"Frankly" speaking.

Hello everyone. Here's a page from what I'm currently working on. I've recently had the opportunity to teach a one day cartooning class at a local library and later this week I'll be doing the same at a elementary school. There are artists that we revere in our youth. For me that man was John Byrne. In my high school days you couldn't convince me that a better artist had ever lived. In time I outgrew my obsession with Byrne but I still think he is an excellent writer/artist. There was another artist whose work I hated during that same period of Byrne worship: Frank Robbins. You may know of him from his work on "The Invaders" and his own strip "Johnny Hazard". If you're unfamiliar with his work I strongly suggest you seek it out. There are artists who serve as milestones in the evolution of our tastes. Work that seemed inferior to our younger eyes takes on a new meaning and life when viewed through a more mature perspective. As I continue my never ending education I've learned to see things better. Frank Robbins work had a vitality and an energy to it. Although his anatomical stylizations might seem unorthodox compared to the post Neal Adams/Jack Kirby school of comic art, his work is based on solid knowledge of the fundamentals of structure, anatomy and composition. His early 70's Batman stories reveal another facet of his talent: his energetic brushwork. Frank Robbins work stands as a testament to an artist of unique vision whose work was solidly rooted in the fundamentals of art and coupled with a strong work ethic fueled by a desire to improve his work. That's a lesson for us all.

Keep it moving.

Hello everyone. The above is from WRESTLER ZERO #2. Initially I wanted to produce a short story, maybe eight pages in length. That is still a goal but this story ended up becoming my second full length issue. I'm an avid reader but I learn best by doing. And nothing teaches you the craft of comic book creation better than actually producing you own publication. I also think it's vital for amateurs like me to continue to produce consistently and publish work, even if it's a pin up or sketches. Or in the case above, a panel or page from a work in progress. I knew when I published WRESTLER ZERO #1 last year that while it was the best I was capable of at the time, it had flaws that were painfully apparent to me. As much as I'd like to go back and fix those flaws I've got to move forward not backward. I'm grateful that WRESTLER ZERO #1 was well received and for the kind words. But the need for improvement of my craft compels me to produce new material instead of repairing the older work. The exception to this would be if I were to reprint the first issue in a more upscale format in the hopes of reaching a much wider readership. But first things first. And now back to my regulary scheduled program of learning how to write, draw and ink.

Grisly Discovery.

Hello everyone. This is a panel from the currently in progress Wrestler Zero story. It didn't occur to me as I was inking this panel that I'm an admirer of the "Filipino school" of art. I grew up reading many of the Marvel black and white magazines where the work of Alfredo Alcala, Rudy Nebres and Tony DeZuniga was featured. I'M NOT TRYING TO COMPARE MYSELF IN ANY WAY SHAPE OR FORM TO THESE ARTISTS. In looking at the posted panel here all of the cross hatching and shading was definitely influenced in some way by these terrific artists. Do yourself a favor the next time you're in a well stocked comic book shop and expose yourself to these great artists from the Phillipines. This panel was inked with a Hunt 102 pen, Micron .005 and .01 pens and Pitt brush pens. My ink is Dr. Martin's Bombay black. Take care out there.

New Year, same path.

A very belated Happy New Year to all of you. I hope this new year finds you in good health and in fine spirit. I've been absent from this blog but not from creating. I work a full time blue collar job and I'm a single father as well as a nascent self publisher. Time management is a must for me. This is a page from my latest WRESTLER ZERO story. As I've said previously this is a shorter story than the one in the first issue and will be posted here in it's entirety. I always feel invigorated at the start of each new year. I hope to take a drawing class this year in my never ending attempt to improve my drawing. Thanks for stopping by. And a special thanks to my friends in Latin America: Saludos a mis seguidores en LatinoAmerica. Les deseo un feliz y prospero ano nuevo y les agradesco sus comentarios y apollo.

Mission Statement.

Second time is the charm.

This is the second version of this page(see previous post for the first). I wanted to make the figures larger, more dynamic and I wanted to add a little more costuming to Wrestler Zero with the addition of a belt and the shin guards. I also rendered the figures much more than in the first version. I hope I didn't over render the page and distract from the storytelling. While I strive to improve as an artist I don't want to forget that my priority is telling the story. My drawing should be in service to the narrative. On to the next page then.

Two pages and one mini sermon.

Hi everyone. Here are two pages from a short WRESTLER ZERO story in the works. When it's complete the full version will be posted here for you to read. I wish I were in a position to publish full length stories on regular schedule. I have lots of stories I'd like to tell. However, for the forseeable future I'm better off keeping my stories short and sweet. The plain truth is I need improvement in a lot of areas of my craft. Being a self taught artist means you can't be the biggest fan of your own work. You need a strong but not harsh internal editor to keep you honest. For me that means not publishing work that I know is sub-standard. For every one page that I publish in print or electronically there are at least two other versions that didn't make the final cut. This artform is not flattering to the ego. If anything, it constantly points out your limitations as a creator and the need for constant study and practice. At the amateur level there is no money and very little recognition outside your immediate circle of friends and family. You will always meet or see the work of someone whom you consider much more talented than you. I am not aware of any self publisher who is making a living from his or her publishing. Without exception the publishing is being subsidized by a day job. And without fail there will always be the nattering nabobs of negativism ready to talk you out your desire to pursue this difficult artform.

So why continue to pursue your craft? Why continue to tilt at your own windmills? Would it not be easier to pursue something far more practical? The answer is that you do this because you must. Because you can't picture yourself not pursuing that dream or not tilting that windmill. Art, like love, is not practical but for those of us who dream it and live it it's essential. Passion and sincerity will get you through times of creative slumps better than talent can get you through times of no passion and sincerity. It's very possible, in fact very likely, that I will never make my living from my self publishing. And since I have no interest in working for any comics publishers I'd best not quit my day job. So where does that leave me? It leaves me where I've always been; passionate about creating comics and passionate about improving my ability to do so. And that my friends is not at all a bad place to be.