IVAN KEYSER BRANDON SOZE_90 minutes

I have friend and his name is IVAN BRANDON. I'd like to talk to you about him for a minute so read along if you don't mind. As a matter of fact, if you want to get into this business for the long term you need to know this story. Then maybe you can go find and get to know this man.

First let me preempt everything I'm going to say here by saying that some of the statements may seem to make this brilliant, brilliant person out to be some kind of bogeyman. He's not. He's here to HELP. Let me tell you how and how I found out:

Okay, so...Ivan. He's the one who asked me to draw covers for his NYC MECH book a while back (look at some of my earliest posts on this-here blog for images of these covers) and he wrote the story for my 24/7 contribution in Volume 1. Now, he's done more work than that obviously - the most recent of which is his Machine Man run set to release from Marvel very soon. And if you'd like to know his full professional background, click on his name on the link I've high-lighted above; the fella' is bright, quick with the wit, well versed in comic book history and can tell and take a good joke with the best of 'em. Oh, and he's loyal. Loyalty is important. He's backed my name in everything that I've done - even pushed my work like a drug dealer whenever a project comes up on the horizon and it doesn't even have to be a book that he's involved with! He looks out for his people and I was lucky enough to meet him, lucky enough to be asked to work with him and everything has gotten rolling from there by way of my second foray into the funny book business. It is to say that I credit they guy with how my career got its second start.

Here's the thing: He's not REAL.

Yeah...it was hard for me to wrap my mind around the idea of that too, but after this past weekend's trip to the Emerald City Comic Con, the proverbial light bulb went off in my head and I was convinced. See, events transpired in that show that started me on this path to discover if he was an actual person or not. My findings have lead me to believe that he's actually several people. Put simply, there's more than one 'Ivan Brandon' walking around out there.

Crazy, right?! Yeah...let me tell you how crazy.

Ivan Brandon's a mystery man. He's everywhere at once. In that same show, I'd talk to 'him' at his table (sitting with his lovely girlfriend Kristyn - one of the nicest, most charming people I've met in a while) for about 20 minutes or so and that was a hoot. He'd offer me books he's just recently published and about what's going on next between the both of us. Then I'd make my way around the show, run into someone who also had an acquaintance with Ivan and they'd say,

"Oh hey, you just missed Ivan. He was here...two minutes ago."

"Oh yeah?, I was just talking him up a bit at his table two minutes ago. When did you run into him?"

"Like, I dunno, man...two minutes ago. He was *just* here - literally two minutes ago! We talked about this and that and books and comics and blah, blah blah."

"Blah, blah, blah, " I'd think to myself? "That's the same shit he just spoke to me about! Verbatim!"

Now I don't care how fast you walk or what kind of special pair of Pumas you've got on, that type of travel, especially in a crowded show like ECCC, that's f*cking impossible. That incident is what started me on my realization that there's no way Ivan is just ONE person. Want more proof? At the same show, let me emphasize this so you'll pay attention - AT THE SAME SHOW - another fellow artist, obviously not knowing that Ivan had a booth set up in Artists Alley, comes up to me and says, "Hey...24/7 VOLUME 2 just got nominated for an Eisner! Too bad Ivan is in South America hoofin' it, knee-deep in river water or else I'd give him props myself!"

I'd say, "You're f*cking high: I just spoke to the guy today and he's sitting behind his table."

I don't typically drop the F-Bomb this much, but this was the fifth or sixth person IN THIS SAME SHOW who claims that Ivan is in one place when I just saw him and TALKED TO HIM at another place. And this guy says he's in SOUTH F*CKIN' AMERICA?! This is ridiculous. Anyhoo...

"Naw, dood. I just saw pictures of him and he's smiling that ol' Ivan smile, pants folded up to his knees in some muddy river in South America. Funny thing is Jimmy ('Jimmy' is a stand-in name - if I start naming real pros, I'd implicate their involvement and I don't know what the 'Ivans' will do to them) just sent me picture of Ivan wearing a winter parka and he looked like he was at base camp on K2 a couple of days ago. Cool, yeah? Th' guy really gets around."

Cool? COOL?! It's f*cking IMPOSSIBLE! Not only is it ludicrous for him to be in ten places at THIS SHOW, it's even more ridiculous to think that he'd be on two different halves of the hemisphere - TWO DAYS APART! Why has no one ever caught on to this. More importantly, why has no one ever called this man out?!

Then... the second light bulb went off. Why has no one ever called him out? Influence. The man has influence.

"Eric, I think you'd be great on Iron Man. Marvel would have to be crazy not to put you on that book."

His words. A full year before I got the IM: ETM gig. It seems so innocuous, that statement. Read it again. It seems so simple and and throw-away, that you don't even think about it twice. As a matter of fact, I denied it could even happen! "What would Marvel want with me," I asked myself? So I left it alone. And that's how Ivan wants you to think. It makes his influence *seem* that much less significant. "The greatest trick that The Devil ever pulled was to convince the world he wasn't real." Keep that in mind when you re-read this blog entry. That's how he works. That's how they work.Why did it take a year if he has so much influence, you ask? That's how people with real clout work. They make you think it was all your doing, all of your decisions; that you had somehow controlled your own destiny and now you're doing the thing that you set out to do. Every industry has it - from business, to entertainment, to sports. Comic books has Ivan Brandon. He pulls the strings - little bit tighter here, looser there. He cranks down on pulleys and levers - all in the name of comic books. And it's not just for me.

If you go through... let's say, the Image Comics booth at this year's San Diego Comic Con, ask the other artists in Ivan's vicinity, and I believe they'll all say the same thing...or at least something similar:

"Ivan's a really cool guy. He helped me [insert kind act that's impossible for one man to accomplish here]. And man, it's been nothing but smooth sailing since"

Like a Rothschild or a Rockefeller, Ivan Brandon, along with an exclusive cadre of highly influential yet carefully secretive sect within this industry, have been pushing artists writers, colorists, et al - to the forefront. And they make it all seem like it's your idea. Or it was your blind luck. Or it was chance. Or it was some editorial office in NYC. It's not.

My recent count puts their at numbers at around 50 - all of them wear one mask.

Their name is Ivan Brandon.

ORION_90 minutes

So if I understand this correctly, when Orion takes off his shiny helmet his face is just as jacked up as his dad's, Darkseid - ruler of of Apokolips. Or it may *eventually* end up looking that way? I'm not quite sure. Man, it must be tough to be the grand loser of the intergalactic genetic lottery.

So, this one's a day early because I don't know how my schedule will shape up tomorrow and I'm getting one in early now. By the way, I just realized I'm about a month late from my proposed two and a half week deadline of...um...re-posting again. Well, I'm just gonna start now. Enjoy!

"Hey, Orion... take your helmet off! What's that? Oh, you're exaggerating. I'm sure you don't look that baaaaaaa-OH MY GAD! I...um...mean....that's hardly noticeable. But, uh...put the helmet back on, yeah? It goes with...uh...your...uh....suit! Yeah, no...I mean, it's all just...it's all cool. Helmet. On. Thanks."

OUTSIDERS_commission

Well, not *really* The Outsiders, per say. But that's how it was explained to me when the fella asked for the commission. Anyways, apologies for taking so long in finishing this, Riki. But as my previous post expressed, I've been behind the eight ball for about two months or so now. This'll be out to you in the mail very soon.

Now, what else did I say I was going to do for someone else? Where'd I put that commission list....?

THE BEGINNING OF THE END_update

Okay, I'm behind on updating this one here because NEWSARAMA has already published the story, but just in case you don't visit their site, click HERE and read about what's got me so busy for the past...I dunno...has it been months already? Ugh. Thanks to CHRIS ARRANT for the interview - he's the fella who wrote up (what's become notoriously known among my friends as) the 'Enter the Eric' interview a while back for IM: ETM.

Anyhoo, the book is called 'The End League' written by RICK REMENDER - writer of 'Fear Agent', 'Sea of Red' and most recently 'The Atom' for DC Comics. So, read the interview along with the comments thereafter. The reaction has been overall postive and I'm glad not too many people are hating on the fact that I'm coming in after Broome.


I'm going to act as if you couldn't see this preview image on the Newsarama site because I'm feeling awful guilty about not updating this blog in a while. This is the cover to issue #5 with pencils and inks by me, colors by the amazing NAOMI BAKER. I'm not sure if they've amended it in the said interview, but I think they mentioned Dave Stewart as the colorist for my run. As a matter of fact he *was* indeed slated to color the book, but unfortunately, due to an unforeseen schedule constraints (I mean c'mon...the guy's Dave Stewart - he's busy as hell) he had to pass. But without missing a beat, Naomi came in to lend a helping hand and if you check this image out (along with the preview pages up on the news site) you'll see what a great fit she is.

What else...oh yeah! In the theme of promoting myself like a true press whore, I did an INTERVIEW for the CHARACTER DESIGN BLOG. Please check it out and read along to all the semi-retarded things that come out of my mouth. Thanks to Randall Sly for the opportunity and the interview.

In other comicbook news, please keep an eye out for Tori Amos' project called 'COMIC BOOK TATOO', in which writing monster JONATHAN TSUEI and I (with the incomparable SASKIA GUTEKUNST providing colors) contributed a short 8 page story. Thank you RANTZ HOSELY for letting us participate. It's been a ton of fun. Like oodles of noodles, but different. The book should be out by San Diego Comic Con time so please keep an eye out and buy the book. Look at the contributors, guys. It'll do your collection a heap of good to have this in the line-up.

Also, the new BEN 10: ALIEN FORCE cartoon debut on Cartoon Network a few weeks back and is considered (by way of reviews and ratings) a resounding success - even better than its predecessor, from my understanding. I'm doing concept designs for the show and it's been a real treat seeing it all come together culminating in the airing of the episodes. I'm quite proud to be associated with all the talents working on the show - from the character/prop/background designers to painters/color stylists , from the production coordinators to the writing staff - they're all tops in my book. GLEN MURAKAMI (Batman: TAS, Justice League Unlimited, Teen Titans) and DWAYNE MCDUFFIE (Static Shock, Justice League Unlimited) have another hit on their hands and it's all due to those guys' devotion to the show. Here's hoping they both get a well-deserved rest between seasons.

So I think that's it for now. I just got back from the Emerald City show in Seattle and I'll come back on here to give a full report on that. You know... much like I gave a report of my trip to the Savannah College of Art and Design - Atlanta a few months back. So, yeah... hold your breath. It's not like I've been busy or anything. Har! See you all really soon.

How much time do I have left before I have to start posting again?

LOSH_commission

Still away. A serious art update is pending along with that supposed SCAD report. BTW, somewhere in the comments section of the previous post is a link that will lead to a write-up about several of the students' and attendees' experiences during that weekend. They do a much better job of describing the whole to-do than I ever will. Go find the link, read the students' reports (they're all amazing kids through and through) and laugh at the caveman-ish pictures of me.

As for what I'm up to and what I'm doing to keep me away from posting for over a month - I'm not allowed to speak about it at all. Please be patient.

I'll be back in a couple weeks. Um...looking at my calendar here, it'll be two and a half weeks exactly. Until then, here's a Legion Of Superheroes commission I've been trying to put to bed since I took it at Wizard World: Los Angeles. Thanks for waiting, Raymond. This will be sent out to you by this weekend. And thanks for those of you who still visit and haven't given up on my poor lil' blog.

Two weeks, four days. Start the timer.

MONONOKE_90 minutes

I know I said I'd give a full SCAD report the next time that I posted, but I was lying.

I'm tired, I'm sick and I've have shoved enough Zycam swabs up my nose that I think I've developed a habit.

So no report for now because I'd rather sleep than type. But obviously sleep takes a back seat to me posting a new entry. My priorities are weird. Okay, *now* I'll sleep.

MS. MARVEL_commission

It's been a while, folks. I've been busy, busy, busy - trying to catch up on commissions like the one you see above (sorry for the wait, Rob), taking on a new book (can't say anything quite yet, but they say it'll be announced at Emerald City Con), and trying to get ready for the big show in San Diego.

Ugh, there's not enough hours in the day. Oh, and I think I'm getting sick to boot! High five! But I'm back full time until about the 7th of March. Then I'm out for about...a week? Let me see if I can make up for my out time between now and then. Come back often, all - watch the train wreck.

Oh, the SCAD event went off like gangbusters. I'll speak about it more later, but before any and all of that I'd like to send out my personal thanks and gratitude to my 'handler' SHAWN CRYSTAL. I didn't know what I was in for when Shawn asked me to go to Atlanta - from the round table slide show on Thursday, to the workshops on Friday and Saturday, to everything in between - but whatever ended up on my radar, Shawn made it nothing but a pleasurable experience. I can't say enough about what an accommodating gentleman he is and as such, he was a great spokesperson for the school. He's a respected teacher *AND* the talented bastard can draw to boot. Go to his BLOG and you'll see that I ain't lying. Again, I'll give a full report about the whole event later and I'm sure I'll gush about the guy (and my fellow attendees) some more , but for now: Thanks Shawn. You are, as the kids say, 'The Bomb'.

Or, I don't know... the kids probably don't really say that anymore. Speaking of what kids say, did you know the word 'pwned' exists? Seriously....'pwned'. Stupid kids.

GIANT PAPER_90 minutes

WE, ROBOT_commission

Thanks for waiting, Oscar. I appreciate your patience.

This image was brought to you by the number '5', the letter 'E' and the Children's Television Workshop. Oh, and Justin Timberlake. Don't hate - you know it's catchy:

"You can't stop, baby. You can't stop once you've turned me on. And your enemy are your thoughts, baby. So just let 'em go. 'Cause all I need is a moment alone to give you my tongue and put you out of control. And after you let it in, we'll be skin to skin. It's just so natural. Wait a second...She's hopped up on me, I've got her in my zone. Her body's pressed up on me, I think she's ready to blow. Must be my future. Sex. Love sound. And when it goes down, baby, all you gotta do is..."

SCAD_update

Before I forget, I'd like to remind all of you that along with award winning illustrators Andrew Robinson, Yuko Shimuzu and James Jean, I will be at the SAVANNAH COLLEGE OFF ART & DESIGN - ATLANTA hosting an art forum. Woot!

Now after reading that line up you catch yourself thinking, "Wilco Tango Foxtrot?! Robinson, Jean, Shimuzu and....Canete?!" and you're hearing that little jingle from Sesame Street of "...One of the people doesn't belong here, one of these people aren't the same..." (you know the one - it's when they split your TV screen into fours and there are three firemen and one policeman, but in this case it'd be more appropriate if there were three nuclear physicists and one circus clown throwing pies at his own face), I'd like to reassure you that you're not alone. The parody is definitely not lost on me and I too am haunted by the ironic tune. I'm going to have to learn some magic tricks before I go so the attendees wont call shenanigans on me right away.

That said, click on the link above for details - it'll be about two thirds of the way down on their calendar page for the month of February and it'll have a snippet of the image that I've posted above. Please attend if you can (I think the open night is on Thursday?) and if you're a student and are already on your way, please don't hurl the tomatoes directly at my face or crotch. I thank you all in advance.

I'll have new images up tomorrow. Yours included, Oscar. I promise.

THANK YOU_update

Done and done. Last line on paper, last panel border, last page uploaded to the FTP. At last.

So....IRON MAN: ENTER THE MANDARIN.

It has been nothing but a pleasure doing this book and by far, in my opinion, it has been the best panel to panel work I've done to date. There were times - and thank goodness it wasn't until towards the end there - when a thought sneaked into my head that said, "Um....yeah, I can't possibly draw that. I don't have it in me. I don't know how. No f*cking way." But I did it anyway - because when the right people ask you to draw Iron Man, you ignore bouts of insecurity, set aside moments of self-doubt and you draw your ass off.

I'm about to talk about those "right people".

From the beginning I was challenged by JOE CASEY. In every script he wrote, in every aspect, on every page and sequence, on all fronts regarding my current work, Joe pushed me because the story deserved no less. He has been a quiet, supportive collaborator who has had nothing but positive appraisal of the work that he saw as I turned them in and he always looked forward to the next set of pages. As ever, I am honored and humbled by my opportunity and for the fact that he let me play along with him. Joe, if you're reading this, you're a wonderful, creative beast and thank you *SO* much for letting me tag along.

DAVE STEWART is, by their very definition, an artist and a professional. Initially, I didn't know that I would be able to work with him and in a pie-in-the-sky request to my editor, I threw his name out there thinking that there would be a very slim chance he'd take me up on it. Six issues later, and five issues deep, he hasn't stopped pulling my artistic fat out of the fire. I've posted a page of color that he did for the series on this blog before believing that's the best I'd ever been colored. I am so happy to realize I was terribly, terribly wrong. Every page and panel thereafter, Dave has rendered my work in such an unbelievable manner, I believe myself spoiled for all future projects. He is the main reason why IM: ETM is a more than bearable visual ride - he save's my ass issue in and issue out and I owe him more than the minuscule KUDOS I'm about to give him now. But it has to start somewhere, so...thank you, Dave. Thank you for your speed and diligence, and for your embellishments. I stumble forward to do my best, but you always made it look better.

People don't realize that as well put-together a project may be on the creative front, the it's only as good as the people fighting and working for it in the front offices. In my case, in the case of my work and oft-times anemic rate of turn-around of my pages, my standard bearers are Editor STEPHEN WACKER and Assistant Editor THOMAS BRENNAN. I don't know how he manged it, but Stephen was the guy who convinced Dave to come on board - a HUGE coup for the series. He's taken the time out to walk me through the massaging of schedules and he fought to keep the creative and artistic integrity of the book in tact. Thomas was tasked with wrangling artwork out of me week in and week out. The guy deserves a gold medal of some sort (or perhaps a crap load of those gold coins that have chocolate in the middle of them), as dealing with me is by no means a walk in the park. The load is less heavy when these two gentlemen are helping to push and pull and they have shown unbelievable levels of patience. They do their jobs above and beyond - they knew when to leave me alone and when to lean on me. But most importantly, they've become extremely proficient at doing the job of the thankless and the invisible. They're the best that I've worked with and if the book is to be credited for any sort of success, I'd have to put them front and center for the reasons behind that. I hope I didn't make either of them lose too much hair or sleep and I hope they invite me back to the big game again some day. I could only hope to be so lucky.

And speaking of front and center, I'd like to thank ALL OF YOU who have bought and supported the series. I've heard tell that the mini isn't exactly 'flying off the shelves', but I think I'm less concerned about that and more concerned about making sure that those of you who *did* buy it felt like you got all for your money. The gentlemen I mentioned above have done nothing short of their best and it is a validation to all of their hard work that you have enjoyed the series as much as I hope you have. I'd like to shake the hands of each and every single fan of the book individually and tell you how appreciative I am for all of your readership (and perhaps at some of the upcoming conventions I'll be able to do just that) but for now, let me say how easy you make my job, how pleasurable you make the late nights trying to meet deadlines, and what an absolute blast and honor it has been to draw this series for you. If I had any reservations regarding the success off this endeavor, I should have given you guys more credit for your unending and loyal support.

So there it is. That'll be the last of that for a bit. Last line, last panel and last page. But if this experience is any indication, this won't be the last time I give my thanks. It's been a quite a ride.

What's next?

BLACK SUIT_90 minutes

I bought a suit to wear to a wedding.

I bought a suit to wear to a wedding, but instead I thought about wearing it to a party.

I bought a suit to wear it to a party, but instead I'm wearing it to a funeral.

I bought a suit to wear to a funeral.

[JUMP]_90 minutes

This rhyme makes me smile sometimes. Like right now, for example. Oh...and you know I'm talking right at *you*. Hater. Heh.

Points Of Authority / 99 Problems / One Step Closer (Collision Course Album - Disc 01)

If you're having girl problems I feel bad for you son/ I got 99 problems but a b*tch ain't one/ Hit me

He's got the rap patrol on the gat patrol/ Foes that wanna make sure his casket's closed/ Rap critics that say he's "Money Cash Hoes"/ He's from the hood stupid, what type of facts are those?/ If you grew up with holes in your Zapitos/ You'd celebrate the minute you was having dough/ SO F*CK CRITICS, YOU CAN KISS OUR WHOLE A**HOLE/ If you don't like my lyrics you can press fast forward/ Got beef with radio if we don't play their show/ They don't play out hits, well we don't give a shit...so/ All these mags try and use our ass/ So advertisers can give 'em more cash for ads... f*ckers/ I don't know what you take us as/ Or understand the intelligence that Jay-Z has/ I'm from rags to riches, we ain't dumb/ I got 99 problems but a bitch ain't one/ Hit me

IRON MAN: ETM #6, Page 4_process

I'm going to walk through a typical day for me at the 'office' by showing how I go about a page from start to finish. Why? Because I'm going to use this as a primer to promote an event I'm going to be participating in late February. Bear with me.
--------------------------------------------------------------------------------------

Step 1 is always, ALWAYS the script. If the foundation of the thing I'm about to draw is brilliant, then my job is *so* much easier. It'll be a cake walk. If it's a piece of turd...well, I can only put so much candy sprinkles on it, but in the end it's just turd. In this case, since it's Joe Casey helming the story, it goes without mentioning that the story was going to be whole lot of walking of the cake.

So, Step 1. Here's a sample page of Joe's script. And it's obvious I'm an idiot because rather than making this an easier demo to understand (and thusly making it easy on myself) by choosing a script page that had ALL of the panel descriptions on it (like, Page 3 for example), where you can read what Joe wrote versus how I translated that into pictures, I instead went and chose Page 4 - which cuts off at Panel 2 and continues onto the next page. But I swear, I stayed really faithful to what Joe wrote and tried my best to draw the shot that will achieve maximum effect. You're going have to trust me on this one. I am, after all, an artist.

I've circled in red the super-rough thumbnails that I did for Page 4 and if you notice, I did two versions of Panel 5 because I decided the original rough would be better suited for the first panel on Page 5: IM dive-bombing out of the sky towards ol' Mandarin.
Onto Step 2. I should have scanned and uploaded an even rougher stage of this page layout...you know, when the pencils were a lot rougher so you can actually see the construction lines and the early stages of my thought process. But in all honesty, I didn't think about doing this little tutorial until I was halfway inking the second panel. We're all just going to have to get over that. Oh, and there goes them pesky thick panel borders again. "Why so thick?" you ask. Because to me, it's my way of 'containing' the shot. I know it's probably just as effective in the traditional sense with the standard border line width. But in my mind, it feels like a shot from a movie. It makes it feel more solid; the shot starts here and it ends here. That may not make any sense to anyone else, but that's my reasoning behind that.

My job is to try to immerse the reader into the story that Joe has crafted and that I'm trying to illustrate and I think on a subliminal level, I'm trying to guide the audience by defining the parameters of the scene that they're looking at. So in my head it goes something like this:

Here's a shot of IM blowing out the roof of Mandarin's palace. [STOP] Here's Mandarin in his throne room as he looks up at IM flying off screen, debris falling and smoke all around him. [STOP] Now Mandarin fires his rings upward at IM. [STOP]

And so on. The easier I make it for an audience to understand and read what I'm trying to say, the more immersive, the more convincing the experience. If they stop and think, "What the hell is happening from here to here? I don't know what that character is doing from this panel to this panel?" then I've lost them, I did a terrible job of telling the writer's story and I should go back slinging BBQ ribs.

I try to maintain a simple and clear approach to my panel to panel work - something I've carried over from my storyboarding for animation experience, where simple and clear storytelling is paramount (big thanks to all the directors I've ever had the chance to work for, who beat me up over this point) - and it's also one of the main reasons why I don't break panels. Well, at least not for this IM story. I think they're distracting and it can sometimes get in the way of clarity. But that's just me and I believe there are greater storytellers out there who can pull it off just fine. I ain't one of 'em. Now that I mention it, a recent, overly-hyped comic book just came out that was the penultimate example of muddy, Wilco Tango Foxtrot storytelling - and it reminded me once again that fancy layouts and breaking panels doesn't help if you don't know what you're doing and you're not helping advance the story. But I digress.

Anyhoo, Step 3. Once I've thought all of that out, tightened up the pencils to the point where I'm satisfied and I feel like there's little second guessing involved, I start to ink: the best part of my job. And the part where I think the whole thing comes together. I ink the most difficult part first (at least in my mind, anyway) and that usually means anything that has a technical line to it. Buildings, structures, interiors and exteriors, cars, boats, planes, effects, smoke, and so on. I leave the 'juicy' stuff for later because...well...it's the juicy stuff. Duh. I try to stay as systematic with the order in which I ink the panels because from time to time, when I do them *out* of order, I find out later that I've included a detail in the 4th panel (which I inked first) that I didn't put in the 1st panel (which I inked last). I think I'd catch those little slip-ups if I go about it in chronological order. That's all theory, of course - things always manage to slip through the cracks. In this issue for example, IM doesn't have seams in his helmet as I've drawn them only one issue previous. I'll have to remedy that in subsequent pages, but if Marvel were still giving out No-Prizes you'd be anxiously waiting for yours. Kudos.

Step 4: Inkers don't trace. You've heard that whole rigmarole, yeah? So I'm not going to get into that right now, but honestly - they don't. I, however, *DO* trace, so I'm no inker. I trace my pencils as faithfully as I can (because why did I bother to put them there in the first place if I didn't believe in them) and I do my best to not make a complete ass of myself to the guys who actually know what they're looking at. It's all a sham because real, professional inkers also don't use water soluble brush pens. But as I've already confessed, I'm no inker.

The point I'm trying to make is that I don't do my pencils very tight. I know enough of my own shorthand that going into too much precise detail is just going to slow me down. I put just enough information in pencil to cue myself up for whatever I'm supposed to do in ink later. That may be different from project to project, but I've been blessed to have the opportunity to ink my own junk. Most of the time to the image's detriment, but c'est la vie.

I do try to pay attention to light sources and how they will affect my rendering. That's important to me because I believe it gives my images weight and grounds them in the scene that I'm drawing. So for example, if the explosion happens behind IM and I light him like the light source is in front of him, I've completely defeated the point/effect of that explosion and that doesn't help by way of convincing the audience that his surroundings are affecting him. It doesn't 'ground' him in that shot. Make sense? No? Tough.

I also don't fill in all my black areas with a solid black because I believe that it kills the energy of my work. I steal a lot from Benoit Springer (who?) and Claire Wendling's (duh!) work and I've found that is one aspect of their styles/work that I gravitate to most - their ability to translate into pen what they had put down with pencil - and I try to emulate that with what little skill I have at my disposal.

The rest of this stuff is just more of the same - me inking the panels as I go. In this case, I'm sure I didn't have to do them in order, but I've gotten into the habit of doing so and much like Pavlov's dogs, I do it again and again when I hear a bell ring. Heh.

Seriously folks, that's just *my* process and by no means am I preaching it as the way to go. But for me, when I draw, everything comes down to discipline and proficiency. I need to have a life that doesn't jockey a drafting table for 24 hours and if this is the way to do it where I'm spending an hour less a day doing so, then I stick to it. Which is ultimately misleading because I don't have much of a life outside the drafting table. When I'm not drawing IM, I'm drawing for the new Ben10 and when I'm not doing that, I'm drawing those 90 minute bastards. It's sad. I know. I'm going to meetings.



This last step is me taking out all the color from the image (I don't typically scan the image in color when I send it to Marvel, but for the purposes of this demo, I thought it would be necessary to do so). BTW, have I mentioned how much I despise my rough pencil work and to exhibit them in this fashion makes my skin crawl like the first time a saw garbage can full of squirming maggots? Yeah - like that.

So when I scan the page to upload to the FTP, I do so in grayscale (or for the UK audience, 'greyscale' - har!) into Photoshop, adjusted using the 'Brightness/Contrast' feature in order to get all the sketch lines out, and cleaned up here and there, ready for Dave Stewart's color magic.



Obviously (or maybe not so) there are so many more things that go into the process - shot selection, storytelling beats that I consider, when and when *NOT* to break the 180 degree line of action, environment and prop design and other things like that.

All of that leads me to the point that I wanted to get to earlier before this tutorial/primer. And here is that point:

On February 21-23, in an Illustration and Art Forum that will be held at the SAVANNAH COLLEGE OF ART AND DESIGN (Atlanta), I will be in a panel and doing workshops with the likes of ANDREW ROBINSON, JAMES JEAN, and YUKO SHIMIZU (god, I hope I spelled that name right). First of all, I'm excited as hell to be invited and a great many thanks goes out to SHAWN CRYSTAL (cartoonist and art professor at said college) for extending such an invitation to me. I am honored. Second, I'm completely baffled as to why I'm there associating myself with the prestigious artists that I've mentioned. I mean, if you want to talk about illustrators in the truest sense of the word, those are they - and I don't know exactly what I'm doing there. I mean, I'm like Christian Leattner in the '92 Men's Olympic Basketball Dream Team. "Hey, there's Magic Johnson and Michael Jordan and Larry Bird! Awesome! And...um...there's a guy who got a gold medal by association! Cool!"

I'm not sure if the SCAD people put it up on their calendar yet, but I'm hoping they will soon and as soon as Shawn gives me the heads-up I'll be sure to announce it in further detail on this here blog.

If you can, please drop by... I'd really appreciate it. I don't know exactly what the technicalities are in order to attend the event (this is my first time doing this - Christian Laettner, remember?), but I'm praying there's enough of you who actually know me from that school and area that are interested in what I have to say so that I won't make a complete goober of myself when I start to talk shop with guys and gals who obviously know more about visual storytelling than I ever will (you want proof?...look at the blog I just wrote). And hopefully I won't choke up when it's my turn to talk next to the ROCKSTARS that I mentioned above.

Oh wait! Hey...see?! I'm doing stuff! I'm getting away from the office and drafting table and doing stuff! Haha! I'm not such a sack of sad after all! Suck on that, fate!

"SERIOUSLY..."_90 minutes

"...you're *really* gonna draw 'em like that, huh?"

Heh.

Thanks to all who have replied. I am overwhelmed and humbled by all of the support. It's all just laughable comedy to me, but it's nice to hear (read) that people were all laughing at almost everything I was cracking up at. Those who have left comments are tops in my book. I'd respond to each of you guys and gals individually, but that could (would?) take all day. Which I wouldn't mind, but if you thought that other fella's English and sentence structure was woeful, mine is doubly so. Instead, please accept this as my heartfelt "Thank You!" to all of you who have left comedic, eloquent, sensitive, etc. comments. I am now, as ever, very VERY grateful.

Oh, and for extra laughs, look at all the trouble one MR. TOM FEISTER went through:

JJ's Talented Art

Man, that's almost funnier than the now-infamous letter. Almost.

[*EDIT: Just for clarification - the images from link above is NOT "The JJ's" actual art. It's just a parody that Mr. Feister put together, as he was inspired by the letter of critique. I mean, it would almost be disappointing if his art (JJ's) were actually that rudimentary, wouldn't it?]

X-BLOCK_90 minutes

So I got this e-mail a week or so ago. It put a smile on my face when I read it the first time (and an even bigger smile each consecutive time I've re-read it) and I thought I'd share it with you kind people. Oh, and please remember, he's an artist too...and thusly adds legitimacy to his critique. Remember that. And if you *don't * remember it, don't worry. He'll be sure to remind you (us) every so often. I've left the e-mail address off for obvious reasons, but that doesn't make it any less entertaining. It's rather lengthy, but it's because the fella is passionate about the point he's trying to make. And no one can blame him for that.

At least he calls me 'Sir'. Respect.

And this image is inspired by the memory of an old school John Romita Jr. cover where the X-Men were posing looking like bad asses. My version looks less like that and more like they're coming to take your money. Enjoy!

---------------------------------------------------------------------------------------------

-----Original Message-----
From: [xxxxxxxx] <[xxxxxx]@yahoo.com>
To: Eric Canete <[xxxxxx]@aol.com>
Sent: Tue, 15 Jan 2008 11:34 am
Subject: A critique about your art and Iron Man.




Dear Sir,

Before I get to the point of this letter, I'd like to give a little background about myself so you know where I'm not coming from nowhere when I criticize your work.

I'm an artist of 10 years studying in anatomy and the human figure. I've also got a strong background and graphic storytelling and I know my way around several 3D modeling programs. So basically, I know what I'm talking about when I talk about art and I definitely know what it's like to with harsh criticism.

But more importantly I'm a fan of comicbooks, especially Marvel Comics and specifically "Iron Man".

And it's because of that I feel entitled to question the powers-that-be who gave you the shot of drawing such a classic character when you're obviously artistically unqualified to draw the Golden Avenger. There are so many things about your work that aren't professional that I'm left to wonder how many people passed on this project before your name came up on their list. I'm sad to say that they made a poor choice. And here are only some of the reasons why:

First, your anatomy is beyond terrible. Again, trust me when I say I know what I'm talking about when it comes to this topic. I'm an artist myself and when I look at you figures I literally cringe. Not only do you blatantly break all anatomical rules, but you do it so terribly that I believe you didn't even know that rules in the first place! I mean, panel to panel your figures fall apart even under the mildest of scrutiny. Your shoulders don't work, your biceps are not realistic, your legs and feet are poorly drawn. I understand artistic and stylistic license but you have to have a good foundation BEFORE you should start experimenting with a "style". It's pretty typical for people who are just starting out, but in your case I think you try to cover up your shortcomings as an artist by putting a so-called style on top of weak drawings. And yes...they are WEAK drawings. Trust me.

Second, your panel-to-panel work are in dire need of serious help. I know that there are many, many books out there that act as a beginner's guide on how to tell a good, well paced story. I suggest you invest some money into any or all of them. I think you can start with "How to Draw Comics The Marvel Way". That's only fitting considering you actually work for them.

My main problem with your storytelling is that fact that you don't bring anything dynamic to the table. Your job as the artist of a book to draw the reader in by giving them something cool to look at. Something they've never seen before. I don't think you're capable of this because 4 issues have come out so far and there's no evidence saying otherwise! Your panels are plain and uninteresting and completely unworthy of the book that is "Iron Man". I know that this is just a mini-series and I thank god. If this was the monthly I know that wouldn't be the only person I know of that would drop this title instantly. Like your anatomy, your storytelling needs help. Or is it BECAUSE of your anatomy that your storytelling needs help? I just thought of that. Hmmm.... Anyways, I suggest that you start looking into establishing a good foundation before you try any of the shots that you've "drawn" so far. Try watching good action cinematic movies like "The Matrix" or "Lord of the Rings". Also, I don't understand why you put those obnoxious thick panel borders? They're not very good comics, man. It's never been done that way for years and there's a reason why. They don't work! They're distracting as hell and you've got enough working against you in your work that you don't want another thing that makes you even weaker. Loose the thick panel borders.

I could go on because there are so many other things you can improve on before you could even considered "professional grade", but I think I've made my point loud and clear. I'm writing this to you because I'm as an artist I know that criticism will hopefully help you out. I'm going to end this critique on a positive note by saying that I think you've got something in your work that could be spectacular but it isn't there yet. Don't loose confidence though because I think you have some serious potential. I have to make myself believe that because someone actually let you draw a mainstream comicbook. But more than anything I hope that by reading this you'll be forced to evaluate your own work and it will make you better in the long run. And as artists that's all we can hope for is is to get better at our craft, right? Good luck and have fun!

Peace,

J.J.

TWO-FER_90 minutes

Two images today because tomorrow might not be as forgiving. Thanks for looking. I love all ten of you who still visit this blog.

And whenever I see images of Valkyries, I always think of that classic Warner Bros. cartoon where Elmer Fudd dresses like a viking and sings, "Kill da' wabbit, kill da' wabbit, kill da' waaaaaa-bit...." in the tune of "The Valkerie" by Richard Wagner. Funny to me. Not so much so to you, maybe.

C'mon...Elmer Fudd and a cross-dressing Bugs Bunny are hilarious.

"WHOSOEVER..."_90 minutes

"...holds this hammer, if he be worthy, shall possess the power of Thor."

BIRD & CROW_90 minutes

"How far does the horizon go beyond the jungle canopy, Old Crow?"

"How far do you think it goes, Pretty Bird?"

"I don't know...it looks pretty far. As far as my imagination will take me, I guess?" says the bird, flapping its wings to stay aloft.

"Guess what?" caws the crow.

"What?" chirps the bird.

"It goes even farther than that..."

GIRL & LION_90 minutes

"What is it, Bana? "

"It's called 'rain'," answered the lion.

"Oh..." she pauses a moment, looking out at the lush jungle as it comes alive in symphony with the sudden downpour.

"Does it hurt?"

The girl looks back with a startled smile, as the lion's laugh barrels through his chest.

"Haha! Not all new things have to hurt, Sahra."

IM052002&03_update

AWAY_update

There have been a few of you who I owe a commission to and have inquired about the status of the image. They're obviously done and it's just a matter of getting my holiday-lagged butt into the post office and sending it out. Apologies to all for the delay, but the cloud of dust, tinsel and confetti is finally starting to settle and I'm finally back on schedule again. Each of you who has a commission coming will be receiving and e-mail from me with the relative information.

I'd like to personally apologize for the delay and would like to thank you for your kind patience and patronage. I appreciate you guys holding your breaths this long.

Anyway, no new art as my week (as well as my weekend) will be jam-packed with activity. I'll be back on Sunday night with new stuff. Thanks again for waiting folks; both spectators and commissioners. I'll be back in two shakes. Until then - here's old stuff. I have no idea what they're for, but they'll make for a decent stop-gap until I return. At least I hope so. Enjoy!

CLOSE, BUT...

...BUT NO EFFIN' CIGAR! Haha!

So Eric's away (yes...again!) for the beginning of the New Year and while I wasn't worried about winning our bet, my heart did skip a beat when an e-mail came at the 13th hour from the reclusive bastard which had these attachments to it! Then, because I can count at least up to 21 (which was the final image deficit after the ten he's put up since the inception of our wager) , I realized that the man came up four...count 'em...FOUR images short! Whoo-hoo! Whew! Er...I mean, I knew he couldn't do it! Guess who's $40.00 richer and a future "ROCKSTAR"?! You got it:

ME!

All kidding aside, with Enter The Mandarin , the holidays and...um...another bit of planning he's doing, I'm surprised and amazed he came this close. But unless we're playing horseshoes, close doesn't count for much and I'm still the big winner!

Anyway, here's what the loser had to say:

"Hey, man. Yeah, yeah, yeah...I know. So I'm short a couple of images. But I mean, can you really blame me? What would *you* rather do: go fishing or draw? You see my conundrum. Haha! Put these up on the blog for me and ask people to please not be too disappointed for not giving them thirty one images total. I know I let 'em down. Dammit. Oh, also...post a 'Happy New Year' too. I swear I'll make it up when I get home on Tuesday? And I guess we can go shopping for your damn video game then too - you lucky bastard! Hope your New Year's eve is going well and that you don't have too many questionable women in my house. I'll see you soon.

Oh, yeah. Hey, you...yeah, YOU. You are so cool."

No, Eric...not *too* many questionable women. Just the right amount. Heh.

Like the man said folks, here's hoping the best to you and yours in the upcoming year. Thanks for reading along and hopefully I can bamboozle him into another bet like this one. Oh, and enjoy the images!

Now, what to do with $40.00? Hmm....

GRASS, IVY, AND RAIN_90 minutes

It has been an exhausting day full of inane drawings then capped by a dinner meeting full of sobering news. But as crazy or as irrelevant as all of that, let me just say this:

"You are so cool."

SMOKIN' HOT WOMEN_90 minutes

Someone at lunch said that term: "Man, there are some seriously smokin' hot women walking around..."

So yeah. This is what came into my head when I heard that. True, it's somewhat absurd, but my head doesn't register things correctly sometimes. And while I certainly don't advocate smoking in any fashion (it's disgusting to me, to be perfectly honest), 'smokin' hot women' on the other hand....well, they ain't so bad.

And the guy was right. There were indeed, a whole lot of beautiful women walking about at lunch today. One of them was called 'Frankie'. Let's see if I can remember her features. Hmmm.....

ARIA INTO THE WEST_Part 02

"Never having traveled this far west and on her own before, Aria has exhausted her ration supply. The slave animal's stomach grumbles empty under her saddle as she scans the arctic horizon for a reprieve from the weather; a place to rest for the night..."