The following was, until today, my 'bio' at Comic Foundry, a site I go to for its infreqruent and often insubstantial artistic criticism as well as its more useful interviews with comics pros.
Been working on comics (off and on), many of which can be seen at my website, since 1999. These are mainly humourous pieces which try to make the reader see each page as a whole, not just a series of interrelated panels. As such, the flow of the pages can be confusing. I'm working on this, as well as my inking skills.
My figures are usually stylistic, but simple line drawings. My character drawings show what I take to be a healthy mix of art nouveau, older American comic influences, and more rescent forays into cartooning.
I'm proudest of my colouring. I use Copic and Prismacolor markers, which give my work something akin to a watercolour effect. I favor something like a synthesis of impressionist and expressionist marker work over definite or detailed foreground line art without much interference from ink lines in the background. This allows the inked foreground to catch the reader's eye without sacrificing any of the page's artistic appeal as a whole. At the same time, detail and surroundings are often left by the wayside. I'm working on balancing this out.
You may notice that some of my work, particularly some of "3 Guys, 1 Gun", is sloppier than the rest. This is, I assure you, intentional. In the case of 3G1G, the stylistic change is meant to fit with and reflexively comment upon typical 3 panel comic strips. It's an affect of my disaffected intellectualism, cultivated through the reading of too little Nietzsche and too many liberal, absurdist plays.
My writing reflects a lot of this attitude, and generally refuses to take itself seriously, which is why I have yet to write anything which might go over well in the mainstream. Still, I like to pretend it's a little less ridiculous than that Williams Street schlock they've been showing on Cartoon Network's Adult Swim, so who's to say how marketable my nonsense is?
Been working on comics (off and on), many of which can be seen at my website, since 1999. These are mainly humourous pieces which try to make the reader see each page as a whole, not just a series of interrelated panels. As such, the flow of the pages can be confusing. I'm working on this, as well as my inking skills.
My figures are usually stylistic, but simple line drawings. My character drawings show what I take to be a healthy mix of art nouveau, older American comic influences, and more rescent forays into cartooning.
I'm proudest of my colouring. I use Copic and Prismacolor markers, which give my work something akin to a watercolour effect. I favor something like a synthesis of impressionist and expressionist marker work over definite or detailed foreground line art without much interference from ink lines in the background. This allows the inked foreground to catch the reader's eye without sacrificing any of the page's artistic appeal as a whole. At the same time, detail and surroundings are often left by the wayside. I'm working on balancing this out.
You may notice that some of my work, particularly some of "3 Guys, 1 Gun", is sloppier than the rest. This is, I assure you, intentional. In the case of 3G1G, the stylistic change is meant to fit with and reflexively comment upon typical 3 panel comic strips. It's an affect of my disaffected intellectualism, cultivated through the reading of too little Nietzsche and too many liberal, absurdist plays.
My writing reflects a lot of this attitude, and generally refuses to take itself seriously, which is why I have yet to write anything which might go over well in the mainstream. Still, I like to pretend it's a little less ridiculous than that Williams Street schlock they've been showing on Cartoon Network's Adult Swim, so who's to say how marketable my nonsense is?
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