Original Art Sundays no. 119: The Pirate Alphabet

The next page of A Private Myth is still giving me fits, but I think I know what's wrong now.
Meanwhile, rather than keep readers waiting indefinitely, here are some images from yet another uncompleted project.
I was working on an alphabet book based on pirates, more than a decade before the Pirates of the Caribbean films (which I rather enjoy). The book used the framework of a couple young girls gleefully talking about pirates.
Here are a couple of the pieces, done in watercolor technique using colored inks and dyes.

This piece was about Privateers, the licensed pirates of the British and Spanish crowns.
The colors are a bit off, and my control of background around people and objects was a bit lacking- still hadn't mastered masking!
And the foreground figure is a bit stiff, and the color of his coat is too close to the background sky.
So it goes.

This piece, which I much prefer, is an illustration for a page devoted to women pirates, who span all nationalities. I particularly like the one in white with the blue kerchief.
I love the subdued tones, and the interplay of inks and paper texture pleases me.
I went out of my way to get the weaponry and boats right, but I suspect I made some errors despite my best efforts.
This is another one of those "I'll go back and finish it some day" projects.  Such a big pile of those!
Then again, it may have been rendered unnecessary. The market may be glutted with pirate stuff now. More's the pity, as the relative percentage of good pirate stuff to total pirate stuff is rather low. Still, I did like the last Pirates of the Caribbean film, the one loosely based on Tim Powers' novel On Stranger Tides, even if it didn't clean up the loose plot threads from the previous film in the series.
Next week: something....

One for Felix

Haven't posted for a while. But April 20 is my other birthday. 23 years ago today I had my final gender reassignment surgery.
Some well-meaning friends don't get it that I want to celebrate this day, in my own quiet way. After all, it's done now, why live in the past?
Well, in the first place, hushing it up implies lying about the past, and I think lying about who you were is the same thing as lying about who you are. Mind, I'm not going to stand in the middle of a biker bar and shout it out, nor am I going to ramble incessantly about it like a silly schoolgirl. But no more shame, not of who I was, not of who I am.
Second, the people who tell me to keep mum about my past sometimes seem more ashamed of it than I am. Paradoxically, many of them are people who've outed me to others to show off how open-minded they are to have me as a friend (sorry, but my private life is not your trophy), or people who know my business but have never had the decency to discuss it with me directly. Maybe they have their own stuff to deal with, but I try to be there for the hard stuff for my friends, and I hope for the same from them. It disappoints me when that reciprocation is missing.
If I sound a little bitter about some of that, we have a bingo, please hold your cards.
But as frustrating as all that can be, if someone else has a problem with my life, that's just what it is: their problem. It's up to them to solve it.
This day also gives me pause to remember all the things I've done in those years.
The bad comes from trusting the wrong people and not trusting myself: an abusive relationship, bad financial decisions, too hesitant to act in advancing my career.
The good comes from taking chances related to knowing I'm worth taking a chance on: randomly recording original music, published articles, a newspaper strip, self-published comics, a technical college diploma, a BFA, a Master's, and a twelve- year (so far) teaching career.
I'm still fighting to stay motivated on my own work. What creative person doesn't share that fight? But I learn from watching others who simply do the work, without conceit or complaint.
The first of these I observed during these years was a teacher who shared my original birthday, Felix Ampah.

Photo used for MTC Catalog dedicated to Felix

I first encountered this bright smile and dark voice in a Drawing and Painting course at Minneapolis Community & Technical College.  I'd had surgery less than three months prior to starting the Commercial Art program there, and was still quite unsteady on my feet, in every sense. But it would be disingenuous to say Felix made me feel at home, since he had that effect on everyone.
We began talking about comic art as he taught me basic techniques, later built on in Airbrush and Portfolio classes. Even when we were not in his classes, we sought him out for advice on art and career, and we looked to the way he conducted himself as an example of what an artist could do with his/her own life.
We didn't know how rich that life was until later.
I bragged about having seen Hendrix, and that really got Felix going. He was a huge hendrix fan, studying his guitar technique and lyrics scrupulously. When Felix talked to me about learning to play Hendrix licks on homemade guitars in Ghana, I had no idea that he was actually a Ghanan prince, and got special permission from his father to study art in the States.

Felix and his wife Sylvia

Life isn't a contest and there's enough to go around, as long as people are willing to share and trust. But I still find myself in awe of what people are willing to give up to get the lives they want, and how happy they often are with those choices.
Felix maintained his joy teaching in a place where some of the teachers seemed rather unhappy with their lots in life. In time, his successful career as a painter led him to open his own gallery, Ampah Gallery.

A Felix painting, reminiscent of Reginald Marsh

I was driving a different route home from teaching one February night when I noticed the sign for Ampah Gallery. Thinking that it might be "our Felix", as we called him, I made a mental note of stopping by during regular hours.
But I was too late. A couple weeks later, I saw his obituary in Insight, a local paper dedicated to news of the Black community.
I did stop in a couple weeks later, to look about and sign the guest book in Felix's memory in thanks for all he'd given me.
Felix's critiques bordered on Zen but were always eminently practical. Every now and then some overly regimented student would gripe about his criticisms not being specific enough, but the rest of us got it. He was giving us room to explore, and pointing in the right direction. Only the best teachers can pull that off.
He also taught adjunct at U of MN, and has had a scholarship in design named for him at MTC.
I miss him on my other birthday, Feb. 19. As I mentioned, it was his day too.
I hope this inspires me rather than intimidating. Looking at the scope of the accomplishments of others contributes greatly to a sense of inadequacy, which immobilizes creativity.
But I also remember Felix working at a dozen different projects- posters, prints, lesson plans, inventions (!), a pilot for an unproduced PBS series on airbrushing (screened in class for fun). He just kept working.
That's the challenge, and the only way to do it is to do it.
As Steve Rude once said, hey, what else you got to do with your life?

The Lone Ranger: A Brief Media History and A Caution

The new page of A Private Myth is giving me fits, and I have a massive deadline tomorrow. So art on the back burner again for the (brief) moment, but never completely off the stove, to torture the metaphor.
I'd like to chat briefly about something else.
The first images of the forthcoming Lone Ranger film are out.

I don't think a logo redesign was necessary....

This on-again, off-again project has the potential to do everything for the Lone Ranger that the other recent film did for his grand-nephew, The Green Hornet. Caught a couple minutes of that this morning by accident, and it is every bit as painful as I feared.
You all knew the Green Hornet and The Lone Ranger were related, right? The Hornet is Britt Reid and the Ranger is his grand-uncle, John Reid.
Ahem. Be that as it may.
This is what the Lone Ranger and Tonto looked like in the original comics. This page is from a bit later, but the style is largely the same, if a bit more refined.

This is what they looked like in the classic 50s and 60s TV series.

Note that Tonto is played by a Native American, one Jay Silverheels. While there are jingoistic aspects to the characterization, Tonto is written and played as smart and honorable.

This is their appearance in the 1966 cartoon.
Note that there's a consistency in costume and overall appearance of the characters. Again, Tonto is presented as secondary but equal in skill to the Lone Ranger. This is as it should be, since the Lone Ranger would not have lived or become the hero he is without the intercession of Tonto.
John Reid was left for dead by a band of raiders. He was the sole survivor, the lone ranger to live, hence the name. Reid was orphaned in the attack. Among those killed were his father and brother, also Texas Rangers.
Tonto restored Reid's physical health, trained him in fighting and survival techniques, mended his spirit and gave his new life direction beyond vengeance.
The model of orphaned masked vigilante has numerous precedents. Batman and Zorro come readily to mind.
The character of the Lone Ranger predates Batman, who is also preceded by Zorro. The chronology is as follows.
Zorro debuted in Johnston McCulley's 1919 pulp novel The Curse of Capistrano.
The Lone Ranger began in a 1933 radio show written by Fran Striker.
Batman  was created by Bob Kane and Bill Finger. He first appeared in Detective Comics no. 27, cover dated May 1939.

The Lone Ranger has appeared in other series and films, most notably the 1981 Legend of the Lone Ranger, starring Kilton Spilsbury and Micheal Horse. Despite some minor modifications, the film was largely successful in its treatment of the characters. Again, Tonto is played by a Native American.
This film's flaws were twofold. Spilsbury's voice was too squeaky to do the character full justice, though he did the job admirably despite that limitation. The big obstacle to this film came off screen, when TV actor Clayton Moore was enjoined from playing his old character publicly in promotional events. He had been playing the Ranger for supermarket openings and events at malls, both as a source of revenue and to keep the Ranger's ideals alive. The studio's action against him left the film with a black eye- kind of a shame, as it's a fairly good film.
The character was largely dormant for a time. Topps Comics (an offshoot of the bubblegum card company) did a fairly good Lone Ranger title in the 1990s, and the Cary Bates/ Russ Heath comic strip from 1981 -1984 remains a largely unsung watermark for the character.

The current Lone Ranger comic from Dyamite Entertainment is superb. While the original 25 issue run is slightly better than the current storyline, both boast a nice balance of character driven story and action. The original artist, Sergio Cariello, was a perfect fit for the book.

And now the forthcoming Disney film, currently scheduled for 2013.

Really?
I know it's unfair to judge an unseen film from one still and a bit of publicity, but come on.
Really?
A black suit and Johnny Depp in whiteface? I know they wanted some name recognition and Depp has long been eager for this project, but are there no Native American actors who could play the role?
This look, coupled with the news that the film is being given a supernatural bent (abandoning the studio's original "vision" of The Lone Ranger as a camp comedy) does indeed give me pause.
Just do the character justice.
He's a noble, plausible character. There's no need to make his story a joke or a magic show. Let the Lone Ranger's nobility shine through.
For a change, I'd like to see a major studio take a chance on doing a superhero right. There are plenty of good bits in some recent Marvel films, and in some of the DC stuff, but as this and The Green Hornet demonstrate, there's still a tendency to misunderstand or ridicule the concept of someone taking off on his own to right wrongs.
Consider the Lone Ranger's Code. These are not platitudes to ridicule, they are words to live by:
"I believe that to have a friend, a man must be one.
That all men are created equal and that everyone has within himself the power to make this a better world.
That God put the firewood there but that every man must gather and light it himself.
In being prepared physically, mentally, and morally to fight when necessary for that which is right.
That a man should make the most of what equipment he has.
That 'This government, of the people, by the people and for the people' shall live always.
That men should live by the rule of what is best for the greatest number.
That sooner or later ... somewhere ... somehow ... we must settle with the world and make payment for what we have taken.
That all things change but truth, and that truth alone, lives on forever.
In my Creator, my country, my fellow man."

Original Art Sundays No. 119: video: Melanie interview

I was blessed to see Melanie Safka perform live this evening.
I cannot tell you how delightful it was. Her self-deprecating humor, couple with her spiritual strength and an incredibly strong voice and her son Bo's virtuoso guitar (and bowed guitar!) playing made for a highlight of my concert going life.
I shot videos of three songs. While the lighting on them was atrocious, I will be posting them soon anyway.
After the show, I chatted with her very briefly about art and music as businesses, about Isle of Wight, and about Jimi Hendrix.
I posted my little interview to YouTube with no editing and quick titles.






Next week, a new page of A Private Myth.

Original Art Sundays No. 118: Tranny Towers, p. 23

Here we are, completing the first storyline of this work.
At last.
The summary next to the masthead should bring you up to speed, if you don't recall the previous chapter.

As noted in past posts, some of my attitudes about trans subjects have shifted since I first completed this work. However, the key to this particular strip is optimism.
The optimism I felt when I created this has taken quite a pummeling in the ensuing years, but it keeps coming back. I'm reminded of a chapter title from a book used in marriage counseling: behind every "I do" lurks a "can I"?
Well, all you have to do is say yes more often than you say no to the question. Sooner or later, most of the time, you succeed. However, it's worth remembering the words of Professor Kingsfield in The Paper Chase: it is possible to do nothing wrong and still lose.
Lately I always feel as if a new chapter is starting for me. It's more draining than it used to be, but still holds promise and gives me life.
Lots of other stories here, including the back story of Athena's suicide attempt, which will probably never be told now. The next story begins with the plaintive cry of the straight girl: "Why doesn't he call?"
I'm mostly happy with this one, though like most of these, I think I'll reletter it digitall before going to press. I think it's a clean introduction to some characters whose stories ended much too soon.
If I keep posting one per month, it will take me another year and a half to post all these. I might alter my rotation a tad, and get them up sooner.
Next, however, an oddment.

Original Art Sundays no. 117: Surrealist Cowgirls cover

Back in the saddle, in so many ways.
On my birthday, I finished the inks for this piece.
Here's the original layout, with the logo block on the bottom.

After some Photoshop dinkery, here's the revised layout with the title in place and completely lettered. The typeface is called Bleeding Cowboys, and it's one of those limited use decorative fonts that's worthless for anything except select instances. Luckily for moi, this is one such instance.

This is almost exactly what I envisioned for this cover. Very happy, or as Whalliam would think, "happy."
I love the ropey text of the word "surrealist". I want to keep the sky simple as opposed to dropping in my usual absurdist elements- this one is about the mood and the characters. Think Charles Russell meets the Fleischer Brothers!
I'm working on adding color and dropping in my company logo, numbering and pricing indicia. But rather than keep folks waiting any longer, I'm posting it as a Work in Progress.
Next: a Tranny Towers page.

Original Art Sundays No. 116: photography: Birthday Suit

Feb. 19 is my birthday.
I have  new page on the board done and awaiting scanning. But since I didn't want to run in to work to scan today, I'm posting something a bit older, with some pride and some reservations.
This self-portrait was done with multiple exposures on  a single negative.

This is intended to show three different facets of me. Looking back on it, it's a bit on the nose, and a little ostentatious. But hey, it was 20 years ago. I've gained weight since then (and was probably too zaftig for the look even then), wear my hair shorter these days, and am not so concerned with the dictates of fashion as I once was.
The print from which the scan was taken is old and weather-beaten, but I still think it's important to try and preserve these things.
Within the next two days, I'll post an additional birthday reminiscence.

Original Art Sundays no. 115: A Private Myth, p. 23 (final)

Well, what's going on here? Original art Sundays on a Sunday?
For a change, yes.
Finally completed the backgrounds for the next page of A Private Myth. I posted roughs of this page here months ago! Oh, the shame, the perfidy!
Here's the elusive next page:

The story is heating up. While the pace has been lackadaisical, this is deliberate and is a setup for a major plot element, initially alluded to about ten pages back.
Astute readers will note some major changes between this and the roughs, notably in the pacing of the bottom tier. The central panel of that tier is key to this plot point.
The skyline of Portland in the top tier is actually from photo reference. The sign is not. I'm going to need to make a trip out there before I go to press on this to check accuracy of some stuff, since I've not been there for almost a decade!
I'm speaking on Works In Progress at MCAD on Thursday at noon, and so am attempting to amp up my art schedule, if for no other reason, to get my head back into the studio mindset.
Next: a new Cowgirls page.

Best Comics of 2011: no. 1

Finally.
To recap:
14. Sailor Twain
13. The Lions of Valletta
12. FF/ Fantastic Four no. 600
11. Rachel Rising/ Terry Moore's How to Draw series
10. Batwoman
9.  Star Trek
8. Scapled, Book 8
7. Ruse: The Victorian Guide to Murder
6. Sugar & Spike Archives
5. The Shade miniseries
4. Kevin Keller/ The Simpsons no. 183
3. Habibi
2. Pogo Vol. 1: Through the Wild Blue Yonder
And the No. 1 comic of last year:

This thing is a monster, in every way. Close to 40 years in the making, this is the only comic I know of that contains work by Vaughn Bode', C.C. Beck, Fellini, Frank Zappa, Will Eisner, Barry Smith, Wally Wood, Trina Robbins and Tom Wolfe, which is but a small sampling, to give you an idea of the book's scope.
The volume measures a hefty 5.7 x 11.8 x 0.9 inches and weighs over four pounds. The initial concept as proposed to Rolling Stone was to have cartoonists create work that summarized their views of the 1960s as the decade drew to a close. The project was tabled for a labyrinth of reasons, and just finally saw print this last November from Abrams Books.
Another noteworthy touch: the editor, Micheal Chocquette, asked that the creators leave blank space in each of their stories. He then returned to the stories and filled in those holes, illustrating his escapades in getting the book out in panels contained in the other narratives.
I had a hard time deciding which pieces to include in this entry, but here's the Frank Zappa page.

And I'll brook no complaints about the pages being crooked. Given the size of this bear, it's a miracle I got it on the scanner!
And here's the Eisner story, always a welcome treat.

 A new Spirit story.
That alone is an event worth celebrating.
In addition to the aforementioned benefits, the text of the foreign language strips is printed in the original text, with a section in the back devoted to translations. And the editor even has the courtesy to refer to the late Jeffrey Catherine Jones by her proper name and pronoun, despite her work having been submitted before she came out.
So what does it say that the two best comics of the year were reprints? Was there really such a dearth of worthwhile new material? Did I just not see the best stuff? Did my limited exposure for the first half of the year taint my judgment?
Or was that just the way it worked out?
Some combination of those factors, I suspect.
2012 looks to be a promising year for comics. I'm enjoying the stuff I've been reading all along- CHEW, Unwritten, Terry Moore's stuff- and some old favorites are reappearing- the first new issue of The Twelve for almost two years- so I have hope for a good year in comics.
Thanks for sticking with me through this painfully protracted process. Much faster next year!

Best Comics of 2011: no. 2: Pogo

two to go, both tonight!
First up, a book decades overdue.

I'm using this as one of my comic history textbooks this semester. We'll know in a couple weeks how it goes over, but I can't imagine it not being beloved by anyone!
Like Habibi, this is a beautifully made book whose content warrants the care used.

The blemishes are on the scanner bed, not on that lovely blind stamp cover!
And beyond the delight of the book as object, its content needs no explanation to those of us "in the know". To the rest, Pogo began as a comic book and moved into the strips. Walt Kelly offered social and political satire along with commentary on the human condition through the animal  denizens of Okefenokee Swamp.

The book is historically significant too. The strips above are the first of the classic Christmas carol strips, from Pogo's original run in the New York Star (the strip ended its initial run when the paper folded).
The commentary framing the strips is equally remarkable. Mark Evanier's essay on Welly's coloring for Sundays and his process in working with the separators at the printer gives deeper understanding to the lush end product, properly reproduced in this volume, arguably for the first time since their original appearances.

Fantagraphics has been doing a great job with their Peanuts reprint series, and this looks to be an equally successful run. I give them laurels for doing such a phenomenal job with such delightful material.
Up immediately: No. 1

Best Comics of 2011 no. 3: Habibi

Yes, yes, I know it's on everybody's lists, and Craig Thompson is the darling of comics circles this year.
While I didn't much care for his previous magnum opus, Blankets, I did attend a lecture he gave at the school where I teach, Minneapolis College of Art & Design. I was sufficiently impressed to buy the book and get a spiffy signature and sketch.
And yes, it's a richly layered text, with multiple meanings interspersing tales of love and loyalty with lush and intelligent page design inspired by the Koran. The mathematics of the design are consistent with Islamic beliefs and serve as a framework for structuring the emotionally rich narrative.

And I am quite impressed with the layout and the dense, involving story.
The beauty of Thompson's page design is not lost on me.

But true though that all is, it's not the biggest reason it's on my Best list.
I love books.
I'm not talking about content, I'm talking about form. There's something satisfying about a well-crafted book. The beauty of a good tight binding, elegant end papers, a design and strategy to the physical properties of the volume itself that reinforces the content without calling undue attention to itself. these things inspire me and leave me awestruck.
So when Thompson talked about delaying getting Habibi printed for several months while he located a printer who could fulfill his specs on the volume, and then toured the printer and the bindery(!), I was hooked.

This is an elegant book with exquisite contents.
Few volumes of comic narrative are this well bound. This holds a proud place on my shelf next to the single volume limited edition of Bone, the lovely collection of Brian Wood and Ryan Kelly's LOCAL, and my limited edition first printing of Eisner's A Contract With God.
Great books should be a joy, either open or closed. Habibi is such a book.
Friday, Feb. 10: the final two of 2011.

Best Comics of 2011 no. 4: Kevin Keller/ The Simpsons

Intending to quickly finish these, since circumstances have made me postpone them for more than two weeks.
Next up is a doubleheader.
First, an Archie treat: Veronica Presents Kevin Keller.

I've been doing a lot of research and academic writing on Archie Comics lately. Coupled with current events in the company, this has renewed my interest in the formerly tame comics.
What current events?
There's been a fair amount of talk about Archie comics of late, largely due to the dueling lawsuits of the company and its former CEO, Nancy Seiberkleit.
Whether any of these suits have merit or not, it does need to be said that within the rather rigid confines of the Archie brand, Nancy took some big chances that paid off very well. The stories got more interesting, despite the lack of tension required in the plucky Horation Alger meets Henry Aldrich world of Riverdale.
To that end, we had the two Archie Marries storylines, the Day in the Comics Shop mini that paid homage to the company's history in a rather fun way, and the current Archie Meets KISS mini.
Oh, and Kevin Keller.
As gay characters go, Kevin is rather innocuous, but makes up for it in two ways.

First, he's supposedly named after a gay porn star, according to a friend who is, ahem, an occasional consumer of same.
Second, he's got guts.

And style.

 The storylines have addressed significant issues, including politics and marriage, in a slightly watered down Archie fashion. And I find it both laudable and amusing that there's a gay character getting his own book from Archie Comics, the company that championed the Comics Code Authority to the end.
Dovetailing on this is The Simpsons No. 183.

This is a swipe at numerous Archie conventions accumulated over seven decades of stories, beginning with Archie no. 1.

This fun Simpsons issue includes swipes at The Archies, Sabrina, Captain Pureheart, and so many more staples from Archie's history. While Simpsons parodies sometimes feel forced, this one works. Random pages on point posted below.

While Archie is usually rather mundane, the line has evolved a substantial history and has taken a lot of chances (relative to their wholesome mission statement) in recent years. These issues are worth your time.
Next: Best of 2011 No. 3, a blessing and a curse from Allah

Placeholder

Just a quick note to let my faithful readers, if such there be, know I've not forgotten to blog. I'm just swamped with encyclopedia entries and teaching. As I am submitting the last of the current batch of entries and revision in the next couple days, and I'm done teaching for the week after Tuesday, Wednesday looks promising for catching up.
Meanwhile, here's the cover of a book due out very soon that includes my essay on homoerotic subtext in EC Comics.

For more about this volume, here's its solicitation at its source, McFarland Press. I'm very excited to see this in print!
I'm sorry! I'll work faster, really!