Work in progress, may never finish. We’ll see.
Been doing some support work for Jeremy Mohler, doing shades for him before he puts down his awesome colours. The guy’s an amazing artist and an absolute pleasure to work with.
Check out his work on his website: http://jeremymohler.com/
And check out his business here: http://outlandcreative.outlandentertainment.com/
This was made as a present for my family, printed, framed and gifted at Christmas. Obvious influences being Star Wars. It includes various symbols that may or not be understood by those outside the group. Names blurred for privacy reasons (apart from the dogs).
The lineart was produced by my good pal John West, and he got the likenesses down like the pro he is. Paints and graphic design by me.
Liverpool on the Mersey, very bright on a clear coastal night.
The regime was toppled. The tanks rolled into the city, cheered for or leered at. The fighting had ended, officially, but the children knew, as they looked on at the might of their liberators, that the caterpillar streaked streets were no longer theirs as they had been the Summer before.
Experimental Shorts are works based outside of the writer’s normal scope of genre and ideas, conceptualised and written in under twenty minutes.
I’d see comic book artists on Charlie Rose. People of note would casually recall something they’d read in a recent issue of a comic book. Popular comics would regularly be a theatre for the discussion of contemporary issues via direct and indirect methods. I’d see comics criticism in comics themselves.
I’d like to see more copyright infringement without repercussions. Smart remixes that question the validity of the ideas in the original materials, new works that masterfully criticize old tropes.
Less conservative approaches to the format of comics. Less comics dogma.
There’d be a desegregation of genre comics, superhero comics, “comix” and art comix.
I’d see more artists wielding the medium as fine art and fewer fine artists mining comics’ aesthetics and culture to prop up weak, derivative work.
The footprint of Marvel and DC Comics on the American comic book shelves would be one weekly jumbo, Manga-like book, respectively; one large book would drop weekly, collecting several stories relative to their tent-pole story arcs (X-whatever book on the first week, Avengers book the next week, etc., respectively), and the narratives would be collected and colored at the end of their runs. The rest of the shelf real estate would be a diverse curation of mostly non-superhero works.
There would be a serious attempt to reach out to people of color. I’d see Fantagraphics publishing “my boring life” works from people of color. I’d see more non-white and non-cisgender comic book editors. I’d see comics left in cafés and subway benches, rolled up in the back pockets of thirteen-year-olds.
|—||Ronald Wimberly’s vision of the comics industry (via swrd-play)|
Page number four of my incomplete comic, Samurai VS Ninja. Lines by Shaun O’Neil, script by Andrew Poole.
I’m actually open to finding a new artist to remake and expand on this idea.