It occured to me that I’ve been promoting the Kickstarter in support of our book all over the Internet, but forgot to mention it on my own blog. So let’s remedy that, shall we?
Follow the link to check out our book, and the cool incentives you can earn by supporting it.
And here’s the video I put together for it, with a lot of help from my better half, Wendy.
(Originally posted on the Ferret Press blog here)
Brent made this great process post over on my other blog, and I felt it should be shared here as well. Take it away, Brent:
I’ve just finished an amazing dream sequence for the upcoming graphic novel Persia Blues, written by Dara and drawn by yours truly. This is how I did it. (Not really a tutorial exactly but more of a show and tell)
First i looked at the script and i did my breakdowns and thumbnails.
Now I’ll show you all the pencils compared to the inks. These pages are done in the “here” part of the story, which is the fantasy world. So I’m using inks, inkwash, markers, and pencils.
I used a real photo of a persian rug for the rug in panel 2, tweaking it in Photoshop and dropping it in as a texture. Same thing with the stars in Minoo’s hair.
This is a double page spread. Added my standard cloud background and some spots for the White Demon. And some stars. but actually very little photoshop on this one. You may notice a few changes from the pencil stage to the finished art. Particularly with the warrior figure on the far right. i just wasn’t happy with the figure. So i fixed it. I’m happy with the results.
I drew the crowd scene on a different piece of paper and just added it in when I was done. Also used my standard cloud background. (Years ago I drew a full sheet of clouds in pencil and I was so happy with it and unable to replicate it that i just keep using it over and over again as a background.
Anyway that’s it. I’m lovong this project. All feedback is appreciated.
And y’all check out our Kickstarter project. Dara’s working on it as we speak.
Oh and as a side note here is my cloud background. Made it back in 2004 or 2005 for some unfinished project or another. I call it “stormy weather”. Now that you know about it, you will see it in my work ALL the time.
Check out this video on Iranian street artist A1one (pronounced “alone”), who practices his art in both Iran and France:
No, it’s not The Walking Dead.
It’s Pocket Gods, a digital comic from Ape Entertainment, that’s based on a popular app. From Bleeding Cool:
Published by Ape Entertainment, the same company which published Pocket God Comics which (and I can announce this now) has just sold a million copies of its Pocket God Comic digitally, with 19 issues available.
So are apps the new source for licensed comics? You can bet that with the success of Ape’s comics, a lot more publishers will be looking towards the digital game marketplace as a source for stories.
Ape week concludes with not merely a comic book, but a comic and record set from Power Records!
That’s right, kids, “It’s fun to read as you hear!”
Published in 1974 by Peter Pan publications.
Whiles sales figures for print comics in the direct market are readily available, publishers have been notoriously guarded with their digital sales. But in this article over at Cnet, DC Entertainment’s Senior Vice-President of Digital, Hank Kanalz, drops a figure:
Kanalz revealed, though, that the recent issue of Justice League which depicted a kiss between Wonder Woman and Superman was the fastest to ever reach 10,000 books sold digitally, which means that it sold more than that. Since that issue of Justice League, August’s number 12, was estimated to have hit around 160,000 books sold in print, we can start making some educated guesses about digital sales — at least for popular titles.
These numbers track against the news from many comics publishers, including DC Comics, at this year’s San Diego Comic-Con that digital sales were buoying print sales.
Now granted, this is for a heavily-hyped special issue of their top selling title. But still, it helps put the entire digital market in perspective, relative to print sales. And of course, excluding some minor overhead (digital file conversions and digital distributor’s cut), those sales translate into pure profit on top of the print book sales.
Regarding the second point made in the quote above, while the audiences for print and digital seem to be fairly distinct right now, I suspect as the hardcore comic book collectors leave the hobby (or die!) they won’t be replaced. The print market will probably shrink, and the new fans will come to the medium via digital.
Ape week rolls on with Sky Ape:
Cover art by Richard Jenkins, published in 1997 by Slave Labor Graphics.
This title about an adventurer gorilla with a jetpack actually managed a little bit of buzz and went on to have a few one-shots published by Ait/PlanetLar, including one scripted by Robert Kirkman.
This week I’m going with an Ape theme, in honor of my friend Brent’s love of all things ape when it comes to comics. I don’t own these books, and am unfamiliar with most, but hey, apes!
Cover by Paul Daly, published by Adventure Publications (after they were acquired by Malibu Comics) in 1990.
Obscure trivia: interior inks were provided by Marvin Mann (aka mpMann), my collaborator on 2 stories in my Lifelike graphic novel.
Let’s wrap up the week with the sequel to Jason Hall and Matt Kindt’s Pistolwhip graphic novel, Yellow Menace:
The boys outdo themselves with this adventure, which takes all the crime, drama, and mystery of the first outing and adds in a huge dose of meta textual storytelling. By far one of my favorite original graphic novels of the modern era. And love those fantastically designed covers. From Top Shelf comics, naturally.