Monday, April 13, 2009
Monday, February 9, 2009
Angouleme
The 36th annual 'Festival de la BD' was graced by my presence on the last weekend of January.
Not that it cared very much.
It was MASSIVE! I've not been to many conventions but compared to when I went 10 years ago it has at least tripled in size. Imagine an exhibition hall packed to the brim and then apply that to a small town. You could hardly move down the main street.
Of course when it started it was small and personal. You could easily go up to an artist and get your book signed but now you have to get in line with a ticket you got earlier. Of the locals I met none of them were BD fans though they enjoyed them and enjoyed the festival in its younger days. But you get that attitude where ever you go. If you're a fan Angouleme is the place to go. In fact there are heaps of conventions all over Europe and as far as I can gather they're all the place to go. Angouleme just happens to be the biggest.
The major publishers all had stalls with the artists set up doing signings. It's a real shame I didn't like any of the artists that were there. Except of course for Jean Giraud. But as I said before you needed to have a ticket which you'd picked up before some where else. The website is a mess, my French not so good and the place so poorly sign posted that I didn't understand any of this. I'll know next time.
The independent publishers where all there too and much more approachable. You could wait for only a couple of minutes and get a great little drawing/painting. I found some cool little anthologies - one even had a Dean Rankine comic in it! But once again, in my flustered state, I didn't profit from this and came away with only a few drawings.
They had a great tent full of second hand BD, original art and BD merchandise. You could grab a great bargain here. And I did. I found almost all the comics I've been looking for and not wanting to buy new (mainly because of new printing techniques and paper quality). I looked through lots of portfolios of work for sale and scrutinised how the greats do it. I learnt a few things.
Over all though my experience was very much like my experience at Bristol. I got very flustered and frustrated and felt very small and untalented. I had met up with my mate Roger Mason (who went to the festival 5 years in a row, made good contacts and got a job) the day before in London to chat comics and get some tips and contacts. Of his contacts I only managed to meet up with 2 and only one liked (some of) my work. I did manage to interest a couple of others who gave me their cards and asked me to email them some more stuff. I'm not holding my breath though. Going there really made me realise I've still got a way to go.
Sorry to not go more in depth. I'm an artist not a writer. But not a very dedicated one otherwise I would have done a comic about it.
Not that it cared very much.
It was MASSIVE! I've not been to many conventions but compared to when I went 10 years ago it has at least tripled in size. Imagine an exhibition hall packed to the brim and then apply that to a small town. You could hardly move down the main street.
Of course when it started it was small and personal. You could easily go up to an artist and get your book signed but now you have to get in line with a ticket you got earlier. Of the locals I met none of them were BD fans though they enjoyed them and enjoyed the festival in its younger days. But you get that attitude where ever you go. If you're a fan Angouleme is the place to go. In fact there are heaps of conventions all over Europe and as far as I can gather they're all the place to go. Angouleme just happens to be the biggest.
The major publishers all had stalls with the artists set up doing signings. It's a real shame I didn't like any of the artists that were there. Except of course for Jean Giraud. But as I said before you needed to have a ticket which you'd picked up before some where else. The website is a mess, my French not so good and the place so poorly sign posted that I didn't understand any of this. I'll know next time.
The independent publishers where all there too and much more approachable. You could wait for only a couple of minutes and get a great little drawing/painting. I found some cool little anthologies - one even had a Dean Rankine comic in it! But once again, in my flustered state, I didn't profit from this and came away with only a few drawings.
They had a great tent full of second hand BD, original art and BD merchandise. You could grab a great bargain here. And I did. I found almost all the comics I've been looking for and not wanting to buy new (mainly because of new printing techniques and paper quality). I looked through lots of portfolios of work for sale and scrutinised how the greats do it. I learnt a few things.
Over all though my experience was very much like my experience at Bristol. I got very flustered and frustrated and felt very small and untalented. I had met up with my mate Roger Mason (who went to the festival 5 years in a row, made good contacts and got a job) the day before in London to chat comics and get some tips and contacts. Of his contacts I only managed to meet up with 2 and only one liked (some of) my work. I did manage to interest a couple of others who gave me their cards and asked me to email them some more stuff. I'm not holding my breath though. Going there really made me realise I've still got a way to go.
Sorry to not go more in depth. I'm an artist not a writer. But not a very dedicated one otherwise I would have done a comic about it.
Friday, December 12, 2008
The List
I've just finished one of the longest projects I've ever worked on. At least, the most amount of work to do in the least amount of time. The List, written by Paul Bedford, is an urban tale of horror, violence and religion. Hpop illustrated part I and pencilled part II which I inked.
More can be learnt at www.the-list.com and some other sample pages can be found at my comicspace website www.comicspace.com/tombonin
Part II of The List will be launched on the 17th of Jan 2009.
More can be learnt at www.the-list.com and some other sample pages can be found at my comicspace website www.comicspace.com/tombonin
Part II of The List will be launched on the 17th of Jan 2009.
Monday, November 24, 2008
Leeds Though Bubble comic expo
Last Saturday I went to the Leeds international one day comic convention called Thought Bubble. It was actually part of a much bigger festival that involved lots of other art forms but Saturday was entirely dedicated to comics (and those things that seem to follow comics around, like Freddy Krugers with bouncy heads).
Leeds was quite a bit smaller than Birmingham in terms of publishers and retailers but there were just as many artists and indie stalls. There were even a couple of stormtroopers.
My mates from Newcastle had a stall (which I had hoped to put the second part of Don’t go into that Barn but it had not arrived in the post before I had to set off) so I checked their stuff first. What strikes me over here is that production values are quite high. There are very few photocopied slapped together sort of things. And even if they are photocopied people tend to find the best they can. Some people told me they had searched for months to find the right public photocopier. Also the indie guys tend to get a stall as a group. So you’ll find a table with the Manchester people, the London people, the Newcastle people etc.
Anyway after a quick little look around I noticed the pro’s corner and went over. There were huge lines around such names as Jock, Alex Maleev, Doug Braithwait and various others. I continued down the line to where I came across a fellow who’s work I had loved and hated as an adolescent reading 2000AD. There was no one in front of his desk so I went up and had a chat to Peter Doherty. You may recall from my Birmingham post that I said Duncan Fregredo was one of the nicest guys in comics, well, so is Peter Doherty. We chatted for a long time and eventually I showed him my portfolio. He pointed out lots of stuff that needed fixing but then said that they were things he needed to work on too. He explained to me a rule of continuity about sticking to one side of a group of people and the importance of good colour. Peter is a great colourist. I then bought a comic from him he did for the Grendel series several years ago. Great artist and an alright story which got better when I did a bit of research on Grendel the other day.
I then went to a seminar about the (artistic) success of comics to movies in Hollywood with Mark Millar, Andy Diggle, Jock and some other guys whose names I forget. The basic conclusion that was drawn was that comic movies are only successful if there is some one in the production team who actually gives a shit. For most people it’s just a job and if they make back their millions that’s all that matters.
Before plucking up my courage to go and talk to Andy Diggle I showed my folio to Fraser Irving, a young artist, mad as a cut snake, hired by Diggle to 2000AD when he, Diggle, was editor. He was great fun and told me that basically your success or non-success really hinges on which editors you present your work to. Fraser insisted that he would not be hired today if he was starting out. I told him about my ideas of approaching the French to which he put on a snooty French accent and said “backgrounds, where are your backgrounds? Stone? That is not stone. I want to feel the stone!” And like Fregredo he said that the money is no good unless you’ve proved yourself.
After some lunch I made my way over to Andy Diggle. He insisted that as a writer he didn’t think he’d be much help but I was asking him as an ex editor. As an ex editor he said 'go for it'. He reckoned that editors look for good story telling and said I had good story telling.
Wow hoo!!!
But wait, there’s more. Here’s the thing they all asked me. “Are you staying in the UK?” “No” “Bummer. ‘Cause doing the convention circuit is the only way. Building friendships and showing people your dedication and your year to year improvement.” That’s how Jock got hired by Andy Diggle.
Bummer indeed.
Maybe I need to stay here, brave the grey skies, interminable wet and mold and put that theory to the test. A job in comics or happy sunny life?
Leeds was quite a bit smaller than Birmingham in terms of publishers and retailers but there were just as many artists and indie stalls. There were even a couple of stormtroopers.
My mates from Newcastle had a stall (which I had hoped to put the second part of Don’t go into that Barn but it had not arrived in the post before I had to set off) so I checked their stuff first. What strikes me over here is that production values are quite high. There are very few photocopied slapped together sort of things. And even if they are photocopied people tend to find the best they can. Some people told me they had searched for months to find the right public photocopier. Also the indie guys tend to get a stall as a group. So you’ll find a table with the Manchester people, the London people, the Newcastle people etc.
Anyway after a quick little look around I noticed the pro’s corner and went over. There were huge lines around such names as Jock, Alex Maleev, Doug Braithwait and various others. I continued down the line to where I came across a fellow who’s work I had loved and hated as an adolescent reading 2000AD. There was no one in front of his desk so I went up and had a chat to Peter Doherty. You may recall from my Birmingham post that I said Duncan Fregredo was one of the nicest guys in comics, well, so is Peter Doherty. We chatted for a long time and eventually I showed him my portfolio. He pointed out lots of stuff that needed fixing but then said that they were things he needed to work on too. He explained to me a rule of continuity about sticking to one side of a group of people and the importance of good colour. Peter is a great colourist. I then bought a comic from him he did for the Grendel series several years ago. Great artist and an alright story which got better when I did a bit of research on Grendel the other day.
I then went to a seminar about the (artistic) success of comics to movies in Hollywood with Mark Millar, Andy Diggle, Jock and some other guys whose names I forget. The basic conclusion that was drawn was that comic movies are only successful if there is some one in the production team who actually gives a shit. For most people it’s just a job and if they make back their millions that’s all that matters.
Before plucking up my courage to go and talk to Andy Diggle I showed my folio to Fraser Irving, a young artist, mad as a cut snake, hired by Diggle to 2000AD when he, Diggle, was editor. He was great fun and told me that basically your success or non-success really hinges on which editors you present your work to. Fraser insisted that he would not be hired today if he was starting out. I told him about my ideas of approaching the French to which he put on a snooty French accent and said “backgrounds, where are your backgrounds? Stone? That is not stone. I want to feel the stone!” And like Fregredo he said that the money is no good unless you’ve proved yourself.
After some lunch I made my way over to Andy Diggle. He insisted that as a writer he didn’t think he’d be much help but I was asking him as an ex editor. As an ex editor he said 'go for it'. He reckoned that editors look for good story telling and said I had good story telling.
Wow hoo!!!
But wait, there’s more. Here’s the thing they all asked me. “Are you staying in the UK?” “No” “Bummer. ‘Cause doing the convention circuit is the only way. Building friendships and showing people your dedication and your year to year improvement.” That’s how Jock got hired by Andy Diggle.
Bummer indeed.
Maybe I need to stay here, brave the grey skies, interminable wet and mold and put that theory to the test. A job in comics or happy sunny life?
Sunday, November 16, 2008
The beginning of a new era
As many of you may already know Local Act Comics is closing its doors as of Jan 1 2009. Have no fear though, Dicks is still going to continue. I have figured out or thought about exactly how yet but I'm thinking about web comic with a yearly trade.
I was already thinking that about moving into complete story format so really nothing will have changed.
I'd also like to take this opportunity to than LAC for all that they've done over past 2 years and say that you will be missed.
Don't go into that Barn part 2 is out too though it's not up on the website. To find it go to your local comic shop or go to localactcomics.com.au and email Dave to send you a copy.
Cheers.
I was already thinking that about moving into complete story format so really nothing will have changed.
I'd also like to take this opportunity to than LAC for all that they've done over past 2 years and say that you will be missed.
Don't go into that Barn part 2 is out too though it's not up on the website. To find it go to your local comic shop or go to localactcomics.com.au and email Dave to send you a copy.
Cheers.
Saturday, October 18, 2008
Birmingham comic expo
On the 4th of Oct I went down to Birmingham for its comic expo experience. I got up at 5am to catch a train in Newcastle which would get me there at 11. Not an excellent start to the day which didn’t help seeing as I was recalling my experience at Bristol. Bristol wasn’t a bad experience but I had been overwhelmed and hadn’t taken the criticism I’d received very well.
I spent the train trip doing sumdokus and talking to a male prostitute who hated working out. Apon arrival the usual British weather welcomed me and I cursed myself for having forgotten to bring a hat and coat. Once at the venue (which was held at a place called ‘Think Tank’ and was a sort of science museum/ cinema/events complex) though I was happy that I didn’t have to cart a coat around as well as all the comics I picked up.
Immediately the difference between the Bristol expo and the Birmingham expo were apparent. Most notablely the lack of stormtroopers, the more intermate space and far less people. Birmingham’s expo is only a couple of years old but it has had really good write ups and has been getting bigger each year. It’d be a shame if it got too popular and became like Bristol but that’s the price of success, I guess.
As I walked around I saw many of the same small press stalls that were in Bristol. There’s a lot of talent here but as always the production values varied wildly. If only people could count on sales and put more money into their production. In the end though it’s the quality of the art and story not how flashy it looks.
I started to wonder what I was going to do with my self for 6 hours when over the loud speaker came an announcement for all those who wanted to get their work critted in front of an audience. Get slammed in front of a bunch of people I don’t know? Why the hell not? Sadly I was second last in the queue and missed out but I managed to corner Gary Leach afterwards. He gave me a good old thrashing but I was prepared this time.
Colin Wilson had told me last year that when presenting work to editors and pros to only show your most recent work and to not make excuses. I put this into practice at Bristol but wasn’t really ready then.
Gary was very thorough and basically said I shouldn’t be making the mistakes I’m making so I felt pretty good about that.
During the crit session a familiar face from way back when in the late 90s appeared. When Impact Record was still the best shop in the world. James Pearson, one of the guys from the comic desk, got up to have his work critted. I found him afterwards and found out that he mainly wants to be a writer and is actually doing quite well. He’s living in Brighton now and laments the loss of one of Canberra’s finest institutions.
After all that I was feeling much invigorated and went and showed my stuff to Duncan Fregredo. There is not a nicer man than Mr Fregredo. He basically said all the same things as Gary Leach but chatted on in such a pleasant way about anything and everything. He was sitting next to Sean Philips who has some nice things to say too.
Duncan was then nice enough to give me a little scribble of Hellboy. Great guy.
After lunch and a bag full of comics I went to see a debate about which was the greatest comic ever made. Watchmen, The dark knight returns, Liaka, From Hell, Cerebus: High society, Akira, Alice in Sunderland, Batman year 1, Maus and many others were pitted against each other by various comic creators. The comics were paired up, two creators discussed their pros and then the audience voted (with little thingies we had attached to our seats) and one comic was knocked out. Despite Frank Miller being called “batshit crazy and Akira being the first comic to truly bring anime to the west Watchmen still won. I believe mainly because it is in the public eye at the moment. It is a fantastic comic but it has dated a bit and the art isn’t as good as it could be. (If Dave Gibbons had done it when he was doing Rogue Trooper it would have been fantastic.)
Finally I went and got my portfolio reviewed by Mark Chiarello, art director for DC. He immediately asked who my influences were, told me that they came through in my work and that it was a relief to not hear the names Jim Lee, Todd Mcfarlane or names to that effect (I can’t remember who he said). He was suitably impressed and said if I sent him my website address he’d pass it onto the guys at Vertigo. He told me not to expect anything and I don’t but never the less it was great to have the compliment.
A great experience all in all and a crying shame that Australia can’t keep it’s local talent to make such great shows at home. Mark said that he had been invited to go to Armageddon (or Supernova. He couldn’t remember which) but said that the distance was too far to travel. And that’s the problem. How can we expect to invite pros over for a weekend and have them not dizzy from jet lag. We’ve got to build ourselves up and let the public know that Australia has a fine body of creators. Keep going Arvi and everyone else keep Doujicon alive.
I spent the train trip doing sumdokus and talking to a male prostitute who hated working out. Apon arrival the usual British weather welcomed me and I cursed myself for having forgotten to bring a hat and coat. Once at the venue (which was held at a place called ‘Think Tank’ and was a sort of science museum/ cinema/events complex) though I was happy that I didn’t have to cart a coat around as well as all the comics I picked up.
Immediately the difference between the Bristol expo and the Birmingham expo were apparent. Most notablely the lack of stormtroopers, the more intermate space and far less people. Birmingham’s expo is only a couple of years old but it has had really good write ups and has been getting bigger each year. It’d be a shame if it got too popular and became like Bristol but that’s the price of success, I guess.
As I walked around I saw many of the same small press stalls that were in Bristol. There’s a lot of talent here but as always the production values varied wildly. If only people could count on sales and put more money into their production. In the end though it’s the quality of the art and story not how flashy it looks.
I started to wonder what I was going to do with my self for 6 hours when over the loud speaker came an announcement for all those who wanted to get their work critted in front of an audience. Get slammed in front of a bunch of people I don’t know? Why the hell not? Sadly I was second last in the queue and missed out but I managed to corner Gary Leach afterwards. He gave me a good old thrashing but I was prepared this time.
Colin Wilson had told me last year that when presenting work to editors and pros to only show your most recent work and to not make excuses. I put this into practice at Bristol but wasn’t really ready then.
Gary was very thorough and basically said I shouldn’t be making the mistakes I’m making so I felt pretty good about that.
During the crit session a familiar face from way back when in the late 90s appeared. When Impact Record was still the best shop in the world. James Pearson, one of the guys from the comic desk, got up to have his work critted. I found him afterwards and found out that he mainly wants to be a writer and is actually doing quite well. He’s living in Brighton now and laments the loss of one of Canberra’s finest institutions.
After all that I was feeling much invigorated and went and showed my stuff to Duncan Fregredo. There is not a nicer man than Mr Fregredo. He basically said all the same things as Gary Leach but chatted on in such a pleasant way about anything and everything. He was sitting next to Sean Philips who has some nice things to say too.
Duncan was then nice enough to give me a little scribble of Hellboy. Great guy.
After lunch and a bag full of comics I went to see a debate about which was the greatest comic ever made. Watchmen, The dark knight returns, Liaka, From Hell, Cerebus: High society, Akira, Alice in Sunderland, Batman year 1, Maus and many others were pitted against each other by various comic creators. The comics were paired up, two creators discussed their pros and then the audience voted (with little thingies we had attached to our seats) and one comic was knocked out. Despite Frank Miller being called “batshit crazy and Akira being the first comic to truly bring anime to the west Watchmen still won. I believe mainly because it is in the public eye at the moment. It is a fantastic comic but it has dated a bit and the art isn’t as good as it could be. (If Dave Gibbons had done it when he was doing Rogue Trooper it would have been fantastic.)
Finally I went and got my portfolio reviewed by Mark Chiarello, art director for DC. He immediately asked who my influences were, told me that they came through in my work and that it was a relief to not hear the names Jim Lee, Todd Mcfarlane or names to that effect (I can’t remember who he said). He was suitably impressed and said if I sent him my website address he’d pass it onto the guys at Vertigo. He told me not to expect anything and I don’t but never the less it was great to have the compliment.
A great experience all in all and a crying shame that Australia can’t keep it’s local talent to make such great shows at home. Mark said that he had been invited to go to Armageddon (or Supernova. He couldn’t remember which) but said that the distance was too far to travel. And that’s the problem. How can we expect to invite pros over for a weekend and have them not dizzy from jet lag. We’ve got to build ourselves up and let the public know that Australia has a fine body of creators. Keep going Arvi and everyone else keep Doujicon alive.
Wednesday, October 1, 2008
The end of the drought?
I find it so hard to get into posting without the internet close at hand. I have written some posts in word but have forgotten to post them up and now they seem a bit out of date. I'm going to try and get back into it now though. I've got some things worth posting. At least, I think so.
First up is the final part of 'Don't go into that Barn' will be out soon. A few things to tweek and then it's off to Dave at Local Act Comics.
The next issue of 'Dicks' is going to be a compilation of guest written stories (with some of my own). The talents of James Andre, Tom Taylor, Jason Franks and Paul Bedford will be featured. It was in fact James Andre who gave me the idea. He came up to me at the Melbourne creator comic meet and said that he'd written me a couple of scripts off the cuff. Doing this will be lots of fun and will give me time to get more ideas for the next full length story for our two heroes.
First up is the final part of 'Don't go into that Barn' will be out soon. A few things to tweek and then it's off to Dave at Local Act Comics.
The next issue of 'Dicks' is going to be a compilation of guest written stories (with some of my own). The talents of James Andre, Tom Taylor, Jason Franks and Paul Bedford will be featured. It was in fact James Andre who gave me the idea. He came up to me at the Melbourne creator comic meet and said that he'd written me a couple of scripts off the cuff. Doing this will be lots of fun and will give me time to get more ideas for the next full length story for our two heroes.
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