Friday Info-Process-tainment

As I can now talk about the Dark Horse Presents story called ‘Brooklyn Blood’ I’m working on with Paul Levitz, and I’m teaching a Summer Residency in sequential art at SVA this summer, I thought my Friday post could be about just a small teeny tiny bit of my process. Where the class I teach is mostly concerned with telling a story, making that story clear on the page, using panel layout to guide the eye, finding that story inside of you that haunts you and causes you a small bit of metal pain when you dig it up (yes we did that in my very first class), I thought I’d post something a little more basic here. How I draw a comic page! Or part of a page. Note that what you see below is just the bottom third of a page from the upcoming ‘Brooklyn Blood.’ We’ll skip the writing part as Paul did that.

Step A: After I read the script I draw several thumbnails with a black marker. I throw most of them away in disgust. You see here the thumbnail I settled on. Then I scan this winning thumbnail into the computer and place it in page template (the template being the correct proportions that it will be when printed).

Step B: I draw the rough pencils on a Cintiq (if you don’t know what a Cintiq is just hit the Googles). If you don’t have a Cintiq, many people use a light box to draw finished pencils on top of the blown up thumbnail which you can enlarge on a copy machine or computer.

Step C: Then I get back out of the computer by printing out a blue line version of the pencils on Bristol board. Blue line because I can now ink it in the real world with black ink, and when I scan it back into Photoshop, the blue line will not show up in the scan, only the black lines show up.

Step D: You can ink using a Cintiq also, but I still like using messy ink and brush or pen or wooden sticks. I personally like making marks on real paper. Too much work in the computer ends up putting me to sleep.

Step E: I scan the final black and white art back into the computer and on a separate layer from the black art in Photoshop, I add the colors! I also add the word balloons early on in the process because that does affect where the reader’s eye goes, but for this brief art example, I left that bit out! And there you have it. The exciting, amazing secrets of an illustrator! I just now see that I wrote “step A” in the text, and “Part A” on the art. That’s called a mistake. I make many of those! It’s part of the process. Brooklynblood proc 3

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Rejected! And Accepted! And Rejected (A Brief History of Humor and me)

tissue joke Humor. Who likes it? Everyone for the most part. Who likes my humor? Not everyone. If you read any of my social media, you know I’ve sold my first cartoon to the New Yorker recently, The Mount Everest of cartooning by some people’s standards. But nobody is more surprised by this turn of events than me. My history with humor is filled with love, hate, confusion and once in a very rare while a few laughs. I’ll skip the hate and confusion of my childhood and move on to the few laughs of adulthood. I know I mentioned “love” too, but that was just a lie to give this essay some sort of hope.

Thus, we start in the 90’s. Even though the syndicated comic strip was already on it’s long slow death spiral, a friend (who wishes to remain anonymous) and I decided to harness our humor powers and submit a comic strip called ‘Heads Hollow’ to the syndicates. Thus, we wrote and drew 24 ‘gags’ and sent off our strip to every syndicate we knew of. I thought it was a masterpiece of comedy. Today, I still have all the rejection letters (and some hate mail) we received from said syndicates. Full of sadness, but undaunted, I then sent out a post card to all all the places that bought cartoons and or humor. I got ONE response back from new Nickelodeon Magazine editor, Chris Duffy. Nickelodeon Magazine liked my humor! Or Chris did at least and bought many semi humorous comics from me. Encouraged by this turn of events, I then created my own single panel gag cartoon and sent them off to the syndicates. Again, I still have all the rejection letters (and a few cease & desist letters) that the syndicates sent me.

Years later, and now living in NYC, I again felt that being funny could earn me some extra bucks, and found myself working at a humorous greeting card company. This company (which wishes to remain anonymous) only publishes greeting cards with photos of cute animals on the front with a funny line on the inside. Our job was to brainstorm funny lines to match up with cute animal pictures. I never sold a single idea the entire time I worked there. Although, I did think I had some genius ideas! Like my idea of a card with a photo of a black cat taking a bath in milk with the tag line: ‘I’m ready for my close up, Annie Leibovitz’s! Have a purrrrfect Birthday! Whoopi!’ Or my idea for a picture of baby ducks having accidents in little toy cars with the tag line: ‘There’s been a quack up on the I-50 north! Speaking of 50 and baby ducks, Happy 50th birthday baby!’ Despite the fact that I enjoyed their unlimited free bagels and laughing at my own jokes while they stared at me blankly, I eventually left that job simply to avoid being fired. In this internet age, I tried my hand at my own on line comic ‘Brother Sasquatch’ which got 50-60 hits at the most on any given day. A failure? I never got any hate mail for that strip so…yes, a failure by today’s standards.

I won’t bore you with the New Yorker story (just yet). If you’re reading this you probably know that for that one cartoon that made it into the magazine, I have hundreds of rejected cartoons. The cartoon up at the top is one of the very first of my New Yorker cartoons to be rejected. I have posted other New Yorker rejects previously, before I was willing to admit ‘who’ was rejecting them. You can see them here, and here.  I leave you with one more rejected cute animal greeting card idea. Picture of a couple of little ducks at a dinner table which is covered in various types of crackers. Inside of card says,”Don’t go quackers on your anniversary! HILARIOUS!

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