The long-awaited arrival of ARGH!#6 is finally here (phew!). I've been in touch with Félix and Jorge, and I will soon receive a shipment of comics to distribute locally. So be on the look-out in Boston. The 2-color spot process for this issue is green and magenta.
They just updated the website, too: arghcomic.com (with a brand new intro animation—go see it!)
If you enter the site and click on autores (authors), you can see previews from each artist, which includes the familiar list of contributors: (myself), Félix Díaz, Jorge Parras, Paola Gaviria, Jorge Perez Ruibal, Martin Lopez, Nestor Fernandez, Ferran Esteve, Brais Rodríguez, Mar Malota and Molgó H.
Be sure to check out previous issues and visit the ARGH! store. You can view my comics from previous issues here, and here for related posts.
(I will eventually post my 2-page comic for this issue as well.)
I'm heading up to Maine to visit the folks in a few days. But first, a sketchdump:
You can't have a turkey without stuffing and rambling, so here goes...
A couple posts ago, Mike Rauch asked if I would weigh the pros and cons of inking traditionally versus digitally. This is a topic that's coming up more often these days, and I sense a growing number of cartoonists have a foot in both camps.
Maybe it's because I've been chained to the computer for so long, but it KILLS me how intuitive it is to ink by hand. Simply put the brush or nib to the paper and you know exactly what you're getting. If you make a mistake, you know exactly why it happened—nothing mysterious is going on behind the scenes. It's more nuanced and requires a level of concentration, but it's so natural to draw this way.
Flash, on the other hand, will always be a bit of a mystery. It took me a year or two to wrap my head around it, and it still frustrates me from time to time (how it reprocesses the line, in particular). But we all put up with it for the precision it offers, and the perfectionist's dream: UNDO. Not to mention the edit and transform tools.You can tweak and re-tweak a drawing until you're completely happy.
This is how I'm currently breaking it down.
I ink digitally when I sense the need for edits and corrections, which currently equals the majority of my client work. Flash is able to give me a clean professional line; I haven't achieved a similar level of slickness with the brush (yet). I don't have to scan and clean up my inks, so coloring is a snap. Flash is quick. Flash is sharp. It's what you'd expect from the digital realm. But even with the Cintiq, the computer has a long way to go in recreating the tactile connection between drawing utensil and paper. It will always be a mimic.
I reserve working traditionally for more personal work: namely, my comics. It's way easier to plot out the drawings on paper. I enjoy the craft of inking more than anything else. It's also valuable to have the physical piece to hold in my hands when I'm done. I think about my artwork trapped in zeros and ones and it really bugs me. Ideas come easier when I work them out on paper, which is why inking in a sketchbook is a bit of a no-brainer now that I have the brush pen. I rarely find myself doodling in Flash these days.
While I'm having a lot of fun inking on paper, I cannot deny the power, speed, and edit-ability of the digital realm. So I'm still very much a proponent of inking in Flash. But if you're a digital person, do yourself a favor: open up a sketchbook and put a pen, pencil, or brush to paper. For balance, if nothing else.
I just got word from Chris McD, editor of Meathaus, that GO FOR THE GOLD 3! is available for pre-order—update:more direct to go to thestore. The book "collects together into one volume an unholy amalgamation of 35 artists’ deepest sketchbook secrets." I was invited to submit art over the summer, so it features various samples from my sketchbooks. But the bigger story here is truly the inky sketchy mass of drawings—this is a big book: 242 pages!
You can find out more at the preview page Chris put up this morning (Meathaus.com has also been newly redesigned for the occasion). If you pre-order now, you should receive your copy by the first week of December (a perfect holiday gift!). Also included for pre-order customers is a bonus mini doodle zine. Here is the list of artists featured in the anthology (I couldn't be more humbled to be in the ranks):
I checked in with the pumpkins today—late on a rainy November afternoon. It's been maybe 3 weeks since the carving. So far, so good. The cyclops' eye collapsed in the center—giving him a much more sinister 2-eyed expression. A chunk of rotting innards makes for a great pupil, too. He is much improved.
Loren's pumpkin has also grown better with age. Besides being black inside, and showing signs of wrinkling, it is still very much intact. I love how wet its nose looks.
Liz and Berney's "Bert" has seen better days. His face long since imploded, and he now has protruding nubs for ears. The difference in decay is astounding, but they were likely picked at different times (all store bought).
Especially when you see this poor fella. Well on his way to becoming a pancake.
As is plain to see from these wonderful specimens...wrinkles, bumps, and drips occur all the time in nature. I'm not making this stuff up when I draw it.
Cartoonist, illustrator, co-creator of Heeby Jeeby Comix, and Director of Art & Animation at FableVision Studios. Drip! is the official blog of Jinx the Monkey —home to doodles, artwork, and a lot of rambling courtesy of yours truly.