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Mon, May. 9th, 2005, 03:27 pm

STILL NO SOUND the website has been UPDATED! Hoorah!

My web site has been retooled, so enjoy. I sifted through nearly 30 years of art, some were around 500 pieces, and the result is 125 pieces dating back to 1982 when I was the spirited age of 7. The site is set up in a time progression, organized in reverse by page number. It is like reading a book backwards, but in chronological order. The oldest page link is a thumbnail in the lower right hand corner on all pages; this will connect you with page one. Page two is to the left ect… The most resent update will always be the top left thumbnail. Once you have perused page 1-125 in order you should find this more convenient should you check back regularly (say once a month).

The premise of the site as a piece of art and a historical/sociological document is to show the humble progression of a cartoonist (lil’ ol’ me). At its most basic level I thought this could be most public I could be about an essential principle hinted at in a quote at the bottom of the page from a former teacher of mine, with out taking away to much of the mystery and magic of the PROCESS one persons art.

There are some basic but very minor changes to all the pages still to be made and I am aware of a few kinks already, if you notice any problems feel free to let me know here and I will try and take care of it the next time I update.

You can always reach the blog by clicking on the STILL NO SOUND logo at the top of stillnosound.com comes pages. You may also click on my face to reach me by e-mail in the same place.

I look forward to your feedback and I will try to keep the blog and website updated more often then once every six months.

Now in other news…

In illustration news I have again joined up with Mojotown on their new non-profit organization The Mojotown Project. It is a non-profit that donates a whole package approach of promotional and web survices to other non-profits. I have created their logo as seen at stillnosound and their site. You will see more of my work there in the future. Please if you have the time or money contribute to this needed service.

All comics projects unfinished and mentioned prior are indefinitely put on hold in their current state ore have been consumed as a portion of a bigger project. Some were a notion, some were notes, some were thumbnails and some had finished inked panels. One such story is about a variety of trips we have been taking including a harrowing experience in Costa Rica. The story focuses in my increasing fear of flying. The other two tips were to Savannah/Knoxville and back home to Nor Cal. Savannah trip brings with it an excellent report on the state of affairs at SCAD’s Sequential Art department. I wish I were in school there now. I also wish I was in school this fall at the Center for Cartooning Studies here in Vermont or even SVA. All three programs are showing great promise right now. It is a great time to major in comics. I am going back to school but not for another year and it is to study Art Education and receive my license to teach art at the high school level. It will make me a better college professor and cartoonist. Plus I have always enjoyed the challenge of working with that developmental age.

This bigger project with the exception of some things of the past the have possibly weaseled their way into this new entity is in a plotting faze. All I am at liberty to say is the plot is actually a 12 pages and growing novella. Kids I do not recommend this as part of your process if you are here looking for guidance on how to make comics…one paragraph is fine and if you can summarize it in one sentence that is interesting then its better. I have written comics history and articles of this length, but I have never created a comic project of this magnitude. At this point I think it will be a 300-page tomb that should take about 5 years to illustrate. I can say this that at this point I think it will be worth taking on despite not having a publisher at this point. I expect once it is in its first ruffed out pencils there could be some interest after I shop it around. I will keep you up to date on the progress and process as things move along. If I kill the project you will know that here as well. This story is just flowing out of me, I am just starting to have a say in it. Lets hope I don’t ruin it.

My next blog update will include 2004 top ten lists and short opinions of stuff I have consumed since the election.

Stay Tooned.

Wed, May. 11th, 2005 01:39 am (UTC)

Good to see you online again!
I always dig seeing more of your stuff.
I'm really intrigued by the effects you get with the genesis, pencil and woodstain on board... what exactly is the technique?
I think you've always been great with colour, but I still notice that developing really well. You're getting more and more subtle (something I need to work harder at).
I really like the crisp quality of your ink on vellum (course maybe that's just inherent in the medium, I haven't used it much).

The only criticism I'd have is one I have of myself as well and that is consistancy. I notice it most in your drawing. I think you've got a great handle on the media (makes me wish I'd stayed in school to get exposed to more approaches), it just seems like there's something in the drawing, not entirely purposeful, that's different all throughout (and of course I'm referring to your college stuff and beyond).
For me I know it has something to do with the fearlessness (or lack thereof) I have when I'm entering a piece, that and how much my heart is in it.

Or then again, maybe I'm just not seeing correctly or giving unwanted criticism.

Either way, you're really talented and I'm jealous I don't have more time on my hands try some of the things you're doing/have done.

I have been trying my hand at scratchboard lately (inspired by Thomas Ott and Nick Bantock, though I'm not emulating either of them), but I'm in too early a stage to tell if I'll be sticking with it... I'll be playing around with painting them soon (fingers crossed) and scanning them in to color them digitally.

Take care

Thu, May. 12th, 2005 01:06 pm (UTC)

it's up there to crit... so go ahead. I think I understand your thought, is it a spontinaity or a lack of contole. one is esential the other is disasterous. One thing I would say is that as soon as I was done with the Ted and Betty book, I losened up a lot and I began to refine different styles (like an illustrator). This is a stage I am still at. So for me its working toward new sets of bounderies. kind of like haveing five or so limited boxes to work in all diferent from each other, but no so much that you wouldn't know it was me playing in there.

As far as inking is conserned, it's all j. lowe. he was a class mate in the grad program who has moved on to become the chair of the department. a bunch of us who were friends of his took his first class. We were there in part to take advantage of his 15 years of inking skills, but also to give him a hard time... he worked our ass off. We went through a process where we realizing we new nothing about inking (even though we had been faking it four years). The result in 10 weeks is what you see in my samples.

The gen paint is a new type of paint. it bridges the gap between acrylic and oil. Paul intorduced it to us and the results are fun and amazing. Call you old pal Mr. Hudson and he can tell you all about it.

where can I go to see your stuff... or are you not there yet?

thanks mang

Fri, May. 13th, 2005 06:01 pm (UTC)

I wish I had all my stuff up online...everything would be so much easier, since I do very much want people to be able to see what I've been up to, get some good criticism (and maybe balance out the criticism I put myself through in my head), but as of right now my computer is not even hooked up. In my new place I just don't seem to have the space and creating the space involves time I can't seem to find (I'm basically working 3 jobs right now, including the tattoo studio, in case you haven't been reading my journal).
As soon as it's up you'll know.
Everything I'm doing right now that's not tattoo related is geared toward the 'Piper' project I've been talking about for the last year.
At this point my approach to the project is shifting constantly (which I'm finding pretty frustrating): first I just wanted to do a straight adaptation; then I decide that's been DONE so I moved toward an anachronistic full-on ELI approach, which then got changed to an idea of simulating a real life document (scrapbook) to tell the story; then I have this HUGE upheaval in my family life and the next thing I know I'm trying to figure out how to make this autobiographical, masked in metaphor (which I think is the approach I'm going to stick with, but is also more personal and requires more work, though I think it will result in a superior piece).
I know exactly what you mean in trying to find different styles to move through as an illustrator might. I think being able to move through different styles and approaches is really paramount to being able to stay true to visions in your head. I'm wanting to do several different styles just in this book, not to mention all the different hats I'm having to put on for clients who come into the studio (I think tattoo has helped me loosen up). Part of me wishes I'd double-majored in Illustration at SCAD just so I'd have more experience in this, but I'm finding the exploration fun and rewarding (though not exactly giving me a huge yield at this point due to time constraints).
I just had a friend tell me, "When you feel totally overwhelmed with too much to do, take on something new," so I'm going to dive into this more whole-heartedly starting this weekend (I have one day off a week, Sunday, and I'm planning to go nuts, finish up a few pieces I've started actually commit some writing).
How would you describe the mental shift of going from 'faking' inking to the real thing? What was it for you? The results are pretty amazing. I see a confidence that wasn't there before.
(I still haven't found it myself)

Sun, May. 15th, 2005 08:31 pm (UTC)

It was all repitition and critique that made the diferense. 20 minutes a day without fail a brush or a dip nib in hand. and then siting down and realizing it was crap till you realize it is no longer crap. plus haveinf 20 other people tell you that while your telling them the same thing... paul took the class too and even he improved over the course...faster then all of us naturaly.

on your own I would just puck one or the other (nib or brush) and get some penciled pages (I have a bunch) and some bored and rielly vellum and start working. plus have a sketch book that can take ink and play. Warm up for ten minutes or so before working on a page you are being serius with.

Eventually it becomes second hand and you can let go.