Norgal stabbeth thee.
- 3 days ago
I knew Head Lopper 2 was going to be about wolves pretty early on but the plot didn’t come along until it was time to get it all together. However from the very beginning I knew I wanted a double page spread where Norgal absolutely runs (literally) through a bunch of wolves.
And here it is, the double page has a few of these sequences stacked on top of one another, featuring Norgal taking down the 15’ tall wolves, one after another, with a great deal of ease.
- 3 days ago
by Jim Rugg
PRINTS: 18 x 24 inches, 4-color silkscreen, edition of 75
DRAWING: 19 x 14 inches, india ink on bristol
Telegraph Gallery has a new print for sale. The fluorescent inks make it glow under a blacklight! Limited quantity so don’t delay.
This is part of a show called Epic Encounters and features prints by Jack Teagle, Jenn Woodall, Jake Lawrence, and Ryan Berkley.
Holy crap I love this Jim Rugg print. -ASource: jimrugg
- 3 days ago
Greg Ruth was nominated for an Eisner Award (Best Publication for Kids age 8-12) for his book The Lost Boy.
Nathan Fox was nominated for an Eisner Award (Best Publication for Teens age 13-17) for his work with Sheila Keenan on the book Dogs of War.
Andrew MacLean provided art for 3 of the books nominated for Best Anthology: Nobrow 8 (shown), DHP and Outlaw Territory.
Chris Visions is currently working with twice nominated writer Christopher Sebela on their new series Dead Letters. I got to see some of the original art in person the other day. It’s really amazing.
Logan Faerber won 3rd place in the Creative South 14 Ink Wars contest. Read more about it here.
Ming Doyle is working on a piece for an upcoming Prince themed gallery show. More details soon.
Alexis Ziritt will be doing a cover for RoboCop #1. Read more about the series here and look for it on the shelves in July.
Paul Maybury is open for commissions until the end of April, but you need to act fast because he’s only taking 10 and they’re going fast! Get on the list here.
Toby Cypress will have some original art from the hit series The White Suits for sale later today in the OOSA store.
- 4 days ago
So word on the street is - a few people don’t think I’m coloring my own work!
Wow, isn’t that complimentary. I thought it was about time to put this very, very stupid rumor to rest because I’m just so annoyed when sometime tells me to “Just use your assistant.” or “Can your assistant just do this for you since you’re so busy?”
NO. My assistants are not art monkeys and they do not color/render any work with my name on it! They color their OWN work and put THEIR name on it. They are interns learning the process, making money, meeting people and having daily skype calls with me about their own work! (that said, I’m not hiring any new assistants right now and I do not have one at this time)
I color a lot of books. I color a lot of books because I love coloring. I color a lot of books and I don’t sleep a whole lot, or go on vacation, or see my family, or hang out with my boyfriend, or exercise and I pretty much miss just about every film I want to see in the cinema—so please stop saying I’m not coloring my own work.
The biggest problem is what people think a “color assistant” does. This goes for all creative fields where someone adds “I have an inking assistant”, “a penciling assistant”, “an intern”, etc. There seems to be a very popular misunderstanding that an “assistant” is hired just to do the dirty work, all the work and get no credit or money. This is not the case nor should it ever be assumed it is the case.
There are three images here from Deadpool #27.
1.) The flatted file, how it looks when the file comes back to me flatted by another person for a flat fee. This is a staple in the colorist business and without this help colorists would be really stuck for time.
2.) EX-Color Assistant/now colorist extraordinaire Kelly Fitzpatrick goes through the crazy flatted file and adjusts the colors so they are sensible while referencing colors I’ve chosen for costumes in previous issues, plus I give her the script so maybe she can figure out if it’s day or night or if they should be on the moon. This is a VERY helpful step for me, especially, because without this step every single book I have would be a minefield to manage. Having Kelly select costume palettes I’ve used in previous issues is absolutely essential. This is also something plenty of colorists do! Having the FIRST step come back with correct costumes is great but I have to get my files “color corrected”.
3.) I go in and change colors/bring detail into certain elements/fix costume problems and render the page.
This is how assisting works and this is why the work I color is my own work and only my work, end of story. Assistants are so wonderful and helpful but they deserve more than being called “who I farm my work out to”. It’s not just insulting to the artist who hires them AND the assistant who takes the job but it’s also just incorrect.
THE MORE YOU KNOW!
- 1 week ago
Out this week from BOOM! Studios, Dead Letters #1
This book is really exciting to be working on! I love the style of the writing (I wish you guys could see the script, some of the panel descriptions make my heart flutter) and the art is just yuuumm-y!
Also it’s the first series I’ve gotten to colour with a black protagonist. I really wish that wasn’t a point of interest but there just aren’t enough POC characters leading books out there you guys! >:
If you like Noir, crime, mystery, thrillers, any of that jazz you’re gonna dig this book :)
Writer: Christopher Sebela
Artist: Chris Visions
Letterer: Steve Wands
Colourist: Ruth Redmond
(via chrisvisions)Source: ruthredmond