when I know my table number and location on the floor.
September 23 – Ssalefish Comics & Toys, Winston-Salem NC, 5-7 pm. Oyster War will be in comics shops (and other retail outlets) as of Wednesday the 23rd and I’ll be signing copies that day at my hometown comics shop, Ssalefish Comics and Toys from five until seven that evening.
September 26 – ACME Comics, Greensboro, NC, 12-4 pm. I’ll be signing copies the following weekend at nearby ACME comics in Greensboro. I haven’t done an event here in a loooonnngg time and I’m looking forward to returning!
October 3 – Cartoon Crossroads Columbus (CXC), Columbus, OH. I’ve been accepted as an exhibitor at the inaugural Cartoon Crossroads Columbus. Columbus is a great cartooning/comics town and the lineup for this event is already flat-out amazing. It’s a one day show as far as tabling goes, but I’m hoping I can show up a day early to catch some of the Friday programming as well. I’ll update this page with my table information when I receive it.
October 8-9 – New York Comic Con, New York City. I’ll be at the Oni Press booth signing copies of Oyster War during the first two days (Thursday and Friday) of the NYCC. This is yet another con I’ve never attended before! Once I know my signing schedule and the location of the Oni booth on the show floor, I’ll post that information here.
The seventh issue of Cartozia Tales is at the printers now and about to be sent out to subscribers–and I’ve got a story in it! If you don’t know about Cartozia Tales, now’s a fantastic time to jump in. It’s a all-ages map-based fantasy comics anthology that features a core group of seven (great) cartoonists, with two additional guest cartoonists per issue. For issue seven, I’ll be joining Meredith Gran as guest artist. Here’re some sample panels from my story along with the cover:
Cartozia World Headquarters could really use an infusion of new subscribers right now, as they’re getting to the bottom of their Kickstarter piggy bank. They’ve set up a great deal to get you introduced to the series on the cheap: You can get the first three issues–that’s over 120 pages of comics–in digital format for just $2.50. And that also includes $5.00 off a full digital subscription if you decide to go all-in. Details here. You can also pick up individual hard copy issues and subscriptions here.
I never fail to find something interesting at our local monthly Hoots Flea market. This past weekend I encountered a vendor who had a small stack of early 2000s indie comics and I picked up a few odds and ends from him, including a 2001 anthology I’d not heard of called Drippytown, which apparently originated in Vancouver. It caught my eye because it featured early work by now well-known cartoonists such as Tony Millionaire and Marc Bell. The real surprise of the comic, though, was an extensive text essay on the history of EC Comics–and reminiscense of the 2000 EC “reunion” held at the San Diego Comic-Con–by cartoonist/illustrator James Lloyd.
With the author’s kind permission, I’ve scanned and posted the article:
You can click through the gallery above for bigger scans, or grab this PDF I put together. (© James Lloyd 2001)
I’m back from yet another great Heroes Con. It’s the last show for a bit that I’ll have attended as a “civilian.” Oyster War will be out this fall and so I’ll most likely be tabling at any shows I go to for the next year or so. I don’t have any big take-away from this year’s show other than that it was–as usual–really well-run and a blast to be at. There’s a reason Heroes is one of comics folks’ most beloved shows.
Here’s just a few thoughts/highlights from my trip:
- The show seemed to be really, really well-attended this year. I’ve never seen a line at Heroes like there was on Saturday. Even an hour or two after the show opened there were still people lined up all the way down the side of the convention center.
- There were a lot more cosplayers–and maybe a lot more women?–this year than in years past. It’s not like there have never been cosplayers or women at Heroes before, but this was the first year that it really stood out to me as a noticeable demographic shift. That’s all good in my book.
- Our “Mega Panel” on Saturday wasn’t very well attended. I went into it expecting a light showing crowd-wise just because of this year’s subject matter, but it was still a bit of a disappointment. The people that were there seemed to enjoy it, though.
- Among the original art pieces that Craig Fischer showed at the Mega Panel were these two gorgeous Denys Wortman originals. Apparently James Sturm has literally boxes and boxes of Wortman originals that were given to CCS.
- Speaking of Originals: it’s worth a trip to Heroes just to look through the incredible array of original art you’ll find at Bechara Maalouf’s booth. Seriously. Did I mention he’s got literally dozens of Kirby pages in portfolios you can just flip through and look at? One of these days, when I win the lottery…
- I bought this beautiful Drew Weing original from Set To Sea. Check out how he’s handled the reflection of the sponge and rigging!
- I spent more time at the art auction than I have in years past–mainly just because there were some folks I knew hanging out there (and in some cases waiting to see what their pieces sold for). As usual, I registered for a bidding paddle but never actually bid on anything since everything I was interested in was way way out of my price range. Here’s a Bob MacLeod New Mutants piece that was out of my price range before I could even get my paddle in the air:
- At the art auction I ran into Craig Hamilton, who I haven’t seen in years. He told me he’d abandoned comics work entirely and had gotten a job doing those hand-lettered chalk signs you see at bars, restaurants, and grocery stores. He then totally blew my mind my showing me that his Dr. Strange piece for the art auction–which appears at first glance to be an oil painting–is actually done with sign chalk on a black chalk board:
- Speaking of the art auction: It’s long been known that paintings of superhero ladies in revealing outfits fetch the big money at the Heroes auction. This year, though, I heard at least two different artists wondering if maybe the bounds of good taste aren’t being stretched a bit in this department. That one of this year’s big five-figure sellers was basically a spread-legged crotch shot of Emma Frost wasn’t unusual, but I wonder if the current spotlight on making the comics community less toxic to women isn’t fueling some of this talk. I also heard at least one female exhibitor grousing about the boob-a-rific “You hit the jackpot, tiger” Mary Jane Watson that serves as the Heroes’ website splash page.
- I attended two panels on craft/technology: Kyle Webster’s panel demoing his Photoshop brushes and a panel on color flatting with Manga Studio. Both of these panels were well-attended and had lots of people asking questions. I’ve thought for a long time that there’s a lot more interest out there for panels on the actual craft of comics-making than many con organizers may think. I’d love to see more of this. Maybe I’ll pitch something along those lines for next year’s show.
- I didn’t buy as many books as I usually do at Heroes, but here’re a few items. That last book that’s open to a spread is the new Pope Hats from AdHouse.
As usual, the best part of Heroes was seeing and hanging out with a lot of folks who I only really see at Heroes once a year or so. See you next year everyone! (And also as usual, a big thanks to everyone who keeps Heroes running like the well-oiled machine it is, including but not limited to: Shelton Drum, Andy Mansell, Rico Renzi and all the Heroes volunteers!)
Here’re a few pictures I took at the opening reception for the TAG exhibit. Info about the show can be found here.
I’ll be jumping back into the usual yearly Heroes Con “mega-panel” this year with my pal Craig Fischer and here’s our topic for this year. I’ll be covering the initial presentation/slide show on cartooning how-to books–a subject I’m really looking forward to discussing. Come one, come all! Saturday, 3:00 pm, room 209.
“At the Junction of Words and Pictures: the Tenth Anniversary of the Center for Cartoon Studies
For this year’s mega-panel, cartoonist Ben Towle and critic Craig Fischer celebrate the first decade of the Center for Cartoon Studies (CCS), the influential school for comics artists located in White River Junction, Vermont. Ben will begin with a slide show/talk about the history of “how-to” cartooning guides, including How to Draw Comics the Marvel Way, Understanding Comics, and the CCS-sponsored Adventures in Cartooning books by James Sturm, Andrew Arnold, and Alexis Frederick-Frost. Ben’s presentation will be followed by a screening of Cartoon College (Josh Melrod and Tara Wray, 2012, 75 minutes), a lively documentary that chronicles CCS’s history while focusing on a group of students furiously working on long-form comics for their graduation projects. One added attraction of Cartoon College: interviews with such comics luminaries as Scott McCloud, Art Spiegelman, Françoise Mouly, and Steve Bissette.
To explore the issues and situations brought up in Cartoon College, we’ll then move into a panel featuring CCS alumni and students. Our guests will be Chuck Forsman, Oily Comics publisher and creator of such recent graphic novels and comics as TEOTFW, Celebrated Summer, and Revenger; Sophie Goldstein, writer/artist of the Ignatz-nominated House of Women and Adhouse’s graphic novel The Oven; and current CCS student Andy Shuping. Come get the inside scoop on CCS from those in the know! The panel will end with a display of original art to be included in a major CCS art exhibit at Appalachian State University in Fall 2015.”
One of the many concepts discussed on a recent Rachel and Miles X-Plain the X-Men podcast was that of “MagnEmo”–Magneto when he’s moody or emotional. Despite being just an offhand gag that was mentioned once then quickly forgotten on the show, it struck me as hilarious… so I had to do a visual interpretation. So, here he is: MagnEmo, Earth’s most powerful–and moody–supervillain.
You may not know exactly what a Leroy Lettering Set is, but if you’re interested in comics, I’ll bet you’ve seen the results of one in action. Leroy lettering was used most notably by publisher EC Comics in books like Tales From the Crypt and Vault of Horror. (Harvey Kurtzman’s EC war stories in books like Frontline Combat and Two Fisted Tales were the exception and were hand lettered by the great Ben Oda.)
You may also have seen a Leroy Lettering Set in action in the early Wonder Woman comics. Here’re a few (cough, cough) typical WW panels from the William Moulton Marston era:
You’ll stumble on this lettering here and there in old comics printed up until the early 60s or so. Interestingly, most of it was done by one couple, Jim and Margaret Wroten, who you can read about here.
Despite its clunky mechanical look that (objectively, anyway) doesn’t go very well with hand-drawn comics art, I’ve always had a strange fascination with Leroy lettering. There’s a free font based on Leroy lettering that I’ve used in a few odd projects, but I was curious about how the actual lettering set worked. I was surprised to find that the sets are not rare and they can usually be had for between $35 and $50 on Ebay. I bid on and won a complete set for $35.00. Here it is:
And here are a couple of the lettering templates:
How Does it Work?
The Leroy Lettering Set is basically a pantograph. One end of it traces the letters off the template, moving the other end of it which has a pen attached. More specifically, the key to its operation is this component, called the scriber:
Here’s how it works:
- This is the tracer pin. You stick this down into the grooved letter forms on the template.
- This is a little clamp (tightens with that black rear-facing knob) that holds the drawing implement.
- This knob is a little adjustable “leg” that supports the drawing portion of the scriber–the part that’s over the paper/holding the pen.
- It’s hard to see in this picture, but there’s a dial here that changes the slant of the letters. This is how you make italic letters–as in the Wonder Woman samples, or the bold words in the EC sample.
- This is the tail pin. It just stays in the bottom groove of the template like a train track, keeping everything aligned correctly.
- These little hash marks correspond to the size of the letters on the template, allowing you to pencil in rough letters. Obviously, you have to fudge things for letters like “I” and “J” that are thinner.
- Each template has a pen size. The numbers correspond to the Leroy pen tips that come with the kit… which are identical to the same-sized Rapidograph tech pen numbers.
The kit comes with its own refillable ink pen tips, but it’s a whole lot easier to just use a tech pen. As far as I can tell, only actual tech pens will fit into the clamp. I tried mine with Rapidographs and with Staedtler MarsMatic tech pens and they both worked fine because they have this “barrel” for the clamp to grab onto:
None of the mechanical pencils I had around would work with the scriber’s clamp, but Leroy made special mechanical pencils/lead hodlers specifically for the set. The set I have recommends a “22” model, but there were several different types made that would accommodate the scriber’s clamp.
Here it is in action. As you can clearly see, I’m still getting the hang of using it. Getting it placed correctly so the letters are properly spaced is pretty tricky, as is picking it up without leaving an ink smudge on the letter you’ve just completed.
I’m sure things go faster once you’ve put in some hours getting used to lettering with the Leroy set, but I’m pretty stunned that people would do whole comics with this thing. I can’t imagine any scenario where this actually takes less time than hand-lettering a comic. I’m glad I bought it, though, and I’m going to continue to practice with it. The free font I linked to above is probably sufficient for anyone who wants to get the look of old-style Leroy lettering.
Feel free to ask me any questions you might have in the comments.