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Yesterday I finished a scene in Crogan's Loyalty, and held off on writing the dialogue for the next one because I knew I had a long car drive today, and that's the best time to work on that sort of thing. So I drew some environmental designs for something I've been kicking around... less a story than a general idea. (Click for a big version)
With the new Crogan story I'm basically moving nonstop through the wilderness, and I'm putting a lot of effort into the environments, but there's not a great deal of design going on, more of a tweaked depiction of nature. In my sketchbooks I've been approaching environmental design from a more functional standpoint, thinking about how specific actions and scenes will play out on them, and being confined to them as more of a stage. It's the way I appoach design for animation, but rarely for comics. I'm curious as to how it might work for the latter.
The next book (featuring Daniel Crogan) should give me the opportunity to try it out a bit. I dabbled with it some in March, with the fort, but I want to push it further. With these, I was looking at it the way I'd imagine toys as a kid, what I'd want in a playset. That's not a bad starting point, I suppose.
Recently, the history blog 1775 questioned the validity of my use of beards in the Crogan series, the primary concern being that both David and Jonathon Crogan have them despite living in the mid-eighteenth century, in which beards were rarely, if ever, sported by English citizens, even those on the fringes of society.
And the thing is… the writer, J.L. Bell, is absolutely right.
I’ve talked at length about the genesis of the Crogan family tree in interviews (here, here, and here, if interested), but one thing I haven’t talked about is the age at which I conceived it – twenty-four – and the challenges that it now presents me.
The first point – the age – is of note because, however interested in history I was, I had but a cursory understanding of a great deal of it. I’d spent a lot of time researching pirates, the Crusades, and the mid-to-late nineteenth century British Empire, but aside from that the majority of my knowledge was peripheral at best. This means that a few of the characters portrayed in the family tree are going to require some creative solutions in order to make them jive with both real history AND with what will deliver the most entertaining (and genre-satisfying) narrative, which is where the challenges come in.
Take, for example, Peter Crogan. Originally I had his endpaper picture dated 1922 - luckily I'd begun researching the Legion before Vengeance was published, and discovered the the emotionally satisfying navy blue coats fell out of service during WWI. I'd always thought of the Legion as a twenties thing, but thankfully I was able to revise the tree before the first book saw press. Now, however, I'm stuck with whatever mistakes I've made, but rather than thinking of them AS mistakes I prefer to think of them as challenges.
The most pressing of these challenges is one of the points of contention raised by Mr. Bell, namely the beard and outfit of Jonathon Crogan. Though the buckskin has precedence, I picked the hat and beard at random, and both have proven anachronistic. My thought, at the time of the initial drawing, was that the French and Indian War was going on in the late 1750s, and that most of the men on the frontier would have been the trappers and hunters of popular imagination.
Now, while the presence of trappers and hunters is without doubt, the ones most often documented and popularized (with the furry hats and furry faces) date from the 1820s – some seventy years after my character’s visage is depicted.
This is going to require some sort of rectification, but my ideal is to create a solution in which the anachronism is explained away rather than disowned. Perhaps this picture is following a long trek, before razor’s return, or maybe Jonathon lost a bet requiring him to forgo shaving for a full year. Whatever the cause, I hope that readers will have confidence that I will do all in my power to ensure historical accuracy, including matters of hirsutism. And, as I've mentioned, the years shown in the endpapers are not necessarily when the books themselves will take place
With each new volume I am confronted with the sheer joy and overwhelming terror of engulfing myself in an entirely new period, and in learning about said period I often find out information that requires me to take the project in a different direction that originally intended – the current project is a testament to that. I am by no means a historian – I am an entertainer, but part of my job is to make sure that those who ARE historians have as much if not more enjoyment than the general populace, free of inaccuracies except when narratively unavoidable, and in such instances I hope to make certain that the spirit of the time and people involved are depicted justly, if not factually.
Tomorrow sees the release of JAM! Tales from the World of Roller Derby. This is an antholgoy of stories written by Derby Girls and adapted by Comic Artists, and it's important to me because no less than four of my students have work in it. Jackie Lewis (who is currently doing the art for a book called Play Ball, out sometime next year), Cara McGee (doing the art for a book called Confessions of a Virgin Sacrifice, also out next year), Erin Gladstone, and Falynn Koch all have art in this book, and for some of them it's their first professional publication. I couldn't be prouder of them, and couldn't be happier that editor Jill Beaton recognized their talent and gave them an opportunity to showcase it. These girls did a fantastic job, as usual, and it behooves you to swing by your local comic shop tomorrow and demand a copy, because YOU should know how awesome they are, too. Also, Jeremy Sorese has a story, too. He's not a student of mine, but he's a recent SCAD-Savannah grad, a great artist, and a swell fella.
I've got a pin-up in there, as well - a rare chance to see my stuff in color in print, seeing as I'm such a B&W snob:
I should also note that, while never having played Roller Derby (I am a fella, after all) there was a period in college where, for about 4 months, I only took off my skates to shower and, most of the time, to sleep. Everywhere else - class, the cafeteria, Wal-Mart, the movies - I wore 'em. I've also been in two fights that I can vividly remember while wearing skates (and there may have been more than that - I did grow up in Kentucky - but two are all I REMEMBER remember), so I feel a special kinship with those lades who don skates and dole out bruises.
Drew Indiana Jones. No real reason; just felt like drawing Indiana Jones.
(click to see it bigger)
I'm up to page 14 of pencils for Crogan's Loyalty. I'm gonna pencil the whole book this time and then ink it all in one fell swoop. I like varying up my process, see what works best.
I read today about actor Donald Glover and his comments about how he’d like to be considered for the part of Peter Parker (Spider-Man, for anyone unfamiliar with the character). Personally, I think this is great – anyone who’s seen Community (one of the funniest shows on the air right now) is familiar with Glover’s dancer-like grace, charming screen presence, and excellent comic timing - all things that would really work well with Spider-Man. I’m of the school that good comedians make the best dramatists, and I’ve little doubt that he’d bring a whole lot to the role.
There’ve been mentions back and forth about the merits and concerns of casting a black actor as a character heretofore depicted as white, and I’d not be offering anything new were I to delve into the matter. The only genuine concern that I can see is that kids fresh from the theater might pick up a comic and be disappointed, but really, won't that happen anyway? Hey-Oh!
Anyway, I did a drawing of Glover as Spider-Man, because he’d be my first pick. I may never see it on the screen, but at least I can see it on my drawing board. 
HeroesCon was, as usual, a great show. I love it because it's such a casual atmosphere, so laid back. There's time to talk to everyone, to see everything, to catch dinner with a lot of folks... it's really a wonderful time. Plus the Charlotte community is so incredibly kind and involved; we see a lot of hardcore comics fans at shows like this, but how often do you have casual readers swing by and bring a copy of a book that they picked up and enjoyed? Shelton has done a wonderful job of making the show a great and inviting event for the community, and in doing so makes tabling all the more pleasurable on our end.
Highlights - I got to have dinner with a great bunch of fellows, including Craig Fischer, Mike Rhode, Shannon Gallant, Chris Sparks, and one of my very favorite cartoonists, Richard Thompson. The next day, I was lucky enough to snag this Cul-De-Sac original from him. It was an extremely difficult choice, picking one, but I'm very happy with what I ended up getting:
 I also had a great time on the All-Ages panel, got to visit with the ever-charming Roger Langridge (and snag some of his gorgeous muppet art, this one featuring Fozzy Bear and Sherlock Holmes standing in front of a wall of photos of other muppets), and just had an all-around great time.
Picking up stuff from Francesco Francavilla, Chris Samnee, Tom Fowler, and a few of the other Comic Twart guys at the show got me inspired. I shouldn't say GOT me inspired. The Comic Twart blog has BEEN inspiring me for weeks. It's the reason I drew John Carter. It's the reason I've been trying to use any down time doing various pinups and sketches. You really should check it out.
Anyway, their topic this week is Steve Bryant's Athena Voltaire character, so I thought I'd try my hand at it, too. I did another snow peak drawing recently, and enjoyed it, so thought I'd try another.
Hey, everybody! Sorry for the slowness of updating. I've done tons of sketches, and have had lots of news, but have not been able to find the time to put any up!
This weekend is HeroesCon, one of my favorite comic shows, which takes place in Charlotte, NC. In addition to tabling and doing sketches, I'll have a slew of new things to pick up - a numbered "Mummy" print (300 made), a John Carter print, an Innsmouth print, a sort-of-new mini-comic called "Robot Teenager Goes to a Barn Show," and lots of original art for sale. So come on out! It's a big year, with lots of great folks in attendance. In addition to Mike Mignola and Guy Davis, they've got folks like Kate Beaton, whose history comics shouldn't be missed, and a bunch of my students will be there, too. So if you're in the Charlotte area, come on out!
I'm also doing a talk at a panel called DEFECTIVE COMICS: a lovingly critical look at just how bizarre the superhero genre can be. I'll be talking about Marvel's recent Strange Tales anthology and how it can be used to see how singular idiosyncratic creators can either be the best or worst thing to happen to mainstream titles, and Ben Towle is talking about the Superman character in Chris Ware's Jimmy Corrigan. Craig Fischer will be moderating a panel with my favorite Marvel writer, Jeff Parker, along with Colleen Coover, Evan Dorkin, and Chris Pitzer. It's Saturday at 3pm.
 Since supers have been on my mind lately, I did this picture of "my" lineup of the X-Men (meaning the lineup from when I was really into them, the Saturday Morning Fox Cartoon Lineup!)
The original (11 x 17) will be for sale at the show for $80, unless someone contacts me first.
Hope to see people there! Remember, Crogan Adventure Society agents, bring your card and get a gift!
I was asked by Chris Houghton a while back if I'd do a pin-up for his series Reed Gunther, and I jumped at the invitation. Reed Gunther - drawn by Chris and written by his brother, Shane - is an incredibly fun Western comic that has a lot of comedy, a lot of monsters, some great characters and some great art. Each issue builds off the last, but the guys do a great job of making each one a genuinely satisfying reading experience by itself, which is always the first thing I look for in serialized comics, and something that far too few creators deliver.
(Click on the image for larger version)
This'll be part of the fourth issue. While I (regrettably) won't be there, it's going to be available at San Diego Comic Con, and, I assume, through the Reed Gunther website, linked above.
In other news, the research phase of Crogan's Loyalty is finished! I mean, I will still do research and reading, but as of yesterday the writing has begun. This is a great thing - I always love getting to the actual creation process, and while the research phase is of huge import I'm always glad to move to the next one.
Anyone who didn't get a chance to go to Free Comic Book Day, don't worry - the Crogan Adventures story is up for reading in the "comics" gallery!
Click the Pic to read!
Here's a picture I did inspired by H.P. Lovecraft's excellent and super-creepy horror novella Shadow Over Innsmouth, which has to do with a decaying New England fishing village and the cross-breeding bargain the citizens made long ago with a race of horrible fish-man creatures. It's a great and terrifying story, and gets me all creeped out however many times I read it. For some reason I was in a scary-stuff mood recently (usually that comes with the lead-up to Halloween, not in April), and I wanted to draw something in that vein, so here it is. It's not actually depicting an event from the story, but was inspired by it:
(Click on image for full-sized version)
This is one of the most detailed and labor-intensive drawings I've ever done - it's 11x17, black and white ink over blue pencil. It's also for sale. Considering the hours put into it and how pleased I was with the final result, I'm asking $250, which includes shipping.
e-mail me if interested - chris at curiousoldlibrary dot com.
First thing - this picture, of a bunch of Green Gang fellas storming the as-yet-unnamed tramp steamer.
(Click on the picture above for a bigger image)
This is one of a series of ten-twelve drawings I was thinking of doing for a mini-comic sketchbook, each a scene from the life of Daniel Crogan, the Lion-Tamer/Escape Artist who will be the protagonist in the fourth Crogan Adventure book. I've penciled a few of the other ones; my hope was to have it by HeroesCon, but that probably won't happen.
The other thing I wanted to note is that the shipment of Crogan's Vengeance's second printing was delayed by Diamond from China. I've been telling everyone that it would be available by this week, but that was back when I thought it was shipping out on the 7th; as it is, it won't be leaving until the 26th. But two-three weeks after that it SHOULD be available for sale from your local book or comic store, distributors Diamond, Baker & Taylor, Ingram, and online bookstores like Amazon. I'm really sorry this has been unavailable for so long, and appreciate everyone's patience and enthusiasm about getting a hold of one, and know that it WILL be available soon. I've been told that I definitely will have copies at HeroesCon, which I'm really, REALLY looking forward to!
I did this drawing yesterday, colored it today. It's one I've been wanting to do for a while, an Edgar Rice Burroughs (You know, the Tarzan guy) science fiction character from 1911 known popularly as John Carter of Mars.
(Click on the drawing for a bigger view)
Now, Carter has generally been illustrated by Frazetta-type guys (including Frazetta) as being this muscular, loincloth-wearing clean shaven guy with a flowing mane - basically Conan the Barbarian with a ray-gun. I've never liked this interpretation - John Carter is strong on mars because he's used to Earth's higher gravity, NOT because he's super ripped. So I made him of average build. He is (or was) a civil war soldier, too, so I wanted him to have those big fancy cavalry 'stache and chops, and he's described as having short cropped hair. He's also described as being naked, which I never see, so I was sure to include that, too. A couple of my preliminary sketches had his wiener for all the other world to see, but I figured that since kids check the blog and come to my table at conventions I'd strategically place a green martian gun holster over his junk. The holster, gun, and sword are all made for fifteen feet tall fellas, so they're intentionally disproportionate to Carter's size - he's using a waist belt as a bandolier as a result.
Also, John Carter is going to be Pixar's first live-action movie, which I'm excited about. Pixar movies are usually great NOT because of their animation (though it IS top-notch) but because of the incredible amount of emphasis placed on story structure, detail, and quality, and I expect this will be no different. Here's hoping!
The original drawing is 9"x13.25" on an 11"x 15.5" piece of 80# stock, ink over blue pencil. The stars were made by flicking white ink from toothbrush bristles after covering the linework with painter's tape.
Here's a drawing of Lobster Johnson, a side character from Hellboy and B.P.R.D.
I had a great time at the Texas Library Association Conference in San Antonio - I found out that Vengeance made the top ten GNS for middle school readers, which was exciting, and I got to meet Kazu Kibuishi, who I'd not met before but whose work I like.
From there I went straight on to Fluke, and had a great time there, too - Comic Book Resources has a great write-up of it, and I'm quoted a lot in it, so rather than repeat myself here, just give it a read.
I felt like drawing a mummy!
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