Wednesday, December 21, 2011
New blog
http://jonmacy.tumblr.com/
I've started a new blog on Tumblr for news, reviews and just random stuff. This will still be my sketchbook blog which will be all the more interesting very soon as I restart the Sebaceous Funk project.
Wednesday, November 23, 2011
Fan Boys Of The Universe
I've been lucky to have the FBOTU ask me to be presented in their Artist Spotlight. As a small independent artists it's really nice to get that kind of attention with cross over appeal. I've been really impressed with their choices in news and reviews as it's not all the the usual mainstream and I fine many new geeky things to love at the site. Check it out.
http://www.fanboysoftheuniverse.com/index.php/site/comments/fbotu_spotlight_a_fine_line/
Tuesday, November 22, 2011
Wolf Tat
Wednesday, October 19, 2011
Gallery day
We are having a final day for the Dirty Comics show. Come hang out with us and celebrate the most provocative and erotic comic book artists working today. Drop in say hi and see the show before it's gone. Saturday October 29th, 20-6pm. At the Center for Sex and Culture 1349 Mission St, San Francisco (Between 9th and 10th St)
Thank you to all my friends who came to the reception and all the events, you are sexy.
Saturday, October 8, 2011
Dirty comics artists
Last nights reception was a huge success. It was a great crowd of very interesting local characters and everyone was excited about the show. The CSC pulled out all the stops and laid out a great feast for us and many of the artists in the show were there to sign and sell books. I can't say how happy and proud I am of this show and the support I've had from the CSC, Marlene and especially the awesome Dorian.
Many people asked for a complete list of the artists;
Donna Barr,
Tony Breed,
Katie Bryant,
Megan Yamanaka,
Nickie C,
Jennifer Camper,
Rob Clarke,
John Coulthart,
Agnes Czaja,
Dame Darcy,
Dave "ddog" Davenport,
KD Diamond,
Dylan "NDR" Edwards,
Edie Fake,
Diego Gomez,
Roberta Gregory,
Michelle Gruben,
Justin Hall,
Pam Harrison,
Dorian Katz,
Nathan Kibler,
Molly Kiely,
Robert Kirby,
Steve Macisaac,
Jon Macy,
Michael Manning,
Mioki,
Mari Naomi,
Fred Noland,
Eric Orner,
Sina Evil,
Christine Smith,
Rosemary Van Deuren,
Werepuppy,
Rick Worley,
Sean-Z
Monday, October 3, 2011
Erotic comics art
Friday, September 23, 2011
Folsom St Fair
I'll be at the Folsom St fair this sunday. I did up some prints taken from my puppy play comic. Come down and check it out at my booth. E-1104
Friday, September 16, 2011
Upcoming Comic Book Events
Here is a list of where I will be appearing and selling books over the next few months.
Sunday September 25th The Folsom St Fair San Francisco
http://folsomstreetfair.org/art/
Saturday and Sunday October 1-2nd Northwest Press booth at the Alternative Press Expo, The Concourse, San Francisco
http://www.comic-con.org/ape/
Friday October 7th The Dirty Comics Show reception 6-9Pm 1349 Mission St San Francisco
http://www.sexandculture.org/
Thursday October 13th "Discussion on Yaoi" by Agnes Czaja and crew. 7Pm 1349 Mission St San Francisco
http://www.sexandculture.org/
Friday October 14th "When pictures speak louder than words," panel at Lit Quake, Z Space 450 Florida St
http://www.litquake.org/calendar-of-events/event/when-pictures-speak-louder-than-words
Tuesday October 18th "Kinky Wonder Woman" by Boston Blake. 7Pm 1349 Mission St San Francisco
http://www.sexandculture.org/
Wednesday, September 14, 2011
Dirty Comics
I've been asked to curate a "Dirty Comics" show at the Center for Sex and Culture here in San Francisco. It's got almost forty artists all contributing one page of sexy comics art in the month of October.
Wednesday, August 31, 2011
Sacred Grove of the Druids
I want more crop circles and more animals and growing things. I love those forests that are so over grown and dark that the light looks green.
Tuesday, August 30, 2011
Tree Walking
Byron passes throu
gh the wall of trees into the sacred grove. Not without a little groping by the gods.
gh the wall of trees into the sacred grove. Not without a little groping by the gods.
Saturday, August 27, 2011
Werewolf Mystic
Friday, August 26, 2011
Puppy Play
Doing some preliminary drawings for a possible gig for a fetish magazine. It would be like old times to be working for skin mags again.
Thursday, August 25, 2011
Monday, August 22, 2011
Wednesday, August 17, 2011
Monday, August 15, 2011
sketch benefit for the center for sex and culture in SF
Participated in a fund raiser where artists sketched nude models to raise money for the CSC. It was a lot of fun but a long day. The models were a bit shy at first and I had to tell some of them to be proud of their penis and push it out. They accommodated me nicely
.
.
Back to nature
I've been doing a lot of work but my scanner has not been working so I haven't been posting anything. I'm just going to take pictures with my phone so sorry for the lack of quality. 
Tuesday, June 28, 2011
Friday, June 17, 2011
True Gay love werewolf style
The images are of Byron taking Oisin to the werewolf camp. There they meet the werewolf mystic in his broken down old trailer.
Sunday, June 12, 2011
Saturday, June 11, 2011
Tuesday, June 7, 2011
Periwinkle Journal interview
http://periwinklejournal.tumblr.com/post/6255806163
The very awesome magazine Periwinkle Journal is interviewing queer artists and I was lucky enough to participate.
The very awesome magazine Periwinkle Journal is interviewing queer artists and I was lucky enough to participate.
Sunday, June 5, 2011
Oscar Wilde illustration from Gay graphic novel
I started a blog to sell some of the original pages from my graphic novels. I'm starting out with the three pages that have Oscar Wilde in them. Check them out using the link to the right -Original pages for sale.
Wednesday, June 1, 2011
Jon Macy wins Lambda Literary Award for Gay Erotica 2010
I just have to say that I love that I won in Gay Erotica. I'm proud of it and I'm proud of the Lambda Literary Foundation for celebrating sex positive fiction and non fiction. It takes guts and courage and foresight and they have all of that in huge amounts. 
This is a once in a lifetime moment for me and I cannot thank you all enough.
This is a once in a lifetime moment for me and I cannot thank you all enough.
Sunday, May 22, 2011
Teleny and Camille reviewed by Paul Gravett in the Times Literary Supplement
Reposted from http://www.paulgravett.com
PG Tips No. 34:
"Obvious Impostures"
Paul Gravett
At the 9th Annual Open Illustration Forum at University College Falmouth this March, organised by Steve Braund and chaired by me, on the theme of Metamorphosis: Interpretation and Adaptation in Illustration, acclaimed Lewis Carroll illustrator John Vernon Lord commented, “While every writer uses the same language of words, every artist uses their own self-invented language.” This is especially true when graphic novelists bring their idiosyncratic vision and personal perspective to adapt existing texts into comics. In the process there may be losses but also gains. Some great works of literature have been abridged too far, infamously those condensed into sixty-four pages at most in the much-reprinted American comic book series Classics Illustrated, which began in 1947. Once derided as Classics Desecrated, many of those primers and their modern successors should be viewed as works in their own right which also deserve credit for instilling in some readers the curiosity and courage to explore the unillustrated original. More recent attempts in graphic novels to retain every last word, for example when adapting Shakespeare’s plays, have resulted in some unwieldy, Zeppelin-scale speech balloons imbalancing the pictures. The Bard was not writing for this medium, of course. His unedited plays could still work in comics, if only enough illustrations and pages could be alotted to express them fully.
Luckily, the British adaptor I.N.J. Culbard has been granted 128 pages in which to tell H.P. Lovecraft’s 1936 tale At The Mountains of Madness. While undertaking to delineate Lovecraft’s lavishly described yet indescribable horrors, Culbard may have empathised with the narrator, Professor William Dyer, who reports on his Antarctic expedition and laments that his “...ink drawings…will be jeered at as obvious impostures.” It takes nerve to pollard Lovecraft’s verbiage to fit inside caption boxes. Culbard keeps bursts of Lovecraft’s voice almost word for word, but mostly uses the heady prose and proliferating adjectives as inspiration for his image-making, to show rather than tell. Using a bold brush line, he stylises faces, mixing Dan Dare chins and Tintin dots-for-eyes, propelling the growing tension across each dynamically composed spread, with images bleeding off the edges of the page. Novels can hide their shocks within rows of typeset words, but graphic novels surprise most effectively by the reveal of a fresh page. So, for example, instead of being immersed in Professor Dyer’s lengthy biological analysis of the first otherworldly fossil discovered by his team, the readers turns the page and happens upon this disturbing monstrosity all at once; it fills their field of vision and with the same frightful suddenness the scientists themselves experienced. While sacrificing much of Lovecraft’s elaborate flashbacks, Culbard distils from it dialogue and action, which give events a greater unnarrated immediacy. We are there. From the start we ‘hear’ the haunting sound of ‘Tekeli-eli’ which Lovecraft only reveals near the end. Images cleverly give us extra elements: a nod to the atomic bomb, undreamt of at the time of writing; and a glimpse of Danforth’s “final horror” reflected in his goggles as gigantic tentacles writhe around the devastated ancient cityscape. It’s entirely appropriate that the massive murals the explorers discover there - “Vivid. Skilfully intricate. And yet utterly alien” - are drawn by Culbard to resemble page after page of comics.
A present-day horror that many would prefer to ignore lies at the heart of The Rime of the Modern Mariner: the man-made North Pacific Gyre of plastic pollutants which is decimating birds and sealife. Its spiral form, a symbol in the lexicon of comics to represent dizziness, becomes a motif for the whirling winds and waves and our sailor storyteller’s disorientating travails. Although Coleridge in his day was unwilling for his ballad-form verse to be illustrated, adaptations soon followed from Gustave Doré in 1876 to Hunt Emerson in 1989. Nick Hayes, however, boldly updates Coleridge’s vision by crafting fresh, affecting verse for his “bearded park bench loon” who pours out his warning of ecological disaster to a callous businessman. Hayes’ stanzas are printed in rough-hewn capitals of uneven size, only occasionally in speech balloons, swimming smoothly among the images. Most words are neatly justified to fit the width of panel or page, so that the emphasis suggested by certain larger words seems mainly spatial rather than meaningful.
Hayes’ artwork comes in black and tones of blue, restricted further to only one of these colours for impact or for most of Part Seven’s account of the mariner’s recovery and reconnection to nature, when his toes sprout roots and his fingers leaves. Many of Hayes’ long-nosed male characters look similar, but he makes up for some lack of variety and subtlety in his facial types and expressions by his general graphic inventiveness. He shows the damaged sea and sky awash with chemical formulae or imports the detailed textures of whalebone scrimshaw, making use of Christian and mythological iconography, including Gaia and Thor, and Oceanic native art. He often matches his drawings to his verbal flair, for example by portraying “a medusa’s head of nylon knots / a clotted ragged knot / acrylic foam and polymers / that still refuse to rot”,’ or “the heart of a two inch salp beating like a bell”. Even the albatross turns out to have died from “a fine nylon gauze tangled in its chest”. The Rime of the Modern Mariner achieves a powerful cumulative effect, and the Mariner’s environmental message will surely influence many readers to never casually discard another plastic carrier or water bottle again.
Challenges of adaptation are openly addressed by American comics creator Jon Macy in his introduction to Teleny and Camille, his reinterpretation of the anonymous homoerotic novel Teleny, or The Reverse of the Medal, published in 1893 and attributed to Oscar Wilde and his circle. Macy draws himself at work on the project, realising that “only adding pictures to the [complete] text would not do it justice”, but anxious about having to “trim the Victorian gingerbread”, and imagining himself “facing a tribunal for all my Wildean crimes.” Macy would not be found guilty, as he has made this book his own by focusing on its love story between two men, put in context in a prologue narrated by the London bookseller Charles Hirsch. Macy goes on to accompany the already highly charged texts with an imagery of brooding eroticism and, as required, uninhibited pornography, in some passages stripping everything down to purely visual terms. His inky linework stays sensuous and sensitive to the turbulent emotions and settings of his two idealised lovers, shifting between streamlined simplicity and more ornate flourishes from Expressionism to Art Nouveau. Although Macy stays true to the original novel’s tragic conclusion, he finds it unsatisfactory that every “story of gay love has to end with one or both dying.” So he adds his own epilogue, imagining a happy ending in which the couple are rescued and relocated to Paris and eventually Algiers. Teleny itself was originally the result of several collaborating imaginations, so it seems fitting that, in a very different climate more than a century later, Macy joins them as this book’s latest contributor.
In 2007, the Israeli poet Galit Seliktar entrusted her short semi-autobiographical story The Substitute Lifeguard to her younger brother Gilad Seliktar to transform into a comic for the literary magazine Masmerim. Something sparked between them and the siblings went on to produce two more comics based on Galit’s first-person accounts of events that took place between the mid 1970s and late 1980s. These are now compiled into Farm 54. In a postscript, Gilad discusses his decisions in translating into comics his sister’s “extremely poetic” writings, which are often “saturated with elaborate descriptions” and “more explicit”. Their bond of trust allowed the artist to come up with his own bold solutions, preferring to “lower the volume” on parts of Galit’s stories which he found “too loud”. He replaces her deliberately abrupt opening sentence in the tale Spanish Perfume - “In the morning Mom ran over our German Shepherd” - with five pages of subtle, wordless sequences of the dog’s death. Elsewhere, he tones down a pivotal scene in Houses, in which a weeping Palestinian boy is begging a female Israeli soldier to give his pet rabbit back to him, by showing across two pages the woman cradling the animal to her breast and face while the boy looks on, the only dialogue her whispered “Beautiful”. The pages are divided into a three panels, wide like a cinema screen but borderless as if about to dissolve, the restrained blacks contrasted by the bleached creaminess of the paper and accents in a dusky pink. A deep moral disquiet haunts these tales, not least in Houses, Galit’s “most autobiographical” story, which records her remote yet complicit involvement while on compulsory army service in a night-time exercise to demolish Palestinian houses. Whether in the modest handwritten words or the tenderly observant pictures, what is never lost in this remarkable debut triloy is the poet’s exquisite poise and telling understatement.
The speeches and autobiographical notes of one of India’s foremost revolutionaries, Dr. Bhimrao Ambedkar (1891-1956), provide Srividya Natarajan and S. Anand with the springboards for an unusual graphic biography, Bhimayana: Experiences of Untouchability. One sixth of the world’s population lives in India, and one sixth of those are classified as Dalits or “untouchables”. The caste system continues to deny most of India’s 170 million dalits the dignities of life; in 2008 a crime was committed against a dalit every 18 minutes.
Dr. Ambedkar is remembered mainly for drafting India’s national constitution in 1947, but his significance, as an untouchable who rose to prominence and as a lifelong activist against discrimination, has been largely neglected. Ambedkar’s historical experiences of prejudice, from the age of ten in school, are framed here by a passionate present-day debate at a bus stop between a young man, who believes “Caste isn’t real any longer. It’s a non-issue”, and a woman who brings to his attention recent harrowing outrages reported in the media. There follow four “Books”, three based on Ambedkar’s reminiscences about injustices concerning basic rights to Water, Shelter and Travel, the fourth explaining how Durgabai Vyam and Subhash Vyam, the husband-and-wife artist team, adapted their tribal aesthetics into comics. Pardhan Ghond art does not represent, it signifies, so here a train becomes a snake, a fortress a lion, happiness a peacock. Refusing to “force our characters into boxes - it stifles them”, the Vyams make their panels sinuous, organic, outlined by dignas, decorative borders normally applied to buildings with colored earth. Their intense patterning, their faces mainly in profile with large single eyes, and their balloons - bird-like for gentleness, with a scorpion’s sting for venomous dialogue or the mind’s eye for thought - show how traditional artists can reinvent and re-invigorate the medium. Ambedkar’s plea for justice can be heard again through this beautiful, compelling documentary.
Posted: May 22, 2011
A version of this Article ran in The Times Literary Supplement, May 20th 2011
PG Tips No. 34:
"Obvious Impostures"
Paul Gravett
At the 9th Annual Open Illustration Forum at University College Falmouth this March, organised by Steve Braund and chaired by me, on the theme of Metamorphosis: Interpretation and Adaptation in Illustration, acclaimed Lewis Carroll illustrator John Vernon Lord commented, “While every writer uses the same language of words, every artist uses their own self-invented language.” This is especially true when graphic novelists bring their idiosyncratic vision and personal perspective to adapt existing texts into comics. In the process there may be losses but also gains. Some great works of literature have been abridged too far, infamously those condensed into sixty-four pages at most in the much-reprinted American comic book series Classics Illustrated, which began in 1947. Once derided as Classics Desecrated, many of those primers and their modern successors should be viewed as works in their own right which also deserve credit for instilling in some readers the curiosity and courage to explore the unillustrated original. More recent attempts in graphic novels to retain every last word, for example when adapting Shakespeare’s plays, have resulted in some unwieldy, Zeppelin-scale speech balloons imbalancing the pictures. The Bard was not writing for this medium, of course. His unedited plays could still work in comics, if only enough illustrations and pages could be alotted to express them fully.
Luckily, the British adaptor I.N.J. Culbard has been granted 128 pages in which to tell H.P. Lovecraft’s 1936 tale At The Mountains of Madness. While undertaking to delineate Lovecraft’s lavishly described yet indescribable horrors, Culbard may have empathised with the narrator, Professor William Dyer, who reports on his Antarctic expedition and laments that his “...ink drawings…will be jeered at as obvious impostures.” It takes nerve to pollard Lovecraft’s verbiage to fit inside caption boxes. Culbard keeps bursts of Lovecraft’s voice almost word for word, but mostly uses the heady prose and proliferating adjectives as inspiration for his image-making, to show rather than tell. Using a bold brush line, he stylises faces, mixing Dan Dare chins and Tintin dots-for-eyes, propelling the growing tension across each dynamically composed spread, with images bleeding off the edges of the page. Novels can hide their shocks within rows of typeset words, but graphic novels surprise most effectively by the reveal of a fresh page. So, for example, instead of being immersed in Professor Dyer’s lengthy biological analysis of the first otherworldly fossil discovered by his team, the readers turns the page and happens upon this disturbing monstrosity all at once; it fills their field of vision and with the same frightful suddenness the scientists themselves experienced. While sacrificing much of Lovecraft’s elaborate flashbacks, Culbard distils from it dialogue and action, which give events a greater unnarrated immediacy. We are there. From the start we ‘hear’ the haunting sound of ‘Tekeli-eli’ which Lovecraft only reveals near the end. Images cleverly give us extra elements: a nod to the atomic bomb, undreamt of at the time of writing; and a glimpse of Danforth’s “final horror” reflected in his goggles as gigantic tentacles writhe around the devastated ancient cityscape. It’s entirely appropriate that the massive murals the explorers discover there - “Vivid. Skilfully intricate. And yet utterly alien” - are drawn by Culbard to resemble page after page of comics.
A present-day horror that many would prefer to ignore lies at the heart of The Rime of the Modern Mariner: the man-made North Pacific Gyre of plastic pollutants which is decimating birds and sealife. Its spiral form, a symbol in the lexicon of comics to represent dizziness, becomes a motif for the whirling winds and waves and our sailor storyteller’s disorientating travails. Although Coleridge in his day was unwilling for his ballad-form verse to be illustrated, adaptations soon followed from Gustave Doré in 1876 to Hunt Emerson in 1989. Nick Hayes, however, boldly updates Coleridge’s vision by crafting fresh, affecting verse for his “bearded park bench loon” who pours out his warning of ecological disaster to a callous businessman. Hayes’ stanzas are printed in rough-hewn capitals of uneven size, only occasionally in speech balloons, swimming smoothly among the images. Most words are neatly justified to fit the width of panel or page, so that the emphasis suggested by certain larger words seems mainly spatial rather than meaningful.
Hayes’ artwork comes in black and tones of blue, restricted further to only one of these colours for impact or for most of Part Seven’s account of the mariner’s recovery and reconnection to nature, when his toes sprout roots and his fingers leaves. Many of Hayes’ long-nosed male characters look similar, but he makes up for some lack of variety and subtlety in his facial types and expressions by his general graphic inventiveness. He shows the damaged sea and sky awash with chemical formulae or imports the detailed textures of whalebone scrimshaw, making use of Christian and mythological iconography, including Gaia and Thor, and Oceanic native art. He often matches his drawings to his verbal flair, for example by portraying “a medusa’s head of nylon knots / a clotted ragged knot / acrylic foam and polymers / that still refuse to rot”,’ or “the heart of a two inch salp beating like a bell”. Even the albatross turns out to have died from “a fine nylon gauze tangled in its chest”. The Rime of the Modern Mariner achieves a powerful cumulative effect, and the Mariner’s environmental message will surely influence many readers to never casually discard another plastic carrier or water bottle again.
Challenges of adaptation are openly addressed by American comics creator Jon Macy in his introduction to Teleny and Camille, his reinterpretation of the anonymous homoerotic novel Teleny, or The Reverse of the Medal, published in 1893 and attributed to Oscar Wilde and his circle. Macy draws himself at work on the project, realising that “only adding pictures to the [complete] text would not do it justice”, but anxious about having to “trim the Victorian gingerbread”, and imagining himself “facing a tribunal for all my Wildean crimes.” Macy would not be found guilty, as he has made this book his own by focusing on its love story between two men, put in context in a prologue narrated by the London bookseller Charles Hirsch. Macy goes on to accompany the already highly charged texts with an imagery of brooding eroticism and, as required, uninhibited pornography, in some passages stripping everything down to purely visual terms. His inky linework stays sensuous and sensitive to the turbulent emotions and settings of his two idealised lovers, shifting between streamlined simplicity and more ornate flourishes from Expressionism to Art Nouveau. Although Macy stays true to the original novel’s tragic conclusion, he finds it unsatisfactory that every “story of gay love has to end with one or both dying.” So he adds his own epilogue, imagining a happy ending in which the couple are rescued and relocated to Paris and eventually Algiers. Teleny itself was originally the result of several collaborating imaginations, so it seems fitting that, in a very different climate more than a century later, Macy joins them as this book’s latest contributor.
In 2007, the Israeli poet Galit Seliktar entrusted her short semi-autobiographical story The Substitute Lifeguard to her younger brother Gilad Seliktar to transform into a comic for the literary magazine Masmerim. Something sparked between them and the siblings went on to produce two more comics based on Galit’s first-person accounts of events that took place between the mid 1970s and late 1980s. These are now compiled into Farm 54. In a postscript, Gilad discusses his decisions in translating into comics his sister’s “extremely poetic” writings, which are often “saturated with elaborate descriptions” and “more explicit”. Their bond of trust allowed the artist to come up with his own bold solutions, preferring to “lower the volume” on parts of Galit’s stories which he found “too loud”. He replaces her deliberately abrupt opening sentence in the tale Spanish Perfume - “In the morning Mom ran over our German Shepherd” - with five pages of subtle, wordless sequences of the dog’s death. Elsewhere, he tones down a pivotal scene in Houses, in which a weeping Palestinian boy is begging a female Israeli soldier to give his pet rabbit back to him, by showing across two pages the woman cradling the animal to her breast and face while the boy looks on, the only dialogue her whispered “Beautiful”. The pages are divided into a three panels, wide like a cinema screen but borderless as if about to dissolve, the restrained blacks contrasted by the bleached creaminess of the paper and accents in a dusky pink. A deep moral disquiet haunts these tales, not least in Houses, Galit’s “most autobiographical” story, which records her remote yet complicit involvement while on compulsory army service in a night-time exercise to demolish Palestinian houses. Whether in the modest handwritten words or the tenderly observant pictures, what is never lost in this remarkable debut triloy is the poet’s exquisite poise and telling understatement.
The speeches and autobiographical notes of one of India’s foremost revolutionaries, Dr. Bhimrao Ambedkar (1891-1956), provide Srividya Natarajan and S. Anand with the springboards for an unusual graphic biography, Bhimayana: Experiences of Untouchability. One sixth of the world’s population lives in India, and one sixth of those are classified as Dalits or “untouchables”. The caste system continues to deny most of India’s 170 million dalits the dignities of life; in 2008 a crime was committed against a dalit every 18 minutes.
Dr. Ambedkar is remembered mainly for drafting India’s national constitution in 1947, but his significance, as an untouchable who rose to prominence and as a lifelong activist against discrimination, has been largely neglected. Ambedkar’s historical experiences of prejudice, from the age of ten in school, are framed here by a passionate present-day debate at a bus stop between a young man, who believes “Caste isn’t real any longer. It’s a non-issue”, and a woman who brings to his attention recent harrowing outrages reported in the media. There follow four “Books”, three based on Ambedkar’s reminiscences about injustices concerning basic rights to Water, Shelter and Travel, the fourth explaining how Durgabai Vyam and Subhash Vyam, the husband-and-wife artist team, adapted their tribal aesthetics into comics. Pardhan Ghond art does not represent, it signifies, so here a train becomes a snake, a fortress a lion, happiness a peacock. Refusing to “force our characters into boxes - it stifles them”, the Vyams make their panels sinuous, organic, outlined by dignas, decorative borders normally applied to buildings with colored earth. Their intense patterning, their faces mainly in profile with large single eyes, and their balloons - bird-like for gentleness, with a scorpion’s sting for venomous dialogue or the mind’s eye for thought - show how traditional artists can reinvent and re-invigorate the medium. Ambedkar’s plea for justice can be heard again through this beautiful, compelling documentary.
Posted: May 22, 2011
A version of this Article ran in The Times Literary Supplement, May 20th 2011
Thursday, May 19, 2011
Wednesday, May 18, 2011
Total lack of photo references
Sometimes I look at pictures and get the basic pose from them, but here you can see what I can do straight out of my head. Most of the time I can't tell the differences and to be honest I can never find a photo that is perfect for the story I'm telling so I end up changing a lot of it.
Tuesday, May 17, 2011
Happy homosexual werewolf in love
So, anyone who knows me and has heard the sad stories about Heathcliff knows about the lucky penny game. One day H and I were going for a walk and he found a penny on the sidewalk. He was so happy and his face lit up and for the rest of the day he clutched it like a life line. We didn't have a lot of good days so I jumped on anything that might help us get through without a panic attack. So, once or twice a week I would get up in the middle of the night and walk around the neighborhood leaving pennies. Yeah, sweet. So, now that I'm working on issue three of FH, and after all the sadness and crying, I wanted to show some happy moments.
Monday, May 16, 2011
Thursday, May 5, 2011
Gold Star
I got these from Lambda today. Tomorrow I'll hit the stores and slap them on. It would be nice
to get them to merchandise all the finalists together as a promo.
to get them to merchandise all the finalists together as a promo.
Monday, May 2, 2011
Gay Druid torture sex
End of scene one. The penciled pages turned out great. These sketches are all out of order so you'll just have to trust me that the pacing works really well, and that poor little apprentice is going to get a work over.
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