We’re very excited to announce that the Broken Frontier Anthology is now on Kickstarter! This bold new hardcover is a collection of 27 creator-owned stories about pushing beyond our limits and exploring the great unknown. You can see the great talent involved from the image above. Please go take a look at the campaign and share it with everyone you know!
Punkrock* Jazz is off at the printers and the files have been approved for production. We still need to be a little patient with the international shipment, but we’re ready to start taking pre-orders! The advantage of pre-ordering is that Toby will sign and sketch copies in the order that they are received. We anticipate beginning to ship them out in early May.
Pre-orders should all go out before Heroes Con on June 19-21, but for anyone going to that show, you may want to wait to get a copy of PUNKROCK* JAZZ directly from the man himself as Toby will be in attendance. Either way, you’ll soon have a copy of this fantastic new art book in your hands so you can spend countless hours pouring over Toby’s breath-taking work!
Feel free to use the contact form if you have any questions.
A Wave Blue World is pleased to announce our partnership with artist Toby Cypress in publishing his upcoming art book, Punkrock* Jazz.
Toby is one of the most stylish and dynamic artist in the industry today and any collected edition of his work needs to live up to the same standards set by his work. That’s why we’re committed to producing a high-quality art book the represents the perfect way for fans to both view and display Toby’s beautifully composed pieces. Part portfolio collection and part sketchbook, Punkrock* Jazz will contain 25 of Toby’s best illustrations which can be left in place or easily removed and framed. This full-color, 80 page book will also feature additional sections containing preliminary sketches, previously unseen images and interviews with Toby.
Preorders for Punkrock* Jazz will be available in November and will come with inked sketches by Toby. The books will ship out in early 2015.
Another school year comes to a close at the world famous Kubert School and that means another round of scholarships awarded to the top students in each class. We here at A Wave Blue World are proud to play a small part in encouraging the future generation of artists by offering scholarship awards to two first year students continuing on to second year.
This year’s recipients didn’t disappoint. Christopher Puglise and Minkyu Jung are incredibly skilled artists who have both show quite a lot of promise. Take a look at this colored poster design by Chris and a full page Silver Surfer splash by Minkyu.
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And you can see more of Chris’s work on his Deviant Art account.
And Minkyu has a Deviant Art page as well.
Last year’s AWBW winners, Allen Watson & Ayşegül Sınav, continued on the tradition by taking home scholarship awards for third year as well. Allen won the Dave Monahan Memorial Scholarship and Ayşegül won the Dave Simons Memorial Scholarship. Here’s a Wolverine page from Allen and a Batgirl page from Ayşegül. I remember the Wolverine assignment from my days at The Kubert school. Mine wasn’t quite this good.
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You can follow Allen on Instagram.
What about the students who have just completed the Kubert School education? Well Ernesto Sin is already drawing a rad paintball comic called Bunkered. You can order it here:
Travis Bannister is working on a children’s book and some creator-owned work. He does some great sketch covers and commissions. Here’s a Batwoman commission he did, and take a look at his online portfolio.
Max Fuchs is currently working on a couple of very exciting projects! He’s collaborating with a few other Kubert grads to do the art for Chuck Dixon’s new graphic novel, 7 Deadly Sinners. He’s also inking Hell Yeah! for Image Comics. Here’s a sample page from 7 Deadly Sinners. And you can follow him on Tumblr.
I can’t wait to see more from these talented artists as they continue to progress. And we’ll look forward to next year when we’ll welcome two more into the fold.
Emerald City Comic Con is coming up fast. Our booth is in the usual area just across the sky bridge, but we’ve moved over slightly to be up against the wall. As you can see from the map, this should make for easy viewing coming in from across the sky bridge.
We’re still working away at all our new projects, so we won’t have any new published work, but we’ll have some preview artwork available to flip through from the upcoming Loved & Lost anthology as well as the Safe comic/movie project.
Safe is a project written by Justin Zimmerman as both a film script and a comic script. The film and comic will be released in tandem later this year. The comic features art by Russell Brown, Matt Grigsby and Tadd Galusha. Matt will be at his own table in artist alley, and Tadd will be at our booth on Saturday. Check out Tadd’s amazing cover to Safe:
We’ll also have some signed and sketched copies of Julia Krase’s minicomic, In the Reedy River. Julia provided painted artwork for one of the Loved & Lost stories. We’ll have some of that artwork to show as well.
See you there.
For the sake of this blog post and for everyone’s sanity, I’m going to refrain from making any more jokes about how our guest on the latest episode of The Hyphen-Tanner Comics Podcast also has “Tanner” for a last name. Instead, I’ll stay focused on the reason we invited Jamie onto the show, which is that he’s a Project Specialist for Kickstarter and Ryan and I really wanted to get an inside perspective on how things work and the best way to launch a campaign.
The interview was a lot of fun and most importantly, very insightful. I want to thank Jamie for taking the time out of his busy day to be a guest on our podcast. Everyone should go listen to the episode, but I’ve also written this blog post for the sake of having some of the more useful information in print.
One of the reasons Jamie Tanner was an excellent candidate to become a project specialist at Kickstarter was that he ran one of the very first successful campaigns on it for a graphic novel. In fact, it was through Jamie’s campaign that I first heard about Kickstarter way back in 2009.
Jamie had already published a graphic novel, The Aviary (Eisner nominated), in 2008. He was looking to use this new crowd-funding platform to support the creation of his next project. His campaign was successful and was able to create the graphic novel, The Black Well. And it was through this experience that Jamie began speaking about Kickstarter on panels at conventions and this would lead to his job as project coordinator at the company.
So what advice does Jamie have for creators hoping to run their own successful campaign? He said the most important thing for them to remember is to be as clear as possible. Make sure potential backers understand what it is you want to create, where exactly the money will go, and to be as specific as possible about what backers will get in return for their pledge.
Also, the more a creator can show of the project, the better. And if there isn’t much to show yet, compensate for that by showing past work of the creators involved, such as samples of their artwork or works that’ve already been published.
It was at this point that Ryan asked Jamie if he thought it hindered the chance of success if a creator was asking for money to support their living expenses while finishing the project rather than for specific costs such as paying for a print run. Jamie felt that it could work either way as long as the creator made this clear and based the rewards around it.
As an example, Jamie’s own campaign was for a future graphic novel, which didn’t even have a name for yet. But the rewards centered around getting a copy of The Aviary as well as offering art commissions and prints. This allowed him to deliver many of the rewards before having to finish the project.
One final issue I brought up was my displeasure in going to a project page where I would normally support the project, but just couldn’t find a reward that offered me any value. I don’t mind putting some money down in advance to help a creator, but I don’t see any reason to pay a premium. What I’m talking about here is when a pdf is $20 and the printed (regular sized) book is $50, and so on. By contrast, my favorite projects are those that initially hook me in with great value and each subsequent reward seems to be an even greater bargain. Before I know it, I’ve pledged for the book, the t-shirt, the print and my name in that back of the book, all for one great price.
Jamie concluded the interview by saying that he thought the future of Kickstarter would be determined by how creators continued to use it. There’s still so much potential for different types of projects and unique forms of rewards. Kickstarter has already had such a monumental impact on the comic & graphic novel industry, there’s no reason for us to slow down now.
Jamie’s also provided us with some additional resources:
Here’s a link to some recommended Comics Projects.
Here’s Jamie’s profile on Kickstarter so you can see what projects he’s backed.
And lastly, a link to Kickstarter School, which has some very useful tips.
I really hadn’t been planning on going to Wizard World Portland at all this year. I didn’t go last year (the first year it was held here in Portland) mostly because it was so close to Emerald City Comic Con. And even though Wizard World was a little earlier this year and ECCC is a little later, there still wasn’t much compelling me to go.
Most of the artists there (if not all) were given free tables and I probably could have finagled my way into one, but the price of a convention is more than just table cost. Maybe I’m just getting old (alright, that’s not a “maybe”) but what I find most costly about a show these days is the amount of hours I have to spend under florescent lights being a salesman rather than at home with my family or working in my studio.
So what changed? Well, exhibiting was still out of the question, but I decided I could at least swing by on Friday, the first day of the show. A few of my creator friends were tempting me with the new comics they were putting together for the show. That, and I found out that kids under 10 were free with an adult, so I could take my daughter, Maddy. What a unique idea, attending a comic convention for the sake of fostering a new generation of comic fans!
Maddy was quite excited and even laid out her outfit the night before; a Batman shirt (not-Batgirl, mind you) and a ninja mask. She wore the Batman shirt to school on Friday but I wouldn’t let her wear the ninja mask until after I picked her up.
We managed to get into the show without much incident. It was pretty well organized with plenty of staff working the lines and the show floor. The first major “site” we came across with a Darth Vader in a kilt playing the bagpipes on a unicycle. That’s a Wizard World show for you.
After absorbing much the cacophony of sounds and cosplay that first hits you upon entering the show floor, we opened up our guide to look at the show floor map and track down the books we were after.
Our first stop was to get the new Bandette hardcover. I had been reading this series to Maddy on the iPad. It was put out digitally by Monkey Brain Comics on the ComiXology app, and now published in print by Dark Horse. The hardcover looks really nice and definitely worth buying even if you’ve downloaded the digital issues. Plus Maddy got to meet the creators, Paul Tobin and Colleen Coover.
Next, we went to visit Jonathan Hill. Jonathan was the artist on the amazing graphic novel, Americus (collaborating with writer M.K. Reed). He’s a new project in the works, The Littlest Littles. Maddy and I were excited to get our hands on the mini-comic previewing the story. It’s going to be a good one.
Then we swung by Shawn Aldridge and Christopher Peterson’s table to get the ashcan of there new series, Go Getters. Actually, this one was just for me, but I’ve been waiting quite a while for this. Both Shawn and Chris have been teasing artwork for this series online and it was about time I got to read some of it. It’ll be published by the aforementioned Monkey Brain Comics in February, but this Ashcan provided a perfect taste of what to expect. The story starts off with a bang and the sharp dialog and crisp linework leads you straight through to the cliffhanger ending. Dang it, now I have to wait until the next installment.
With our major tasks accomplished, we had some time to walk around, talk to a few more artist friends, see some of the sites. Maddy got a picture with R2-D2 and another droid. Then she found a toy that she really loved. It was a purple skeleton with painted designs on it, hand-painted by Ma’at Crook.
And that was it. We were done by 6:30 on Friday. On the way out, Maddy made the workers at Starbucks a little nervous when she ordered a hot chocolate with her ninja mask on, but I’m sure that’s not the craziest thing they saw this past weekend.
The best part of it was I got to spend the rest of the weekend as I had intended, spending time with the family and getting some work done. My plan is to have a mini-comic previewing my new project done in time for Wendy’s book launch at IPRC on March 14th. Then we have Emerald City coming up on March 28, and hopefully I’ll have a table at the new small press show in Portland, Linework NW, coming up in April.
Hope to see you guys there.
Our first major even of the new year is going to be a good one. A Wave Blue World co-founder, Wendy Chin-Tanner is having a book launch party for her poetry collection, TURN. The book isn’t actually being published by AWBW (we’ll stick to comics/graphic novels). Instead, it’ll be published by the very reputable Sibling Rivalry Press, who’ve put out some terrific works of both poetry and prose over the past few years.
We will however be hosting the release party at the Independent Publishing Resource Center (IPRC) in Portland, OR. It’ll be on March 14, 2012 starting at 7PM. Wendy will be reading a selection of poems from her book and there will be additional reading by other authors, including me (Tyler). I’ll actually be reading and presenting the artwork for a short story from a graphic collection that will be published later this year from AWBW.
And if that already wasn’t enough, we’re going to have food catered by Jennifer Bryman who has a cookbook coming out this year, wine from the local vineyard, Chateau Bogrumpus & music from the fantastic ragtime/swing band, Jacob Miller & the Bridge City Crooners.
Please join us, it’s going to be a blast!
On the latest episode of the Hyphen-Tanner Comics Podcast, Ryan and I were lucky enough to talk with Joe Keatinge, professional comics writer extaodinaire. Joe started in the business by working his way up through the Image offices, eventually co-editing the Popgun anthology before making the leap to freelance writing where he published his creator-owned project, Hell Yeah! with artist Andre Szymanowicz through Image. That lead to a writing gig on the relaunch of the Extreme titles where Joe penned the new Glory. It was his work on Glory that would open the doors from him to write for Marvel and DC.
Of course, I recommend listening to the podcast first and foremost, but because Joe had so much valuable information to share, I thought it would be a good idea to include a blog post as well. First, to recap Joe’s path as he “broke into the industry,” and then to let Joe, himself, go over one of his scripts for you and breakdown his process.
I. What came across to Ryan and I as we talked to Joe was not only did he have to play the long-game in order to reach this point in his career, but he never stopped hustling or looking for that next opportunity. He got his foot in the door at Image and did whatever they needed, including running convention booths for the likes of Eric Larsen and Robert Kirkman. Then when he was offered a chance to color flat some comics, he took it even though he wasn’t quite sure how it was done. He said “yes” when an opportunity presented itself and figured things out along the way.
This, of course, comes with the caveat that you still have to be good at what you’re doing (or at least reach that point fairly quickly once you start). As Joe said, someone can do all of what he just described and have it still not work out. If his Hell Yeah! script hadn’t been good, he wouldn’t have gotten the Glory gig, and if that hadn’t blown the Marvel editors out of the water, they wouldn’t have given him the job on Morbius. You still have to be at the craft, and part of that is understanding the job of comic script writing.
Alright, so on that note, let’s let Joe go over one of his scripts. To see the script he’s referring to, click here.
II. JOE KEATINE:
The attached script was my contribution to Riley Rossmo’s anthology, DÍA DE LOS MUERTOS entitled ‘Day Of the Dead 3000′. Beyond the surface level goal of telling stories connected into the themes of the Mexican Day of the Dead, the idea was to have Riley experiment with a number of styles. A lot of the stories — and they’re all quite good, including contributions from Peter Panzerfaust’s Kurtis J. Wiebe, Sheltered’s Ed Brisson, Ghosted’s Joshua Williamson, among many others — were either centered on crime or horror, usually with some really touching, somber moments. So, I decided to do a entirely over-the-top, somewhat drug-fueled look at the insanity of 1970s comics, specifically Jack Kirby’s 2001: A Space Odyssey and R. Crumb’s Zap Comix, while still telling a story with a larger theme and something of an emotional core. I thought it would be a great way to push Riley into doing something stylistically he hadn’t attempted before and I couldn’t be happier with the results. He absolutely killed it, as did colorist Megan Wilson.
A couple things on a technical level — it says “Draft 1.0”, but that’s a bit of a misnomer. What that actually means is it’s the first draft I think is suitable for human consumption. The truth is this is already quite a few drafts in. I also work a bit differently than most people, in that I do a lot of the rewriting very early on — in both an outline phase and as I’m writing. And then a bit more. And then I get to the level this script was at where I feel I can send it to someone else without having them think I’m insane. Then there are usually more changes. In most cases I usually rework up through a draft ‘2.0,’ but every single project is different.
The main point to stress is this — the way I work may be entirely different than what works for you and your collaborators. Unlike screenwriting, there is no set format. What’s important more than anything else is communication and in the end, whatever works for you — that’s what works.
visit his tumblr or
follow him on twitter.
See you next time.
For anyone in the pacific NW this weekend, we’ll be exhibiting at the Jet City Comic Show at the Tacoma Convention Center this Saturday, Nov 2. It’s a really good show that just made the move from Seattle to Tacoma for this year. There haven’t been a lot of shows in the Tacoma area, so hopefully it’ll bring in a new crowd that don’t always make it up to Seattle. We’ll be in Artist Alley at table C-08. See you there.