Atlanta Comic Arts Forum

Comic Book Resources/Robot 6 has a write up on SCAD-Atlanta's recent Comics Art Forum, with a few quotes from yours truly. Give it a read!

Sketches

Well, in the space of a week, I finished the book, bought a house, and had a baby. Woof! It's also the last week of classes, so grading is fierce (my scripting class has seventeen students, each of whom is doing a 28-page script), and we're moving this weekend. By Thanksgiving, I expect things will start to level out, but until then I am as swamped with life as I've ever been. Liz and the baby are both doing great.

Here are some sketches I've done over the last few days, mostly in preperation for the fourth Crogan book, which is going to take place in Warlord-Era China - I started playing with gray marker again, something I've not done in quite a while.






Some crew designs, including my rough plan for Daniel Crogan's Tramp Steamer captain (top), along with a Fu Manchu type fella in the bottom corner. He'll not be in the book, but all the drawings I've been doing of the Green Gang and other Chinese 1920s stuff gave me a hankering to draw him, too.

Also, here's the rough thumbnail for a larger drawing I hope to do once I'm all moved in and my other art obligations are finished (click on it to see it):



Crogan's March has gone to press! It should be available at select stores at the end of December, and everywhere shortly after (if I'm not mistaken - I often don't know what I'm talking about).

New excuse for missing deadlines!

Penelope Anne Schweizer was born Friday at 9:36 am. She's 1'8 tall, 7 pounds 5 ounces, and she looks around a lot.

Yay!

'Crogan's March' is FINISHED!

Aaaah! The second book is finally DONE.



After a 48-hour long final stretch (with a two-hour nap break squeezed in), Crogan's March is completely finished – all of the pages checked and rechecked for artistic clarity and spelling, framing sequence reworked at the last second because the original version was a little heavy-handed, cover notes sent, mock-up for volume 3 finished, thanks and dedication and acknowledgments all done… Woof!
I finished up around 4:30 am Friday night/Saturday morning.
I can’t begin to express how much of a relief it is to be finished, especially with all the other stuff going on in life. I loved working on the book from start to finish, don’t get me wrong, but having the Oct 31 deadline hanging over me was very stressful. Luckily, it’s all done – I can focus on teaching for the next three weeks, finish a commission I’ve had on hold for a while, and spend time with my wife and (in a few days) daughter. I’ll have other projects that I’ll be working on, but none with the madcap ferocity that this one required… at least not for a few months.
So keep your eyes peeled for the book, which is due out at the end of December!

Cthulhu!

Each quarter I teach a class on Character & Environment Design for the Animation Department, and each time I try to do a demo maquette to show how to approach armature, base sculpting, detail sculpting & texture, painting, etc. This time around, seeing as Halloween is rapidly approaching, I thought I'd try my hand at H.P. Lovecraft's famous slumbering monster, Cthulhu, an ancient evil creature that waits patiently in a sunken Cyclopeon city deep beneath the sea for his chance to rise and destroy humanity.

Click on any of these to bring up a bigger version of the picture in a new window.



One of the things that always bugs me is that, with rare exception, he's always depicted exactly the same. Human body, tentacles coming out from where his mouth would be, humanish hands with pointy fingernails, etc. He never looks remotely as inhuman as I expect from the writing.


He's described as HAVING tentacles - a cephalopod-inspired head, I think the prose says - and "vaguely anthropoid shape," meaning, to me, that he walks upright and has four appendages, nothing more. I wanted to distance this design as much from human while keeping to that basic idea as possible.


He's described as having claws - flabby claws, actually - so rather than the human-hand-with-claws-on-it approach, I decided to go with more of a vaguely crab-based approach.


I saw a gaming miniature of the character once with a lot of eyes, which was one feature that I wanted to keep. Oh, standing next to the monster, which is, I guess you might say, a "waterline" model, seeing as he's half-submerged, is a little Corto Maltese figure for scale. He's about seven inches tall, I'd guess, and about ten inches wide.


I wanted to show a mouth, and I did my best to make it as gross as possible. I didn't have any balsa when I was doing the initial sculpt, so I crudely made the teeth from wooden coffee-stirrers that I cut into triangles with wire-cutters.


He's described as being green, which I decided to ignore - I thought that, given his crab-like tendencies, I'd go with an orange more invocative of crabs, at least the type one sees in restaurants. He also is supposed to have small, mebranous wings, but I liked his back so much as he was coming along that I decided to ignore that little fact, too. He's painted with an assortment of those 44-cent Apple Barrell craft acrylics.


I painted the base to look like water. I'd thought about scuplting bursting waves, but decided agaist it. If my imagination ca't conjure up a few ripples, then I've no business making stories.

Anyway, this was an in-class-only project, so it took longer than it otherwise might, but, as I made clear last time, all of my outside-of-class time is being spent finishing Crogan's March. I'm hoping to have the entire thing inked by Tuesday night, and to have all my touch-ups finished by Saturday.

Main story finished, framing sequence getting there...

I've been internet absentia for a while now, for pretty good reason - I've been trying extremely hard to finish Crogan's March by the end of October, because
1.That's the latest it can go to press and still hit shelves by year's end,
2. We're closing on a house on the 30th, and
3. My daughter is due to be born the following Wednesday, and I won't be much inclined to hole up in the studio once that happens.

So the next week is likely to be one of the more overwhelming, so I've been teaching, prepping lessons and grading, and then using every spare second (there are so few these days) to try and knock this out. The "story" part - the section in the middle, focusing on the Legionnaire - was expected to clock in around 144 pages, but it grew to 199. As of yesterday, those 199 are finished. I am inking the opening framing sequence today (six pages), before and after our Comics Art Forum (more on that later), and I'll be doing the last three pages tomorrow, though I've still got some dialogue editing to do before penciling those.

Once these are done, I have to go in and fix the numerous bolds in the first third of the book - I changed how I started making them, and need to go back and retroactively change the earlier versions - as well as a few artistic changes throughout. Nothing monumental, though - I feel confident I can finish in time.

Once the book is done, I'll have more time to update this blog - I've got a number of news things to post.



Above: A panel from near the end.

SPX Report

Okay. It's been a while since I last posted, due to a crazy schedule dominated by teaching duties, a schedule which currently permits little time for working on pages and NO time for updating my blog.

Before getting back to normal, or as normal as can be expected during October, easily my most hectic month of the year, I thought I'd take a few seconds while scanning pencils to write a bit about my recent trip to Washington D.C.'s Small Press Expo.



My editor, James Lucas Jones, standing with saintly patience considering he expected me to have the book finished by this weekend, which it is not

This was the best SPX I've been to yet. The amount of foot traffic seems to have increased a LOT from previous years, which is nice. I changed up my usual buying strategy - in the past, I would sit at the table and sell until the end of the last day, then run frantically around during the show's last hour or so, trying to buy what books and mini-comics seemed my taste.

This year, though, I was dropping off an order with a comic shop within minutes of arriving in DC, and as such had a clear idea as to what my profit margin already was. Knowing I wasn't going to go into the red, I did my shopping first thing, taking my time, and walking around the show at a leisurely pace. I got lots and lots of great stuff, and feel like I had a chance to look at everything I wanted.



There were some things I had on my list of things to look for going in. There were two cartoonists in particular whose work I've developed a fondness for recently who were attending, and I wanted to pick up whatever they had on hand. The first, Kate Beaton, only had one book, which I snatched up. We all felt bad for her, in that her overwhelming popularity seemed to keep her from being able to have the sort of relaxed atmosphere most of us tend to enjoy about SPX, as she had a line around her table pretty much the whole time. That may have been great for her - it's of course nice to have your work appreciated - it just seems that she went from zero to superstar without ever having that comfortable getting-acclimated period.

The second was Corinne Mucha, whose work I first encountered in the tenth issue of the consistently excellent Papercutter anthology.


Greg Means, publisher of Papercutter

Mucha's comic was one of my favorites last year, and after getting a copy of the Ghost Comics anthology and being delighted by her contribution I decided to grab up whatever she had there. I got quite a few excellent minis and one book, and have been enjoying them a great deal. By coincidence, another anthology I got at the show, Wide Awake Press's Ancient Age, had yet ANOTHER Mucha story. She's quickly become one of my favorite new cartoonists, and I'm devouring her comics with joy and enthusiasm.

Sitting next to Mucha was a cartoonist with whose work I was entirely unfamiliar, but am glad that I picked up - Sam Sharpe. He had two straight-forward mini-comics - one of which, Return Me To The Sea, was a beautifully drawn, excellently told story (I've yet to read the other) - and a couple of collections of hysterical gag strips. I also bought a dvd from him, something I NEVER do at a comic show, because
A. it was about WWI pilots, and
B. the special effects, as showcased on the back, seem to be obviously models, and I'm a sucker for intentional artifice. Whether or not that's how it's played, I've yet to see, but look forward to having some time to give it a watch.

I was also impressed by the new books at the One Percent Press Table. My only disappointment with the 1PP table is that I'm rarely surprised anymore by the outstanding quality of both the comics they've made and the excellent production values implemented in printing those comics. Most times, when I find something as spectacular as what I find there, I flip out, and consider the show a success, then and there. But I expect that degree of excellence from 1PP, and, while I'm never disappointed, I also am rarely filled with elation upon leaving them, having found something completely unexpected. Anyway, the 1PP books I got this year were (as usual) some of the best books at the show, including a great 3-comic set by James Hindle, a formalist Galleon story from Alexis Fredrick-Frost, a new color piece by Joseph Lampbert, another fun action piece by J.P. Coovert, and a wonderful anthology including all four cartoonists, featuring perhaps my favorite Frederick-Frost story to date.

I had a lot of time to visit folks - Savannah friends and Oni friends getting the brunt of my company - and having a great time, all around. I picked up a lot of other great books, including Beard-themed books like Lumberjack! and Pranas Naujukitus's excellent Beard. James, Cory Casoni, and I went to the Smithsonian. A group of about 20 of us went to my yearly favorite restaurant, an Asian buffet that required a long, wet trudge through the pouring rain. And a great train ride, there and back!

I'm gonna wrap this up, but expect Crogan's March updates soon. Thanks to everyone there for making this such a great trip!

Lost in the Dark

Well, I kept up a good pace, but this last week and a half has seen page output fall from a steady 2-3 finished pages a day to almost nothing. The book festival stopped me up, and then I spent all last week preparing for this quarter's classes.

I had really wanted to finish up over summer, but now it's back to juggling. Bleh.

Anyway, here's an image from the last long sequence of the book, which takes place in a cave.

Decatur Book Festival in One Week

One of the real treasures of Atlanta's cultural offerings is the annual Decatur Book Festival, held in downtown Decatur. It's the largest independent book festival in the country, with hundreds of authors, illustrators, publishers, and readers reveling in all things print. The folks in charge are also very comics-friendly, usually bringing in a number of cartoonists to do workshops, lectures, and panel discussions.

It's also completely free.

Below is a chronological schedule of the comic-related events going on at this year's DBF. I strongly recommend any SCAD comics students in the area to take advantage of these opportunities. Though any of you are (of course) welcome at my solo workshop, if you're only to able to come for one day, or otherwise need to prioritize your time, then please attend the workshops and talks given by someone who is NOT your regular professor; you've got me year-round, so be sure to take full advantage of the folks with whom you have less proximity.

• • • • • • • • • • • • • • • •

Writer’s Workshop: Creating the Graphic Novel
Chris Schweizer (Crogan’s Vengeance)
SCAD instructor and cartoonist Chris Schweizer discusses approaches to creating a graphic novel, from planning to execution, including character design, layout, and storytelling. Agnes Scott Campus, Buttrick Hall room 219
Friday, September 4 @ 4pm


Minicomics Masterpieces
Eleanor Davis (Stinky, Secret Science Alliance), Chris Schweizer (Crogan’s Vengeance) Drew Weing (Set to Sea, The Adventures of Wulf and Merl), Joey Weiser (The Ride Home, Tales of Unusual Circumstance), Kevin Burkhalter (Kevin Days a Week), Jarrett Williams (Lunar Boy, SuperPro K.O.!), and Allen Spetnagel (Dr. Eisenbart)
Think drawing and assembling your own comics to amuse your family and friends doesn't count as making "real" comics? Think again friends! Come hear these mini-comics masters discussing the highs and lows of the mini-comics world, and give you some tips on your own masterpieces!
Saturday, September 5 @ Noon


Art Comics
Brian Ralph (Cave-In, Daybreak), Eleanor Davis (Secret Science Alliance)
A conversation between two of art comics' most versatile cartoonists about creating graphic novels and art for kids and adults.
Saturday, September 5 @ 1:45


Davis, Krosoczka, Vernon
Eleanor Davis (Stinky, Secret Science Alliance), Jarrett Krosoczka (LunchLady), Ursula Vernon (Digger)
Three cartoonists discuss their current works.
Saturday, September 5 @ 4:00


All Hail the Lunch Lady
Jarrett Krosoczka
Award-winning published author/illustrator Krosoczka will read from and discuss his latest work
Saturday, September 5 @ 5:00


Fear of a Black Marker: Race, Humor, Politics, & Cartooning
Keith Knight (The K Chronicles, the Knight Life)
Join Harvey Award-winning cartoonist Keith Knight as he presents his world-famous slideshow tackling race, censorship, politics and the media. A frequent contributor to Salon.com, Funny Times, MAD magazine and daily newspapers nationwide, Knight's work is guaranteed to make you laugh, cringe, gasp, and most of all, THINK!!
Sunday, September 6 @ Noon


The location of the book festival is immediately outside the Decatur MARTA station, on the East train line. It takes anywhere from 20-40 minutes to get there from Art Center Station.

Method Cartooning = Scenes Like This

FYI, doing this doesn't cut it.





Still plugging along. Today was a significantly less productive day than I've BEEN having (too distracted), but I still filled my daily quota.

Working out the details

As I get further and further into the book, I have less and less plot detail from which to work. This is intentional; the beginning MUST have certain elements in order to set up what will happen later. But, while this leads to a freedom of pacing, some good spontaneity of action, etc, it presents me with occasional problems when I get to bits in my outline that say things like "Crogan escapes from being chained to the post."

That's a lot more easily thought of than executed. My protagonists, while in possession of decent athleticism, are hardly Cirque du Soleil material, so they can't do anything that a regular person wouldn't do...

In these situations, I sometimes have to put myself in whatever situation they are in physically in order to figure out the logistics of how the scene will play out.



Luckily, my wife is a patient and kind assitant when it comes to these matters, and is kind enough to be around in case I, say, break my arms or something. She also snaps reference shots! Where would I be without her?

Anyway, now I know how he escapes! Just a little behind-the-scenes-process stuff, if anyone's interested.

New Panel

Is Pete Crogan angry because I haven't posted like ANYTHING lately?




Could be!

Sorry, I'm on the internet a grand total of 10 minutes a day lately, as I'm (as has previously been mentioned, many times) doing nothing but working on the book. I used to at least ride my bike to Java Monkey to do my thumbnails, so I'd get SOME exercise, but I haven't done that since Liz got back from Kentucky.

Anyway, the book's coming along well and sort-of-on-schedule(?); so long as I don't let up I should be finished with the main story by the Decatur Book Festival (more on that next week) and with the framing sequence by the time classes start back.

The Longest Day(s)

Liz pointed out that I now have 35-hour days. I wake up, work for about ten hours, take an hour nap, then work another ten-fifteen, sleep for eight, and repeat. Because of this, I have no concept of when things have or will happen, but I'm getting work done. The fact that Liz has been out of town this week makes the highly productive but peculiar schedule possible; she gets back on Sunday, so I don't know how things'll work then.

Here's a panel:

Entre le Fort

Here's a couple of pages from the current scene, where the Legion arrives at Fort Mayne.  Sorry they're small, but these blog sites cap width at 400 pixels.  My solution for dusk turning to night was this feathering with stars thing.



More to come!  I'm doing kind of okay with the however-many-per-week thing... I've GOTTA be... and I'm needing to do only fifteen pages a week (roughly) instead of twenty.  Not having the slightest idea as to how long the book actually is going to BE, I'm sort of guessing, but even so...