From a series of diary comics that will see the light of day next year. Testing out some of Kyle Webster’s “Real Watercolor” brushes, which are pretty… righteous. Very impressed, and will probably use these for all my diary comic inkwashes going forward. Check them out for yourself here. If you use Manga Studio 5, you should also check out Ray Frenden’s primo brushes here. You deserve it!
The Seconds team @radiomaru, @nathanfairbairn, @dharbin and me! Seconds is out in stores now! #secondgn #bryanleeomalley
There we are, gorgeous as the day is long! Seconds is a really amazing book that I was lucky enough to hand letter. It’s been a real pleasure to see people reacting to it, mainly like this: “!!!!!” If you’re near a bookstore or comics shop go get that thing stat STAT
Thanks for chatting Shea. If you guys have nothing better to do than read another interview with me, here’s your chance to do so.
"Does being a black man who writes about black and Latino men and women as well as white men and women make race and ethnicity a defining part of my oeuvre? …or does it expose white supremacist hegemony in publishing and the perspective of those who see my work as “ethnic”?"
A damn good interview.
What a good read.
Love that quote! Comics need more people who utter the phrase “white supremacist hegemony in publishing,” many many more. Next time you look at something with a person of color in it and think “ethnic,” remind yourself that White =/= Default.
Anonymous said: When you draw, do you find yourself kind of 'feeling out' what you're drawing, as if you have a perception of the depth of the object?
It depends. A drawing professor once told me that skilled draftspeople look more at the subject than they do at their work, and when you do that, you are feeling along the contours of the thing with your eye as you replicate them with your hand. But at the same time If I’m drawing from life, or from a preexisting image, the process requires discarding intellectual information about the thing being drawn: you draw only what you actually see, not what you understand to be there. In that sense the depth of the object doesn’t matter, only the two-dimensional lines and shadows which the depth produces.
If I’m drawing from my imagination the process is a little different. Sometimes I’m kind of 3D rendering it in my mind in order to get the shading and foreshortening right, but years of consistent life drawing practice mean that I’ve more or less memorized convincing configurations of lines for thousands of frequently-drawn objects, and I usually don’t have to think it through that much.
This is just about perfectly stated. And reminds me that I have to do much much more habitual life drawing.
Andrew Neal, owner of Chapel Hill Comics, bought a $25 drawing but he’s such a sweet guy I decided to do a little strip for him instead. Also because I love birds (his subject request).
DINOSAURS—I’m nearly done with this very long project I’ve been working on since last year. By “long” I mean “LONG”—it’s a folding leporello book (like an accordion) for Nobrow’s Flying Eye imprint, similar to this one right here. I’ve been bummed about how long it’s taken me to do this, SO long, MUCH longer than I ever would have thought, and way past deadline. But then last night I realized that the two files I’ve been working on (front and back of the folding page) equal a single image that’s around 13 inches tall and nearly 14 feet long, so I don’t feel so bad anymore. This is a bout 13” by 24” I’m showing here, to give you an idea.
ANYway. I’ll let you know when this thing is available for you to order, but I wanted to share what I’ve been working on for all of 2014 so far. Now that I’m nearly done I can’t wait to get back to making comics, fixing my website, and starting some long-term projects that I’ve been putting off forever. It’s going to be a very productive second half of 2014.
THE DOUG WRIGHT AWARDS! I’m donating these five (the two diary strips count as one) pieces of original art to the Doug Wright Awards Kickstarter, which has just over 24 hours left to go, and which I hope you’ll consider donating to, regardless of level. The Wrights are an annual award for the best of Canadian comics and cartooning, and to my mind represent the state of the art for how to organize and promote a creative award that’s more than just a little party for publicists, and instead represents a set of achievements by individuals and the artform they represent. And in this case, and unfortunately for me as an American, for Canadians. Damn! Regardless, you can read all about it at the site, and please consider donating! And if you’re going to be at the Wright Awards or at TCAF this weekend, please drop by and say hi!
I decided not to label this drawing because my conflicting self-images are unhealthy enough. Am I disgusting? Am I fabulous? I don’t even know anymore.
Favorite transformation is them fingazzzz
The Wrath of Shockwave, by M. Dawson
I like Shockwave’s tricky move of sneaking up behind people. Optimus Prime doesn’t know what he’s in for!
Is this the best comic I’ve read all year?!?
- slugspoon said:Hi Elio! i was just wondering where you got your brush that has a very realistic pencil-like texture you use for lines, or what settings it is and if you're willing to share
I rarely use digital brushes. The very realistic pencil is in fact, a very realistic pencil!
Many of the lines, textures, or painterly effects in...