Just had a great time tabling at Olympia Comics Festival yesterday. OCF was the first fest I tabled at (last year), and so it holds a special place for me. The organizers (Chelser Baker, Casey Bruce, and Frank Hussey) of this community-driven and -oriented fest put their hearts into the planning and the day and it shows. For me, the best part of the festival has been the chance it provides to meet and reconnect with area artists/friends. There are some ridiculous talents in the Pacific Northwest—Seattle, Portland, Olympia, Bellingham. It feels energizing to be around them—and I feel lucky to be a part of this community. Here is some of the stash I came away with:
Featuring Chelsea Baker, Intruder Comics, David Lasky, Reid Psaltis, Joel Skavdahl, Kelly Froh, Eroyn Franklin, Tom Van Deusen/Poochie Press, and Robyn Jordan.
Next up! I leave for Chicago on Thursday!! That evening (June 13th), I’ll be presenting at Laydeez do Comics Chicago, hosted at Quimby’s (amazing comics bookstore—of the kid-in-a-candy-store variety). The festivities begin at 7 p.m.
Over the weekend (June 15th and 16th), I’ll be tabling at CAKE (Chicago Alternative Comics Expo)! If you’re around, please come say hi. I’ll be at Table 57—with a copy of this new book (big thanks to Mandolin Brassaw for being on the binding assembly line):
I’m very excited to be back in Chicago. Thank you to MK, Cindy, and pup-Alice for hosting me.
From there, it’s off to the UK for more adventures …
Except for the printing and binding, I am done with the 20-page excerpt! Here is the inside cover:
The process of completing this excerpt was unusual. I had a vague idea of what I wanted to include in Tree Girl’s tale, but I was clueless in terms of how the narrative would unfold. Because of my time constraints, I needed to find a way past my writer’s block. I decided to take the six or so empty pages that I had left to write and simply (simply?? pah!) began drawing panels and images—allowing the pictures to dictate the story rather than having a specific dialogue or narration in mind (though, again, I had a vague set of ideas in my head and some notes here and there).
From there, I began considering the words. I spread all twenty pages (some still blank) on the floor and was able to see better what the narrative as a whole looked like and where there were gaps that I needed to fill. I re-wrote and re-drew plenty—and sometimes moved certain dialogue pieces to different panels.
I ended up switching a couple of the pages around, too, to make for smoother transitions between the drawn pages and the collaged ones. Hopefully it all makes sense! I am eager to print and bind it.
To close, here is what one of the unfinished hybrid pages looks like:
I’ll be at CAKE (Chicago Alternative Comics Expo) this June and am hoping to complete a 20-page book(ish) that will share Tree Girl’s origin story in time for it. Here is the mostly completed last page (I have 19 before it that are still in progress … ) featuring Kind Yeti placing the moon in the sky. After it, you’ll see some process images. Hope you enjoy! And, if you’re in or around Chicago on June 15th and/or 16th, please come see me! More on summer plans coming soon …
I’ve almost finished assembling the cast of characters that Tree Girl will encounter in the woods: Woolf (seen below), King Yeti, Lumbering Jack, and a few others. Woolf is not a big bad wolf, but, as the “wool” of his name may suggest, a sheep in wolf’s clothing (probably people think more of Virginia Woolf …). Make no mistake; sheepish as he is on the inside, he does pose a threat.
Here he is, with TG, in process:
Tree Girl completed (the “non” on her neck was coincidental, but perhaps is fitting):
Body. The grey comes from a photograph that accompanied an article about North Korea.
Tracing paper for the arms and tail:Coming together:
And here is an exercise in the importance of eyebrows. Without a telling eyebrow, Woolf looks like an eager puppy!With the addition of the eyebrow, he’s turned sinister. I like how well the lowercase L worked.
And now I’m off to prepare stuff for printing. I’ll be tabling at Stumptown at the end of the month! Excited.
About a year before she died, my mom went through the boxes and boxes of photos we had collected over the years and began organizing them into photo albums. She made one album in particular for me. It collects photos from throughout my childhood—though now and again you’ll find a random photo of her alone as well. She captioned each one—names, dates, locations, etc. (though what information she chose to include is not consistent—and some of the years listed, I think, are incorrect).
These photos and handwritten captions are the basis of the section I’m working on right now. At the good suggestion of Paula Knight, I’ve decided to slow down my process. I’ve been struggling with completing pages and then not being quite happy with what the “finished” page looks like (a panel will seem to be missing—or an image will read differently than it did in my head). Although I do take notes and have sketched the images before beginning “construction” of a page, these templates aren’t as elaborate as they could be. Paula suggested that before moving to the art (which is time-consuming and so a little heartbreaking when a page doesn’t hold together right), it might be a good idea to storyboard big “chunks” of the narrative. I agree. Too, I think I’m at the stage where I need to see what the “big picture” will look like.
And so today I worked on some of the transition pages—pages that will connect the tree girl narrative to the “conversations with my mother” narrative—that are based upon the photos and captions included in the album my mom had made for me. I’m not mimicking her handwriting as well as I’d like to—reminds me a little bit of how I not-so-successfully attempted to write notes in her handwriting in order to get out of P.E. class when I was in the sixth grade (I was totally busted!!!). But these are just storyboards and I may go through at a later stage and scan the actual captions and add her writing to the images digitally. There is something haunting about seeing the words that she wrote (a couple weeks before her death, she sat with me and, with pen in shaky hand, relabeled all of her pill bottles). Her handwriting is very curvy and swoopy—kind of like the line that I’m using to represent her.
Here are a few of the sketches. Still working on the lines and the writing—and I’m planning on cutting the frames out of craft paper to create a layered effect.
Here is a page from a section I’ve been working on which, for now, I’m calling “morphine”—a section that will recount some of the uglier moments from the night my mom died.
Wishing I could have a month to devote to nothing but writing and storyboarding. As it is, finding an hour here and there has been, well, not ideal It’s been taking me about a month to produce a scant number of pages. When they’re done, I look at them and think, “That’s not right.” That’s not true for all of them, of course. And the whole story is coming together in my head so much more clearly than just a couple months ago. Still, I need to find a way to devote more time to it. I want what’s in my head to be on the page!! It’ll happen.
Plus, exciting things afoot. A new issue of Ivy coming soon. AND I’ll be going to CAKE in June!
A very good use of broken branches:
Dear deer’s body made up of pieces from this make-up ad:
Hooves and antlers (that is, one and one quarter antler) came from another Armani ad on the reverse. Thank you stupid Armani for the very pretty-colored paper.