Off to LA/Written up in Publishers Weekly!

Today, I head down to LA to visit a good friend and show him what I've been working on. He was a great help on editing the script for my first book, so I'm very excited to be sharing my latest material. This morning I spent some time out in the field (which is a necessary part of this new work) gathering locational data and images for different places around my home town of Portland. And, even though it's not officially announced yet, that first book my friend helped me with just got a little write up in Publishers Weekly! Here's the link. Second paragraph for those in a hurry.

Writing and writing tools

Today I'm finishing up an outline for a graphic novel, and having a great time with it. I have two books slated for publication this Fall; one original to me and one for which I've done artwork... The latter has taken up most of my work time this last year, but at least one day a week I've been writing and developing my next personal book, which I look forward to sharing soon. So, when you can't talk a lot about any of your projects, what do you talk about? Tools.

A cool program I stumbled upon recently is Celtx, a preproduction software suite that's open source (i.e., FREE). It streamlines script formatting in a big way, which is mostly what I do with it. It knows to say Page X, Panel X, Character X, every time I hit return, which is a beautiful thing after using Word for years. It also does storyboard layouts, film and animation workflow stuff, cloud-sharing... a lot of things I'll never use, but are pretty nice to find in an open source product.

Is good!

Comic Book Tattoo and Digital Watercolors

Here's a character design for a story I did with writer Sara Ryan. The comic was part of the Comic Book Tattoo anthology that came out a couple years ago. I've always liked rough watercolor fills- I'm doing my best to replicate them in a digital process.

A while back I had a job for the Addams Family Broadway Musical where I needed to precisely emulate a Charles Addams cartoon in a digital, multi-layered format. In the process, I discovered the wonderful Nagel series brushes for Photoshop... They do a good job of emulating natural watercolor washes. Here's one of the more splattery examples:

...And here's the original Addams cartoon, plus my hi-res, all-digital copy. The original here isn't the copy I worked off of, so the contrast levels differ, but it's still fairly close:

So there's my first counterfeit job, approved by the Charles Addams estate itself!

Definitely give the Nagel series brushes a spin if you're looking to emulate real world watercolor effects. They're free, there's lots of them to try out, and it saves you the time of engineering your own brushes from scratch (which is admittedly fun too).

Hotlanta Goes to New Zealand

We're well into our time here in the lower half of the earth, and tempers are riding high. Just kidding. The Kiwis are, of course, as delightful as you've heard. Hotlanta agrees. He decided he needed to tag along on this trip, and everyone's been having a better vacation as a result, I'd say. Here he is with our new friend Luke, who, incredibly enough, knew everyone's favorite acorn-headed warrior on sight. That was a thrill. Luke spent some time introducing the big H to his lambs, one of many kooky adventures caught on video for the next installment of Acorn Minutes... in fact, there are enough kooky adventures being had that we may just need multiple installments for this one. We'll see.

New Zealand

This coming Monday, Sarah and I are heading to New Zealand to visit my folks. I plan to get a good bit of writing done for my next book on the 48 hours of plane/airport time, and a few sessions while we're in country. The spectacular landscapes should be a source of inspiration. I'm looking to incorporate a lot more study of the natural world into this next project, so the ecological diversity of NZ will be fun to explore.

The plane time is rough, no doubt about it. The last time I was on a plane for that long was my honeymoon... I sat next to a drunken Aussie-American loon who literally thrashed and bellowed through 7 of the 11 hours from LA to Fiji. On a red-eye. The last 4 hours were dedicated to my recovering from being sleepily groped between the legs by the same out-of-his-mind co-passenger. At any rate, I have that to reference whenever I take a trip anywhere, and thereby feel at ease with my slim chances of going through something worse.

No more down-notes though. Bring on the merino wool, colossal squids, and venison!

Advent Illustration Detail

I'm going to be doing a series of Advent illustrations this season, and this is a detail of an upcoming piece- Zechariah prophesying over lil' John the Baptist. I've avoided spiritual illustration up to this point. It's been done by all your favorite Renaissance personalities, and anything else looks pedestrian. Maybe one day I'll have the ability and time to produce something with the right balance of passion and objectivity.

For now, I'll just post this and curl into the fetal position.

Apocalypse Now and Winnie the Pooh

I read Winnie the Pooh over the weekend, and realized what a brilliant piece of work it is. It's concise in its language and scope, but communicates this huge love for some pretty rough-around-the-edges characters. It's very comforting.

At the age I should have been reading about the silly old bear, I was watching Apocalypse Now with my dad and older brothers. Weird stuff for an eight-year-old, and pretty much as inverse to Pooh as you get. Beyond the content difference, there's just the narrative style discrepancy. Apocalypse Now takes its not-so-sweet time.

I remember inviting my third-grade friends over to watch Martin Sheen traipse through the jungle wonderland for three hours, in search of the slow talking bald man. These friends got bored and started wrestling about 30 minutes in. Channeling Brando's God complex, I chastised them and directed their attention back to The Horror.

I watched the movie again this weekend, the same time I was reading Winnie the Pooh, and I completely forgot about the video mashup of the two properties I saw a few years back. Something must have been going on at a subconscious level this weekend... At any rate, someone was kind enough to put the content of my brain on Youtube:

Boilerplate Painting Process

I rarely take photos of work in progress, but in the case of my painting for Paul Guinan and Anina Bennett's Boilerplate book, I needed to be able to show where things were headed. I took snaps of the pencils, midtones, and the final piece. This was done in acrylic, like most of my recent paintings.

If you haven't picked it up yet, Boilerplate: History's Mechanical Marvel is an incredible piece of work, with some of the best photo manipulation you'll ever see. Check it out.

Brush Pen Roundup!

I use brush pens for all my comics inking. Heresy for some folks in my studio, who swear by the superiority of a Windsor Newton series 7 brush. For my own purposes, I've found that brush pens give me all the control I need, whether it's down to small details in the distance or making a consistent panel border.

Not all brush pens are created equal, though. There are some that promise the moon with their high price tags, and some that are so bargain-bin cheap that you'd automatically disregard them as a serious tool. And there are some that work unexpectedly well for things they were never meant to do.

Across my adventures with brush pens, there are two features I've required: brush bristle tips as opposed to a felt marker tip and the ability to fill a pen with my own ink. I hate throwing away all the plastic cartridges, and I hate buying them. Once I have a brush pen in hand, I'm also looking for two performance qualities: consistent flow of ink over long spans (many brush pens don't put out enough ink for quick lines over long spans, resulting in an unwanted dry-brush effect) and a fine tip that allows control over detail work.

For ink, I've used non-waterproof Sakura India Ink which flows like a madman, and Rapidograph Ultradraw waterproof ink, which is just runny enough to flow through these brush pens at the rate I require.

As to where to buy these things, if you can't find them at your local store (quite possible for some of them), check out www.jetpens.com for more brush pen madness than anyone can handle.

So, now that we know what we're looking for, here's a quick rundown on my experience with various makes and models:

Sailor Profit Brush Pen:

We begin with a sad tale. When I first fired this one up, I thought I'd found my special inking someone, and given its cost (around $35-40 bucks), that was a relief. I was able to buy a refill cartridge for it, so that satisfied my requirement even though it typically uses its own disposables. The flow was great- I could make a fast line across a 15 inch span with no loss of line integrity, and the feel of the bristles on the paper was very firm and sharp... at first.

Alas, the dream was not meant to be. After only one day of comics inking, I noticed a profound (yes, I said profound) drop off in the brush point's sharpness. I washed the thing out, hoping, praying that a buildup of ink on the bristles had spread them out, but no. After only one day of work, the synthetic bristles had actually worn themselves into a dull, useless nub. Goodbye sharpness. Goodbye special inking someone.

Rating: 3

Pentel Pocket Brush Pen:

This one has the distinction of being the only non-refillable (at least to my knowledge) brush pen in my roundup. You can buy cartridges for it, so it is refillable in that sense, but there's no using your own ink, and you have to throw away the plastic and kill the dolphins, and no one wants to kill the dolphins. Except... Most of these pens do come from Japan.

But anyway!

I bought it because it is on the less expensive side and a few people hailed it as the Holy Grail of brush pens. It's proven a useful tool for conventions and on-the-go situations where being extra-fastidious is desired. It has a fairly good point. The problem is the flow. Even in shorter lines, unless I'm inking at a snail's pace, the dreaded dry brush effect rears its head. Dry brush has its place, so if you're looking for a tool that can provide that consistently, here you are! It may also be a fit for people who work very small, and don't need the flow. But you know I be needing my flow.

Rating: 7

Pentel Waterbrush Pen:

This is the first of two waterbrush pens I've used, and here is where we get into a tool that was not designed to do what it can actually do very well. Waterbrush pens are usually found in the watercolor section of your local art supply, and you would normally load them with watercolor washes or straight water, both of which you might slurp up or squeeze out with the fabulous pressure-sensitive reservoir. The fact that manufacturers assume you're going to want a whole array of these for color work means (along with their no-frills plastic construction) that they are cheap. Like, 5-10 bucks a pop cheap. Or less.

Does this price point make them less durable? Less precise? Less flow-riffic than their higher-priced brush pen cousins? The happy answer is NAY!

Both the Pentel and Kuretake waterbrush pens are capable of terrific flow. Sometimes too terrific. It takes some getting used to, but once you figure out a good strategy for managing the flow of ink, you can really go to town with one of these. They are also very durable. I used a couple of these in various point sizes (another nice feature of waterbrush pens) to ink the entirety of my first graphic novel, and they're still going strong. Not bad for 5 bucks a pop.

Rating: 9

Kuretake Waterbrush Pen:

Good performance and value, as above. I have not used the Kuretake as extensively as the Pentel, but it shows no signs of losing its point.

The Kuretake bristles are slightly softer and finer than the Pentel's, so if you have a lighter touch, this one could give you very fine detail. I'm pretty ham-fisted, so I generally prefer the Pentel. In all, they're very similar.

One thing to note: This pen was sold under another brand name on the packaging when I bought it, but on closer inspection, I found the Kuretake name embossed on the reservoir. I don't recall the other brand name, but you can probably find it any place that sells Kuretake brush pens.

Rating: 8

Kuretake No. 13 Fountain Hair Brush Pen - Sable tip option

Feeling flush? Here's a lovely brush pen that performs very well and makes you pay for it. At some point, I decided that the lure of a genuine sable tipped brush pen was too much, and I had to make it mine. I did go the cheapest route I could- I bought the synthetic bristle body, then the sable tip as an accessory, along with a compatible refill cartridge. Brush pen heaven!!!

So when all is said and done, does the sable tip do wonders?

It is very, very precise. The feel of the bristles on the page is very similar to the Kuretake waterbrush pen- slightly soft, but sharp. The flow is not quite up to the Pentel, but it still makes a fast, long line without drying out.

At the end of the day, though? With the sable tip, this one costs ten times as much as the Pentel waterbrush pen, and is less of a workhorse. I find myself going back to the Pentel because it just keeps chugging along with a much fatter portion of ink in its reservoir, and thus, I work faster. So while I dearly love this brush pen for its precision, the least-expensive item on the list still edges it out in light of my personal process.

Rating: 9

I hope this uber-nerd moment ends up being helpful to someone. If anyone has other models they love, let me know, and I'll give them a whirl! Though it may take a while for my brush pen budget to recover after that last one.

Go dolphins!