Thursday, July 18, 2019

Comics as Performance Art: The Long Weekend in Alice Springs

This summer I'm working to share resources on the internet about comics, comics theory, and comics creation.  There is so much out there from which I can learn!

Today I'm sharing perhaps one of my favorite creations, the video version of The Long Weekend in Alice Springs, by Joshua Santospirito and Craig San Roque, based on the graphic novel of the same name, which was itself based on an academic paper.

This has inspired me to think, off and on, for years about doing a project like this about Holland, Michigan. 

Tuesday, July 16, 2019

Comics as Performance Art: Toormina Video

This summer I'm going to be linking to other terrific resources on the internet about comics, comics creation, and comics theory.  Though is so much out there that is inspirational and educational.

This week I'll be posting links to two of my favorite videos made from comics.

It's interesting to thing about comics as performance art.

First is Toormina Video, a story about the author's father.


Thursday, July 11, 2019

Diary Comic: Working on the Many Me's in Memoir

I did a diary comic to help me figure out why I occasionally get confused while organizing and drafting my memoir.
Now I get it. 

Tuesday, July 9, 2019

Diary Comic on Comics

For fun. 
I love blowing “doubters’ “ minds with info on how cool comics is as a medium. 
The ideas are from Hilary Chute.
BAM indeed. 

Thursday, July 4, 2019

My Graphic Essay Response to a Graphic Essay by Sarah Glidden

My "Homework" on Glidden’s Essay

Having read a wonderful, thought-provoking graphic essay which Sarah Glidden wrote for HyperAllergic on Hilma af Klint, I decided to learn from her by doing a little essay of my own, mimicking her style.
I encourage you to read her essay first, so you'll see what I am responding to.
I had fun...

Tuesday, July 2, 2019

Analysis of the Depiction of Memory in Batman Hush, Part Two

This is a continuation of my analysis of how memory is visually depicted in Batman Hush.  Click here to read part one.
The next example uses the present blending into memory that we saw in the Alfred page above, but introduces the extremely complex notion of memory fragmenting.  We are now, however, prepared to read it smoothly.

The green jade pendant is something the characters are encountering in the now.  But it is triggering Bruce's memory, and so we see it in color, but depicted in the looser watercolor style, as it pulls us into the monochromatic blue world of childhood. 
In addition, this page doesn't use panels in the same way as we've seen them in other memories.  In this case, it sticks with the standard nine-panel grid, even as image spill across gutter, and interlace with "snapshots" of objects in the room.  The speech balloons in the first tier help us understand how to read these as blended across the gutters.
This composition from fragments mimics the fragmentation of traumatic memory, thus preparing us for the most complex depiction of memory yet, which occurs on the very next page.

On the next page, Bruce Wayne observes Harley Quinn steal a pendant from one of his friends, a pendant that belonged to the friend's deceased mother.  And he remembers the death of his own mother.  Simple enough in words.  But the visuals rock such complexity!
I note how the nine-panel grid keeps the fragmentation introduced on the previous page, but in a much more visually complex way.   The watercolor, blue memories, are snaphots, fragments, from Bruce's memory of the murder and robbery of his mother.   Each of these gets only one short wordless panel.  Traumatic memory is preverbal, so this makes a lot of sense!  The white balls on the ends of Harley Quinn's hat meld visually into the pearls stolen from Bruce's mother (especially across the first two panels of the second tier, thus helping us understand some of the visual triggering Bruce is experiencing.  Even her speech balloons in the third panel of the second tier continue that visual string of pearls.  And then the bottom tier allows us to sink with Bruce into the full trauma, the first moment of his aloneness, the murderer gone, only the child left present with the bodies of his parents.  And the color scheme shifts to red for the first time.  Clearly, at this point it does not signal Metropolis (as we know this murder took place in Gotham) but overwhelming rage/trauma.
One final thought:  the red occurs in the memory, but not in the now of the story, because the gutters remain black.  This changes later in the book.

In a later episode, in an encounter with the Joker, Batman begins to remember all of the horror and trauma that the Joker has brought to his city and to individuals whom he (Batman) has loved.  And as he remembers, he becomes more and more enraged.  
At this point, the background color of the now of the story turns from black to red, and we see that red framing the memory sequences.  The memories themselves are pleasant and so remain in the familiar loose watercolor style framed in black.

However, as we see on a later page, when Batman's memories become horrific, they become awash in red, as with the murder memory.  These have no white in them.  
And I also see a red gutter appear, reminding us of the rage Batman hides from Oracle in the now of the story.

One last thing.  There is one (and I think only one) point in the story where Batman envisions a future scene which he fears.  It is depicted in a style and color that does not appear on any other page in the 300+ page book. 
Mostly hatched, with a little wash, it has a line quality and color reminiscent to me of a ballpoint pen.  Unlike the looseness of the watercolor used to depict memory, this uses a looseness that is like a "sketch," something that is in the making, but not come to fruition yet.  Perfect visual match, I thought, for a speculation about the future.
These sorts of interesting things happen over and over in the book.  It really was a great study for me in handling and cueing time and emotion... on top of being a fun Batman story!

Thursday, June 27, 2019

Analysis of the Depiction of Memory in Batman Hush, Part One

As I work on my graphic memoir, I am always thinking about (and confounded by) ways to visually depict how memory works, weaving around in time, triggered by specific things in the now, and how one memory can trigger another.
Recently I read the Batman graphic novel Hush by Loeb, Lee, and Williamson, and I was intrigued by how they managed memory.  So I wrote it up to make notes for myself, then thought I'd share them here in case they are of interest to others!  These are only my impressions from reading the book... apologies to those who know more than I do about these artists, their work, and the post-millenial Batman world than I do!
In this first page example, I see the standard page appearance.  Black background and gutters, detailed ink, multiple colors.  Whenever we are in Gotham City, as we are here, things tend toward the blue overall.  Bruce/Batman's narration is in the blue shaded boxes.
So we have read some 50 or so pages that look like this in the clear cut now of the story.

Then the comic starts to train us how to read its greater complexity, as Tom Hart, one of my great teachers, likes to say!  On the page immediately following the above, we find ourselves in one of Bruce's memories.  The time jump is triggered by a comment made by the doctor on the bottom of the above page, and our understanding is helped by the physicality of the page turn, and the completely different visual style,
The monochromatic coloring and the loose watercolor style not only trigger a difference in time, but also mimic the vagueness of memory, which is generally less precise in our minds than the now of our lives.  The memory goes on for several pages before, on a page turn, returning to the more full-colored and detailed depictions of the now. 
We see several such memory sequences, always on a page turn, and always filling several full pages, before the comic takes its next jump in depicting the complexity of time.

In this next image, I see the jump in complexity, again, the page training us how to read it.  Rather than the page turn helping to mark the time jump, the authors rely just on the style shift.  
I like how the character and position of Alfred helps to root us in place.  I also note how this memory, unlike the earlier ones, has a white gutter, but I am not sure what it is signalling.  
Anyhow, now that we readers are trained to read time/memory jumps without the aid of a page turn, or even a full page of memory, the book can do more complex things.

The next example shows how the book expects us to read location changes and time jumps not just from the now of the story to the past, but from one point in the past to another.
So, the first two tiers above are in the now of the story, with a location change to Metropolis.  Unlike Gotham City which is always depicted in blue tones, Metropolis (home of Superman) is depicted in red tones.
In the third tier we jump in memory to something that happened just the previous evening in the story, in Gotham.  We know where we are in time because we just saw this exact image (with different narration) in a previous page.  It doesn't have the looseness of the other memory scenes because it is so recent.
Between the third and fourth tier, we jump from the memory of the previous evening to a memory from childhood.  The shift to the now familiar loose watercolor style triggers the time jump, and the shift in color scheme (along with the narrative cue) signals that this memory is not from Gotham, but from a childhood visit to Metropolis.
So we are now, in the space of one page and four panels, jumping between two places and three points in time!  HOW COOL IS THAT??
Stay tuned for the next post to read the rest of my analysis.

Tuesday, June 25, 2019

Workspace Photo

Workspace photo. 

I see that my birdfeeder is crooked!  Gotta do something about that...

I do actually have a studio space, but it is such a mess from my moving out of my college office post-retirement because I haven’t had the gumption to do a big and put-away, that I am working here. July. July is “clean up the studio” month.

Thursday, June 20, 2019

Sharing: An Graphic Essay about Kafka and Comedy (?!)

This summer I am trying to share more of the terrific things I find on the internet related to comics, creating comics, and comics theory.  There is so much out there to learn from!

Today I'm sharing a graphic essay about Kafka, built around some collage, and referencing Winsor McKay comics and Charlie Chaplin!  It is by Peter Kuper and appeared in the New York Times.

This sort of essay is an inspiration to me of what I might do when I am done with my book. Or maybe along the way. 

Tuesday, June 18, 2019

Sharing: An Article About An Artist's Paintings of D-Day

This summer I am trying to share more of the amazing material I find on the internet related to comics, comics techniques, and comics theory.  There is so much out there to learn from!

Today I share this article by Dave Philipps, which appeared in the New York Times, about artist and D-Day survivor Guy de Montlaur.  It is also about his art, trauma, and expression.

"One June Early Morning"  source:  the NYT article linked above

This is not exactly about comics, but it is another interesting example of an artist who experienced war, could not speak about it, but could paint it.   I continue to find work about the pre-verbal nature of trauma and the verbal/visual nature of people's ability to express the "unspeakable," just fascinating.

Also, this article mentions a John Huston documentary I never knew about. 

Thursday, June 13, 2019

Sharing an Article on Queer Theory and Comics

This summer I'm going to try to do more sharing of interesting things I find on the internet about comics, comics techniques, and comics theory.  There is so much out there to learn from!

Today I want to share an article called  "Queer Encounters" by Joseph Ronan and Paul Fisher Davies, which appeared in the online journal Sequentials, V1, #2.

The content itself is interesting, using queer theory to think about comics as a medium, about the dynamics of dialogue, the “duality” of word/image, resistance, what it means to be “immature.”

I really enjoy thinking about how the binary of words/images (which seems a more marked distinction in the US than in many cultures, at least in our history of comics) can be thought about through the traditional binary of gender identity.  It is always interesting to me that one of the main influences that shut down the development of comics as a mainstream form of literature in the US (in the mid-twentieth century), was the Frederic Wertham book Seduction of the Innocent (along with his subsequent testimony before Congress).  Comics were really seen as something that turned readers (mostly boys) into delinquents of all types, notably sexually.  This led to the Comics Code Authority rules, which so gutted storytelling that comics in the US, though remarkable in their ingenuity in getting around the CCA, simply didn't have the freedom to develop as a literature in the way it did in other nations.  So the "fixity of social forms" talking about in this graphic essay, really seemed to negatively impact this medium which was, itself, working against such fixity. 

I thought the comic structure was interesting as well. I enjoyed watching it try to do what it was talking, yet remain readable. It also looks to me like it was done on an iPad... so I enjoy learning from that as well.

Would love to hear what others think of it.

Tuesday, June 11, 2019

Memoir: How to Visually Depict Terror

As I continue work on my graphic memoir (trigger warning:  it includes a scene in which I find a dead body), I'm thinking about how I can use different visual styles, maybe even different art tools, to depict the disintegration of my normal mental state into terror as I realized I was in a life-threatening situation.
That got me thinking about how much I've learned about how trauma is processed preverbally and wondering if I could recreate the finding of the dead body scene with no words at all. 
Anyhow, I had out the pens and paints, so I decided to draw it all again (for what, the 200th time??).  I did not relook at anything I've drawn before, but of course, I remember much of what I've already drawn.  So some of these images might look familiar if you've read this blog much before.

Anyhow this was just for fun, messing around to see what I could learn by doing it.  There's nothing better than playing with art supplies and seeing what other parts of your brain they might open up!

Thursday, June 6, 2019

Sharing this Article with Comics Watercolor Artist Jared Cullem

This summer I'm going to try to do more sharing of interesting things I find on the internet about comics, comics techniques, and comics theory.  There is so much out there to learn from!

Today, I'll share an interesting article about comics creator and watercolor artist Jared Cullem which I found on the website la petite palette.

I love how he talks about discovering watercolor as a medium for his art after having no interest in it at all:

If you told me it would become my obsession and passion I would have laughed. It gave me the advantage of working mostly on drawing and value before shifting into painting. I ran across French comics that were watercolored and it changed my life forever. I got my first little cotman box and have painted daily, unable to stop since. 

I love the way the details blur as this character slips more into his internal world.

Check the article out here.

Tuesday, June 4, 2019

In Honor of Pride, My 2018 Pride Comic

 Last year I posted about how I sketched for hours during my local pride event, then turned those sketches into a commemorative comic.  It was distributed through our local LGBTQ resource center throughout the year.

I won't be home for Pride this year, so I thought I'd post this PDF of last year's comic as my part of the celebration.

Thursday, May 30, 2019

Sketchnote of a Talk by the Rt. Rev. Katharine Jefferts Schori

I feel so lucky to have been able to attend this talk and Q and Q session with the former Presiding Bishop of the Episcopal Church. A true change agent for the world. The first and still the only woman in the worldwide Anglican Communion to serve in such a role.

Tuesday, May 28, 2019

Comics Help Survivors Pull Together Fragmented Stories

In April and May of 2019,  I had the wonderful experience of delivering a two-part workshop on visual literacy and comics for the Traumatic Brain Injury Support Group of Holland Hospital in Holland, Michigan. 

Though everyone in the group is living with the results of a brain injury, we found that we were able to share and laugh about many common experiences and insights as we learned about visual literacy and simple storytelling in panels.

The first part of our work together looked at simple shapes and how placing them inside of panels in different arrangements communicated different ideas. We also looked at simple ways of depicting humans and faces.

In our second session, we looked at a basic six-panel story structure. Participants had time to share a story from their lives that they wanted others to know about. Drawing ability didn't matter... we used simple shapes if we wanted.

In a short twenty minutes, everyone generated a story idea, questions about how they could go forward with this practice, and ideas for how to draw complex things. Several folks shared their completed story, which ranged from depicting the events around their brain injuries to difficulties they experienced with friends new and old.

Thursday, May 23, 2019

A Comic to Help College Writers

A few years ago I produced this mini-comic to help college students write better papers.

I did it because I had not found a student in years who had read the nearly twenty page-long, single-spaced document the college provided to help them write better.

I thought maybe a comic, which distilled the important points and was maybe a little fun, would help more students.

Anyhow, this comic was quickly adopted by both the college's writing center and the advising staff, and is still in use today.

Tuesday, May 21, 2019

A Comic About Cartoon School

In late 2017, I did a comic about my trip to and studies at The Center for Cartoon Studies for the blog of the English Department at the college where I worked (now retired!)  You'll see it ends with a little plug for a course I was preparing to teach.

I've searched, and it seems I did not put it up on this blog at the time!  And, as it was one of my first comics made entirely on the iPad, an early diary comic, and it commemorates an event I enjoyed very much, I'm doing a little throwback Tuesday and including it here!

I went back to CCS for a graphic novels class in 2018, and am looking forward to taking a course in the graphic memoir later this year!

What if All Our Stories Disappeared?

I ran across this fascinating article in Lit Hub, by Alexis Wright...
"Stories have a problem. Writers are not keeping up with what is happening in the world to help us understand what in hell is going on, but one of the major threats for writers and thinkers whose ideas and work disregard the barriers is censorship of the truth."
Paula Schmidt, from

"While thinking about this huge subject of silencing, the muting of voices, and bullying tactics used to oppress, humiliate, manipulate, create fear and exclude, I thought about how to tell this story about censorship in another way—by visualizing an extreme situation where the world was stopped from telling stories. "

Thursday, May 16, 2019

Recently I was able to create the visual script for the remaining 16 or so pages of the fifth chapter of my in-progress graphic memoir.  Thought I'd share a few images.
In this first one you can see the underlying grid I use on all my pages.  It has two layers.  One is the six-panel grid which is the basic design spine for my book.  Of course, I do not follow it on every page, but it is the rhythm that underlies it all.  The other layer you are seeing is grid that breaks the page up into 12 even sections horizontally and vertically, with gutters.  This helps me to divide the pages away from the six-panel grid in an even way (I can easily find halves, quarters, thirds, sixths...).  And it helps guide me in drawing straight lines.
Anyhow, you see me roughly placing the words, which have already been written and edited a bit in a Scrivener document which is words only.   Anything could change at this point, but what I'm aiming for is a sort of movement from the upper left down toward the right.
Next is a different page, but one step further along in the process.  I have drawn in what I think are likely to be the panels. In my book, the narrator's vioce is external to and above the panels (totally cribbed that from Fun Home).

This next one (also a different page) is almost done but not quite.   That middle block of words is being said by a friend to me in the past (roughly 2003 or so), and though she is pictured on the page, she is pictured in 1996, so I don't quite know how to "balloon" that dialogue, or where to point it.  She is depicted in 2003 on the previous page, so maybe it will read clearly, or maybe I can point a tail in that general direction but I'm not sure yet.  I will have to look at the spread to see.
Plus, this is the sort of page that makes my head spin with nerves and my heart jump with joy.  The images in the first and second and start of third tiers are from 1996.  The dialogue is from roughly 2003), and the very last panel is from 2005 or so.    THIS is why comics is, I think, such a miraculous form for memoir!!!!!  You can't do time like that in purely prose (of course, I'm not sure I can coherently do it in comics, but I think it can be done...)
I also like the verbal and visual rhythm of "no" on this page's draft.  :-)

And there you have it... a glimpse into my drafting process.  NONE of this is final art, of course.  I'm just getting the story together and practicing various visual styles as I go.

Tuesday, May 14, 2019

"Eliza" by Tommi Parrish

I love the look of Tommi Parrish's work.

When you read the whole thing, watch the lawn mower.  What goes on outside this room... why is it included?  So much here!

I hope you'll enjoy "Eliza" which appeared in The Believer as much as I did.  So much to study!

Thursday, May 9, 2019

New MFA Preparing Author-Artists of Graphic Novels and More

An MFA program worth learning more about if you are interested in studying this sort of thing.

The website says: "This is a two-year residential program, launching in fall 2019. Graduates of the program will be prepared to work as author-artists of graphic novels and picture books, professors of illustration, critical writers on popular culture, and curatorial staff in museums, libraries, and auction houses."

Just thought I'd pass it along in case anyone was interested, as it sounds REALLY cool.

Tuesday, May 7, 2019

Another Example of iPad sketching from TV

In my last post I talked about how I'm taking photos of actors in motion and tracing them to learn more about head and face composition.

Plus, because I am doing it on my iPad in Procreate, I'm learning more about the tools there as well.

Here is another example, worked from an episode of Brokenwood.

This is a really fun process for messing around and helping me get a feel in my drawing hand for the distances and shapes of things.

Plus, it makes me feel like my TV watching time isn't a "waste" of time. 

Thursday, May 2, 2019

Sketching from TV to Practice Heads

I know that I have learned the most about drawing by practicing with live subjects out in public.  You have to be quick, you can't fuss, you observe and make a drawing and move on.  Hours and hundreds of sketches have helped boost my confidence and my skill.

But I still really suck at drawing heads and faces.

And I'm not even aspiring to make a head or face look like an actual someone.  I'm just trying to get basic proportions right inside of my own comic style.

I also know that tracing some of the comics artists I most admire has helped me learn new and exciting ways to draw things.

So I decided that tracing photos of heads/faces in action might help me.

I do this while watching TV, just to make it a bit more fun (and to get more value out of my TV-watching time).

I take a picture on my iPad of a favorite actor.

I load that photo into Procreate on a layer and then drop the opacity so it is barely visible.

Then, on a new layer, using whatever tool seems fun, I sketch the head, tracing the contours of the photo.

Then I play with shading to try to understand volume better.

Here are some examples from Wire in the Blood.

This is all just for practice, of course.  But I do find myself having aha! moments about shadows and structures, things I've read about and tried, but could never quite make work.

Tuesday, April 30, 2019

Current Workspace

I'm hard at work on the second complete draft of my graphic memoir.  So I thought I'd share a little about my work process for this stage of the practice.

The first full draft of the project exists on notecards.  I used a drafting technique I learned at The Center for Cartoon Studies during the wonderful graphic novel workshop taught in the summers by Paul Karasik.  Basically each index card is a thumbnail of a page.  It includes brief, very rough layout sketches, and a list at the bottom of what each tier of comics on that page will convey.  It is a fast and complete way to work through the story without committing too much time to script or art that might just get tossed.  I completed a 320 page rough draft version in about six weeks.

This second full draft is much slower (I've been working since the first of November, I have about 200 pages sketched in six months), but still rough and faster than a final version would be.  I am spending more time working out sketches.  And I am writing the script.

To keep things moving quickly, I am doing it all digitally.  And since I'm most comfortable and experienced as a writer, I am creating my script in my trusty tool, Scrivener, on my computer, while creating the page drafts on my ipad in Procreate.

As each page is drafted, I print it out, and put it in a giant binder, which I then use for continuity reference as I go.  Plus, it's just cool to see your project growing!

When I finish, I will have a script draft that matches the rough draft of the comic.  And then I'll see what seems like the best way for me to move along to the next draft. 

I know that the way I write involves many drafts of things, and I already have a long list of changes I will need to make in draft three.

I keep noticing how similar the process is to when I wrote my mystery novels.  And, of course, how different the process is, since I'm working in a completely different medium.

Thursday, April 18, 2019

On Four Panel Square Comics

Recently read this interesting article on four panel (square) comics and why they are sort of exploding as a format, particularly on the web.

This is the format I want to use for my much-fantasized about (by me) comic "Everything I Needed to Know I Learned from Batman '66."

Tuesday, April 9, 2019

A New Writing Resource and Upcoming Online Series on Memoir

I just discovered this new online writing resource:

I've only begun to look around, but what I'm finding looks like smart, usable stuff, delivered in nicely-sized chunks for maximum usage by busy writers!

Check it out here.

And if you are interested, as I am, in memoir writing, they are doing a free, online "memoir summit" starting April 11 and running for a week.  Each day features an interview with a different memoirist.

You can find out more and sign up here.

Tuesday, April 2, 2019

Webcomic and Video Immersion Project

Such fascinating work people are doing in comics!

Here is a web comic and 360 video experience about a child's life in the Central African Republic.

You'll also find a link to a documentary video on the making of this work.

Tuesday, March 12, 2019

Thursday, March 7, 2019

Sketching a Bobblehead Batman

I have a Bobblehead Batman on my desk, right near my computer screen.  I really can't do anything on my computer without looking at him.

He reminds me to be fierce, undaunted, and work for justice, no matter what "the authorities" think. 

He looks better than this!  My proportions got a little off.

Still it was fun for me to work on the shadow shapes, something I don't think about often enough, and which really do help make a sketch come alive!

Tuesday, March 5, 2019

Sketching a Carving of St. Francis

One thing that Jill Badonsky draws inspiration from, she told us at Sketchkon, is sculpture. 

I love a carving we have of St. Francis.   Here I took some liberties to bring him to life.

What carvings or sculptures do you have in your home or workplace or town that you might use as inspirations for drawings?

Thursday, February 28, 2019

Sketchkon Sketches #16 The Los Angeles Zoo Part Six


They were asleep in full view and no one was around.

These were my last sketches of a fantastic sketchcrawl!

Tuesday, February 26, 2019

Sketchkon Sketches #15 The Los Angeles Zoo Part Five


I struggled drawing these.  I tended to make them look too human.

The Roz Stendahl, our guide for our sketchcrawl, advised to study the shadow shapes, especially on the face.  That would help us see the real animal in front of us, and not fill in with human features.

This helped!  You can see the progress, I think.

Thursday, February 21, 2019

SketchKon Sketches #14 The Los Angeles Zoo Part Four

The African Wild Dog.

I had the great pleasure of seeing a pack of these on a safari in South Africa in May of 2018.  The guides there told us such a sighting was quite rare.

There coloration reminds me of my own Dutch Shepherds.  Stripes and blotches designed to help them disappear in the shadows...

Wednesday, February 20, 2019

Affinity Publisher: A Quality Alternative to Adobe InDesign?

Many of you have heard of and used Affinity Photo and Affinity Designer, programs which are pretty widely reviewed to be every bit as good and in some cases better than their counterparts, Adobe Photoshop and Adobe Illustrator.  Because of the price differences and because Affinity's products include full-featured iPad versions, many people have switched.

Affinity products each cost about $50 for the computer version and $20 for the iPad version. One-time purchase.  Updates free. 

But there has been no alternative to InDesign... which has kept many people who wanted options stuck in the Adobe creative cloud.

BUT Affinity released their FREE Beta version of Affinity Publisher a few months ago, and I just found out about it.  HOORAY!!   I hope to download it soon and start to poke around.  I've been panicking about the cost of an Adobe subscription... so this option excites me!

All the reviews I've read so far praise this Beta as a robust competitor, though clearly in early stages of design.  It does some things InDesign doesn't do that people like, and it lacks some features people miss.

If you need more in the creative cloud than Photoshop, Illustrator, and InDesign, and of course if you've worked in them forever and are perfectly happy, paying that subscription price could be for you.  But if you are a newb or looking for an alternative, then buying these programs is surely more cost effective.  Even if you purchase all three for both computer and iPad, the total cost (without coupon or sales) is $210 (assuming that Affinity Publisher is priced like Affinity's other programs)...and since Adobe is $53 a month, well, you can see you even out in about four months.

Anyhow, I won't stick in a bunch of links, as you can Google for yourselves and check out reviews or demos or tutorials or whatever as you like.  Tons of things exist on youtube.  I am fond of the tutorials/reviews done by Brad Colbow.  And Affinity itself has lots of vids.

Mostly I just wanted to share!

I'd be really curious to see what others think if you check this out.

Thursday, February 14, 2019

Real Life on Valentine's Day

A little sketch I did around Valentine's Day last year.  The hilarious card, the water bottle, the coffee pods, the sticky notes, the family photo, the dog brush, the cleaning solution for puppy accidents...

real life.

Tuesday, February 12, 2019

Sketchkon Sketches #12 The Los Angeles Zoo Part Two

I spent a lot of time observing the double-wattled cassaway.

This is a bird I have never seen before.  Roz pointed it out as something she had seen as a child, but not since.

It was so strangely put together--a real treat to try to draw!!  Also, frustrating!  Because my brain didn't know what to make of it!