Silver Bullet Interview

Itai Rosenbaum gave interviewed me on the topic of the 100 Artists Project for Silver Bullet Comics.

You can read the interview here.

Only one piece received this week, kinda light. But keep in mind we're still only 31 away from being done with the Single Mailer.

New interview with a contributing artist will be up Monday.

Have a nice long weekend.

Gordon Lee Trial Delayed

Hopefully one day this project will actually be able to help fund things like the Gordon Lee trial. If you're following the news on this, the trial has been delayed again due to a sick judge.

“Obviously we’re disappointed that the case was unable to go yesterday, as scheduled, but understand that this kind of delay is nobody’s fault and unavoidable. We wish Judge Salmon a speedy recovery,” says CBLDF Executive Director Charles Brownstein.

You can read the rest of the story here.

Let's get those drawings in folks so we can help support the CBLDF in defending folks like Mr. Lee.

Carry on.

Interview - Len Peralta

Len Peralta is the creator and operator of the podcast Jawbone Radio. He is based in Lakewood, Ohio where he runs his own freelance advertising agency. He is currently wrapping up a summer long art campaign called Monster by Mail. He is also known for providing art for several podcasters, illustrating works for Jonathan Coulton's "Thing A Week" and being a major contributor to the unusually viral 700 Hoboes Project.

Len, thanks for taking the time out of your insanely busy schedule to speak with me.

If you can recall, describe the moment or event that you realized you wanted to be an artist.

I always was drawing as a kid, in telephone books, pads of paper. Whatever I could find. My dad was a doctor and everyone always asked me if I wanted to be like my dad. I knew from a very young age that I didn't want to practice medicine, but I really wanted to draw and cartoon all day. I was too much of a screw up in school to do anything meaningful anyway.

Would you describe yourself as a classically trained or self taught artist? If you studied, where and was it a good experience?

I am pretty much self-taught, but I am always learning new techniques.

What would you like to accomplish with your art?

I'd like to influence young artists like I was influenced as a child.

Who were your biggest influences when you were starting out and has that changed?

I've always been a big fan of Jack Davis' work. I think if I were to choose my biggest influence it would be him.

How hard do you work at your art? Is it a hobby or a serious business for you?

It doesn't feel like work to me, it's more fun. As I am doing more with MBM, however, I'm finding that it is turning into a serious business, but I don't want to lose sight of the enjoyable part of the art.

If you could change something you do while creating, a habit or crutch, without any effort, what would it be?

I wish I didn't feel like I was rushing through the art. Sometimes I am working so fast, I don't have the time to spend like I would like. I just don't have that luxury of time though. It's always crunching out new art. But being fast is good because it's the one true way to make money with your art.

Are you a hard set solo artist or would you like to collaborate more with other artists?

I am a solo dude, but I do I like collaborating. I am experimenting on this more with an upcoming MBM promotion. I think it will turn out well, but we'll see.

Artists are generally not happy with what they've done or how accomplished they are, but if you had to label it, what would have to happen for you to consider yourself successful?

I dunno. Maybe a USA Today article. (kidding!) Or maybe people know my art without looking at the sig.

What media are you most comfortable using and why?

I really like using pencils and then finishing in PS. PS lets me fix my mistakes and I make a lot of them! I did a lot of the Coulton work like that. There's something cool about seeing the pencil lines and the thought behind the art. I'm starting to get more comfortable using watercolors thanks to the MBM project, but that was a completely monetary choice. Prismacolors are expensive!

Would you rather push yourself to get a lot of work done or push yourself to perfect one piece at a time over a long period?

Ideally, I'd like to spend time on one piece, but I just don't have the time.

When you look back on the choices you made as an artist or becoming an artist, what - if anything - would you do differently?

I would have taken more formal classes.

Do you think it's easier to be an artist today than say twenty or thirty years ago?

I think the technology has made it easier to get the job done and easier to call yourself an artist, but as far as I can tell, there is no button on the computer that gives you talent.

Is there an active art community in Lakewood or Cleveland? Would you like there to be more of one and would you be involved more if there were?

It's funny, MBM has given me a lot of local coverage, but very little interest. Conversely, a story will run in FL of CA and I will get a ton of orders. I wish there were a better community here locally, but I don't think there ever will be. I don't know why.

You list yourself as a creative director in advertising. Is working for ad agencies or being a freelance ad agent at all constrictive? Does it let you be the artist you want to be?

No. I end up doing what the client wants most of the time, and very rarely do I get to express myself creatively. I find it's much easier to make a living that way.

You've run a successful podcast since 2005. Have you found that more people see your art because of the show or were you more successful before you put time into podcasting?

The show has definitely helped me with my art. The work I did for podcasters in the summer of 2005 really put me on the map and established me with a group that was hungry for album art. It was a very cool time. I felt like R. Crumb. Also, the podcast has allowed me to connect with people (not just artists, but musicians, celebrities, etc) that I wouldn't have a chance to talk to normally.

You've had a lot of success with your Monster by Mail campaign. Are you worried that with such success you'll work yourself into a niche with the quick custom cartoons or do you have other plans?

I have some plans for the site and the ideas are always evolving. I've never been involved with something like this that is totally mine and quite honestly its pretty cool. I'm hoping to keep building the MBM brand and see what it becomes. The next few weeks should prove interesting for the site. I'm definitely ramping up what is expected from a site like mine. Right now, I'm just having a lot of fun drawing for it and seeing people's reactions to my work. It's very rewarding.

Do you have anything you'd like to say to your fans and fellow artists?

Have fun with your art.

Thanks for your time. Good luck with your work!

* * *

You can see more of Len's art, listen to his podcast, order a customized monster and vote for an alien in 2008 by visiting Jawbone Radio.

Blogger Issues

Blogger seems to have some issues this morning. No information was lost, but all blogger.com sites were unavailable for a couple hours today. On their behalf I apologize for any inconvenience.

Also, received two new pieces yesterday. That brings us up to 68, or as I'm going to start saying, 32 left to do.

Honestly, we only have to do 31 as I still have to do mine, but I was holding out to make sure the project completes.

Barring any other major news, expect another interview up this coming Monday.

Carry on.

Interview - Nate Lovett

This is the first in what will be an ongoing segment for the 100 Artists Project. I'll be interviewing contributing artists each week and including their portfolio on the links section. This is week's interview is with Nate Lovett.

Nate Lovett is a fast, up and coming comic book artist involved in many print and online projects including the recently released Devil's Due book "Xombie: Reanimated." Nate is based in Columbus, Ohio, is a recent father and according to every site he has online, "...is available for commissions."

Nate, thanks for taking the time from doing commissions to speak with me.

If you can recall, describe the moment or event that you realized you wanted to be an artist.

i've been drawing since i can remember, actually since before i can remember. my parents had for quite a while pictures i'd drawn when i was 3 or so. but i can't actually think of a time where i didn't want to draw.

Would you describe yourself as a classically trained or self taught artist? If you studied, where and was it a good experience?

i'd say it's a mix of both. i went and graduated from the columbus college of art and design, with a bachelors of fine art in time based media studies, a fancy name for animation, film, video, though my focus was on the animation part. while i was there we still had to take all of the standard design classes and whatnot, and though at the time, i hated them, they really have helped later in life.

when i graduated, in 2000, most traditional 2d animation was going the way of the dodo, and it was really difficult to find any work. which in the end i'm kind of thankful for, because i'm enjoying comics more than i ever enjoyed animating.

What would you like to accomplish with your art?

hmmm... i think the thing i'd most like to accomplish, would be the freedom at some point to focus solely on creator owned stuff. as much as i'd love to one day draw spidey for marvel, there's just nothing more satisfying than doing stuff you have total control over.

Who were your biggest influences when you were starting out and has that changed?

when i first started getting into comics, back in my early high school years, i ate up everything that todd mcfarlane, jim lee, sam keith and erik larsen did. i'm not too inspired by lee and mcfarlane anymore, but every now and then larsen still gets me.

by the time i was in college, joe mad was starting to make a splash, and it made me feel good, because here was this guy who had a definate cartoony/ manga vibe to his stuff, and people were eating it up. after college i discovered humberto ramos and probably the most influential guy, mike weiringo (rest in peace mike). the industry was finally starting to accept cartoony styled comics, and i knew i had a chance.

since then i've grown to really appreciate guys like eisner and kirby, though they're art hasn't really had much of an influence on mine, their storytelling definitely has.

How hard do you work at your art? Is it a hobby or a serious business for you?

it's definately serious business for me, but i love every minute of it. i enjoy being able to do something for a living, that i love to do.

If you could change something you do while creating, a habit or crutch, without any effort, what would it be?

better backgrounds and perspective. i'm getting there though, but it'd be so much easier if i could just snap my fingers, and be done with it.

Are you a hard set solo artist or would you like to collaborate more with other artists?

i enjoy collaborating with other guys, but i'd say 90% of what i do, is all me, from pencils to colors. i pretty much came about this way out of necessity, because no one seemed that interested in coloring or inking my stuff, so i figured i'd do it. that and then i have total control of the finished project, and if it doesn't meet my vision, well then it's my own fault.

Artists are generally not happy with what they've done or how accomplished they are, but if you had to label it, what would have to happen for you to consider yourself successful?

at one point i would've said, just getting to do comics. now that i am, it'd have to be, not having to worry where my next check is coming from. by the time that happens it'll probably be something else.

What media are you most comfortable using and why?

i love putting pencil to paper. that's why i focused on 2d animation in college, and not 3d. everything else for me is digital. i think my digital inks a stronger than my traditional, that and i don't have to clean anything up afterward. coloring, i enjoy using markers, and when i did paint i din't mind it either, but i've used photoshop for so long now, it feels weird when i pick up tradtional media. if i ever find time, i wouldn't mind trying it out again.

Would you rather push yourself to get a lot of work done or push yourself to perfect one piece at a time over a long period?

anymore with deadlines, i know i can't make each piece as perfect as i'd like, so i've pretty much gotten over that.

When you look back on the choices you made as an artist or becoming an artist, what - if anything - would you do differently?

the only thing i can think of is, i would've focused more on illustration rather than animation in college.

Do you think it's easier to be an artist today than say twenty or thirty years ago?

yes and no. it seems these days, that everyone and their brother wants to do comics, but at that same time, the industry is still fighting the stigma of being a thing for kids.

Is there an active art community in Columbus? Would you like there to be more of one and would you be involved more if there were?

i believe there is one, and i know there's one involving comics. i don't know how active they are, because i feel like i never leave my house.

You've listed yourself as a freelance illustrator. Would you rather work in comics as a paid penciller or work freelance doing non-comic book art?

i would rather work in comics as an artist. not because i have to do it all, but because i truely love the fact that in this day and age, one guy can.

You and I have worked together on a couple projects, the one with the most steam would be the webcomic Awesome Storm Justice 41. Do you see yourself being more involved with the Ugga Bugga crowd or will fame steal you away?

i will never leave them. i might get really busy, and not be as active, but i'll still be around. all of those guys were really most of my first fans, and have given me the greatest support and encouragement. i'm not going away.

To that end, would you rather work with webcomics or print?

i'd have to say print. there's just something to be said about being able to hold a book in your hands that you did.

You recently returned from Wizard World Chicago and I understand you had a call back to one of the Big Two. Can you talk a bit about that experience?

i was supposed to meet with 2 editors from DC, but one had to fly out early, and i was told he'd be contacting me. the editor i did talk to liked my stuff, gave me a few pointers to help my stuff pop even more.

You give a lot of credit to the guys at Outcast Studios. Are you still involved with any of them?

i haven't actually been around there for a while, nothing against any of those guys, but i got really busy, and then the studio pretty much disbanded. the only guy i talk to on occassion would be aztek (andrew huerta) but that's usually over at PJ.

As a new father, are you finding your priorities shifting much in terms of what jobs you'll take or what career paths you'll pursue?

not really, but as he gets older they might a bit. right now, my main focus is on doing fun comics. if i think it's fun, and i'd enjoy working on it, that's the big thing right now.

Do you have anything you'd like to say to your fans and fellow artists?

persistence is the key. if you want to do this stuff badly enough, just keep going. there will be some tough times, but as long as you have a good support group, you can get through it.

Thanks for your time. Good luck with your work!

thanks ben!

To see Nate's work, head over to his DeviantArt gallery.

Bump

Nothing new to report this last week. No new art and the Big Mailer is en route - no word on that.

Still mulling over the interview idea. I don't know if it'll be an interview or just a bio. Which would you rather see here?

That's all.

Small Update

Map and counter on the main site have been updated.

Also, hosting and domain registration have been paid for, so we're going to be around at least another year.

That's all for now.

Reason Behind the Project

Here's a perfect example of why people should support the CBLDF.

Three years, two sets of facts and a slew of changed charges later, Lee has received much more attention — from an outraged mother of two, the media, prosecutors, the Comic Book Legal Defense Fund and the comic book community as a whole — all because of a comic book drawing of a naked Pablo Picasso.

A case like this will undoubtedly drain what funds the CBLDF has. And it's sad because it's a two year old case that is still getting news, which means it's still going on. That's expensive. Also, fights like this are taking away litigation money and manpower that could be used for artists and creators who've had their works stolen or are unable to receive the compensation they've been promised.

Even if you aren't in this project, consider supporting your local comic shop and non-profit organizations that help the comic and art industry.

And finally, educated your children. I don't know why people think it's easier to drag people into court under the auspices of "looking out for kids" but this is nonsense. An enlightened parent shouldn't be taking these actions against the store owner. He didn't draw the comic. We're shooting the messenger. Why didn't the lady go after the publishing company, or the distributor or the artist? Because it's apparently easier to show your kids how to wage a prolonged legal battle against an innocent third party than it is to sit down and talk with them about the content of the media they choose to enjoy.

Who knows, maybe we'll raise enough money to help support Mr. Lee.

Service Issues

Okay, so I've been out of town for a couple days and before that I was sick so I haven't been very up on things going on in my online world since last Monday. Therefore, when today I got a phone call from GoDaddy saying my domain expired, I was a little troubled. I knew it was going to expire and I'd planned on renewing it since the original registration, it just kept getting pushed back.

So, I don't think the site is going anywhere, and I have called them back to work out some arrangements. This is more a heads up for anyone who may find this site but for some reason the DNS renews and the domain is actually taken down for the main site: It will be back up in a couple days. I have to wait for payday to get some funds to do it. It's not much for what I have, it's just domain registration, but I've got other things like food and gas to pay for first. When I get a bit more disposable income, I'll probably get a couple years registration instead of the couple months I got originally.

Anyway, that's what's up.

I got another piece this weekend bringing us up to 66. That's right, we're 2/3 done. I hope we can push through and get this thing assembled and out into the world before the end of the year.

Carry on.

Correction

The next stop for the Big Mailer is not California, it's Arizona. It's on route now and should be there in the next couple days.

As soon as it gets there I'll update the map.

As to the map, best option I can find is still Google Maps and using the line tool in between each stop. Works fairly well, I'll see if I can find an API that will allow me to display it, but I like just having the image. I don't want to broadcast everyone's address.

And the Single Mailer count is 63. w00t!

Carry on.

Content

Hey folks. I realize I haven't updated in about a week, but to be honest, there's not a lot to talk about. It was mentioned that more people would be involved if this blog was updated more often and I'll try to think of ways to include more content. I've done a lot of talking about the project in general, and I would hope that there's enough information on the site itself that people wouldn't be relying on the blog for much, but that can change.

When you only receive a piece of art every 10 days or so, there's not a lot to post. When things pick up more, there will be more to talk about. I hope people reconsider and join on the merits of the project and not the frequency of my blogging.

To that end, I'll say that we're up to 61 artists now - I have to update the graphic on the site - and a lot of the people who signed up a couple weeks ago are coming through nicely. I'm keeping all the overseas postage to include with the auction for no other reason than I think it's cool. How often do you see packages arrive from Brunei and Korea and Brazil? The Big Mailer is still on route. It's next stop is California.

I might also do artist bios for the site, if I thought more people would find that interesting. There's a contributing artist section on the side bar I'll need to update so perhaps I'll go through the list and for each new addition I'll do a small write up, give them some eyes on their sites. The problem is, not everyone has an online gallery and the people who signed up originally didn't include one. I'd asked for one before and I'll ask again. If you signed up early, if you've already sent in some work and you'd like your name listed on the sidebar, just drop me a line and I'll set you up.

As far as the project as a whole goes, if the average wait time for art is 10 days and we have 40ish spots left, I'm thinking we'll be done with the single mailer by October. I've got a lead on a local binder to assemble the art and it shouldn't be much work in getting it scanned, auctioned and published online.

I take that back, scanning will be a problem. I still haven't been able to get a proper oversized scanner. I don't know if it'd be cheaper to take 100 pieces to Kinkos or to buy a Mustek A3 EP. If anyone has an oversized scanner they'd like to donate or can get a discount on one, please let me know. There's also the donation button that goes toward the purchase of a scanner. To date there's been $15 donated. Not bad, only 90% more to go. Heh.

That's all for now. Carry on.

First art from the new group

Earlier this week I received a piece of work from an artist in Slovenia. I don't know if they already had them done and ready to sent, but it's very inspiring to have someone from overseas sign up and within a week have their artwork.

I need to update the counter, this puts us at 58.

Carry on and let's see that art keep coming in.

Changes

I've added a "website" field to the sign up form. I should have done this originally and I'm going to pay for it. When all the artwork is completed, there will be a credits page at the end of the book so people can have their website or email listed and I just haven't been keeping track of websites. I will be now.

Also, you can always send me an email with your portfolio (if you've already signed up/sent in work) and I will list it on the Contributing Artists link section.

I also updated the sign ups page to include some finer points of the project so you can see them before you sign up. I have the feeling a lot of people were just hitting the site and signing up with out really reading it.

Carry on.

School Posting and Portfolios

Hello fellow artists!

Thanks to all the almost 200 people who've signed up in the past couple days. Welcome aboard. I hope you have fun with the project and I look forward to seeing all the artwork. If just half of the people who signed up actually submit work, the first part of this will be done in no time.

Just to reiterate, there's no approval or anything needed for the project. If you want to be part of it, just send in some art. I'm only using the sign up forms for contact info.

Some people have asked if they can post about the project at their universities. The answer is of course, yes. If you are involved in an art school or even just an art class at a regular university, or shoot, even if you doodle on sticky notes while working at a service station, by all means tell people about it. The more people that are involved, the more artwork we can turn over and get sold and the more money goes to the funds.

Thanks for asking, I hope every one is drawing right now and can get something mailed off soon.

I'll be changing the sign up form to include online portfolios if you have one so I can include them on this site and the credits page in the book. If you haven't already, feel free to email me your portfolio address. Thanks.

Carry on.

Additional FAQ

I really hope all the new are also reading this blog. If you would, please add it to your subscriptions as it is used to disseminate information.

I did my best to keep up with the emails, but over 120 in one day was too much. I changed the response page after you sign up with some additional info and I added some of the more frequently asked questions to the FAQ on the site.

I sincerely hope people are keeping an eye on this page as well because it's important to know that there is no approval process here. It's not a contest or lottery. There's always openings and I'm always accepting artwork. Any work sent in will be used somehow.

There may be confusion over the project and how it's run. I've done my best to make it clear on many occasions, but I still feel people are missing something or I'm not relaying something properly. If you're one of those folks, please contact me and let me know how I could make it easier to understand.

Thanks!

Drawn!

Greetings to those artists coming here via the posting on Drawn! Those submitting questions along with your sign up form, I will be doing my best to answer them as they come in.

Just a reminder, at this point the sign up is basically so I can have a way to contact you. There's no deadline for the project and sending in a piece of art for the Single Mailer is the way you sign up for the other sketchbook, the Big Mailer.

I'll be adding an FAQ onto the Rules page of the main site as well, but as always, if you have any questions, feel free to shoot me an email.

I also wanted to add something for those just joining us. Right now the project works like this.

You sign up, say you're interested. I store your info. You send in a drawing. I mark down you've sent something in and put you on the list for the 2nd part of the project, which is the sketchbook being sent around. Now, we've already had 55 people send in artwork (as of last count) so that means if you drew something today and sent it tomorrow, there'd still be 55 people ahead of you. If you consider each person takes a week to draw and remail, that's just over a year, ideally.

I don't want to say this to discourage people, I'm just saying that I welcome the excitement but I don't want people to misunderstand the nature of the project. The reason we're doing a Single Mailer is to get something done soon. The reason we're doing a Big Mailer is to get something done that's unique. The later may take a long time, just be prepared for that.

That's all, welcome aboard!

Route Planning

Back from vacation, back to work.

In the past week I've got a handful of submission forms from new folks. I'd like to welcome them to the project and I hope I see some work from them soon. It's always good to see new work.

However, something came up with these new sign ups that I'd like to address and get feedback if possible (assuming more than 3 people read this.) I'd like to start sending the Big Mailer to the people who have already sent in their work on the Single Mailer. It just doesn't make sense not to at this point. The couple people who have seen the sketchbook haven't sent in their individual pieces yet and that's not completely fair to those who have. So instead of sending it locally, I'm just going to start in order the single pieces were received and so what if it goes all over the country.

There is an exception. I'll hold off on the international shipping until at least all the state side people are done. Hopefully by then we'll have all 100.

That's all.

Holiday

Wednesday is the Forth of July in the States and I'll be on vacation starting tomorrow through Sunday. There probably shouldn't be anything to report in that week, but if you're new and have questions I'll do my best to check in and answer them.

Everyone have a good holiday. And happy Canada Day to all you 'nucks.

Carry on.

Whip Cracking

I can's stress this enough, when you get the Big Mailer start drawing in it THAT DAY and mail it as soon as you're DONE. With 100 artists waiting in line, keep in mind that if everyone took only took a day to turn it around and mailing it took two days, that's a year. If everyone waited an extra day, that's 1/3 of a year you're adding to the length of the project. If everyone waits three days, you've added a year.

As it is now, 3 people other than me have had it and it's taken them over two months. If everyone took a month, that's 9 years.

I don't want to wait that long.

I know life sometimes gets in the way and you're unable to always do things at the drop of a hat, but I'm going to start being a hardass about the Big Mailer because the idea is to get money to the chosen funds and the sooner we do it the better. The sooner we do it, the sooner we can start another one.

So, from this moment forward, once you get the Big Mailer, you have a week to draw it and get it back in the mail. I'm really serious about this. Even at that schedule we're looking at two years. Once you get the book, email me and if I don't hear back from you within 7 days that you're done and you need the next person's address, I'll be contacting you and asking you to send it on. You'll be added to the end of the list and given a second chance but the book needs to keep moving.

I'm really sorry about having to be a jerk about it, but the first few stops along the way haven't inspired any confidence.

Carry on.

Grants and Plans

I was listening to NPR today (actually the story was local on KUT) and I heard a story about the Texas Art Commission and how Austin had been given the bulk of the available grant money for artistic endeavors. I'm sure most of this would go toward galleries, museums and other larger non-profits, but they said that because of the growing community, 98% of grant applications were accepted.

Now, what this would mean is that the 100 Artists Project would have to officially become a non-profit organization and have to file with the state and probably the federal government. I have no idea how that works, but my guess is in order to receive a grant, you need to be an official non-profit.

This would be a great boon for the project if I can swing it. Even a $5000 grant would cover everything the project would need for years to come. It would mean top shelf binding for the Single Mailer, it would cover fees for listing on eBay, it would cover equipment needed to maintain the gallery, and more importantly it would cover professional on demand publishing with a ISBN listing, a service provided by Amazon.com's BookSurge. What that would mean for the artists is more exposure. What that would mean for the foundations is more money from the sale of the books.

It's an exciting prospect, but it comes with a cavaet; I'm no good with money. My personal finances are worse than a kid in college with credit cards and loans. I'm apparently good at organizing the events, getting people together, making things happen, but if it were to come to filing paperwork, keeping financial and administrative records, I think I'd be lost. I may be selling myself short - I'd have to see what all is entailed - but I'm going to be humble here and ask for help.

I know someone who might have some non-profit info, so I'll ask them about it, but if you have charitable organization experience and would like to help me on this, I'd be glad to meet with you and talk it over. I wish the project were moving faster and we were able to help the funds we've selected quicker, but it's in its infancy and I'll have to make sure to plan carefully.

That's all. Carry on.