did you start drawing?
as i could pick up a crayon. comics were my gateway to drawing. my
cousins collected comics and would hand me the ratty ones that had
no covers or way below 'mint' condition.
are you from? are you local?
right now is columbus, ohio. if that's local for you then, yes, i'm
local. in a soon to be future status, we'll say central ohio. which
would be nearby but not close. really if you think about it, you're
standing in front of me so i'm 'technically' local. if by definition,
local means standing 3 feet in front of you with a nice malt scotch.
* i grew
up on a farm near a ghost town named jumbo. don't believe me, it
shows up on google maps. jumbo contains a trailer park and township
hall. my great uncle used to run a general store there back in the
day. the trailer park rests on the store's foundation.
do you use?
cat. seriously, it's a mix of this and that. acrylics, things that
spray, markers, graphite, ink, scanned textures, painter, photoshop,
illustrator. never needed to use layout programs but i do use them
when i'm called upon. what i tell students and budding artists is
experiment. a lot of art is knowing when to stop. i'd like to try
my hand at silkscreening in the future.
did you go to school? who are your influences?
i'm a CCAD
alumni with a BFA (focus in visual communications). i got mistaken
for a fine arts major half the time, which i'm proud of. the most
useful advice was the cheapest education: spend an hour at the library.
i did that inbetween classes. i grew up in the rural wasteland of
northwest ohio. the only art i was hip to up there was comics, frazetta,
van gogh and rockwell. later i found a bookstore (in high school)
that had the euro mag heavy metal. rockwell and van gogh was all they
had in the sad library back home.once i was in columbus, i was exposed
to one of the top libraries in the country. combined with the college
library, they had everything. needless to say, i have quite a few
did you 'break in'?
when i do. i was told early on that i had to create my own market.
this is the best advice for any artist: be original. you'll have your
influences at first but eventually, if you keep at it, you'll find
your voice. the people who ask this are usually the ones who also
want to break in. i wish it was easy as filling out an application
at starbucks but it's not. location plays into it. i was stuck in
columbus, which was as far removed from either coasts. first piece
of advice: move to one of the coasts. once you're established, move
where ever the hell you want. back to the point, the 'breaking in'
story is different for every artist. there's no set path. have a good
work ethic. the internet both helps and hurts. competitions help.
editors and art directors are easy to find online. get to know the
players. have a presence on social sites. most of all be cautious
and try not to be a jerk. under no circumstances, ever do anything
on spec or for a stock art company. you're only hurting yourself in
the long run.
i visit your studio? is your stuff carried any (local) shop/gallery?
wants to step into my studio now. it's a wreck. right now i work out
of my apartment. from time to time, i've thought about having maybe
a studio/shop with limited hours but it seems impractical right now.
my stuff to any retailers who want to stock it. usually they'll come
up to me at a show. distribution didn't seem viable outside of shows.
if you're in town, my stuff is carried at the
laughing ogre and wholly
craft. i try to stock them up when something new's come out. best
way to shop for anything in my etsy shop is to catch me at a show.
i update show listings regularly.
are your rates?
afraid i don't have any set rates. everything i do is custom for commission
work. if the client has a budget in mind, i'll be happy to work around
that. whether you're a company wanting a logo or somebody that wants
a mural painted in their house.
you have any representation? am i interested?
currently i'm not represented by any specific gallery or agent. if
you are an agent or gallery, i'm open to see what you have to offer.
i will say the deal breaker would be the agent/gallery takes a cut
of anything i land myself. i'm of the mind, if you didn't do the work,
you shouldn't get the reward.
rates? etsy questions?
that's not through a publisher is available at my
etsy store. payment online is paypal only. i send everything first
class US postage. if you're wanting it shipped fed ex, i can do that
too. fed ex rates are not figured in so i'll have to get back to you
with the rate. england, weirdly enough, still has a ban specifically
on horror comics.
prints & original comic art are shipped rolled in a tube unless
otherwise specified. the rate listed is for US only. i'm more than
happy to ship it flat and or ship internationally. those wishing to
do either will pay according to postage and shipping materials.
if you are ordering multiple comics and or outside the US, i can figure
out the shipping and get back to you. the shipping rate listed is
for a single comic shipped in the US only.
art (paintings) / tshirts-
interested buyers will pay for shipping materials & postage in
addition to the sale price listed.
there were only two things i learned in lettering class, outside of my instructor being a *raging asshole:
- i tape the bristol onto a masonite drawing board to do my inks. your hand will fuss and strain by taping it to a fixed board. it’s more natural to have it on a board you can spin around to make your marks. they sell drawing boards relatively cheap at any art supply shop. i have two or three in my studio so if I stall on one drawing, i can move on to another one.
- every day or at least once a week, make it a point to go to the library and look at art/design books and or periodicals. i realize with the web, it’s much more convenient now, and I’ve dated myself a little. the point being, the more work you’re exposed to, the better your work will be in the long run. there will be a phase of initial imitation but eventually your voice will emerge.
*his point was to impersonate the ‘client from hell’ scenario. I’ve had some tough clients but if they were as extreme as he was intending, I’d run in a heartbeat. Nothing’s worth that grief.
recommendations for the sad bastard that wants to do comics-
Here’s a shortlist of instructional reading for the comics creator. I’ve searched for a go-to book on writing for comics/graphic novels. Currently I don’t think there’s one that exists yet that I’m satisfied yet. Of course reading literature always helps but it’s not quite the same experience, mechanically speaking. The art takes center stage, or it should anyway, on the comic’s page. books on film writing comes closer than books on writing (ex. John Irving, Stephen King, etc.). Here's some reading that helped me along.…
- Understanding Comics- Scott McCloud. i would skip Will Eisner’s Sequential art book and read this. there’s some convoluted web stuff that I have yet to see come to fruition but a great primer for sequential story telling. there hasn’t been anything more effective since on the subject.
- The Hero with a Thousand Faces- Joseph Campbell. i came across this book early on in high school/college. campbell works in comparative religion. the gist of it is this; there are common themes throughout religion and myth. while ‘story’ isn’t the focus in the book, these themes discussed are the primal roadmap for great storytelling. these are tales that have lasted hundreds if not thousands of years. some of the more classic bible stories originated from summerian text. perhaps even older.
- Invisible Ink: A Practical Guide to Building Stories that Resonate- Brian McDonald. one of two screenwriting books that is applicable to comic writing. a recent find, that’s way more penetrable than robert mckee’s book.
- On Directing Film- David Mamet. the second book on film that’s very applicable. If you want an additional read, go find the truffaut interviews with hitchcock. i think that’s out of print but I was able to find it easy second hand. don’t mamet a page to death with dialogue balloons like bendis does. economy is your friend on the comic’s page.
- Marvel Comics: The Untold Story- Sean Howe. it's the book I wish i had read in college. definitely recommended reading for anyone wanting to go into illustration or comics. i'm hoping the guy does a follow-up with dc comics. there are some definite takeaways from this: stan lee screwed over every artist he's ever 'collaborated' with, and the majority of what we all call classic marvel was done with little to no editorial supervision. in some cases, that editorial aide was called lsd. my opinion of stan lee is lower than it was before i read this. don't know how that's possible.
one of my biggest pet peeves about comic scripts are where the writer writes whole paragraphs for each word balloon. it's best to let the art breathe and pay attention to pacing. if there's a bajillion word balloons in one panel, it's assumed that the character's talking in rapid-fire speed. each panel's a beat to the story. a moment NOT so frozen in time. realize that you're keeping the reader frozen on that one panel for however long it takes them to read it. keep dialogue and captions down to a sentence or two. preferably one sentence, as then it becomes a pain in the ass trying to lay it out while trying not to obliterate the art in the panels. the artist might as well draw stick figures until the writer's finished writing their page long novel. i've read scripts where there are 6 or 7 panels and dialogue that runs for two pages. yikes! i always allow for text in the panels but this is over the line.
there are some wonderful tutorials on comic making over at teachingcomics.org. Outside of a book on anatomy and perspective, keep a sketchbook and try to draw from life as much as you can. i ’m not a fan of photorealism in comics. the end result looks static and kills any movement or life on a page. i’m the first to admit, my work isn’t that accurate when it comes to perspective. it’s good to know the rules.
for taking the time to check out my site. i hope you enjoyed our time
together. i'm going to skedaddle. further queries you can check with
my *secretary... or simply call or email me.
to the studio, t.w
really don't have a secretary. this animatronic yoda only talks of the
dark side if you touch it's paw.