GUYS. I am so thrilled to announce this:
MonkeyBrain Comics is publishing a series of digital comics collecting my Europe sketches from the past year!! We tested it out with my Amsterdam Sketchbook, and the response was so good we’re releasing 6 more comics with a similar format, covering my travels in NYC, France, Switzerland, England, Spain, and Italy.
Issue #1 will be available on Comixology this Wednesday!!
This unorthodox assembly of magnificent creatures were thrown together by a series of even more unusual circumstances and thus forged an enduring fraternity. Use this modular standee to remind you of your own prized connections and lend light to otherwise overcast afternoons.
-Print out on sturdy stock
-make use of scissors to remove the cards and shape the stand
-employ a razor (with proper supervision) to open the four slots
New Trekker page: Mercy’s on the receiving end of unpleasant revelations. The words actually make it all rather clearer, and they are conveniently included in the final version posting here. You are most welcome.
Panel from today’s Trekker page. Attentive readers will see how this quiet reveal will turn Mercy’s world upside down
I was so flattered to be invited to be part of the stellar line-up of cartoonists to celebrate Gene Luen Yang and Sonny Liew’s new graphic novel from First Second, THE SHADOW HERO. The gn, which tells the story of The Green Turtle, the first Asian American superhero, is a total delight. I’ve been admirer of both Yang and Liew’s for some time now, and I was fascinated to learn about Chu Hing, the original Green Turtle artist.
For my tribute piece, I tried to work in the same Fiction House/Lou Fine key that Chu Hing did. Golden age comics boasted a remarkable blend of lurid, dead-serious romantic adventure and utterly ridiculous whimsy. Gene and Sonny evoke it marvelously in their book, and this image is my attempt to do so as well.
Steve hits this on the head!
The page posting today: Jekka part 1 page 15. This one’s about mood and atmosphere as Mercy contemplates the density of the web she’s liable to get stuck in if she follows her current trail. I’m used to using textures— rain, mist, shadows to help evoke a tone. Once I felt I’d hit that mark pretty well in black and white, the task was to use color to support and extend that mood. Restricting the palate and dialing things back seemed to work the best: less was more.
Three-step process for building today’s page. Pages like this, when nothing “flashy” is happening— no explosions or spectacular physical action for example— are great exercises in keeping the details of the story in focus. Here, it’s all about the flow of the conversation. That’s what dictated my choices in when to pull back fro a shot, or move in close; how to move the “camera” to frame moment of appeal like panel 5, or pull out to strike a note of rejection and isolation like panel 6. In a word: storytelling. That’s the task that never grows old for a cartoonist.