I really like these badges Andy Podyiagi put together for our exhibition next month. Come to Orbital Comics, London, on August 8th (not to be confused with August 9th, the rapper) and you too can have a badge with my trademark hat, and my trademark head
Would you define digital art as using Photoshop bossly or drawing on a computer?
I guess for this discussion I’d define digital art as any art made solely on a computer.
When I talk about “the innate properties of digital art” I mean the things it’s much harder to do in other mediums- perfectly straight or curved lines, vectors, flat colours or perfect gradients, pixels, repeated patterns, truetype fonts, puppet warping, and that gloopy, frictionless feeling that stuff drawn on a tablet has.
Hey! It’s a combination. I do all the lines conventionally and colour digitally.
I use real ink and real paint over digital ink and digital paint because I think it looks better, but that does not make me a cool or great person. Daft Punk made that album Random Access Memories using almost entirely analog means! And guess what: that album is pretty dull!
Digital is faster and cheaper and I’m a strong believer that one should hoist their sail to the strongest wind of their era, so it’d be fun to experiment with working purely digitally and embrace the innate properties of digital art. If I ever went full digital I don’t know what it would look like, exactly, but it probably wouldn’t have much to do with the things I’ve done before.
"This is James Harvey’s print debut" can't possibly be true can it? PS. I went and preordered Masterplasty today, and I am regularly in awe of everything you do, never stop.
I have a couple of old things out under my old nickname, but this is honestly the first time I’ve had a thing printed in English under my actual name. So it’s a bit of a stretch but yeah, we can call it a debut. And thank you!
Part two of my blog where I explain the writing process for my Little Nemo comic, which I produced for the Dream Another Dream Kickstarter project (which, as of my writing this, has a week left to go).
In the previous part, I detailed the four criteria I needed to adhere to if I was going to make my comic stand comfortably next to the work of Winsor McCay.
1.) It had to feel like a dream.
2.) The layout needed to be carefully considered.
3.) I had to care about the characters.
4.) I had to be authentic to the period.
So, here’s how I did it.
1. MAKING IT FEEL LIKE A DREAM
So one of my observations about McCay’s ‘dream’ comics- Rarebit Fiend and Little Nemo- is that they don’t feel like dreams. They’re beautiful, but they don’t seem to capture the frustration and the weird structural logic that dreams have.
While I was writing the comic I’m currently working on for Image, I started reading writer Dan Harmon’s brilliant series of essays about story structure (click here, scroll down to “essays”). He distilled the teachings of mythologist Joseph Campbell down to a very simple formula, expressed in the diagram below. All good stories, Harmon writes, take the same basic form, a form dictated by our basic evolutionary programming-
Hey! The news dropped this morning: my comic Masterplasty is going to come out with Image comics in October. I think there’s three variant covers (I should know this, really) and it’ll include some extra material. It’s going to be in an oversized 9 x 12” format. That’s like a box you tick when you submit your comics to them. “Oversized? [ ]” Hell yes, I’m going to tick that box. Why would you ever not tick that box?
The Little Nemo: Dream Another Dream Kickstarter is still going strong. I think they’ve finally reached the point where no-one is going to LOSE any money from it, so! Hopefully we can sell a few more copies before the final ten days are up. I’ve got a lot to say about my piece, so I figure now is as good a time as any.
This was a fantastic project and I feel lucky to have been involved in it. In high school, I discovered Winsor McCay’s work while reading about Bill Watterson. In 1989 Watterson delivered an incredible speech at Ohio State University’s Festival Of Cartoon Art called “The Cheapening Of The Comics”, and I found it online at some point when I was was supposed to be boning up on Picasso, or whatever. The speech lit a fire in me as a teen. If you haven’t read it yet, it’s here. I hope you have a similar reaction.
Man, I don’t open up here a lot. I remember I used to use my LiveJournal as a private diary that my friends could read. As soon as I got what, 300 followers? …Then, I got quite shy and self-conscious and started to hold back on revealing much about myself. Now I have a lot more than 300 followers, so I’ve started to hide behind my work more and more and basically say nothing about my life if it isn’t directly related to the work I’m doing. I’ve never coped well with attention.
I drew this piece for Locust Moon Comics’ tribute to Windsor McCay’s Little Nemo. They’ve launched a kickstarter where you can buy this incredible book that features me, Paul Pope, Peter Bagge, Ron Wimberly, Tony Millionaire and a whole load of others.
They gave my piece a really sweet write-up which you should read here. I want to talk a lot more about my process for this piece but I’ll have to save it for when I’m a bit less rushed off my feet.
Black Hook are gonna be up at the Comitia festival this monday. It’s an indie comics festival in Tokyo that’s about ten times the size of SPX, and which happens four times a year.
They’re going to have a bunch of my stuff up there in Japanese, and they’ll be giving out Bartkira flyers and spreading the word about the website that we’ll be putting up in the next couple of weeks or so.
Floating World Comics in Portland are hosting an exhibition of Bartkira artwork on the first of May, and they’ve put together a very limited edition 96-page book to accompany it. Frans Boukas, who edited the collection, put a small selection of his favorite pieces into the book. You can buy it right now.