Monday, December 26, 2011

Out Now

Here's a little bit of recent news ...

Out now is the new issue of DC Comics' CARTOON NETWORK ACTION PACK #65 with cover art by me featuring Ben 10, Generator Rex and crew.

I just finished work on CURSES! FOILED AGAIN, a 164-page graphic novel with writer Jane Yolen. CURSES is the second installment of the adventures of Aliera Carstairs, a 15-year-old Brooklynite turned protector of a secret, magical realm. The first volume, FOILED, is currently available from First Second Books. I still have to do the cover artwork, but the bulk of the work is done!

There's a couple new interviews online too. First THIS profile piece at BLEEP magazine.

Next, my webcomic / graphic novel PARADE (WITH FIREWORKS) is currently serializing at the MTV Geek website, and I did THIS interview to go along with the launch.

Friday, November 25, 2011

More Batman

Just caught another episode of Batman: The Brave & The Bold with a few of my backgrounds. I think these all aired a while ago, but I'm only seeing them now. The episode, "Powerless", has a fascinating costume accessory for Aquaman, as well as a musical sequence sung by the Marine Marvel himself. Plus, towards the end, my Washington, D.C. backdrops.

Full episode:

Screen Caps:

Sunday, November 20, 2011

Home of the Brave

I got a few minutes into this recent episode of the "Batman: The Brave and The Bold" animated series when I realized it features some backgrounds I had painted a few months ago. A really fun sequence featuring a baseball game between the Justice League International and the Legion of Doom, from the "Triumvirate of Terror" episode. I love the Al Plastino-esque Superman design, the way.

Here's a link to the youtube clip:

And here's a few screen caps.

Thursday, November 17, 2011


Some of you older readers might remember something called a “compact disc.” Like the name suggests, these were relatively small, shiny, plastic repositories for almost any sort of digital file(s) under 700 megabytes. Most people my age first encountered them as a way to buy music. “Buying” is when you purchase something, in this case legally, with money, instead of downloading it for free. Speaking of which, we used to “buy” these things in “stores”, but not the kind you’re thinking of! No, these stores were actual physical locations! Imagine a first-person video game where the goal is shopping instead of shooting, and you’ll have some idea what it was like to get in the car and drive over to one of these “music stores.”

If I haven’t already convinced you that the past was actually some sort of dystopian future, now try to imagine that compact discs were the new kid on the block, and that what we had for, I dunno, centuries or something were vinyl records. Records were like the scary older cousin of compact discs; feathered hair, kind of a moustache, smells like cigarettes, stays out late. Crazier still, you needed something called a “turntable” in order to play one of these records, because at 12” in diameter, they couldn’t fit into a computer. In fact, outside of the hidden kingdom of Wakanda, there were no computers!!!

During this time-lost era, nomadic tribes roamed the wastelands in a rag-tag assortment of vehicles, sometimes forming fragile unions, but mostly vying against each other for control of scant resources. That’s right, I’m talking about punk rock bands like the ones I blew a good 10 years or so playing in. Mine limped through floods, fires, fights, frights and flights with all the highs, lows and body blows that come with the territory. I learned a lot, was confused by other things, made friends, lost some of those, did a lot of driving, broke stuff, and spent tons of money. Despite repeated disasters, I look back on all this fondly. My best friends are the ones I made during this time. There’s something about driving a flaming van down the sheer side of a mountain that just sort of … bonds you for life. No matter what else you do later on, this stuff kinda of sticks with you.

After about six years and six tours and a bunch of these records I’ve been talking about, one of these bands of mine had broken up and I was pretty broken up about it. Meanwhile, I had written a song with my friends in The Bouncing Souls, and they wanted me to come out to L.A. to record it with them. It seemed like a good opportunity to get out of my funk. I packed my guitar and flew out there, swearing I was done with bands and music after this. Instead of flying back home though after the recording sessions, I decided to tag along and drive back to New York with the Souls, which took about a month. The Souls insisted I was a “guest” and wouldn’t let me do anything, like drive. I think they thought I’d kill us all. But that left me with nothing to do but play guitar in the truck. By the time we got back to New York, I’d accidentally written half an album’s worth of new songs. I put another band together and we eventually recorded it all in a tiny studio in Pennsylvania. We couldn’t find anyone to put it out though. That band fell apart, we all went on to do other stuff, and I eventually forgot all about that record.

Something like 15 years passed. The internet was created, and as a result, I got an email from Matt Von and Jeff Ogiba of Psychic Volt Records. Psychic Volt is a new breed of old skool record label, specializing in small print runs of actual vinyl records. They sell these with digital download codes for people who don’t have turntables and don’t want music to sound good. Anyway, Matt and Jeff had heard about the unreleased record and offered to put it out, and I said, “YEAH, OVER MY DEAD BODY!” No, seriously folks, I said “Yeah, sure, why not?” So, I drew up some cover art and they did the rest and this strange artifact will see the light of day in the next few months.

If you want to hear what I sounded like a decade and a half ago, breaking guitar strings and screaming over a cacophony of distortion in a Pennsylvanian basement, you can order the self-titled Johnny X and the Conspiracy full-length vinyl record via the internet at the Psychic Volt “webstore.” That’s like a real store, only it’s always open and lives in your computer.

Thursday, October 13, 2011


The SHIRTS FOR A CURE Project was established by punk-rock photographer Mark Beemer to help raise awareness about breast cancer prevention and to provide financial assistance to underprivileged women who cannot afford expensive breast cancer medicine and therapy.

Exclusive shirt designs are donated mostly by bands, with proceeds from sales going to support SFAC's efforts. You can browse more than 150 different shirt designs at For a donation of $14 (plus shipping and handling) you will be helping someone who is in need as well as receiving an exclusive shirt from your favorite band.

But that's not all.

Shirts For A Cure is bringing their fundraising efforts to New York ComicCon . Appearing at BOOTH #241, SFAC has a list of special guests including Gerard Way, Cliff Chiang, Molly Crabapple and Brian Ewing, and exclusive items for convention-goers who want to lend a hand to a worthy cause.

- Brian Ewing, one of rock music and pop art’s most prolific, iconic image-makers, will be on hand to sign 50 hand-screened prints designed exclusively for SFAC, at the SFAC booth #241, on Friday, October 14th, starting at 2pm, while supplies last. Brian also provides the red "umbrella girl" T-shirt design.


- Cliff Chiang, artist of the new Wonder Woman comic book series from DC Comics, will be appearing at the SFAC booth #241 on Friday, October 14 from 4 - 5 pm. He'll be signing an exclusive $10 Wonder Woman print for the first 50 fans, with all proceeds going to benefit SFAC's ongoing efforts.

Other contributors include:

- Gerard Way, My Chemical Romance frontman and the Will Eisner Comics Industry Award-winning writer of Umbrella Academy. Gerard provides the "white violin" T-shirt design.


- Molly Crabapple, the New York Times-dubbed "Downtown Phenomenon", illustrator and founder of Dr. Sketchy's Anti Art School. Molly provides the "art monkey" T-shirt.


- Mike Cavallaro, Eisner Award-nominated comics creator and, as "Johnny X", frequent collaborator with NJ punk legends, The Bouncing Souls, along with his own bands, Sticks & Stones and Zero Zero. Mike provides the "skull and headphones" T-shirt design.


Drinks For A Cure / iFanboy NYCC After-Party


- The folks at iFanboy have teamed up with Shirts for a Cure to throw an awesome party and help in the fight against breast cancer. Comic book superstars Kieron Gillen (Uncanny X-Men, Journey Into Mystery, Phonogram) and Jamie McKelvie (X-Men: Season One, Phonogram) will step up to the turntables to DJ, as well as iFanboy's very own Ron Richards (DJ Ronxo), who will also be DJing a set. Proceeds from drinks will go to charity to help fight breast cancer! This has got the makings of yet another epic iFanboy party that you don’t want to miss!
WHEN: Friday, October 14th – 9 PM to close
WHERE: Idle Hands Bar – 25 Avenue B (between 2nd St. and 3rd St.)

Thursday, September 8, 2011

Shirts For A Cure

I created this design for the Shirts For A Cure project and will be joining SFAC at their booth at this year's New York Comic Con, 2011, at the Jacob Javits Center in NYC. From the Shirts For A Cure website:

The Syrentha J. Savio Endowment (SSE) was established by punk-rock photographer Mark Beemer in 2002. SSE provides financial assistance to underprivileged women who cannot afford expensive breast cancer medicine and therapy. The Shirts For A Cure Project (SFAC) was launched by SSE to give voice to the social concerns of punk bands and their many fans as well as to raise awareness about breast cancer prevention.

When a band donates a shirt design to SFAC, the design becomes exclusive to SSE. We sell the shirt and use the proceeds to help women fighting breast cancer. If you would like to support our cause please take a moment to peruse the more then 150 shirts we offer. All shirts are printed on 100% pre-shrunk cotton unless otherwise stated. For a donation of $14 (plus shipping and handling) you will be helping someone who is in need as well as receiving an exclusive shirt from your favorite band.

My design, as well as one by Molly Crabapple will go on sale at this year's NYCC, October 13 - 16.

Wednesday, August 17, 2011

Dog Days Update

I hope I'm not tempting the weather gods when I say I've known hotter Augusts. Someone told me today that another heat wave is on the way, but otherwise it's been pretty nice here in Brooklyn, and I've had a few good nights in the backyard this year, which goes a long way to counter balance the hours and hours at the drawing table.

I just recently finished penciling 164 pages of CURSES! FOILED AGAIN, the follow-up to the FOILED graphic novel with writer Jane Yolen. Now it's on to lettering and inking which should take a few months. Here's a page of pencil roughs:

I've also been working on a side project with writer J.M. DeMatteis, my one-time collaborator on The Life And Times of Savior 28. This one's very different from that, though, and here's a crazy double-page spread to prove it:

Lastly, Psychic Volt records will be releasing some songs I recorded with a band 15 years ago and never did anything with. It will be an L.P. Show of hands, who still knows what that is? Here's the front cover for the album artwork:

Now, back to work!

Tuesday, May 10, 2011

Building it, Final.

Following up on Part 1 and Part 2, here is the final color design:

Colors took a lot longer than normal because I didn't have a specific idea of what the color design should be, and I spent a lot of time experimenting. That's one of the great things about Photoshop, assuming you have the time to mess around.

I think this is done, but of course I may go back into it if something good occurs to me.

Wednesday, May 4, 2011

Building it, Part 2

So, going back to THIS POST from a little over a month ago, I've done some work figuring out that rough sketch I had, and now I think I'm ready to ink.

Here again is that rough sketch:

And now here's the finished pencil version:


and inks...

Tuesday, May 3, 2011


Just received this wonderful piece from super-talented illustrator/cartoonist Leela Wagner [website], based on my webcomic LOVIATHAN. Thanks, Leela!

Monday, May 2, 2011

Lest we forget ...

I just came across these photos that I never downloaded from my camera. I believe this is the day after Christmas, 2011, when we woke to a couple feet of snow.
I'm really glad I bought that shovel the day before.

First, here's the drift up against our entrance way:

After about an hour of shoveling, it's safe for Lisa to have coffee outdoors:

As I reach the top of the brownstone's steps, some nice views of the street before plowing and more shoveling have disturbed the snow too much:

See you in a few months, Winter.

Friday, April 15, 2011

Daredevil #1 Cover by Paolo Rivera

Follow the link to Paolo Rivera's blog to see his cover for Daredevil #1. Great concept! Great design!

Thursday, April 14, 2011

MoCCA weekend

I had a better time at this year's MoCCA Arts Festival 2011 than I've had there in the past couple years, certainly since the Festival's move from the Puck Building downtown to the 25th Street Armory. I'm not sure what made the difference this time around. It may all come down to my own disposition.

I sketched for an hour each day at the MoCCA gallery table. $25 - $35 per sketch, all proceeds going to the gallery itself. Also there were artists Rick Parker, Simon Fraser, Dean Haspiel, Bob Sikoryak, Bill Plympton, Nick Abadzis, Mo Willems and others.

Mo and I worked together for many years on the Cartoon Network animated series "Codename: Kids Next Door." Since he launched his juggernaut children's book career, I haven't seen much of him, so it was nice to chat for a while. I did a few drawings: a femme fatale, Savior 28, and Ben 10.

Got to talk to the folks at First Second Books, who published my graphic novel with Jane Yolen, "Foiled", and are publishing the sequel, "Curses, Foiled Again!" (I'm working on it...)

Also met and spoke with Doug Bratton, the NY Metro area chapter head of the National Cartoonists Society.

Of course, I picked up a few gems. Please pardon the lousy Mac camera photos.

From the Abrams table, the single-volume collection of Brian Walker's "The Comics", one of the most exhaustive written histories available on the subject of newspaper comic strips in America.

From the NBM table, Nicolas De Crecy's "Salvatore".

I didn't actually get this at the con, but the enormous "The Mighty Thor" Omnibus arrived yesterday. It collects all the Walter Simonson Thor comics from the 80's. It's huge. The recoloring, by the way, is a great improvement over previous editions and collections of this material.

Monday, April 11, 2011

Giving it away

Jim Amash: How did copyrighting CAPTAIN AMERICA occur to you?

Joe Simon: "At 24 years old, I was just trying to make a living. I was a product of the times... it was the Depression and I was just happy to make a living. We all were. All of us were like homeless people, happy for anything we got. People say, "Well the Shusters and the Siegels, and the Simons and the Kirbys were stupid. They gave away everything." But we never even thought about it that way.

Timely's chief accountant was Maurice Coyne, a guy who promoted that for me; he didn't like them very much... It was his idea that we arrange some kind of a 25% royalty for me. I gave Kirby part of it, but it was hardly anything. Maurice took me aside on day and told me they were putting all the office expenses, all the salaries and everything, on Captain America."

-Alter Ego #76

Friday, April 8, 2011

MoCCA Comic Arts Festival 2011

Just wanted to mention that the Museum of Comic and Cartoon Art festival 2011 is this weekend, April 9 - 10, at the Lexington Avenue Armory, 68 Lexington Ave (Between 25th & 26th Streets), New York City. More info HERE.

The "festival" is really a comic book convention which acts as a fundraiser for the Museum of Comic and Cartoon Art. Hours: Saturday April 9th and Sunday April 10th 11am-6pm.

I don't have my own table this year, but I'll be sketching at the MoCCA table from 12 - 1 pm both Saturday and Sunday. All proceeds go to the MoCCA gallery.

Thursday, April 7, 2011

Too Organized

From 1957 to 1965, John Romita worked for DC Comics. Although he dreamed of working on any of their more recognizable adventure titles, he found himself stuck in DC's romance comic department. Years later, of course, he would become the architect of the "Marvel style" and go on to have some 35 successful years, working on characters like Daredevil and Spider-Man.

Editors at DC were very territorial. They had their own stable of creators whom they never shared with other editors. A freelancer could lose their job if their editor found out they were working with someone else.

Freelancers who needed more money, or who wanted to work on different types of books, took to using fake names to avoid the backlash. A lot of these, like Romita, were artists languishing in DC's romance department. They all began to quietly seek work from Stan Lee.

Says writer and former Marvel Comics EIC, Roy Thomas:

"Gil Kane was "Scott Edward," and Werner Roth was "Jay Gavin," both named for their kids. "Mickey Demeo" was Mike Esposito, and Frank Giacoia was "Frankie Ray." Stan [Lee] and I would chuckle about how DC had had all these great hero artists buried in their romance department. It wasn't that DC was disorganized. It's more like they were too organized to utilize their artists well."

Wednesday, April 6, 2011

Joe Maneely

"[My first story for Stan Lee] had some weaknesses, especially in the inking - Stan calls up [Timely artist] Joe Maneely and tells him, "I'm going to send this guy out to spend a day with you. Give him as many pointers as possible." And the next day, I think, I went out to Flushing, probably from 10:30 in the morning until about 4:30 in the afternoon. I watched Maneely; and while he's talking to me, giving me pointers, he turned out like two or three pages, one double-spread with an entire pioneer fort in Indian country with Indians attacking from the outside, and guys shooting from the inside.

"He didn't need reference, he didn't need anything. He just sat there, and between 10:30 and, say, 12:30, he had penciled this double-spread in, very roughly. After lunch - I think I just went out and got a hot dog - I come back and he's starting to ink it, and he finished the damn double-spread before we finished the afternoon session! He was just a staggering talent!

"[He] died when he was 38 years old, I think. I jokingly said once that, if Joe Maneely had lived, half of us would have been out of work!"

-John Romita
from an interview with Roy Thomas

Tuesday, April 5, 2011

Making The Cut

"Stan [Lee]'s secretary would call me. She'd tell me that things weren't going well and ask me if I'd take a $3 rate cut. Well, what could you say? I needed the work because I was raising a family. And the other companies weren't doing much better. Places like EC had folded up.
"About three months later, she'd call again and ask if I'd accept another cut ... I was up to $46 a page for pencils and inks and that was a good rate for 1956, when the decline started. I was down to $21 a page when Timely stopped hiring me. And they expected the same quality of work.

[Later on, in 1959 ...]

"I got a call from Vinnie Colletta, who wanted to know if I was interested in penciling romance stories for [Charlton Publications]. I must have done hundreds of stories for Charlton. I could really knock them out ... I got paid $8 a page, and then it went to $7 a page, which was like a dollar a panel."

- Joe Sinnott
from and interview with Jim Amash
Alter Ego fanzine #26

Sunday, April 3, 2011

Ben 10!

I should mention that CARTOON NETWORK ACTION PACK #58 is out now, featuring a full-color cover by me and 17 interior pages that I penciled, inks by Dan Davis, story by Marc Bernardin.

It's the first time I colored my own work on one of these stories, other than the covers. I thought it all came together pretty well.

It's common sense...

"I was aware of everything Jack [Kirby] did from the time I was eleven. I'd tell my buddies, "This guy is great! Look at this stuff that's popping out of the pages. Look at how he does that!" They thought the comics were some kind of tricky photo technique. They would say, "Aw, you're crazy. Nobody's going to do all those drawings by hand."

- John Romita
Interview by Roy Thomas

[Hilarious. I agree -- what kind of lunatic would do all those drawings, day-in-and-day-out, for years and years???]

Saturday, April 2, 2011

more Joe Staton

Following up on my post from the other day about the Dick Tracy newspaper strip by Joe Staton and Mike Curtis, here's a recent interview with Staton by Chuck O'Donnell. Link:

Friday, April 1, 2011

William Dunn on Batman: The Brave & The Bold

For a lot of the past year I had the opportunity to work on the Batman: The Brave & The Bold animated series as a background painter. The chance came via my long-time friend William Dunn, the Background Color Supervisor on the show, whom I've known since our days as students at the Joe Kubert School.
Bill's been out in L.A. for a number of years and has not only had an impressive career in the animation industry, but is an even more accomplished painter on the side.

I was already a fan of the show, so when the schedule got tight and Bill needed help, I was more than happy to pitch in.

Getting to work on a smoothly run production like this one, and on such a well-done homage to one of my favorite characters, was a rare and much appreciated opportunity. I also learned a lot from Bill, who knew exactly the results he wanted and how to get them.

World's Finest Online recently posted this interesting and insightful interview with Bill.

Thursday, March 31, 2011

Dick Tracy!

I'm not a regular newsprint reader, so I missed the fact that artist Joe Staton and writer Mike Curtis have taken over the Dick Tracy newspaper strip.
Joe is a favorite comic book artist of mine and a frequent face at NYC-area conventions. A couple years ago, we both contributed strips to the Flash Gordon 75h Anniversary hardcover book.

Here's the first Dick Tracy strip from Joe Staton and Mike Curtis, dated Monday, March 14th, 2011:

Dick Tracy

I've just discovered this website,, where you can read many daily newspaper strips for free. The rest of Staton's and Curtis' Dick Tracy strips seem to be there, along with a lot of other strips.

Wednesday, March 30, 2011

Floating Elephant

"Adventures of the Floating Elephant" is a webcomic by Tim Hamilton. The entire comic can be read HERE at the webcomics site.

"The Webcomic Overlook" has posted a review.

Tuesday, March 29, 2011

Building it.

I'm slowly working on an illustration. Here it is in its preliminary stages.
I started with this rough sketch:

There's a central figure, surrounded by a ring of vignettes, a title at the top, and a credit at the bottom. Kind of a movie poster approach. I made a series of subsequent drawings to clarify these ideas. First:

A little easier to make out the faces and figures, but almost a setback in other ways. Maintaining the circular composition is important, but the central figure is getting overpowered by the other elements. An easy fix. Just a matter of paying more attention to the size and placement of all the elements.
Another draft:

Now it's starting to fit together. As I add and delete different elements, I've moved them around and grouped them differently. Characters and things that go together thematically are now next to each other, so the entire image is developing a sort of narrative, even if the meaning isn't noticeable to anyone else yet. I can see, though, that the large head towards the top is going to make it hard to place a title without throwing the whole thing out of whack. The head needs to come down into the illustration more.
Another draft.

That large head at the top is comfortably out of the way and working better with the rest of the design. This is about all I need to move forward from these thumbnail drawings to a stab at finished pencils. I'm letting it sit for a few days, though, so I can look at it with a fresh eye later on.

Either more of these layouts or finished pencils soon...

Tuesday, March 22, 2011

Joe Sinnott

One of my all-time favorite comic book artists gives an overview of his career.

Interview with comics legend Joe Sinnott, Part 1 from The Comic Archive on Vimeo.

Interview with comics legend Joe Sinnott, Part 2 from The Comic Archive on Vimeo.

A couple years ago, I had the great pleasure of hiring Joe to ink this variant cover, penciled by Sal Buscema, another comics legend himself, for "The Life and Times of Savior 28" issue # 1, the series I co-created with J.M. DeMatteis. Colors by Andrew Covalt.

Paolo Rivera studio tour

I love this look into Paolo's studio and process. It's great to see someone able to put so much thought and care into his work.

Artist Paolo Rivera Gives a Tour of His Studio (PART 1) from The Comic Archive on Vimeo.

Joe Kubert on Process

This video courtesy of The Comic Archive

Comics Legend Joe Kubert Talks About His Process from The Comic Archive on Vimeo.

Wednesday, March 16, 2011

The Brave and the Bold

"Mort [Weisinger] and I got along with in a business way, but it was an awful time. If you shook in your boots, especially in those days, they would jump all over you. When he was very rude to [Jerry] Siegel, I told him, "You wouldn't be sitting behind that desk if he hadn't created Superman, you know." I never kept my voice down. When they wanted me to do something over I would say, "Whatever I give you is the best I can do." My attitude was, they're not bosses, they're editors."

-Al Plastino (Golden/Silver Age "Superman" artist extraordinaire)
from an interview with Jim Kealy & Eddy Zeno
Alter Ego fanzine #59

Tuesday, March 15, 2011

All In A Day's Work ...

"... in those days, you had to knock the stuff out in order to make a living. I'd pencil a page in the morning and ink it in the afternoon. After supper, I'd ghost a couple of Archie pages for Jon D'Agostino; I did that for a number of years. I was also doing covers for a crossword puzzle magazine publisher. I only had so much time to spend on the Marvel stuff, because I couldn't give up my other assignments. Those people were depending on me, too. I used to juggle a lot of assignments."

- Joe Sinnott
from a interview with Jim Amash
(Alter Ego #26)

[Relevant because ... things haven't changed that much.]

Friday, March 11, 2011

A New York Story

Last night, attended the New York premiere screening of first time documentary film-maker Dan Makara's "IRWIN - A NEW YORK STORY", at the Museum of Comic and Cartoon Art. The film is a portrait of legendary cartoonist Irwin Hasen, co-creator of "DONDI" and "WILDCAT", and early chronicler of the adventures of "WONDER WOMAN", "GREEN LANTERN" and "THE JUSTICE SOCIETY".

I was a student of Irwin's over 20 years ago at the Joe Kubert School, and it's always a pleasure to see Irwin at conventions or gatherings like the one last night.

Also on hand were Jerry Robinson and Jules Feiffer.

Whether you know a lot about Irwin or not, the film is worth seeing for a glimpse of his own larger-than-life character. At 92 years of age, he still knows how to work an audience.

Congrats to Irwin and Dan for a job well done!

Wednesday, March 9, 2011


Last year, May 2010, First Second Books published the graphic novel "FOILED", my collaboration with writer Jane Yolen. Jane has written the sequel, "CURSES, FOILED AGAIN!". I've thumbnailed the whole thing, and I'm now about 20 or so pages into penciling.

At the same time, I'm still penciling "BEN 10" stories for DC Comics' CARTOON NETWORK ACTION PACK comic book series.

I like getting to bounce back-and-forth between the two. "BEN 10" has to be on-model with the design of the animated T.V. show it's based on, while "FOILED" can be weird and loose. They both provide a nice change of pace from each other.

Tuesday, March 8, 2011

John Romita on Speed

A while back, I was posting quotes from interviews with comic book artists on my Livejournal blog. A lot of these are just comments that I found interesting in regards to my own experiences at the drawing table. Sometimes when you're dwelling on the vast gulf between yourself and some creative giant, it's interesting to also note the few small similarities and/or other details of interest. I'm going to transfer some of these to this new blog.

First up, "John Romita on speed"...

"Every time [Gene Colan] came in, we always got on the subject of speed and lack of speed, because Gene used to work until three in the morning, every morning.
"I said, "You know what? You're asking the wrong guy because I have trouble, too. The reason I'm working 9-to-5 is because I can't turn out enough pages in five days to pay my bills." I could not deliver work on time. I could do five pages in one day, and then it would take me the next five days to do the next page. I could never tell. In fact, if an editor said, "Can you get this 10-page story done by next Wednesday?," I couldn't guarantee it to him. I used to say, "The truth of the matter is, I don't know. I could get it done in two days or it could take me three weeks. I have no idea how long this is going to take me, because I have no regular flow that I can count on."

John Romita
from a 2006 interview with Jim Amash

Tuesday, March 1, 2011

National Cartoonists Society

Today, March 1st, 2011, my application for membership into the National Cartoonists Society was approved. That makes me very happy.