Here are just some of the amazing reviews the series has already been receiving:
COMIC CRUSADERS (twitter)
INTER-COMICS PODCAST (Twitter )
BAG & BORED ( Twitter )
This year has been great.
Started bad with my wife’s serious illness, then my not scheduled one week hospital booking reservation and my Dog’s illness caused by the stress of everything. However, it has been great.
Professionally, I am around closing my second act as a freelance inker I only can say that this 2014 has been the year when I saw it more clear.
I got a clearer vision about my inking and I got a clearer spectrum of the industry.
Lots of long awaited projects had seen light during this year. Some with mid known indie and some personal projects where I was hired for.
This has been the year when my firsts printed comics finally arrived to my hands. Chilean projects that where started back in 2010 saw print (El Viudo La Cueca del Manco), where you can see the evolution in my craft; or more recently (El Viudo, El Fin Del Luto 2.0), where I think that the work is more consistent and reaches for some peaks of quality that will envision what I think inking is. this has been the year where I also expanded my knowledge and services offering with lettering (The Urban Legend, and Alex: Enemy of Hell) and logo design (Also Alex: Enemy Of Hell).
Several projects are still on hold, waiting for someone to pick it up and publish, gain some funds and go to the press. Let’s see what will happen about them. I really hope that Alex would be picked up by someone, the team is great and the story is hilarious; I don’t know when will Starburn be published (all I know is that it’s planned to be released early 2015 by Uk’s Markosia, first on digital). Oblivion, that first GN I inked back in 2010, then 2013 and 2014 is something that I had to leave. Let me know if something happens with that. And La Senda Del Errante, which is one of the projects I’ve been working the longest and it’s waiting for some funds.
This 2015 starts with force. I am inking the first pages of Seamstress, penciled by Federico Zumel. He is the same artist of Tear, the book by Mike Simon, which I am finishing issue #3 and it’s on hold for some weeks. We’ll be finishing One Must Break #5 with Diego Toro and Kóte Carvajal, closing the 5 issue arc on which I jumped on board on issue #4). I have been selected for inking some concept art for a video game and Beetle Battle and The Monster Men are pages that slowly completes each month. Starburn is being inked (Issue 3, Page 4) and The urban Legend (I hope) will be keeping me busy.
2015 looks – at least the first two months – quite busy.
I really wish some things: To have health to keep inking and happiness to share it with my peers and family; keep the pace on getting inking jobs and if possible to be able to be part of any gig at a major publisher being my preferences IDW, Image comics, Marvel or DC (Still not there in quality, but I think I am on the right way); and last but not least, to be able to publish my own creator owned story and if the money allows it, a Cintiq 13 HD.
I know it’s too much, but I think that keeping working steady it will be accomplished.
So, in review, numbers. In 2014:
- I inked 117 paid pages for 9 projects.
- I inked 101 pages between back end’s (El Viudo, Starburn) and the free ones, (like the Bluewater gig. they do not pay at all, they did not even sent me a lousy copy of the book…) and pitches.
- I made 9 illustrations where I penciled and I Inked leaving the fear of penciling behind and facing it.
- I lettered 117 pages for paid projects (the Urban Legend, mostly and the Alex: Enemy of Hell pitch)
- I did 22 inking tests for portfolios. This year I did less than 2013, since I got involved in more paid projects that kept my attention and work time.
- I made 10 portfolios (LI-CD-KC, Lettering one, 4 Only inking one, Penciled one, Top Cow special one and Hulk One for Marvel)
- February and April were the months where I did no money at all, those were the months of my wife and my own illness. However I made a good money out of a Industrial Design gig. For that matter and a very low January and March my average month was only 440 USD. Spent near 380 USD in locally purchased inking materials (mostly my printer ink toner and paper) and nearly 200 USD between Inks, quills and brushes purchased at PaperInkArts.com.
- I wrote 2 chapters of the upcoming chilean documentary “La Ruta Del Comiquero” and gave one comic book penciling masterclass for children.
The following books had seen print this year:
– Trixie Dynamite #2 – Ecv Press
– El Viudo La Cueca del Manco – Dogitía Futuro Esplendor
– Robin the Hood #3, #4 – Bluewater Productions
– The Emerald Star Starburn #1 Singapore edition
– Headliners #1, #2 – Kevin Strieter
– El Viudo El Fin Del Luto 2.0 – Dogitía Futuro Esplendor
– MDS featured on DBT Presents – Double Barrel Theatre
– and The Monster Men is being published digitally at ERB’s website.
Thanks to Tom, Erik and L Jamal and Jim S., Thanks to Kelly and Brian, Thanks to Matt, Thanks to Federico and Mike, Thanks to Gonzalo, Oscar, Juan and Rodrigo, Thanks to Bill, Diego and Kóte. Thanks to Kevin, Josef, Sebastian, Felipe, Gabriel, Gonzalo and Alan.
So, all in all it has been a great 2014 and here’s to 2015!
Have a great New Year’s Eve and I hope to see you all in 2015.
The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.
Here’s an excerpt:
A San Francisco cable car holds 60 people. This blog was viewed about 2,500 times in 2014. If it were a cable car, it would take about 42 trips to carry that many people.
First of all, I love how Chile is growing and expanding cultural boundaries lately. There’s a lot of work still to improve, but hey, I’ve just came from 3 conferences of Comics Scholar Scott McCloud.
Diego Portales University – the one I studied Industrial Design back in 1996 – held the 2nd Lecturas de Juventud Symposium in the Nicanor Parra library. The main course is reading in youth and its sociological studies and the main guest was comics scholar Scott McCloud. Imagine all my comic book pro’s comrades and me struggling to get any of the few invitations to the event. I lost hope last week but at the very last moment, my former 2Cy1M partner and writer German Valenzuela offered me his spot in the event.
Scott McCloud just gave his lecture a few hours back and I am here sitting in front of my computer putting my ideas in track to be able to process all the info.
I am not a specially wise guy. I have certain trouble expressing myself from ideas to words and not mumble during the process… I really feel that I gain more comfort writing even in english than discussing a point so , for my poor little brain, McCould lecture was literally mind-blowing.
To speak about comics is one thing to me. I am a literal guy. Speaking about the basics in comics, panels, in between panels, communication dynamics, the core analysis is really another to me. So, after 3 lectures (I mean, the main conference, a second one for a small group that was really a chat between a poet and a sociologist with Mccloud and a even smaller third one, held at the UDP’s US Embassy American Corner, which was actually a Q&A) I will put my two cents here about what I think I learned and let’s see what it happens from here.
First of all, I’ve been attended several TED-like conferences, from distant points like sales and marketing to one about that book and movie called The Secret (that one time I felt I was almost blackmailed) and let me tell you. There’s no one batter on the conference-stage abilities than the americans. Their conferences entertains, teaches and surprises to the audience at the same time)
Well. At the very first conference, Scott spoke about the dynamics of comics. What you really see in his two groundbreaking books: Understanding Comics and the one I adopted as a bible, Making Comics appears here. Comics is a form of communication that lives with us since the dawn of times, but it has its own narrative and language structure that is really a power tool for educational purposes, teaching about what is happening in the panels with the mark of time in between them. That’s the ability of comics: To form a message from drawings that allows to tell a story that takes place in a specific time and space with a rhythm that is able to understand for the viewer. A pace that is universal and timeless at the same time.
On the other hand and this took my mind for a walk: I’ve been always been a traditional at everything. I like to read printed comics, I like traditional inking rather than digital inking (despite the fact the latter is getting more points now for me). Digital comics, digital art forms and digital comic structures are not “the enemy” as one time thought. Nope, they are a way to think and express outside the box and show to the world different ways of telling stories. Examples shown as a new form of making comics in the digital era made my mind to start evaluating the innovation in my career.
The next step on comics is to endure woman’s presence in the media: Both artists and content. In maybe 10 years the amount of girls reading comics should be 50-50 the same amount of men/boys. That’s something that can drive your interests and content process making. On the other hand, child comics and kid illustration books are rarely a undiscovered field of work that will be a great way to introduce kids to comics, to promote reading abilities techniques in schools and separate the underrated profile comics had been throughout the years and make its own pace.
At the third conference, we spoke about politics in the two big publishers. The DC-Republican / Marvel-Democrat urban legend is nothing I thought it was. The main core of those big publishers is to address non political issues, like sexism – or the bad cases of women sexualization in comics.
And with this I really believe I am loosing a bunch of information. If my brain is able to remind more info I’ll share it with you.
In my case: I got the possibility to speak briefly with him about comics, the freelance workforce in american comics and the real situation of specialization fields like – in my case – inkers. His words were encouraging but real. There’s not so many reasons to keep dividing the comic storytelling process, since all is drawing. Keep trying new things, experiment and try to find that “maybe I have one or two stories to tell”.
inking is a tech job. No, no, I know it’s an artistic-driven job, but despite that job offers are really really decreasing everywhere at inker’s early work stages then the more technically skilled and tool experimented you are the more chances to get good gigs you have. Really. But the role of the inker in the comic book process is more like a tech job that supplies a service and that can make you think that you are in a crossroad: To evolve and become a better and more skilled inker or increase my field of work, experiment with the whole story-telling process, but not taking the best out of me.
Maybe the answer is to think and create outside the panel.
Disclaimer: This post is borrowed from my friend and buddy, Kelly Bender, and it’s being published first in his own blog, http://myimaginationshome.blogspot.sg/…/starburn-issue-01-r…
Here are just some of the amazing reviews the series has already been receiving:
Today is the day when my newest job sees the light of day. Chilean comic book El Viudo, published by Dogitía, will be available for everyone in a 100 copied limited release with two covers. Here’s the invitation to the signing in the FILIJ (Feria Internacional del Libro Infantil y Juvenil).
Here are some images of the interior art. I hope that you like it.
With Rodrigo Campos we developed the first El Viudo story named “el Fin Del Luto”, which can be translated as “The end of mourn” long 5 years ago. It was pitched on the NGI International Meeting where publishers like IDW’s Chris Ryall taught us the real chilean comic book artist status.
After publishing last june the El Viudo Book “La Cueca del Manco”, (Dogitía, 2014) – which also can be translated as “the One-handed man cueca” Oscar Salas, Dogitía’s publisher asked us to re-do that 12 page story.
Script: Gonzalo Oyanedel
Art: Rodrigo Campos Ponce
Editor: Oscar Salas
Here you can find a Step by Step of one of the pages
Here you can see a gallery of the art.
The other day, Tom Simmons, The Monster Men writer and great and supporting friend, told me that Jim Sullos from ERB Inc (Remember, owner of the Edgar Rice Burrough trademark and creative development) was doing it again. He has just sent me a copy of what I told you last week. I truly believe that these kind of gestures, sending copies and material of your work to you, the inker, a part of team is something that endures our bond and makes me feel as important as everyone else’s at ERB Inc. I think that editors with that vision are something that we creators must value. Thanks Jim, Tom and ERB Inc!
So, Roy Thomas’s Alter Ego #129 have just finally arrived and it’s way more impressive than I was hoping for. I grew up reading Roy Thomas’s Avengers, Rick Leonardi’s Cloak and Dagger and Uncanny X-men run and sharing these privilege with them is way beyond my expectations in this, my second year as an inker. I really enjoy seeing my material printed with such professionalism, care and love. I really thank you for this opportunity.
You can buy the digital download copy here and remember, if you are interested in the webcomic, you can visit Edgar Rice Burrough’s official page and subscribe for $1.99/Month or $21.99/ year. You’ll get lots of ERB comics featuring great artists as Thomas himself, Rick Leonardi among other for this bargain.
Remember TMM creative team:
Writer: Tom Simmons,
Penciler: Erik Roman,
Inker: Cristian Docolomansky,
Colorist & Letterer: L Jamal Walton.
Last Thursday Nov 27th I was invited by a close friend, writer and comic promoter Felipe Benavides to help him give masterclass about drawing using Autodesk Sketchbook on Ipad2 for kids 8 to 14 year old in a school meeting. The main goal of that meeting that gathered kids from all around Chile was to create interaction with all kids of technology, creative new skills and develop newer interests than the obvious ones you can find on every school. The event, whose name was Exponauta is sponsored by the Enlaces program, (in english: link), which is the chilean office for development of new technologies, created by Chile’s Ministry of Education.
Cómic digital (Felipe Benavides y Cristian Docolomansky)
El taller permite diseñar personajes de narrativa gráfica (cómic) en un dispositivo tablet, en el marco de los gustos, intereses y preferencias de cada estudiante.
Público objetivo: Estudiantes de 6° básico a 4° medio. Cupos: 20 por turno.
Horario: 9.30 – 10.15 / 10.45 – 11-30 / 12.00 – 12.45
We had only 45 minutes for each class and we spoke about character development and Sketchbook drawing. We were scheduled to have 3 masterclass for 20 kids each class. After the first one we realized that kids were very interested in drawing and interacting with this free software so we managed to make 5 masterclass.
In my humble opinion, I gave my everything in those classes, I tried to be as clear and motivate each and everyone into drawing as an useful tool to explain all kind of ideas when words are difficult to use, so I invited them not to stop drawing ever, because being able to tell things with drawings would help them whatever career might them choose in their life.
For the class I created a character using Autodesk Sketchbook for tablets, I named him as “the Armenian”, a low- tech spy in a post apocalyptic world. I teach the kids about proportion, detail and specifics, character background and whatever I could manage to tell them before they tried to make their own characters.
I am very thankful for the experience and I am available if they want to be in contact with me for any question regarding the masterclass.
Attached are some pics