Hello friends! I’m selling a print of this jolly bottle of everyone’s favorite hot sauce, Sriracha. 8 x 10 inches, on archival acid-free paper. I will print quantities based on interest, so obviously the more folks who offer to buy it, the cheaper it will end up being (I imagine a price between $25 and $45). Contact me directly at jaysacher.com . Thanks!
The mind-bogglingly talented Kenichi Hoshine’s website now contains a commerce section, which Kenichi promises to update with new goods frequently.
I asked Kenichi Hoshine what kind of implement he uses when sketching. He sent me this photo of his USA General’s Charcoal pencil, 557-2B. Not too shabby.
Every so often, the world of comics gets a fresh voice–a talented and energetic creator crafting something new and fun to look at and utterly engaging. Angie Wang is one of those voices. You can’t help but become enthused when looking at her work. She made a splash a few years ago with her fashion illustration blog, wangie (now on hiatus), and has since been keeping busy with a steady stream of illustrations and comics.
Earlier this week, Angie posted a few photos on Twitter of a mini-comic she published. It’s called Girl Apocalypse, and it looked so cool that I had to ask her a few questions about it, and her work in general.
Tell us about Girl Apocalypse–from the pics I’ve seen it looks really lovely.
Girl Apocalypse was an experiment in speed and layout–I wanted to see if a six-panel grid could support a decompressed shoujo manga style of pacing, with empty panels and non sequitur scenery shots. I also wanted to do the whole thing fast, too, so I drew each figure individually and very quickly with brush pen on hanshi paper, scanned it in, digitally resized and stuck it all together according to my thumbnails, and digitally shaded everything. The whole thing took about two and a half weeks, with the last eight pages being finished in about three days while I was tabling at a convention (I stayed up until 7 AM in a hotel lobby finishing the last of it).
I’ve been seeing your work in some great places–any favorites pieces over the past few months?
I went through a serious burnout around February, so it’s hard for me to say. I look at my work from before February and find it a little exhausting to contemplate.
I’m curious–do you work from home or in a studio? How do you like your space?
I work at home, with a huge, clean drafting table, and a messy MacTable for my Cintiq. I have a cute one-bedroom in Portland, Oregon, all to myself, so the living room is my “home office,” as the tax accountants put it.
What have you been reading/inspired by these days (comics or otherwise)
Sophia Foster-Dimino is a big inspiration right now, as is Kris Mukai. I’ve also been drawing with Meg Hunt, who is amazing and always ready to try out projects or new media or introduce me to new things. In terms of comics, I continue to be obsessed with Shimura Takako and have been trying my best to absorb her sense of layout.
What’s the best and the worst part about drawing comics?
The best part is the thrill of determining the pacing–which sounds very specific, but ever since I read Shimura Takako’s Happy-Go-Lucky Days, I’ve been thinking about the subtleties of pacing and how counterintuitively effective it is to have a heartstopping panel tucked into a corner, or a powerful moment hiding in the middle of the page. The worst part is simply how long it takes to draw a page, but I’ve been trying out a lot of ways to cut down the time it takes.
Chris McDonnell is not only one of the original progenitors of Meathaus (more than a decade ago, we gathered in his Greenpoint apartment to draw issue #1), but he has been the driving editorial and production taskmaster for each issue and sketchbook collection, as well as the man who has kept this blog running and chock full of exciting posts day after day for many years. On top of that, he is an accomplished animator, published author, college-level teacher, father of two boys, and a great person to bounce creative ideas off of. He’s been taking a much-deserved break from daily posts on Meathaus while he focuses on some other work, so it seemed like a great time to virtually poke my head into his Philadelphia home and see what’s cooking.
Chris! Send us a photo of your workspace/work area/work cubicle. Is it in your home or in a studio?
I have a designated home workspace, which means I can work that extra hour before everyone else gets up.
If you could change one thing about your work environment, what would it be?
A designated synthesizer station. A decade or so ago, I visited Rodney Alan Greenblat‘s home studio in SOHO and he had a midi synth always ready to be jammed on. I have an old one, on the shelf. Almost living the dream.
Do you work better in the nights or mornings?
What are you reading right now, comics or otherwise?
I have Brandon‘s Catmaster collection going on in the studio toilet, True Grit on the downstairs toilet and a small stack of recommendations from friends that I asked for a year ago and am still working through interspersed with animation and filmmaking books and business magazines.
What are you working on these days?
I’m animating short segments for a some upcoming TV shows (an as yet-unaired HBO show, as well as bits for Adult Swim’s Eagleheart that just aired a few weeks ago) and designing books. When I catch a break, I’ll be back on Meathaus and working up some personal projects.
Do your two kids inspire your work in any way that you didn’t think they would?
Kids are fun and yes, they do all those “Family Circus” things, but I don’t go and make comics about them. Not directly anyway. In a bit of self-analysis, I realized that the disturbing, transformation and body horror comics that I created for Meathaus S.O.S. and Go For the Gold! 4 both coincided with the final months of my kids’s gestation and then birth, which are monumental experiences that alter one’s brain lobes permanently even when you’re not the one doing the birthin’. The main way my kids influence my new work I think is that because of them I’m re-immersed in children’s literature and stories and remembering how deeply the imagination works as a child. My older son is also drawing really cool monsters now that he is four, and I find his designs to be innovative–so he is inspiring me directly in the monster arena.
Any big art/work plans for the rest of 2012?
I want to record more doofus music with Jungle Ben, put out another Meathaus zine, and get my time lapse video set up for HD with better lighting so I can experiment with shooting and animating paintings as I work. I’d like to come up with another photo shoot idea like the lasers and fog machine one that is an excuse for a party again. I want to keep making pitches to cartoon studios and publishers, and I want to catch up on my daily drawings. Also, I’m going to Alaska for the wedding of my ancient friend Ben, who I’ve known since kindergarten.
Should you happen to own a decommissioned Concorde jetliner, you might want to fly from the Study Group show in Seattle tomorrow night down to the city of Los Angeles, California, USA, where there is a show involving artists of a distinctly different stripe. Hana Kim of Supachute is curating “Art Too Cute for Words.” It features a solid crew of folks, including Susie Ghahremani, Liz Adams, and Hine Mizushima. There will also be tacos.
Supahcute Dream Team Show
“Art Too Cute for Words”
May 12 – June 24, 2012
Leanna Lin’s Wonderland
Study Group Comics is one my favorite go-to sources for exciting and invigorating illustrated works–be they online or brick and mortar page turners, and now one of Study Group’s head editorial honchos, Zack Soto, is curating a show of work culled from the fine roster of artists under the Study Group aegis–said show to open tomorrow, May 12th at the Fantagraphics flagship commercial space in Seattle, Washington, USA. All of this makes me realize that if an asteroid or comet wiped out the American Northwest, the comics world would be hard hit.
“Study Group” An Exhibition of Emerging Cartoonists curated by Zack Soto
May 12 – June 6. Opening reception Saturday, May 12, 6:00 – 9:00 PM.
Fantagraphics Bookstore & Gallery
1201 S. Vale Street Seattle, WA 206.658.0110
Here’s a watercolor/pen and ink illustration I provided for The Telling Room’s annual anthology of student writing, “Exit 13.” The Telling Room is a Portland, Maine-based nonprofit that works with local children to help them hone their storytelling craft through workshops and in-school events.