“Today, in our field, there is so much talent and recognition that we are reaching a saturation point. An artist should no longer strive only for breathtaking craftsmanship; he should, instead, try to help us live better, either by dressing the wounds that are constantly being opened by society, or by offering solutions to get us out of the mess we’re in…But it’s going to be difficult and we have a lot of work to do.” - Jean 'Moebius' Giraud

Wednesday, May 26, 2010


EGG - A Collection of Art by Eric Canete   8.5x8.5 inches - Full color pearlescent cover, B&W interior pages on vellum, heavy stock, and yellow canson. 62 pages. $25.00USD + shipping and handling. (Available at HeroesCon and for pre-order.)   
"Hey, man. So Heroes Con in Charlotte is coming up in June and I was wondering if we're putting a new art book together of stuff from you," Jason asks me over a phone call one Monday morning while he was walking his dog.

"Sure. "ELEMENT:SHAPE" was really fun to do. I don't see why we couldn't do another one like it, " I reply.

"Uhm, yeah. About that..."

 I've only known Jason for about a year and half now, but we've become fast friends. And in that time, I've been privy to certain nuances of his conversational style. For instance, there's  always this tone in his voice that he uses every time he's going to be the bearer of bad news. I can almost hear the gears in his head grind against each other as he desperately tries to find the proper combination of words that will be the least offensive to what he believes to be my fragile ego.

"So, remember when we released Element? Well, there were a few... and mind you, there weren't a lot... but there were a few people who looked at the cover and said they didn't understand it," he explains in a nervous staccato.

"Uh-huh. I've heard a few of those concerns too. What'd you hear?"

"Well... I got suggestions from retailers - suggestions to try to help them sell it? Sort of make it like the other books they sell, you know? Like, put your art on the cover? Use something that you're really known for."

 The dryer dings in the laundry room and I get to the business of folding my clothes immediately. There's only a few handful of things that are more annoying to me than wrinkled shirts. Besides, I like that warm, right-out-of-the-dryer feeling. So tilting my head, I pin my cell phone between my shoulder and my ear, and I do my best to match my socks as I continue my conversation.

"What am I really known for, Jay?"
"How 'bout hot chicks! That catches the attention of everyone out at a convention, yeah? And that's a proven tradition. I mean, every convention we go to there's like... what?... a dozen or so guys out there who..."
"I don't really draw hot women," I interrupt him. "And in case you haven't heard, I'm terrible with drawing people and anatomy in general. I can't say that a drawing a hot girl on the cover of my book is really indicative of what I do."

 At this point I can almost hear him deflate on the other end. Because if I had agreed with him and gone ahead with the pin-up idea I knew what he would've asked for: 'Poison Ivy' and 'Harley Quinn'. Jay is nothing if not a consistent whore for those two comic book, bad girl mainstays.

"Ah. Right. Well, dammit it all. Okay. Uh... what about tech-y stuff? Something with robots and like guns and like bullets and shit? You know? Something that has pipes and nodes and cyber parts and bionic boobs?"

"Bionic boobs?"

"You get what I mean! Iron Man, or Cybernary, or robots. That's kinda you, yeah?"

"Is it?" 

 There's a brief pause in our conversation because it's come to our simultaneous attention that I'm not really known for drawing anything in particular. I get quiet because I'm sad at the idea that I haven't done enough with myself to have that niche. Jason gets quiet because I think a pretty girl smiled at him as he walks his dog - a standard poodle called Mousse. Again, god bless Jay's consistency.

"Okay, " I sigh. I'm still reeling for not 'being known' for anything. " So something recognizable on the cover. Got it. Is that it?"

"That's pretty much it. Oh, wait! Another thing: at the very least they asked that you print a title for the book that tells them and their potential customers of what's inside," Jay explains with shortness in his breath. I guess Mousse's morning walk is over. 

"What about the title," I ask?

"I gotta agree with 'em on this one, Eric. The title on Element: Shape was written backwards and shit. If I didn't know what you were going for I wouldn't be able to tell what the hell it says, you know? Why can't it just be a simple... I dunno... 'The Art of Eric Canete' or some shit like that?"

"Okay. I guess so."

 Again, there's a pause. Jason probably thinks it's because he's being too tough on me. In reality it's just because I've realized that I left the clothes in the washer for much too long before putting them in the dryer. They've got this dried-in mildew smell which tells me I'm about to do this whole set of dark clothes all over again. I'm slightly annoyed now and I'm sure that comes across in my next question, albeit completely out of context.

"So what the fuck do you want me to do now," I ask? "Stupid laundry," I think.

"Well, you can do what you want, Ece. You know I'll always have your back. But basically what they're saying is:  Put your art on the cover - something obvious. Or a cover image that EVERYONE can understand - instead of the graphic, abstract thing you used last time. Also maybe put a title on it that tells people what's inside. That's not a lot to ask, no? That's not... I dunno... major. We can accommodate that sort of request, right?"

"I think we can. Let me see what I can do."

 I can hear the tenor on his voice pick up. I believe it's the first time in the tenure of our working relationship that Jason's ever felt the need to play the role of both my manager and my editor, and I'm sure neither are very comfortable hats for him to wear. From my end, I try to make things as easy for him as I can because let's face it; it's going to be on him to sell the product and the least I can do is to give him a product that he can sell.

"Yeah! Sure! Abso-fuckin-luteley," he says with a relieved chuckle.  "Cool, man! Uh, there's a few weeks between now and Heroes Con; do you think you can get it assembled and put together for the printers a week or so before the actual show?"

"Sure, Jay. Whatever makes things easier. Whatever they want."

"Sweet! Thanks, man! Thought you were gonna get pissed!"

"Nah, it's cool, Jay. We've got a market to service, right?"

"Right! And, hey..."


"Girl at the park wearing a sports bra totally smiled at me."

God bless consistency.

Thursday, May 20, 2010


This week (or maybe next week - I'm not sure because I have no concept of time right now, sequestered as I am) the collection for WEDNESDAY COMICS comes out in all of its hardcover glory. And while its original incarnation was impressive enough, there's something to be said about the whole collection sitting in front of you, ready to be consumed in one reading. The page you see above was my understudy entry. I was asked to do a one page contribution (pre-collection) in the off chance there may be an open slot due to scheduling conflicts. I was the 'just-in'case', the 'worst case scenario', the 'last line of defense'. Okay, that last one is a bit extreme and off target, but I like the sound of it. Thankfully and commendably, there was no such hiccup and the series went off without a hitch.

On a technical note, the nature of Wednesday's Comics - big, over sized, sequential serials on newsprint paper - presented me with a great challenge of drawing on a LARGE sheet of paper; larger than what I'd normally work on. And, true to form, I did the damned thing twice. My routine of doing it once for practice and re-doing the page once I've worked the kinks out didn't escape this assignment and I genuinely believe the final image benefited from that obnoxious exercise of not getting it right the first time.

Honestly, I had completely forgotten I had done this page until a box with copies of the hardcover rang at my doorstep. As I flipped through the book, I was wide-eyed and completely overwhelmed by the participants; such wonderful and brilliant works within! The colors popped even moreso now that they're on glossy paper as opposed to its original newsprint counterpart (the 'Supergirl' portion with Paul Mounts background colors are outstanding), and I was more than proud to be included even if it was only on a supplementary level. The real spotlight was the series itself and I'd like to give a hearty pat on the back to the men and women involved. Specifically, I'd like to take the opportunity to thank MARK CHIARELLO for letting me play along with the grown-ups and honoring my work by putting the moody colors on it himself. I am, to say the least, unworthy of the attention. Thanks, Mark.

It was a hoot. Please buy the collection and I hope you enjoy the image.

Monday, May 17, 2010

"THUNDER!...THUNDER!..."_90 minutes

It's been a grueling couple of weeks in trying to catch up with my deadlines. I finally had to take a few minutes for myself tonight so that I wouldn't go completely postal. I've been watching a lot of Thundercats episodes lately and when MUMM-RA says,

"Ancient spirits of evil, transform this decayed form to Mumm-Ra, the Ever-Living!"

I know exactly how he feels and what he's going through. Well... except when I say it, I don't transform. I just stay as an old man in red bathrobe wrapped in toilet paper. But I do feel evil-er.

I haven't seen the outside world for a while now. The only external contact I have is when the solicitors from the Los Angeles Times call; and I keep them talking for so long that even they have to look for a reason to get off of the phone with me. The pizza delivery guy has to shove each individual slice through the mail slot. Small tip: Pizza tastes better when it's hit the carpet face down and has picked up debris from godknowswhere. And as a final sign of dementia, I've given up on wearing pants all together - which that door to door U.S. Census guy said that he wasn't too comfortable with. His eyes and quick glimpses to my Hanes comfort waistband boxer briefs told a different story, however.

Anyway, my most favoritest convention, Charlotte's HEROESCON is next month! I'm excited as hell as I will be in attendance with cohorts MING DOYLE, STEPHANE ROUX, and MIKE CHOI. Let's hope that for their sake and for the sake of everyone in attendance that my pants embargo has remedied itself by then. More details to come about what I'll have available as the date draws closer.

For now, enjoy the image. "HOOOO!"

Tuesday, May 04, 2010

C2E2 ART BOMB_sketches

Here are some of the head sketches I did at this year's C2E2 show. I conveniently had a scanner on hand, so I managed to get hi-res images for my archives.

There isn't really much to say about the images except for the fact that I limited myself to about 2-3 minutes with each one. Also, I wanted to see what I could get away with drawing these with just a pen and not my traditional bush. To my surprise, I was genuinely happy with the results.

I'm not going to throw everything out the window or anything - start doing everything with a pen. I think there are instances when the it's a great, appropriate tool. But more often than not, at least with my own work, the lines can come off really mechanical.

Eh. What do I know?  I'm just glad I managed to sketch for everyone who asked for one. Victory!

Monday, May 03, 2010

"MOON RIVER..."_90 minutes

"...wider than a mile, I'm crossing you in style someday. Dream maker, you heart breaker, where ever you're going, I'm going your way. Two drifters off to see the world, there's such a lot of world to see. We're after the same rainbow's end, waiting 'round the bend, my huckleberry friend. Moon river and me."

Sunday, May 02, 2010


In the past I've been approached to do a small tutorial in the inking process of one of my 90 minute exercises. I've often times declined because that defeats the purpose of doing something in that alloted time if I have to stop every few minutes or so in order to scan and catalogue my steps. And generally  I don't have the patience and free time to do such a tutorial with any kind of extensive, helpful detail.

I guess all things change (hell, I suddenly have a TWITTER account now and I could've sworn that I said that it'd be a cold day in hell before I'd ever get one, much less be active on it) and if you'd like to read along, I'll try to be as thorough as possible with my process. Come to think of it, now that there is a Twitter account - if you have any further questions about the process below, then you can ask them using that portal. I might as well put it to good use and considering I have to keep my answers to a 140 character fortune cookie response, it'll guarantee that I won't spend too much time typing anything out. Also, my dear friend DUSTIN NGUYEN has pointed out that I don't have much of an online presence and I'm hoping this will somehow help remedy that. Stick that in your online presence, Duss! Heh.

You know, I say all this sh*t now. But I'm going to bet that after a few tweets back and forth, I'm going to lose all consistency and interest, and my responses will either be few and far between or they'll just revert back to talking about triviality and asinine things. Let's find out together, shall we?

One more thing I'd like to address is the fact that I don't draw my people anatomically correct. Actually, I don't draw anything correctly. If that's what you're looking for in your comics, then you're going to be disappointed and offended by the way I approach drawing people, places and things. And to be perfectly candid, drawing and reading comics that are rendered in an ultra-photorealistic manner hold very little interest for me - save a few exceptions. That's just personal taste; I believe this industry has ample room for the plurality of expression - mainstream comics or otherwise. 

It is safer to say that I draw what best helps COMMUNICATE an idea. This is a difficult concept to explain to someone who is just starting out in their sequential art illustration career. Those guys are typically inundated with critiques regarding their anatomy and their ability to draw it correctly, so I'm not surprised when I hear that they're uncomfortable or offended with my work when they see it. 

For me, in regards to the style that I employ to cartooning and illustrating, it is simply NOT enough to draw a guy who looks like he's running fast. Instead, I believe that the more important point to execute is to draw a guy who FEELS like he's running fast. That, along with a handful of other deciding integers, is why I draw things the way I do. It's not rocket science and it's nothing new, but it's not for everyone. Like I said - it's a difficult concept to explain, but (using the same analogy of a person running) my primary interest is not drawing the perfect thigh muscle or the best clenched fist. My concentration is on the guy's stride; the effort or the lack of effort, the contour lines that best explains his forward motion and the tension of exaggerated muscles - all in hopes of capturing that elusive moment of communicating how fast he's really going by the way he physically emotes.

Anyway, enough with the soapbox - let's get on with the image.

Oh, and if you DON'T feel like reading, then just skip down to the bottom to see the finished version, you impatient and ungrateful bastard.



The image above represents as tight as the pencils will ever get for me when it comes to the 90 minute warm ups. I'm very comfortable with all my short hand and I've become quite familiar with the finished line that my brush pen will produce. I've purposefully left a lot of the detail OUT because I know I'll put them in there once I start inking, so why bother? Also, to do the pencils any tighter than this would be defeating the point of doing the exercise, which is predicated on speed and execution. Being very tight with pencils is not very conducive to that.

A small aside here. It may seem incredible to think about, but on more images than I care to admit, I've been thinking about its execution in narrative, rendering, and composition probably days (even WEEKS) ahead of time. Most of my work goes into the thinking about the image rather than the drawing of it. On more than a few occasions, I found myself at the drafting table being very bored when it came time to the physical act of drawing the image itself because I think my brain was convinced that we've drawn this thing over and over already and it's become quite tedious to do it one more time. Yes, I know. It's certifiable and I'm taking medication. Bear with me. My point is, I believe many of the 'land mines' we may run into as designers and illustrators can be avoided wholly if we just take a few minutes to work them out in our heads rather than hack away at the piece of paper in front of us. Nothing's worse that to go at the drawing like a crazy person, get frustrated when the image isn't working out, then step away so that we can think about it a bit more. I ask, "Why not do the thinking ahead of time?"

Everyone has their process and at the end of the day, if we all arrive at the same end product then I guess it makes little difference. My suggestion is to take the time out and really process all the little disconnected synaptic ideas in our minds about the next image we want to draw, shape it into a workable context, then apply it to paper.

Oh, it's worth mentioning that from time to time, in the middle of the process when I run into a more complex or less defined areas, I will go back with a pencil and flesh it out more. Nothing is ever 100% crystal clear as my brain isn't that efficient. But for the most part, once I've done the majority of the work by way of design, light source and composition, I'm ready to start the inking process.

 I've been asked a few times about the things I think about first whenever I do a new image and to me it doesn't get any more important than these two concepts: narrative and composition. I don't want to go into them too extensively with this entry, but I do try to stay adamant about those two things whenever I do these exercises or my commissioned work. That doesn't mean I always accomplish it - as perfectly illustrated by this image; where the Bat-kids are just standing there, doing nothing, looking at each other suspiciously and wonder who cut the cheese. Narrative fail.

So, very quickly...

At the beginning of every new image, I will ALWAYS try to incorporate some sort of narrative; a little story, a little 'behind-the-scenes' that somehow gives the viewer a glimpse of what's going on in the image. Narrative is part of the visual element that will (hopefully) compel the audience to build a story in their own mind's eye. In my opinion, this is the most difficult part of my process. I mean, it's easy enough to draw someone standing/looming/punching - obvious as can be. And while it can be argued that's there's nothing wrong with that, I feel that there's always room to explore before coming back to the more obvious of choices. For me, it's an extraordinary challenge to immerse your viewer into a story that's happening in a single image - either literal or subliminal or both. 

From there my attention focuses on the composition. I employ a lot of tricks in determining a competent composition for an image and one of those tricks is using something called THE GOLDEN SPIRAL. This mathematical formula has been used to explain the theoretical compositions in classical art throughout history. However, in my applications, I only use it as very loose guideline. Actually, the version I use more closely resembles the Fibonacci Spiral, which is less rigid than its logarithmic predecessor. As an example, I've layered a version of the spiral (slightly warped using Photoshop in order to better serve my example) over the rough of the 90 minute exercise.

Please keep in mind that I use the Spiral simply as theory and as a rough estimate. This is NOT meant to be a hard and fast rule of thumb, and it is definitely NOT absolute. If it doesn't work, then I just try something else.

From my experience, it allows me to position my subject matter in such a way that helps the readers' eyes to travel around the image more naturally. And sometimes, this saves my ass since my drawings have a tendency to get really busy with detail and rendering, I don't draw traditionally proportioned characters (which makes them a bit harder to decipher), and I can become heavy-handed with my designs. If nothing else it helps me with placement of rudimentary elements, and from there it's a matter of adjustments and nudging based on what I'd like the audience to see and what's more pleasing to me.

And if none of that makes any sense to you, it's okay - I'm really just lying through my teeth and I'm just randomly typing this shit out to make it seem like there's rhyme and reason to the things I draw. Good luck figuring it out. Har!


Okay, so now let's talk about inking the image itself.

For those of you who don't know, I am left handed when I draw. I never think that's anything noteworthy until A) I see people's reactions at shows who watch me draw, and B) When I'm inking a page and I have to be careful not to smear the inks with the side of my hand as I slide it across the page.

That said, I have to make a conscious effort to ink the page from right to left. A deciding factor in that R to L approach is that I use a water soluble watercolor brush pen made by Staedtler/Mars and ANY moisture will cause the inks to smear. I've been told I should use a more professional grade of ink, not just because I'm *supposed* to be a professional, but also because archival ink looks better as an original and it will last longer. One day I'll listen to them and my pages will actually look as amazing and as slick as SEAN MURPHY's.

The reason why I use this brush pen, as opposed to more traditional tools, is strictly based on its convenience. This pen is portable, mess-free (for the most part) and unlike other supposed 'archival ink' brush pens on the market, the tip of the Staedtler/Mars is made of rubber rather than felt. It holds it shape better and doesn't shred after a few uses. Its draw-backs are that it's not light fast (honestly, I don't think about that part all that much) and that it's susceptible to moisture.

So... I have to ink from right to left. And in this case, I start with Azrael. I do my best to pay attention to the light source I've established - which is technically (oftentimes, loosely) coming from the upper right corner of the image. This light source is prevalent in most of my drawings because the stroke of my brush is often dictated by my left handedness and my avoidance of running over that water soluble ink with the side of my hand. Simply put, my line stroke naturally starts from the upper right, down to the lower left - pivoting from my wrist. Otherwise, I'm rotating and flipping the image in order to accommodate an alternate line.

A couple notes about about the image so far - as you can see, I started with and inked the most mechanical line (Robin's staff) with a curved edge. It's not the most extreme of curves, but you'd be able to see the grade of that curve in contrast to a line that was inked with a straight edge. It's subtle and it doesn't make or break that concept of Robin's staff, but I prefer it over a standard straight edge for no other reason than I like to keep a dead weight line 'alive' with a subtle (almost subliminal) arc.

Next, I'd like to point out that in his design, Azrael's shoulder armor has an almost reflective property to and so I made an active effort to warp an abstract reflection of Nightwing onto them. Again, another subtle element which mostly serves my OCD. But in the long run, I believe it's a detail which better serves to define the properties of that armor without going overboard in its rendering.


From here, it just starts to become pretty systematic. After Azrael, I move onto Nightwing. Another thing to consider when using the brush pen is that since it's water soluble, traditional correction fluids such as White Out or Pro White used as effects or for fixing mistakes won't work very well because they have a tendency to mix with the solution of the ink. It turns it into a purple tinted sludge and you can't redraw the corrected line on top once it dries because it repels all forms of non-permanent ink.

In this case, I knew I wanted to to come back later in order to draw the seams in Nightwing's wings after I drew the rendering that represents the wings' sheen. So instead of my standard brush, I use a pocket Sumi brush made by Pentel which has an ink cartridge loaded with traditional ink. From there, I can add the seams on the wings using a white gel pen without any problems.


Again, at this point, things are pretty routine. I move onto Robin and finish inking him off in short order.

I use a technique which adds just the appropriate amount of drop shadows under certain parts of the image in order to 'push' an element forward and facilitating form and depth. Using the Robin figure as an example, I put a hint of spotted black under the short sleeves on his arm, under his his utility belt, and even small ones under laces that  are on his shirt. Even though this is a really small and seemingly insignificant detail, I believe that it really helps with that object's tangibility.

Batgirl is inked next and I make a mental note to down-shift the speed a little in order to make sure she's handled with a little bit more care. Sometimes I get so carried away with trying to finish something - strictly focusing on speed - that I lose track of the subtleties I need to make a pretty drawing. Batgirl needed that careful attention.

Unfortunately, I'm STILL very susceptible to mistakes even after I tried to slow down - evident in the red arrows I've used to point out my mistakes in the examples above and below: the crown of Batgirl's head and the contour around her thigh. As a matter of fact, I had a good chuckle to myself in thinking that being more careful in order to draw a prettier line on Barbara might've been ill-advised and that perhaps I should have just barreled through her as quickly as I did with the men. That's all jokes, of course; the real culprit was the fact that I wasn't being precise enough when I penciled and inked the curvature of the top of her head. Her thigh, on the other hand, was just the product of bad control. It happens. I'm not perfect.


I've included a close-up of the errant line weight on Batgirl's leg and what it looked like after I applied correction fluid in fixing it. After a little bit more massaging, I get the line to the thickness I wanted and continue to ink the rest of her figure. I left the mistake on the top of her head without applying any correction fluid because I knew when it came time to ink the Batman figure looming in the background, I could manage to hide that mistake within the crosshatch rendering. 

The drop shadows under Batgirl's cape, behind her right arm was really beneficial in helping push that arm of her's forward. I had a moment of pause in deciding on whether or not to make the top part of her cape black (while leaving the yellow underside of the cape undisturbed), but decided against it when I realized that most of Cassandra Cain's costume - the other Batgirl standing behind Barbara's Batgirl - would be primarily in black and that would cause a conflict in contrast. 

On more than one occasion, I've found myself in a constant state of recovery while I'm inking.  Sometimes it's really annoying because it's indicative of the fact that I hadn't done enough thinking during the planning/pencil stages and now I've got to do all I can, this late in the game, to try and fix things. That's just trouble, it's a rookie mistake, and I feel that should know better by now. But then there are those miraculous moments when the unintended, unplanned lines are SO much better that what I had originally wanted. I wish I had more of those happy accidents happen to me.


Cassandra Cain's Batgirl was the part of this exercise that made me salivate the most from the moment I put pen to paper. The challenge with her figure is coming up with a way to interpret an all black costume and to still somehow give it form. Negotiating an image, especially since I'm only working with binary choices - black or white, on or off - can be a real exciting challenge. Within the context of that, it allows you learn how to manipulate those binary properties in order to produce a simulated gray effect. One of the people who I hold in the highest regard is inking legend SCOTT WILLIAMS because of his incredible ability in executing this effect. I've seen a few of Scott's original pages where he's done such exquisite inking and with such mechanical precision that my mouth was left agape. He has such long, magnificent strokes to his inking work and I think it's because he inks pivoting from his elbow, whereas I ink pivoting from my wrist. That sounds insignificant and really technical, but I think (and I'm just theorizing here - I never had the courage to talk with Scott about his craft) that it makes all the difference when it comes to producing those long, beautiful lines that effectively simulate gray areas.

Who knows? Ask Scott. The link to his Deviant Art account is in the paragraph above.


So, I finish inking Cassandra Cain in all of her S&M glory. The decision to NOT make Barbara's cape black paid off and having her stand in font of Cassandra helps with their overall contrast. 

Now comes the most tedious part of the image - Batman. And not just because it's Batman. But it's because I've decided to ink him using a new cross hatching technique that I'm trying to implement in a few of my B&W images which makes the task somewhat daunting regardless of its final outcome.


Again, beginning from right to left, I start rendering the stylized bats in the background. Since I'm not 100% comfortable and versed in all of the nuances of this rendering style, I'd feel a lot better if I started out on a small section that won't be too obvious should I make any mistakes in my approach. Thankfully, it wasn't too much of a mess and after cross hatching the other set of bats on the left hand side of the picture, I proceeded to render the ominous Batman image in the background. I focused on the planes of his face as dictated by my light source and tried to cater the rendering curvature of the ink strokes to best accommodate the curves of his face.


Almost done.

As I'm closing in on the end of rendering Batman, I realize that some of the nuances on the contour of the characters in the foreground are getting lost due to the image in the background. If I had kept the background figure a bit on the lighter end by way of rendering, then the original intent of the characters in the foreground would remain in tact (refer to the panel on the left). Instead, the natural progression of Batman's rendering made the it on the darker end. To remedy the lost intention and shapes, I decided to go back and add a white halo line around the main characters. And that solves that.


Here is the image after I'm done with all the inking. I add my signature MONTH (e) YEAR, and I give it one more look-over before scanning it up and making it ready for upload on this blog.


Viola! Here is the FINAL image after I've removed the light blue lines and adjusted the black ink using the brightness and contrast sliders in Photoshop. Done and done. From start to finish it took a little longer than an hour and a half, which is beyond the standard time frame of the usual exercise, but please keep in mind I had to keep stopping in order to take snap shots of the image to show its progression.


Okay, so there you have it. I hope those of you who visit my blog have found this stunted 'tutorial' to be somewhat helpful into understanding my process. I encourage anyone to try the 90 minute exercise so that you can build up your speed, so that you'll get more comfortable with compositions that have a strong narrative, and finally so that you'll somehow learn a better way to communicate by drawing certain visual cyphers that many people can relate to. Thanks for reading along and for trying to understand my non sequitur as best you can. I am extremely grateful for your patience and patronage.

Again, if any of this is confusing or you'd want me to expand on some of what I wrote above, please do not hesitate to use my Twitter account in order to message me. I only request that you try to ask questions that you know I can answer in as short a manner as possible. Because, you know... I only have 140  life and career altering characters to deal with. I think I'll try that until I'm absolutely bored with it. And because I have the attention span of a gypsy moth, the back and forth between us is probably NOT going to last very long.

I hope everyone is having a good weekend so far. Did you guys manage to get out to your local comic book shop and pick up some really wild stuff and possibly meet some great artists on Free Comic Book Day? AWESOME!