I've just posted this drawing on eBay, starting at only $10. Please do stop by and give it a look! Here's the link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160516166858
Monday, December 06, 2010
X-23 at auction on Ebay now!
I've just posted this drawing on eBay, starting at only $10. Please do stop by and give it a look! Here's the link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160516166858
Supergirl sketch is sold
The eBay auction for the Supergirl sketch has ended. I'll be putting another sketch up for auction later today. Stay tuned for the announcement!
Friday, December 03, 2010
Now on eBay
The SUPERGIRL drawing shown in the last entry is now available for sale on eBay, listing no. 160514776130. It starts at only $10, so please do stop on by and give it a look.
Wednesday, December 01, 2010
Some last drawings from Long Beach CC '10
Here are a couple of last drawings from LBCC 2010. DC's SUPERGIRL and BATWOMAN. Both are 10x14 and drawn in pencil.
Wednesday, November 10, 2010
The Process 3: Kathryn's Colors
Here are Kathryn Layno's stunning colors over my pencils and Ray Snyder's inks. I'm really proud of the collaborative efforts that created this final Phantom Lady 3 pin-up.
The Process 2: Ray's Inks
Here are Ray Snyder's lush inks on the Phantom Lady 3 pin up I drew---It's a few entries back if anyone wants to check out the pencils.
Ray inked this up when I was in Macon a few weeks ago. He just picked it up, and worked his magic on it. Ray's the man:)
Monday, November 08, 2010
SAMURAI cover colors
Here is the final version of the cover I recently drew for SAMURAI: THE GRAPHIC NOVEL---See the last post for details---With truly excellent color art by Kathryn Layno. Check out more of Kathryn's work at her deviant art gallery at http://katsh.deviantart.com/. She's got some really cool work going on there!
Monday, November 01, 2010
Samurai: The Graphic Novel Cover pencils
Here is a cover I pencilled recently for the upcoming graphic novel, SAMURAI, from Hyperwerks.
SAMURAI combines cutting edge comic book artwork and storytelling and the iconic idea of the Samurai. Artists from around the globe have contributed artwork to this one-of-a-kind comic book experience. From the far future where android Samurai battle for their humanity to Samurai ghosts that long for revenge. SAMURAI: THE GRAPHIC NOVEL explores the endless possibilities of the Samurai ideal and myth.
SAMURAI: THE GRAPHIC NOVEL features work by KARL ALSTTAETTER (Q-UNIT, BLOODSTRIKE, DIETY, and MTV GEEK'S new comic, ME2), GERIMI BURLEIGH (EYE OF THE GODS, ALIEN RACERS), JAMIE GAMBELL (OMNITARIUM, the upcoming comic, HERO CODE), DONNA LETTRESE, DAN SMITH (VAMPIRE: THE MASQUERADE, IN NOMINE, GURPS) , JESSE TOVES (TROUBLE, GUTS & NOIR), WAYNE YOUNG and LANDISH.
The official release date is 12/31/10, with convention debut at the Arizona Comic Con 1/8/11. There will be three issues of SAMURAI, in 64 full color pages for $15.
For more information, please visit www.samuraigraphicnovel.blogspot.com.
Sunday, October 24, 2010
From an article in Sunday's MACON TELEGRAPH
I was lucky enough to be around for this interview with my best pal, and long time inker, Ray Snyder.
Macon artist Ray Snyder has become one of comic industry's best inkers
By CHRIS HORNE - Telegraph correspondent
Editor’s note: Through the early 1970s, Macon was an unexpected hub of world renowned music whose greats were none other than Little Richard, Otis Redding, James Brown and the Allman Brothers Band, among others. That creative spark has manifested lately as an unexpected hub of world-class comic book creators. This week we meet Ray Snyder, a local artist who has risen in the ranks as one of the industry’s best inkers. His work is on display through the end of the month at the Macon Arts gallery alongside the art of Craig Hamilton and Atlanta’s Steve Scott. His work on a riveting fill-in story for the “Wonder Woman” series with former Macon resident Drew Edward Johnson will hit stands in the coming months.
Back in the day, like, you know, 7 years ago, Ray Snyder and Drew Edward Johnson would celebrate the end of a marathon of penciling and inking comics with a blowout of pizza, whiskey, cigarettes and a round of Risk, the strategy-first board game about conquering the world.
“And then the next day, we’d start all over again,” Snyder says, sitting down on a stool that looks like it never leaves his large slanted drawing table. He settles in as if he wouldn’t know where else to be in this room.
The soundtrack to “Oh, Brother, Where Art Thou?” plays lightly in the background, barely audible over the excited nostalgia sparked between the two illustrators discussing their earlier days.
They may have aged some since they first met, but, in a heartbeat, the two seem boyishly devious, like latch-key kids with a stash of dirty magazines, a bag of candy and all afternoon before their parents get home.
“I usually come out here and visit Ray, commit all my sins and then go home,” Johnson jokes. Kinda.
Working vacation
On this weekend, a week after Macon Arts opened a gallery exhibition of comic art featuring Snyder’s work, he’s hosting Johnson for a sort of working vacation. Over the last few years the two have worked side-by-side on monthly titles like “Wonder Woman” and “Supergirl.”
Johnson would do the pencils and when he was done, slide them over to Snyder to get them inked. Their working relationship illuminates the levels that go into each comic book. Pencilers get most of the credit, wrestling into creation images from a script, and inkers are often overlooked by anyone unfamiliar with the intricacies of the form.
“It is a lot easier than staring at a blank sheet of paper,” Snyder confesses.
But it isn’t easy, Johnson chimes in. He explains how, from his perspective as a penciler, a good inker can make (or a bad inker can break) the illustration. He relates an instance in which Snyder, simply doing his job, so successfully added seemingly physical depth and texture to Johnson’s pencil work that their editors called to express how impressed they were with the team.
Some of that comes from the relationship Snyder and Johnson have developed over the years. When Johnson was at a low point and needing a fresh start, Snyder suggested he move to Macon so the two could work side-by-side.
The rest comes out of how Snyder approaches the work itself.
“He does a lot more than most,” Johnson says, noting that no assignment with Snyder starts without a phone call and conversation about the aesthetics and feel that he wants to convey.
Snyder, Johnson points out, came into this work as an illustrator himself — evidenced by the “surreal work” he did in his early 20s that hangs above his desk. So when, for instance, he notices a hand is disproportionately small and needs to be adjusted, Snyder will fix it.
Just doing a job
Snyder puts a VHS tape in and turns on the little TV by his desk. It’s an old Chevrolet commercial that he and local illustrator Tony Harris put together for the car company’s Super Bowl ad in 1999. The animated short follows a Chevy S-10 outrunning a gargoyle then sliding to a stop and becoming a “real” S-10 once the gargoyle had smashed itself against a wall. Ironically, a guy steps in from off-screen as a narrator says, “Meet Chris Worth, animator. Knows good; knows evil.”
It gets a laugh.
Fresh from a tour in Atlanta, Harris was “some guy who’d fallen asleep on Craig Hamilton’s couch,” when he and Snyder first met. Now the two join Hamilton as a sort of Comics Triad, ennobled by an exhibit at Museum of Arts and Sciences, honoring their work.
“Yeah, it’s strange. We’re just doing a job,” Snyder says. “I do what I do because that’s what I enjoy doing.”
The way he says it, he could be a plumber or carpenter — proud of his work but not boastful. His talent doesn’t make him special.
As a kid, he said he’d get into trouble in class, like a lot of kids, drawing when he should be doing schoolwork. The difference is that he never stopped.
Though he was “into math and computers,” he says he was determined to make it as an artist. There was no fail-safe, no back-up plan.
Before he came into comics, Snyder was arranging advertising displays for a retail chain, but he was still drawing, still pursuing art. He was invited to do a show at Wesleyan College called “Flying by the Seat of Our Pants,” and illustrator Craig Hamilton was in the show as well. It was Hamilton who recommended he get into comics.
Lessons with Houser Smith, Hamilton’s mentor, followed and Snyder was on his way. Before moving the operations to Martin Luther King Jr. Boulevard, Harris and Hamilton formed Jolly Roger Studios and rented space in the Clisby Building.
Judging from Snyder’s casual tone, the move from penciling to inking was perhaps more practical and convenient than moving Jolly Roger. He’d long worked with the pens and was already familiar with the techniques.
“It was an easy transition.”
At home in Macon
During the First Friday chaos at the Macon Arts gallery, where his work presently hangs, Snyder smiled and talked about the benefits of staying in Macon.
“I get paid the same page rate as the guys who live in New York, so why move?”
Born in Enterprise, Ala., and raised in Macon — after a short stint in Dothan, Ala. — Snyder married his high school sweetheart, Kim, on Coleman Hill and hasn’t moved far from it since.
His home studio is close to old hangouts and haunts, and the salon next door, Sculptures, is theirs, too, because he thrust his dream of small-business ownership upon his wife.
Pragmatically, though there’s plenty to do, Macon isn’t full of constant distractions, especially for younger artists.
“They can come here, get grounded and build a portfolio. Plus, when you’re just starting out, Macon’s a much more affordable place to live.”
When he needs to, Snyder says, “I know how to drive to Atlanta and get on a plane.”
But it’s also more than that.
“Macon is an inspiration,” he says, noting the architecture and natural beauty.
Drew Edward Johnson says he loved working on the heavy rainy nights.
While Johnson only lasted three years before heading back to Los Angeles — where he met his eventual wife, a director for “The Simpsons,” at his grandmother’s funeral — Snyder plans to stay.
“It’s a great place,” he says, “I’ve never found a need to leave.”
Thanks to technology, these days, Johnson can scan and upload his drawings so Snyder can download them and begin inking right away. This has allowed them to continue their partnership from opposite ends of the country.
“The desks are just further apart,” Johnson quips.
Prior to the digital age, the inker worked directly on a penciler’s pages and they sent the combined effort to the publisher, who might not return the pages for months. When the artists did get their pages back, they’d have to split the book in half.
Now, they each keep a set of their originals. Johnson’s drawings never leave his California home. Snyder’s inks stay in his portfolio and the publisher uses the digital copies. The welcome, if unintended, consequence is that they both have whole sets to sell to collectors for a few extra bucks.
For love or money
Johnson quotes Snyder saying the only meaningful reasons to take a job are for love or money. The work you do for love doesn’t usually pay, but it fulfills you. The work you do for money doesn’t usually fulfill you, but it pays.
Their history of work together has been full of money jobs, usually cranking out monthly books when time is precious. No time to think or feel. It’s just a job that has to be done.
Have they ever worked together on a project that was both for love and for money?
“Yes,” they immediately respond, pointing to the large hardback album that lies like a sleeping child in my lap.
In the first half of the book are Snyder’s copies of the inked but uncolored pages from an upcoming story in the “Wonder Woman” series, which began as an inventory story intended to give the monthly book’s regulars a chance to catch up. It became a fill-in for the series — as a flashback — that could’ve made it as a stand-alone book.
Working from a violent script, Johnson and Snyder said they turned the volume up a touch.
The two dissect exactly how they made a bloody battle even bloodier, pulling up digital images of the pages colored by a prodigy that Johnson worked with previously. The blood is red, which is unusual in comic books, which go with black to tone down the impact.
But the real heft is in the cold, emotionless way that Wonder Woman finishes her opponent off. No expression, not even a glint of feeling in her eyes.
“It’s just a job to her,” Snyder deadpans with a smirk.
Macon artist Ray Snyder has become one of comic industry's best inkers
By CHRIS HORNE - Telegraph correspondent
Editor’s note: Through the early 1970s, Macon was an unexpected hub of world renowned music whose greats were none other than Little Richard, Otis Redding, James Brown and the Allman Brothers Band, among others. That creative spark has manifested lately as an unexpected hub of world-class comic book creators. This week we meet Ray Snyder, a local artist who has risen in the ranks as one of the industry’s best inkers. His work is on display through the end of the month at the Macon Arts gallery alongside the art of Craig Hamilton and Atlanta’s Steve Scott. His work on a riveting fill-in story for the “Wonder Woman” series with former Macon resident Drew Edward Johnson will hit stands in the coming months.
Back in the day, like, you know, 7 years ago, Ray Snyder and Drew Edward Johnson would celebrate the end of a marathon of penciling and inking comics with a blowout of pizza, whiskey, cigarettes and a round of Risk, the strategy-first board game about conquering the world.
“And then the next day, we’d start all over again,” Snyder says, sitting down on a stool that looks like it never leaves his large slanted drawing table. He settles in as if he wouldn’t know where else to be in this room.
The soundtrack to “Oh, Brother, Where Art Thou?” plays lightly in the background, barely audible over the excited nostalgia sparked between the two illustrators discussing their earlier days.
They may have aged some since they first met, but, in a heartbeat, the two seem boyishly devious, like latch-key kids with a stash of dirty magazines, a bag of candy and all afternoon before their parents get home.
“I usually come out here and visit Ray, commit all my sins and then go home,” Johnson jokes. Kinda.
Working vacation
On this weekend, a week after Macon Arts opened a gallery exhibition of comic art featuring Snyder’s work, he’s hosting Johnson for a sort of working vacation. Over the last few years the two have worked side-by-side on monthly titles like “Wonder Woman” and “Supergirl.”
Johnson would do the pencils and when he was done, slide them over to Snyder to get them inked. Their working relationship illuminates the levels that go into each comic book. Pencilers get most of the credit, wrestling into creation images from a script, and inkers are often overlooked by anyone unfamiliar with the intricacies of the form.
“It is a lot easier than staring at a blank sheet of paper,” Snyder confesses.
But it isn’t easy, Johnson chimes in. He explains how, from his perspective as a penciler, a good inker can make (or a bad inker can break) the illustration. He relates an instance in which Snyder, simply doing his job, so successfully added seemingly physical depth and texture to Johnson’s pencil work that their editors called to express how impressed they were with the team.
Some of that comes from the relationship Snyder and Johnson have developed over the years. When Johnson was at a low point and needing a fresh start, Snyder suggested he move to Macon so the two could work side-by-side.
The rest comes out of how Snyder approaches the work itself.
“He does a lot more than most,” Johnson says, noting that no assignment with Snyder starts without a phone call and conversation about the aesthetics and feel that he wants to convey.
Snyder, Johnson points out, came into this work as an illustrator himself — evidenced by the “surreal work” he did in his early 20s that hangs above his desk. So when, for instance, he notices a hand is disproportionately small and needs to be adjusted, Snyder will fix it.
Just doing a job
Snyder puts a VHS tape in and turns on the little TV by his desk. It’s an old Chevrolet commercial that he and local illustrator Tony Harris put together for the car company’s Super Bowl ad in 1999. The animated short follows a Chevy S-10 outrunning a gargoyle then sliding to a stop and becoming a “real” S-10 once the gargoyle had smashed itself against a wall. Ironically, a guy steps in from off-screen as a narrator says, “Meet Chris Worth, animator. Knows good; knows evil.”
It gets a laugh.
Fresh from a tour in Atlanta, Harris was “some guy who’d fallen asleep on Craig Hamilton’s couch,” when he and Snyder first met. Now the two join Hamilton as a sort of Comics Triad, ennobled by an exhibit at Museum of Arts and Sciences, honoring their work.
“Yeah, it’s strange. We’re just doing a job,” Snyder says. “I do what I do because that’s what I enjoy doing.”
The way he says it, he could be a plumber or carpenter — proud of his work but not boastful. His talent doesn’t make him special.
As a kid, he said he’d get into trouble in class, like a lot of kids, drawing when he should be doing schoolwork. The difference is that he never stopped.
Though he was “into math and computers,” he says he was determined to make it as an artist. There was no fail-safe, no back-up plan.
Before he came into comics, Snyder was arranging advertising displays for a retail chain, but he was still drawing, still pursuing art. He was invited to do a show at Wesleyan College called “Flying by the Seat of Our Pants,” and illustrator Craig Hamilton was in the show as well. It was Hamilton who recommended he get into comics.
Lessons with Houser Smith, Hamilton’s mentor, followed and Snyder was on his way. Before moving the operations to Martin Luther King Jr. Boulevard, Harris and Hamilton formed Jolly Roger Studios and rented space in the Clisby Building.
Judging from Snyder’s casual tone, the move from penciling to inking was perhaps more practical and convenient than moving Jolly Roger. He’d long worked with the pens and was already familiar with the techniques.
“It was an easy transition.”
At home in Macon
During the First Friday chaos at the Macon Arts gallery, where his work presently hangs, Snyder smiled and talked about the benefits of staying in Macon.
“I get paid the same page rate as the guys who live in New York, so why move?”
Born in Enterprise, Ala., and raised in Macon — after a short stint in Dothan, Ala. — Snyder married his high school sweetheart, Kim, on Coleman Hill and hasn’t moved far from it since.
His home studio is close to old hangouts and haunts, and the salon next door, Sculptures, is theirs, too, because he thrust his dream of small-business ownership upon his wife.
Pragmatically, though there’s plenty to do, Macon isn’t full of constant distractions, especially for younger artists.
“They can come here, get grounded and build a portfolio. Plus, when you’re just starting out, Macon’s a much more affordable place to live.”
When he needs to, Snyder says, “I know how to drive to Atlanta and get on a plane.”
But it’s also more than that.
“Macon is an inspiration,” he says, noting the architecture and natural beauty.
Drew Edward Johnson says he loved working on the heavy rainy nights.
While Johnson only lasted three years before heading back to Los Angeles — where he met his eventual wife, a director for “The Simpsons,” at his grandmother’s funeral — Snyder plans to stay.
“It’s a great place,” he says, “I’ve never found a need to leave.”
Thanks to technology, these days, Johnson can scan and upload his drawings so Snyder can download them and begin inking right away. This has allowed them to continue their partnership from opposite ends of the country.
“The desks are just further apart,” Johnson quips.
Prior to the digital age, the inker worked directly on a penciler’s pages and they sent the combined effort to the publisher, who might not return the pages for months. When the artists did get their pages back, they’d have to split the book in half.
Now, they each keep a set of their originals. Johnson’s drawings never leave his California home. Snyder’s inks stay in his portfolio and the publisher uses the digital copies. The welcome, if unintended, consequence is that they both have whole sets to sell to collectors for a few extra bucks.
For love or money
Johnson quotes Snyder saying the only meaningful reasons to take a job are for love or money. The work you do for love doesn’t usually pay, but it fulfills you. The work you do for money doesn’t usually fulfill you, but it pays.
Their history of work together has been full of money jobs, usually cranking out monthly books when time is precious. No time to think or feel. It’s just a job that has to be done.
Have they ever worked together on a project that was both for love and for money?
“Yes,” they immediately respond, pointing to the large hardback album that lies like a sleeping child in my lap.
In the first half of the book are Snyder’s copies of the inked but uncolored pages from an upcoming story in the “Wonder Woman” series, which began as an inventory story intended to give the monthly book’s regulars a chance to catch up. It became a fill-in for the series — as a flashback — that could’ve made it as a stand-alone book.
Working from a violent script, Johnson and Snyder said they turned the volume up a touch.
The two dissect exactly how they made a bloody battle even bloodier, pulling up digital images of the pages colored by a prodigy that Johnson worked with previously. The blood is red, which is unusual in comic books, which go with black to tone down the impact.
But the real heft is in the cold, emotionless way that Wonder Woman finishes her opponent off. No expression, not even a glint of feeling in her eyes.
“It’s just a job to her,” Snyder deadpans with a smirk.
Saturday, October 02, 2010
Friday, October 01, 2010
Thursday, August 19, 2010
Telara Chronicles #4 Cover Art
Pencil artwork for the cover of Wildstorm's THE TELARA CHRONICLES #4. This is the final issue of my four issue cover run. I had a great time working on these covers, and give big thanks to Jim Chadwick, Ben Abernathy, and Trion Worlds for letting me work on them.
Tuesday, August 17, 2010
Telara Chronicles #3 Cover Art
Pencils for the cover of THE CHRONICLES OF TELARA #3. Here's the solicitation copy:
Written by RICARDO SANCHEZ
Art by POP MHAN
Cover by DREW JOHNSON
In the third issue of the 4-issue prequel to the highly anticipated MMORPG from Trion Worlds, Asha and her Guardian allies return to Port Scion triumphant. They’ve captured an ancient Eth device that could be the key to saving Telara from the invaders that threaten it. But their work is not done; minions of The Court of the Endless have been opening Death Rifts in an attempt to summon Regulos the Destroyer himself through the Ward. It’s up to Asha to stop them and give her companions time to learn the secrets of the device.
On sale 17 • 3 of 4 • 32 pg, FC $3.99 US
Wednesday, August 11, 2010
GI JOE: FRONTLINES
My pal Ray just emailed me this piece. I hadn't seen it in a long time, and was happy to revisit it.
This is a little-seen promo piece that I drew for the story arc ICEBOUND that I worked on for GI JOE: FRONTLINES. Inks are by Ray Snyder, and the color work is by JD Mettler.
I came up with the story idea for this arc, and Dan Jolley wrote it. Interestingly, the flashback sequences in the series that featured Duke were illustrated by Tom Feister. Tom has recently done a string of really cool covers for IDW's GI JOE books.
Thanks to Ray for finding this piece, and for sending it to me.
Monday, August 09, 2010
Step By Step: Commission
Here's step one of a new commission I've started. It's of Tara Chace from the Oni Press comic, Queen & Country.
This is my initial underdrawing that I did on a piece of typing paper---really just hacking out the pose and the plan for the background on a separate piece of paper in order to avoid ruining my bristol board with a ton of erasure.
I scanned in the initial drawing and worked out some anatomy mistakes by messing with 'em on the computer a little. Next, I'll light box it to the actual art board, where it'll be worked out some more.
As far as the pose, I wanted to do something unusual with a commission of the character. I google image searched Tara Chace, and most of the time, folks seem to draw her in a standing pose, wearing her regular outfit, and holding a rifle. I wanted to try and capture a story moment, a good "spy moment", where she's pulling a pistol from under her pillow on an assassin trying to sneak in her window.
I'll post the next step soon, and take it all the way through the finished piece.
Thursday, August 05, 2010
Ballpoint pen study for 8/4/10
Just a quick one today---Jean Reno from the great film, RONIN. Didn't do too well on the likeness, but learned a couple of things. Interestingly, I actually went too conservative on the length of the nose.
It's fun to study interesting faces like this one. I think it'll help me make characters that I draw in comics look more distinctive. More from RONIN tomorrow. It's just too interesting to study. I haven't even gotten to DeNiro or Sean Bean yet.
Wednesday, August 04, 2010
"LEAVE ME ALONE, RAYMOND BURR!"
Today's ballpoint pen head studies---From my very favorite film, REAR WINDOW. I really wanted to study the feel of that horrible moment when Jimmy Stewart is trapped in his apartment in his wheelchair, and the killer, Raymond Burr can be heard coming up the stairs...His heavy foot falls on the landing---the doorknob creaks as it turns slowly...
I started the first one a few days ago---Stewart picks up the phone, thinking it's his policeman buddy...But it's not...
I did 2 and 3 today. I don't know that I did very well with the likeness, but studying an everyman like Jimmy Stewart sure was fun. The shadows in the dark apartment were fun to play with to. Boy, I love that movie.
Tuesday, August 03, 2010
New Ballpoint pen studies
I've started trying to do quick studies from paused movie frames. It's a fun exercise in facial anatomy and likeness study. This one's from SHERLOCK HOLMES. One of my very favorite recent films.
Sunday, August 01, 2010
It's Ballpoint, Baby.
I can't speak to whether this is a good piece or not, but I drew it last thursday at Koffee & Komics as my entry in our Dungeons and Dragons fantasy theme. It's black ball point pen in my sketchbook. I had a lot of fun with it, though I may have poked and prodded at it a little too much...
Tuesday, July 27, 2010
Telara Chronicles #2 Cover Art
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Color cover artwork for THE TELARA CHRONICLES #2. Color artwork over my pencils by Lizzy John.
Telara Chronicles #1 Cover Art
Color artwork for TELARA CHRONICLES #1. Pencils by me, color art over my pencils by Lizzy John. Coming soon from Wildstorm.
Wonder Woman colored preview panels
Here are some preview panels from the Wonder Woman story that I drew recently. I don't know if it's ever coming out, though, which is a shame. I'm really proud of the work that we all put into it.
The story is written by Micheal Jelenic, writer of the Wonder Woman DVD animated movie. Inks are by Ray Snyder, and color art is by Lizzy John.
Tuesday, May 04, 2010
Batgirl Commission
Batgirl on 11x17 DC Comics Bristol Board. Pencil and ink. Inked it up myself using Copic pens and a little brush.
Monday, May 03, 2010
Thursday, March 25, 2010
New Preview Panels from Wonder Woman
Here are a couple of preview panels from my work on a new Wonder Woman project---Featuring The Cheetah and Hippolyta, Wonder Woman's mom.
Where can you see Drew this year?
Well---These places:
I will be attending Wizard World Anaheim April 16-18th---If you happen to be in the neighborhood, please drop by and say hello!
My next convention appearance, as far as I know, is Long Beach Comic Con in October.
I will be signing at Things From Another World for Free Comic Book Day at Universal City Walk in May.
Otherwise, I will be home, chained to my drawing board, and counting down the time until TRON: LEGACY comes out....
I will be attending Wizard World Anaheim April 16-18th---If you happen to be in the neighborhood, please drop by and say hello!
My next convention appearance, as far as I know, is Long Beach Comic Con in October.
I will be signing at Things From Another World for Free Comic Book Day at Universal City Walk in May.
Otherwise, I will be home, chained to my drawing board, and counting down the time until TRON: LEGACY comes out....
Rogue Squadron Returns
A tribute to my first job in comics---Star Wars: X-Wing Rogue Squadron.
I started this as a challenge to myself to see how I would draw it now if given the job, versus how I drew it back in the day when I could barely hold a pencil.
I ended up having a lot of fun with it.
Saturday, January 30, 2010
New Supergirl pages available on eBay
Here are some links to some new Supergirl pages available this week on eBay! Please do check 'em out!
Supergirl #24 page 3:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160399893960&ssPageName=STRK:MESELX:IT
Supergirl #24 page 4:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160399892870&ssPageName=STRK:MESELX:IT
Supergirl #24 page 6:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160399892870&ssPageName=STRK:MESELX:IT
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