Original Art Sundays No. 288: Inktober, Week 2

 Next page of Sharp Invitations is about 3/4 done. Rather than skip a week of posting art, here's some more work from this year's Inktober.

I may make a booklet of these.

D

 Day eight: Zorro.

So many great inkers have worked on Zorro. I've always been partial to Jesse Marsh, Tom Yeates (there's a definitive collection of the Yeates/McGregor Zorro strip soon- hooray!) and of course, Alex Toth. A perennial favorite, Russ Manning, even did a couple tryout strips! 

Such a great character, romantic and driven by justice.

This is loosely inspired by the recent McGregor Kickstarter comic. Almost no under-drawing here, just some brush work. I do love working with dry brush techniques. One of my goals for this year was to improve my versatility and craft.

Day nine:

Another work in walnut ink. I got this really cool catalog of fashion for the more zaftig woman, and she was the cover and one of the interior pages. 

A little more time on the under-drawing this time. Mostly brush work, but a bit of crow quill. I think the outline on the figure could be a bit more consistent. This is always the question: when does one ink right up to the figure, and when does one leave a silhouette? For me, it's about the quality of the figure's holding line. If I'm pleased with that line, I want to preserve it, and the best way to do that is to leave the ghost space.

Day Ten:

This is my character Blue Wild Abandon, who has never appeared outside my sketchbooks before. She's an intergalactic bounty hunter and seeker of justice. Her symbol is the Jungian icon for hero. I will render it more tightly in her first adventure, tentatively titled "No Beast so Fierce". It will be a while before we see it, since I have two stories ahead of it in the queue!

She looks slightly different from one drawing to another. She's been showing up in my sketches for years, but I only recently realized who she is. Then I tied her to an SF story outline I wrote decades ago, and it clicked.

Day Eleven:

Inspired by Trina Robbins' recent wonder, Flapper Queens: Women Cartoonists of the Jazz Age, I decided to try my hand at fashion illustration.

The proportions are weird. The face is sparse.

But boy, was this fun!

Quick pencil sketch, many corrections on the ink. This was was a little Micron, a lot of crow quill, and a BIG brush for the few heavy inks.

Day Twelve:

Athena from my old Tranny Towers strip.

I haven't drawn her for years.

I would love to do a collection of that strip, and include the related work that appeared at the time- my Gay Comics pages using the characters, the self- published work with her from around that time, my editorial cartoons for 90s trans political magazines. Also some paper dolls I was working on and some background sketches and sundries. Make a nice little book.

But in today's political climate, trans people can't even call themselves tranny without someone taking offense. It makes me sad, but I think I've talked myself out of the collection for now. 

Athena's bra and panty set is inspired by Francine in Terry Moore's Strangers in Paradise #1.

Day Thirteen:

Ray Shulman of Gentle Giant. Taken from a photo in the Italian Super Star compilation album booklet!

Much as I love the band, I seldom draw or write about them. Back when I first started posting my work, about a million years ago, I posted some pages from a comic adaptation of the GG song Little Brown Bag. Gentle Giant comics came up in a discussion of a proposed documentary online recently, so that project, an anthology titled Gentle Giant Comics and Stories, could see life again.

 

I do already have a lot of projects, but my enthusiasm does not abate.

Day Fourteen:

Usagi Yojimbo

This was just fun to draw. Stan Sakai has a style that is deceptively simple. But when you take a closer look at his technique, it's clear he's a master. Subtle variations in line weight, and facial expressions that tell the whole story.

I tell my writing students that knowing what to leave out is as important as knowing what to put in. Sakai is the master there.

That's all for now. I'll save the last 17 Inktober sketches in case I need them to meet a Deadline Doom here, as the Marvel editors used to call it.

Next: back to Sharp Invitations.

Original Art Sundays (Saturday) NO. 256: Bugs meets Gargantua

So much running, but I'm actually getting somewhere and very happy about it!
I'm deep in the throes of a new semester of teaching, plus my continuing workload at the other job, which I still love. I'm also on Faculty Senate this year, and taking the time to enjoy life in the midst of it all.
There's also a new Big Project, along with the previous Big Project. I'm behind on the first Big Project not because of that, but due to being stymied on layout revisions for the next page. I had a breakthrough before work Friday, so I should be able to post Sunday or Monday.
Meanwhile, something else.
Though they show up in the name of the blog, I seldom mention Gentle Giant here.Well, I'm planning on attending GORGG in two weeks. This will be my tenth GORGG, and the first time I've ever gone for the entire event. The planning is complex and incredibly stressful and fun, all at the same time. This is a wonderful bunch of people, and I'm excited to see them again, and to play on the big jam night!
In anticipation of being in Albuquerque on matters Gentle Giant, I came up with a quick sketch inspired by the classic Bugs Bunny line: "I knew I should have taken a left turn at Albuquerque!"
Enjoy!

Materials:
Canson sketch pad
# 4 lead in holder
#4 solid lead pencil
Brush tip marker
Magic Rub eraser
Next: back to Sharp Invitations.

Best Comics of 2015: no. 1

Here's the list to date:
15. The Undertaking of Lily Chen
14. Lackadaisy Cats
13. Marvel Star Wars titles
12. Brok Windsor
11. Ms. Marvel/Captain Marvel
10. Story of My Tits
9.  Wuvable Oaf
8.  Lady Killer
7.  Invisible Ink
6.  Archie
5.  Martian Manhunter
4. Bitch Planet
3. Inner City Romance
2. Unbeatable Squirrel Girl

And the No. 1 Comic of 2015, according to me...

This may not be much of a surprise. Then again, this was on a great many lists this year, but I don't recall seeing it in the top spot on any others.
Some creators have a comparatively small output, but a vast impact. To date, Sam Mendes has made only six films since his directorial debut in 1999. Darren Anonofsy, five. Stanley Kubrick, a dozen, if you don't count the early shorts, or One-Eyed Jacks or AI. Harper Lee wrote two books and a handful of short stories. My favorite band, Gentle Giant, made a scant 12 albums in their time together, including the live album. Kate Bush has made 15 albums, if you include EPs, live albums and box sets. Jim Steranko created 35 comic stories in the last 45 years, not including covers and collections, most of those prior to 1970.
More is not always better. And more isn't always necessary.

The wonderful cover under the dust jacket

Scott McCloud has fully created (in mainstream, not including his early self-published work) one creator owned series (ZOT!), one set of stories featuring a licensed property (Adventures of Superman, author only), a nonfiction trilogy on comics (Understanding, Reinventing and Making Comics, of which I find the last the most consistently useful), one stand-alone experimental book (The New Adventures of Abraham Lincoln, which I really liked), arguably invented the 24 hour comic and- well, that's it, not counting his online comics and teaching and lecturing careers. So depending on how one defines one's terms, this is the seventh book in McCloud's 32 year career as a comics professional (using the first issue of ZOT! as the barometer for the inception of that career). We've been waiting 18 years since his last solo book.

Back of the dust jacket

And how is the book itself?
The first time I read it, my reaction was a small, satisfied, "Huh. Okay then. Nice little story." A couple days passed and a lightning bolt tore between the hemispheres of my brain. I suddenly realized just how much I'd missed. I had to go back and re-read this book ASAP.
McCloud has a way of writing just plain people that makes them eminently empathetic, even the ones you don't like. This makes his stories flow, seemingly effortlessly. This is the mark of a master craftsman. As Coco Chanel said, "dress poorly, notice the dress- dress well, notice the woman." The reader gets sucked under because the tide of the story, to torture the metaphor, is so regular and comfortable. He's at his best when dealing with what is commonly called "magical realism", unexpected or impossible things happening in everyday settings. There were some hints of this in New Adventures of Abraham Lincoln, as everyone but the hero casually accepted the narrative's outrageous events. As this is one of my favorite sub-genres, I get sucked into these very easily. For want of a better term, I classify much of Gaiman's Sandman as magical realism.

The Sculptor at work.

Museum dialogue, page 1

This is the story of David Smith, a frustrated sculptor who fears the common enemies of artists - anonymity, starvation and death, both of body and of spirit. David's uncle joins him for lunch one afternoon when David's life and career have both reached their nadir. Shortly into the conversation, David remembers that his uncle Harry is dead. Harry offers him a Faustian bargain, but not for the soul, at least not in the conventional sense. David will be given the talent he imagined for himself in the comic he made when he was a kid. He will be able to sculpt anything he envisions with his bare hands. The price is that he will die in 200 days.
As he sets out to sculpt with his new abilities, he encounters unexpected but inevitable obstacles, including overcoming his own fears of the work, facing the slights he's given others in the art world, and dealing with the arbitrary caprices of art dealers and critics.
Oh, yeah. Right after creating his first significant body of work since making the deal,  he's kicked out of his apartment and forced to leave the work behind.
Luckily, he meets an angel (don't worry, it's not the It's A Wonderful Life moment you dread, it's something both plausible and unexpected), falls in love, and manages to rebuild his life- while he counts off his days.

Museum dialogue, page 2

Many moments here echo the classic 20th century mainstream works about the worth, frustrations and joys of life. So often, during the fifth re-reading of this book (!), I found myself remembering the line in Our Town: "oh, Earth, you're too wonderful for anybody to realize you."
The Sculptor clearly has a strong emotional impact, much to offer the intellect and the spirit. The writing is there, and the themes are solid and well-considered, no question.
But few have commented much on the art.
You'd think people would be all over the art on this, since McCloud's Understanding Comics was the book that mainstreamed Comics Theory 101 for a larger (read: not exclusively comic book geek) audience. Do McCloud's theories on comics structure hold water in his own work?
Well, sure. At the risk of being simplistic, it matters a great deal and it matters not at all.
He uses the devices of visual narrative to full effect. He's varying camera angles, using open panels to create moments of pause or introspection, varying the distance he puts between the reader and the scene, and maintaining a sense of flow on every page and throughout the text. He's not adverse to throwing in a silent panel when called for, recognizing that there are such moments in life, and trusting that the image is strong enough to propel the story without words.

Museum dialogue, page 3

Beyond all that, these are well-drawn pages. The facial expressions are spot on. Like the work of Jeff Smith, another less prolific creator whose work is justly lauded, McCloud's art is direct and, at least on the surface, simple. The proportions are good and consistent, and the tonal color is well handled. In most B & W works, that's an issue of placing and controlling blacks to give full and appropriate range of values to each scene. However, McCloud has opted to add a range of blue hues. So in addition to the values given by placing lights and darks and by hatching, the reader gets a second set of tonal values from the range of blues, akin to an old-school duotone effect. The blue is alternately calming and somber, and serves the mood of the story well throughout.
The art goes beyond simple, however. McCloud throws several splash pages at the reader at key moments, but he also goes to town with two page montage spreads that take the viewer on an emotional storm through what has gone before in the story. The splashes and montages create a marked contrast to the more (again, for want of a better term) conventional narrative pages.

Montage on parade!

What's the book about? It's about triumph over adversity, even if the adversity is a result of your own screw-ups. It's about love overcoming frustrations and fears. It's about that moment when you look at your life and see it for what it is and was, both good and bad, and are at peace with what you see.
I hope we don't have to wait so many years for McCloud's next book, but if it's this good, it will be worth the wait.
I've been privileged to meet Scott McCloud on a few occasions and to work with him briefly at Minneapolis College of Art & Design. I hope I get to meet him at least once more. My copy of The Sculptor is a signed limited edition, so as much as I revere a signed book, that's not why I want to see him again. 
I simply want to thank him for creating a book that made my life richer for reading it.

Review: Gentle Giant: The Power and the Glory 5.1 Remix

Considering the vast role music has played in my life, I've usually had sound systems that range from adequate to slipshod. Part of this is my being a technophobe. Part of it is me being miserly about big ticket investments (to this day, I put off buying shoes as long as I can due to the cost of decent ones!). Another factor is that I can't always tell the difference between the moderately priced systems and the high-end stuff.

Currently I'm primarily using a Crosley combined turntable and CD player. I like the look of it and the sound serves. I can burn CDs from LPs. It doesn't kick out the jams the way some of my past systems have, but living in a modest space in a garden apartment, having a compact unit with decent sound is okay.

So in light of that, what business do I have reviewing a 5.1 mix of any album, let alone one as iconic as Gentle Giant's The Power and the Glory?

Well, it speaks to the quality of the work that even on this modest system, the difference is noticeable and remarkable. The instruments are distinct, yet the work retains its cohesion. This doesn't come across as five masters playing their instruments as much as five masters playing TOGETHER. There are some subtle changes, extended intros and exits on certain numbers, and the added instrumental track of Aspirations (a perennial favorite) just shines. This album, which I've heard countless times and revered for over 30+ years, has taken on new life for me. The intertwining vocal lines on No God's A Man are clear and precise like never before, but none of the magic of Giant hocketing is lost.
This album has been held in high regard as much for its lyrics as its complex music. When I saw the booklet containing NO lyrics, I was quite let down. But then I popped the DVD into my player. And there they were, embedded in some (mostly) clever and effective animation of every song on the album!

Ironically, the animation I find most disappointing is the one for the aforementioned Aspirations. By associating the song with a fairly generic family, it loses some of its impact for me. The other pieces are all either animated text and symbols or silhouettes, and the universal aspect of that makes them compelling.
In contrast, my favorite animated bit is associated with the album's original closer, Valedictory. Using simple lines and shapes in appropriate position for each of the instruments, it feels like a performance by an invisible band. Very compelling!
Credit where it's due: the animation was done by Gentle Giant founding member Ray Shulman, who's made a respectable career in sound and DVD production.

A word must be said as regards packaging. The original LP had die-cut top corners, reinforcing the image of the playing card. Sadly, not the case here. Despite a lavish gatefold box for the CD/DVD set (slightly different image on the Blu-Ray DVD than on my plain old one, according to some fellow GG aficionados) and a booklet containing a comprehensive and engaging interview/essay, the the cover was not properly, ahem, rounded. In fairness, that might have caused a great many production issues. There's only been one CD release that actually had the rounded corners, the one on Derek Shulman's own DRT Records a few years back (though the Japanese mini-LP set also, ahem, followed suit). The album does come with a charming promotional postcard, which I'll scan and add to this post when I get home from work I'm happy to post here.

Like many GG fans, I eagerly await the next Steve Wilson 5.1 mix of a Gentle Giant album. I'd love to see him do justice to the group's final album, Civilian, an album I've always held was a neglected masterpiece.

Original Art Sundays (Wednesday) No. 112: The Canadian Giant

A few days late due to the holidays, but I did have a couple pieces scanned ahead to carry through the down time. Scanner access returns next week, so depending on work schedule, no further problems anticipated.
In 2001, I attended my second GORGG. In preparation for the event, I offered a couple T-Shirt ideas. One was later used for a CD cover, and the other, which I actually preferred, remained lost to posterity.
Until now.

The design is clean and effective, but it may have been too subtle for the crowd. Also, the ear is a bit too small.
I also did a piece inspired by Robert Crumb, which made it to the cover of the Jam CD, the first GORGG jam ever!

The image was distorted slightly for the CD cover, but I like the playfulness of it, and the maple leaf guitar remains a favorite symbol.
As I prepare to teach History of Rock & Roll in a couple weeks, I find music in general and Gentle Giant in particular very much in my thoughts. While it's unlikely I'll be able to attend the 2012 GORGG in Israel, much as I would love to go, the 2013 gathering in Chicago seems feasible.
Next: a surprise.

Original Art Sundays #71 (late) : Gentle Giant Calendar 2011

A half inch away from being caught up....
In 1999, the year I completed my BFA, the online discussion list for fans of Gentle Giant had their first annual gathering, the Global On-Reflection Giant Gathering, or GORGG.
I was staying with my friend Tatsurou Ueda and his delightful wife Yoko.
Tradition dictates that when one is a guest in a Japanese household, one brings a gift. So I designed a calendar based on the band.
It proved so popular with his friends that I produced them for other list members as well.
It's been a cottage industry- I do the research, typesetting, printing, order taking and mailing. The 2011 calendar is my twelfth.
However, this year, rather than do the hands- on work, since my resources are quite low, I've elected to let Lulu handle the printing and shipping. I have some misgivings about this- Id rather do it myself- by hey, no printing budget means just that.
So the 2011 Gentle Giant Calendar is available to the general public (something else I've never done before) at Lulu.com.
I don't expect my readers here to buy these (but if you want to, I won't complain!). As is my way, I'm just putting my work out there.
Profits, if any, will go into the GORGG fund, to cover expenses for putting the event on and bringing our guests, the band members who have joined us and become dear friends over the years.
I give comp copies to members of the band and contributors. They'll get 'em late this year, but they will get them!
Here's this year's cover art.

And a sample month page, featuring some preparatory art for the very first GG calendar.

As you can see, the love of the band is what it's all about.

Original Art Sundays #63 : the Gentle Giant Retros Files

Progress was made on the new page since last post, but scanner access was inhibited by someone vandalizing my car (just a rock through a window, but I can't get it fixed till tomorrow).
One of these fine days when I have an extra few hundred dollars, whatever that is, I'll buy a decent large format scanner and not have to rely on the ones at work.
Until then, we persevere.
A few years ago, I joined a Yahoo group devoted to the cover and CD art created by fans for specialty CD projects by and related to Gentle Giant. The group, Retros Productions, has been dormant for the last couple months, aside from some irritating spam.
Therefore, as a caution, I have saved the images of my work form that site and would like to present them here.
The first are covers from remasters done by list member Marc Guilbert, quite good remasters at that. These were "treed" to the Gentle Giant mailing list, On Reflection. Before file sharing was as prevalent as it now is, we'd mail out CDs. Each recipient woudl send to three more members, till everyone in the list who wanted the material had it. You get the idea.
The Gentle Giant list is named after one of their more intricate and beautiful songs.



A bit prim for the tastes of some, but I love it.
The first of these included two albums, Free Hand and The Missing Piece, both rather high energy albums with distinctive covers. I integrated elements of the two covers and matched the typography of the dominant cover.

The second twofer, as we are wont to call them, was Three Friends and Acquiring the Taste, both more eclectic and varied albums.
Again, integration of elements from the two covers figured prominently.

A bit of Photoshop foolery around the edges, and an attempt at typography that reflects the flavor of both albums.
Finally, the cover art and interior tray art for a benefit CD of GG-inspired material. We paid homage, and in the case of the one actual cover, royalties to the band.
Subsequent projects from GORGG Tribe, the aggregate that released this material, have been benefits for the Global On-Reflection Giant Gathering, or GORGG, and annual event going on, well, now, in Scotland this year.

The idea here was a primal illustration of the band. I took a simple marker sketch and added elements in Photoshop and Illustrator. I actually rather prefer the inversion of the art used for the tray.
I perform on this as well. My ex, Jenny, and I recorded the track Girls In Glass under the name Natural Light Orchestra. One of these fine days I'll make a video of the number and get it up on YouTube.
I also have a recording with Anthony Bowes on last year's benefit CD, recorded under the nom de song DianAnt,  Think of Us With Kindness, which also serves as a memorial to lost loved ones. The track, Esther's Lillbulero, is available from CD Baby, if you are inclined to spend a buck for the track or a sawbuck for the whole album.
There's another project nearing completion now, but I'm taking a pass on this one to concentrate on my comics and my academic career.
I hope you enjoy yet another trip down Amnesia Lane. Next week, hell or high water, the next page of A Private Myth, completed!

We'll be using yer guts fer garters, mate! (caption, panel 3)

This coming Sunday is National Talk Like A Pirate Day!
It draws many things to me beleaguered and rum-addled mind.
We'll let my old captain, Micheal Nesmith, interrupt now and again.



Arr. Now, then.
Since Pirates of the Carribean, there's been a revived interest in our bilge-soaked seafarers. Mr. Depp's over-the-top portrayal was a delight in that it made several things about pirates clear.
They're unclean.
They're dishonest with others, and not always so honest with themselves.
They're violent and greedy.
Despite that, they're really fun!



Yes. Quite right, then.
Pirates have been fixtures in comics forever. The origins of The Phantom and Tarzan are both steeped in pirate lore. Tarzan's parents were cast away from their burned ship by pirates, while pirates killed Kit Walker's parents in the 1600s, resulting in the Phantom legacy.

It's also worth mentioning that



Ahem. As we were saying.
It's also worth mentioning that many more contemporary superheroes have walked the planks under the skull and crossbones!
Benjamin J. Grimm, the Thing of Fantastic Four fame, was, in reality, Blackbeard.

One of the smartest superhero stories, James Robinson's Starman, uses pirates as a recurring theme, first as an adventure with Starman's late brother, then as a rescued damned pirate who saves Starman's bacon.

Detective Comics Annual No. 7 featured an Elseworlds story of a pirate Batman. The story, titled Leatherwing, is part of a series of unrelated stories, set outside standard DC continuity. While they often end with the central characters assuming the same roles they do in the "canon" continuities, these outings do give the creators a chance to stretch a bit.

There are also comics that are specifically about pirates, ranging from






(stop that!) er, ranging from this early Classics Illustrated, that adapts the Yul Brynner/Charlton Heston odd little quasi-historical epic The Buccaneer (one of my favorite childhood movies)

to Will Eisner's pre-Spirit strip Hawks of the Sea, represented here in its Canadian version,

to the more recent El Cadazor, from the late publisher CrossGen, whose smart, beautiful comics were hindered by an overly ambitious business plan and the vagaries of the economy.

This book, by the usually snarky/macho and slightly misogynist (but not nearly as bad as Beau Smith in that respect) Chuck Dixon, picks up on the Disney Pirates notion of a woman as captain. Not unheard of in the world of real pirates, but rather uncommon.

Another fixture of the pirate narrative: the abandonment of identity. In all these stories, there's an aspect of the character being reborn as another, a burial at sea of the land persona, if you will. This is often accompanied by a moral shift.

Following the astounding popularity of Disney's Pirates of the Carribean films, the theme began to recur in comics, including this delightful romp from Ted Naifeh, illustrator of the transgender tone poem How Loathsome, written by Tristan Crane.

Along the same lines, there's the bright (if derivative of Elfquest) comic based on the short-lived series Pirates of Dark Water. In addition to a page of the narrative, here's the cover of the last issue, with art by the delightful and elegant Charles Vess!

And thanks to the sadly demised Disney Adventures Digest, we have comics featuring Jack Sparrow and Company, illustrated by Brett Blevins, who also did the new Scarecrow of Romney Marsh comics for the same publication!
The first story was Revenge of the Pirates, from the August 2003 issue.

The final tale was The Accidental Pirate, from the Disney Super Special, Sept. 2009.

Approximately midway through the run, this tale appeared, introducing the usually land-bound pirate The Scarecrow of Romney Marsh,  who was featured in a dozen or so stories of his own throughout the run of the magazine.

And the classics.
This post-trend EC title featured some remarkable art and some innocuous stories- of necessity, as demanded by the then-powerful Comics Code.

And let us not forget the use of pirates as metaphor in the meta-comic Tales of the Black Freighter, contained in The Watchmen.

I'll be having some grisly metaphor, if you will, Captain! The true nature of pirates is much closer to the surface here, and is taken to extremes by the labyrinthine S. Clay Wilson in his classic, Captain Pissgums and His Pervert Pirates!

Despite Disney's attempts to turn them into charming rogues, pirates remain lethal, often amoral figures bound by their own code. Their stories are a sort of seafaring noir, wrapped in desperation and urgency as they sail to treasure they can never spend.
This Gentle Giant song sums up the inevitable end of most pirates.



The world of pirates is colorful, adventurous and seductive. It's also nihilist, defeating and doomed. The core conflict is Man Against Sea, and Sea always wins.


Well, maybe it's not THAT grim...

Ah, Pirates do love their treasures!