Pencil, digital, silver and handmade paper with oil emulsion.
I’ve had a wonderful couple of weeks at work, but yesterday was kind of a bust. I have such a heavy workload that every day has to be a winner, and I only have three days of wiggle room between now and the end of May. So, that’s pretty rough.
I have put all my commissions on the back burner until then. I sincerely apologize to everyone who is waiting.
Many of you already know the projects I am working on, but one major project has not been announced. I almost didn’t take it because of the circumstances of the project, but it was a once-in-a-lifetime opportunity. That’s not hyperbole, either. It really is an amazing project.
A part of the challenge of the job is working under the same pressures as many classic cartoonists: grueling deadlines and heavy work output. I figured if Jack Kirby could do it, so could I.
I haven’t worked that way in awhile, taking on projects that require heavy research and careful, detailed art. It’s been a long time since I did anything cartoony. I was actually going to use a more realistic style, but cartoony is what the client specifically requested.
Back in the early 1990’s. I was super-productive, and my work suffered a lot. But now I draw a lot better, and with far less effort I get better results. If I could always work this way, I could do about two books (pencils and inks) a month. But I think I would go crazy in about six months.
However, I am really enjoying the breezy art production and style, and the only thing I would change would be to add about a month to the production time!
I am fueling a lot of this with caffeine and sugar, and am going to have to watch my…ahem…bottom line. So, I am pretty much blocking the internet use and limiting it to time I am on my treadmill! I need all the exercise I can get!
Well, here I am up at 8 AM working. Wish me luck!
I can’t get into details, but I was having to research WWII era VD posters (like you do,) and ran across this Australian poster featuring Donald Duck. I’m pretty sure this is not official, but for those who don’t know (and before this project, I did not) a “pro” is a prophylactic. Back in the day, soldiers went to “pro stations” to get their rations of, you know, pro.
The hardcover edition of the graphic novel adaptation of Disney’s Beauty and the Beast which I drew for the long-defunct Disney Comics. I bought this at the Books Kinokuniya store in Tokyo, and Takayuki Matsutani, president of Tezuka Productions, bought one for his daughter as well, since she was a Disney fan.
In this picture, Jeff Smith, creator of BONE and RASL, and his wife/manager Vijaya Iyer and me (in the hat) pose in front of the Tezuka Productions entrance.
Here is Takayuki Matsutani of Tezuka Productions, Fred Schodt, author of MANGA! MANGA! The world of Japanese Comics, Oscar and Pulitzer Prize winning cartoonist Jules Feiffer, Cartoonist Denys Cowan, and Jeff Smith at the Shueisha publishing offices.
In the final photo, we pose at The Golden Temple with a really wonderful Japanese comic strip artist who was absolutely delightful and funny, and I am deeply embarrassed to say that all these years later, his name escapes me. But he was super cute.
I’ve lived with chronic pain for years. Last month I had surgery. Since then, no chronic pain.
Chronic pain is something other people may never know you have because they cannot see it. They may see you as an unhappy person. Perhaps someone who complains too much, or isn’t as productive.
Maybe you have to moderate the things you do. Since other people can’t see those internal limits that cause you to make those choices, those limits can’t exist. So, you must be a lesser person.
You don’t party, so people think you’re a buzzkill.
You’re unreliable, flaky.
What other people don’t experience can’t possibly exist for you. Any limitations you have they assume are failures on your part.
Living with sexism or racism is like that.
It is a chronic condition that people cannot see unless it directly affects them. They don’t experience the daily assaults, so those assaults don’t happen. The choices women make and the lives they lead must be due to their internal limitations, not external boundaries. And if women can’t break through those boundaries, women are to blame, because the boundaries do not exist to people who cannot see them.
A black woman gets the double whammy of sexism and racism, her body parts used against her in regular assaults on her psyche. Ugly assumptions are made about her character as she walks down the street. Her word is less valuable, less reliable. She’s a welfare sponge on sight.
Since my family became a multi-racial family, I’ve seen far more of this than I would like. Slurs about Asians, jokes about Hiroshima, comments about eating dogs. I see this effect on a little boy who has absolutely no idea what this stuff is, why he’s getting it, and he has no clue how to deal with it.
And I see people who tell the recipients of this torment to just brush it off because they have the luxury of not living with the chronic abuse that goes along with being the target of sexist and racist hate.
Imagine if you can that nagging awful pain for which there is no cure. Cancer that eats the heart of the world.
That’s what sexism and racism is.
And because it’s not about you, that doesn’t mean it doesn’t exist.
Just because you aren’t feeling it, that doesn’t mean it’s not hurting people.
Flaws in thinking about the new wave of women’s comics:
1) Believing that books with a majority of male characters or creators are the default, therefore books with a majority of female characters or creators must be an anomaly.
2) The creations of men are the point of origin of quality, but the creations of women are the point of origin of novelty.
3) Because the male work is the default and women are not the natural audience for the medium, the women’s work can only be a marketing ploy to ride a fad.
This is a medium for which there are no limits to content or audience or type of creator. Therefore, all of the above are fallacies.