This is a pudding I invented today. It’s a delicious, cheap and futuristic-looking dessert made from common household items. It’s also a pretty great vegan alternative to ice cream. All you need is a green popsicle, Stevia™ sweetener and soya milk. Crush the popsicle into a bowl of soya milk and add the sweetener to taste. You can also use frozen green fruit juice. It’s called Green Mile (With Michael Clarke Duncan (The Part Where Michael Clarke Duncan Goes To The Electric Chair))
This is my first time ever in the Diamond Previews catalogue. I got a double page spread!? (Apparently, that’s unusual for a first-timer). I remember reading about Diamond Previews when I was 16 and trying to figure out how to self-publish comics, so it’s kind of a big deal to finally find myself in there. Thanks Camila at Orbital Comics, London for taking the picture (TOO SLOW, Hannah at Gosh Comics, London)
I’m in Orbital Comics, London right now busily preparing for the launch of our Gallery show at 7pm tonight. You can read a little about the show at Orbital’s website. Here’s my bio from the site-
"James had a dream he met Prince and asked him what kind of art he would have made if he was a visual artist. Without missing a beat, the tiny singer said “it would be dangerous. And sexual.” Upon waking, James knew he had to devote his life to making the art Prince would have made had his life taken that path.
"A lot of people have said that James is the Prince of the comics and animation world, and all in press releases that James wrote himself. “He’s exactly like Prince, if Prince was a pale, gangly, half-scottish comics nerd in a checked shirt’, said a real man, today. Like Prince, James is a dedicated artist who marches entirely to the beat of his own drum. Like Prince, James has a restraining order placed on him by none other than Carmen Electra. Like Prince, he will one day die fighting in the laser gorilla war of 2057.
"After studying film and working in animation, James found his way into drawing and writing comics. His book “Masterplasty” is about to come out with Image in october. He’s also working on another thing for them and a book for the UK’s Blank Slate called ‘Zygote’, some pages of which can be seen at this exhibition."
We’re going to be launching Masterplasty in October, and there’ll be a launch party at Gosh! Comics, London. If you can’t make it there, then man! That is a shame! But, there is still hope-
Kieron Gillen recently made a photo comic on how to order his new book, so that inspired me to make me my own one. Basically, you first need to walk into a comic shop, so imagine there’s a panel of that right here. Then, refer to the following panel:
This is how it should generally go down. If it helps, tell ‘em the Diamond Code is AUG140555. Actually, maybe you should just lead off with that. In fact, in the interests of efficiency, it might be best to just step into the door, shout the Diamond Code and your full name and then leave. You should also knock over a bunch of things as you exit. This will let them know you mean “business”.
Good luck! I’ve never tried this, so let me know how it goes!
That Tank Girl in the bombproof coat and rollerblades/Fatman homage? Freaking amazing. Are you contributing to the new Kickstarter-funded book at all that Martin is doing? I'd love to see your work in there.
I’m not in the Tank Girl book! Alan doesn’t like how ‘brutal and mannish’ my take on Tank Girl is and I’m not interested in drawing a Tank Girl who is not brutal and mannish, so we’re at an impasse.
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.