I'm currently in the process of moving back onto my own domain name: hollowearth.co.uk
I'm setting up a new design and possibly even a web shop. A kind of early new years resolution. It's not finished yet, but I have started putting on some information about three things that i'm involved with.
Maybe you could be involved with them too - or show up for a chat.
Sunday, 2 December 2012
Friday, 31 August 2012
Hollow Earth at the Make and Mend
I'll be selling prints and comics at Make and Mend on Saturday 1st September in the Grainger Market in Newcastle. I might also want to talk about the card game i'm making called 'Kick Punch Stomp'.
The first three issues of Tales of the Hollow Earth are £3 each, but you can get all three for £7.50.
The prints are from my Cosmology series - they are signed limited edition giclee prints, 16 inch square in a 20 inch black square mount and i'll be selling these for £42 each.
More information on the Make and Mend market can be found at the website http://www.makeandmendmarket.co.uk/ and on twitter: @makemend
The first three issues of Tales of the Hollow Earth are £3 each, but you can get all three for £7.50.
“...like Edgar Allan Poe and Kafka discussing Doctor Who in a teak lift” Ian Mayor
The prints are from my Cosmology series - they are signed limited edition giclee prints, 16 inch square in a 20 inch black square mount and i'll be selling these for £42 each.
More information on the Make and Mend market can be found at the website http://www.makeandmendmarket.co.uk/ and on twitter: @makemend
Wednesday, 6 June 2012
This is Where it's Art
I'm very pleased to be taking part in the This is Where it's Art festival in Spennymoor this weekend, where i'll be sharing a stall with Brittany Coxon, who designed their website and whose new website design has just been launched.
Issue 1 - Boltzmann's Eye
I'll be there selling comics and art on the Friday, Saturday and Sunday, and this festival should (printers willing) be the first outing of the fourth printing of Issue 1 : Boltzmann's Eye - which is the first to be printed in full colour and feature a backup story and artwork to bring it up to the same page count as issues 2 and 3.
Sunday!
Sunday is going to be a very comics themed day: Daniel Clifford and Lee Robinson will be running a programme of comic themed events all day as Art Heroes - details of their workshop can be found on the Art Heroes Blog.
12 - 1pm - "Comics: words + pictures where time = space"
From 12 - 1pm the same day, I'll be doing a talk on the topic of comics and sequential art storytelling.
Aimed at artists and writers looking to make comics, or jest folk who want to spend an hour thinking more about their comics, I'll be talking about some of the comics storytelling techniques i've learned as I've been making comics.
Note that this is aimed at an audience from teenagers upwards.
Issue 1 - Boltzmann's Eye
I'll be there selling comics and art on the Friday, Saturday and Sunday, and this festival should (printers willing) be the first outing of the fourth printing of Issue 1 : Boltzmann's Eye - which is the first to be printed in full colour and feature a backup story and artwork to bring it up to the same page count as issues 2 and 3.
Sunday!
Sunday is going to be a very comics themed day: Daniel Clifford and Lee Robinson will be running a programme of comic themed events all day as Art Heroes - details of their workshop can be found on the Art Heroes Blog.
12 - 1pm - "Comics: words + pictures where time = space"
From 12 - 1pm the same day, I'll be doing a talk on the topic of comics and sequential art storytelling.
Aimed at artists and writers looking to make comics, or jest folk who want to spend an hour thinking more about their comics, I'll be talking about some of the comics storytelling techniques i've learned as I've been making comics.
Note that this is aimed at an audience from teenagers upwards.
Monday, 21 May 2012
Boltzmann's Eye - Fourth Printing!
I'm pleased to announce the fourth printing of Tales of the Hollow Earth Issue 1 with a brand new colour cover.
This new printing, to the infuriation of everyone who has purchased previous editions and for whome a deal can be made, features re-toned interiors to match issues 2 and 3, a colour cover and five extra interior pages.
The new colour pages include Lure - a Gudrun Black tale which first appeared in A4 Comics Presents, edited by Daniel Clifford, and a new single pager.
Here's the cover:
This new edition will be launched at the This is Where it's Art festival in Spennymoor, which really is the place to be in the North East of England on the weekend 8th-10th of June.
This new printing, to the infuriation of everyone who has purchased previous editions and for whome a deal can be made, features re-toned interiors to match issues 2 and 3, a colour cover and five extra interior pages.
The new colour pages include Lure - a Gudrun Black tale which first appeared in A4 Comics Presents, edited by Daniel Clifford, and a new single pager.
Here's the cover:
This new edition will be launched at the This is Where it's Art festival in Spennymoor, which really is the place to be in the North East of England on the weekend 8th-10th of June.
Wednesday, 2 May 2012
Wednesday, 11 April 2012
Newcastle Mini Comics Making 2012
Blimey this year is running on a bit fast? A few plans in the pipeline and a few starting to pop out the other end.
First up: I'll be doing a talk on comics at Newcastle City Library next weekend (21st April) as part of the Newcastle Mini Comics event organised by the inestimable Cuttlefish Comics.
My talk is called 'Comics: Words + Pictures where Space = Time' It's all about what I know about storytelling on a comic book page and how the composition of the panels is used to control the passing of time. It's also about the accessibility of the medium because of the way in which the participates in the telling in a way that differs from film and prose.
Dispensing a powerful dose of comics wisdom will be Ingi Jensson, whose tale of how he burned-up, then rose out of the ashes, found his mojo and personal style will get people's heads properly screwed on for the dangers that await them as they embrace their own creativity.
And embrace it they will, for after the talks will be the Mini-Comics day proper, when we will all be getting down and making comics from scratch.
The event is free but you'll need to book and places are limited: Book your place by phoning 0191 2774100 or by emailing information@newcastle.gov.uk.
First up: I'll be doing a talk on comics at Newcastle City Library next weekend (21st April) as part of the Newcastle Mini Comics event organised by the inestimable Cuttlefish Comics.
My talk is called 'Comics: Words + Pictures where Space = Time' It's all about what I know about storytelling on a comic book page and how the composition of the panels is used to control the passing of time. It's also about the accessibility of the medium because of the way in which the participates in the telling in a way that differs from film and prose.
Dispensing a powerful dose of comics wisdom will be Ingi Jensson, whose tale of how he burned-up, then rose out of the ashes, found his mojo and personal style will get people's heads properly screwed on for the dangers that await them as they embrace their own creativity.
And embrace it they will, for after the talks will be the Mini-Comics day proper, when we will all be getting down and making comics from scratch.
The event is free but you'll need to book and places are limited: Book your place by phoning 0191 2774100 or by emailing information@newcastle.gov.uk.
Monday, 23 January 2012
The Twenty Three : Number None : Lure
The Twenty Three is a website i'm setting up to contain extras, extended scenes, b-sides, outtakes and brand new stories from the Tales of the Hollow Earth universe. It will all be material that adds to the story, but some of which i'm discarding from the printed comic in order to concentrate on the main plotline.
The Twenty Three : Number None : Lure
Lure, for example, introduces elements of Gudrun Black's character that would be useful to a reader of issue 3, so it's getting reprinted here, as well as in a coloured version in the next edition of issue 1.
It originally appeared in Daniel Clifford's A4 Adventure Arena. Daniel provided input on pacing and storytelling and made this a much tighter story, and I'm greatful for this and his permission to reprint.
Wednesday, 11 January 2012
Comics: words + pictures where time = space
So, last night I did a presentation for Design Interest under the title "Comics: words + pictures where time = space", the aim of which was to talk around some of the issues of time and space in comics. The evening was excellent - good bunch of people and I had excellent fellow speakers, Rose Mockford (@mydesignmade) and Liz Douthwaite. Vicki Teinaki's take on the evening can be seen here.
Comics Time as in how long a comic takes to produce and read, as well as noting that time is in the hands of the reader.
How can the creator control both the perception of time in the story, as well as the time it takes to read - in order to properly pace a joke, for example?
Here's what I talked about, in brief, but in roughly the same order...
1,2,3,4
Comics in Time and Space
This section focused on the accessibility and availability of comics and why and when this would make for good documentation, dissemination and education.
The Axis of Empathy
The Big Triangle was invented by Scott McCloud, minimalism on the horizontal axis, abstraction on the vertical.
In my examples (pictured), I had, moving up from reality towards abstraction...
And in the middle I had...
Time and Space in Comics
There was a lot of cross over between these examples, but broadly, I showed:
Comics using the full bleed to show that the edge of the page connects to bigger things:
Comics using a grid (and colours) to suggest (and then subvert) monotony and inevitability:
Subverted to devastating effect in:
Comics using full width panels to show an indeterminate, but lengthy, timescale:
Recommended Reading:
Comics Time as in how long a comic takes to produce and read, as well as noting that time is in the hands of the reader.
How can the creator control both the perception of time in the story, as well as the time it takes to read - in order to properly pace a joke, for example?
Here's what I talked about, in brief, but in roughly the same order...
1,2,3,4
- Steve Bell - Political Cartoons are usually single panels, since the story is happening elsewhere. A single panel is still read from left to right, though and is not read as a single moment in time.
- Jack Comics - Provided the example of images colliding and suggesting stories.
- Penny Arcade - An example of the standard format three panel web strip, and referenced Jimmy Carr's definition of a Joke as two stories colliding. Again, most of the story is not in the strip but in the archives and newsposts.
- Scott McCloud - Understanding Comics - is of course, essential reading.
- Calvin and Hobbes - Provided several example of the standard format four panel newspaper strip (a complete story being told in four panels.) as well as larger format illustrations of good pacing.
- Tim Stout - Provided the Calvin and Hobbes example of a three act structure ready made exactly as I'd planned already, but with a better example.
Comics in Time and Space
This section focused on the accessibility and availability of comics and why and when this would make for good documentation, dissemination and education.
- Comics with Problems - Provided the example of how to treat your Rifle like a Lady, by will Eisner.
- The Google Chrome Comic - was by Scott McCloud.
- Zine it Yourself is a local creator of zines to be found anywhere, any time.
- Art Heroes are a local company providing comics workshops.
The Axis of Empathy
The Big Triangle was invented by Scott McCloud, minimalism on the horizontal axis, abstraction on the vertical.
| Photo from http://twitter.com/vickytnz |
- Warlock Holmes by Paul Scott an excellent photo comic, ironically illustrating my assertion that photo comics don't really work. Well, except when they're tongue in cheek, and Paul has his firmly there.
- Simon Bisley's Sláine the Horned God
- Orbital, from Cinebook
- Judge Dredd by Mick McMahon - Judge Dredd can tolerate quite a lot of abstraction.
And in the middle I had...
- Hellboy (more abstraction, in which Hellboy eats pancakes.)
- Love and Rockets (more real)
Time and Space in Comics
There was a lot of cross over between these examples, but broadly, I showed:
Comics using the full bleed to show that the edge of the page connects to bigger things:
Comics using a grid (and colours) to suggest (and then subvert) monotony and inevitability:
Subverted to devastating effect in:
Comics using full width panels to show an indeterminate, but lengthy, timescale:
Recommended Reading:
- Scott McCloud:
- Alan Moore:
- but most of all, for the best showcase of what's happening now in comics: 2000AD
- and also, meet up with the Paper Jam Comics Collective on Thursday evenings in Newcastle's Travelling Man store. Follow @paperjamcc on twitter.
Friday, 30 December 2011
Thinking about Comics - things of interest.
Things I read that made me think differently or just more about comics in some way or other in the last year (or so). Here's a post to remind myself what they all were.
Sugar Glider 2 - by Gary Bainbridge and Daniel Clifford
Raising it's already impressive game from Issue 1, Sugar Glider 2 introduced new ideas, new characters and achieves a strong sense of place and being there. The difference between how this is handled in 1 and 2 is well worth looking closely at.
The "I'm Sugar Glider" panel is one of my favourite comic panels of the year. I know that both Gary and Daniel take their storytelling very seriously, and there are some sections of this that I've been back and forward over to see how they work. I'm really looking forward to issue 3. It's good.
Low Life - by Rob Williams, and D'Israeli (created by Rob Williams and Henry Flint)
I've read the latest two series of this in 2000AD, and so not knowing his history I'm never quite sure what Dirty Frank is capable of. This is possibly the point: his antagonists, and possibly also he doesn't either. Or if he will even do what he is capable of once he does know. Dirty Frank is a brilliantly imagined character: fragile and powerful in unexpected ways.
Stories that are both strong, character driven and laugh out loud funny. Low Life, Zombo (Al Ewing and Henry Flint) and Dredd (John Wagner mostly) are all capable of achieving this, and I'm pleased to say that 2000AD has definitely reclaimed it's place at the top of my must read list in the last two or three years.
Actually, the other thing that Low Life, Zombo and Dredd are capable of is managing to fit a story into five page episodes: always introducing the scene for new readers, always maintaing the pace for existing readers, either week on week or in collections.
Beasts of Burden - by Evan Dorkin and Jill Thompson
Splendid. A while ago I started writing some short stories (as part of my Story a Day in May) about a tribe of Rats, and would really like to translate these into comics and expand on them. I've not been able to figure out how to do animal comics without anthropomorphising them physically to some degree (A topic covered also in Bryan Talbot's excellent talk on the subject which i've seen three times now) or giving them the ability to carry swords of wear monocles.
Beasts of Burden shows how this can be done: in both the words and pictures. It a beautiful book, and I'm not sure enough people have read it. You should.
SuperHuman - by Michael Carroll
The first of (I believe) the second sequence of New Heroes books from Michael Carroll, which Michael very generously swapped for my own Tales of the Hollow Earth. Strong characters here, and strong development too including a very dark and not yet resolved subplot for the heroes.
This is a novel rather than a comic, though it tackles comics traditional subject matter and is actually pitched much more at comics traditional expected audience than comics currently are. Very difficult to imagine though, what format this would have taken if it was a comic, or why Michael chose prose rather than comics for this story (he is also a writer for 2000AD and the Megazine).
So, I'm planning to read more of these in 2012, as I really want to think more about this and also read more about these people - especially that of the main villain. He did seem to have been on the cusp of some self awareness in the final few pages, but this may be unlikely as those pages may have been his last. We'll see.
I might re-read Wild Cards too.
The Lovecraft Anthology (Volume 1 Edited by Dan Lockwood)
Following 2010's best single web comic: His Face All Red, i'd been thinking a lot about horror (or comics of a dark nature) and how they appear to be working best when drawn in a cartoony or ligne claire style (see also Cinebooks excellent 'Green Manor').
Understanding Comics 101 would say the minimalist creates empathy and this more nieve style might imply that the characters are childlike in their fragility, but I think that there's more to why thus combination works yet. I think horror may be the best genre in which to ask the question: how are comics different to books and films.
Anyway, the Lovecraft anthology from Self Made Hero is a pretty beautiful piece of work (as are all of the books they publish), and it would be remiss of me not to point out that the many talented artists and writers successfully do in fact find ways to express unimaginable horror in comics. That's some achievement.
Nic Wilkinson and Ian Sharman's Lettering Workshop at ThoughtBubble 2011.
This was not a technical talkas I'd expected, but was instead focused very much on artistic and storytelling concerns of relevance to not just the letterers but artists and writers also. Some very interesting points were made on the subject of reading order and pacing control that I've yet to fully process, but I have been back through my own work with an eye on 'what should I have done here'.
So, yeah, those were, for me, an great set of examples on why and how comics forms and formats work, how they differs from other mediums and how they are better or worse for some genres than others. All are well worth your time.
Sugar Glider 2 - by Gary Bainbridge and Daniel Clifford
Raising it's already impressive game from Issue 1, Sugar Glider 2 introduced new ideas, new characters and achieves a strong sense of place and being there. The difference between how this is handled in 1 and 2 is well worth looking closely at.
The "I'm Sugar Glider" panel is one of my favourite comic panels of the year. I know that both Gary and Daniel take their storytelling very seriously, and there are some sections of this that I've been back and forward over to see how they work. I'm really looking forward to issue 3. It's good.
Low Life - by Rob Williams, and D'Israeli (created by Rob Williams and Henry Flint)
I've read the latest two series of this in 2000AD, and so not knowing his history I'm never quite sure what Dirty Frank is capable of. This is possibly the point: his antagonists, and possibly also he doesn't either. Or if he will even do what he is capable of once he does know. Dirty Frank is a brilliantly imagined character: fragile and powerful in unexpected ways.
Stories that are both strong, character driven and laugh out loud funny. Low Life, Zombo (Al Ewing and Henry Flint) and Dredd (John Wagner mostly) are all capable of achieving this, and I'm pleased to say that 2000AD has definitely reclaimed it's place at the top of my must read list in the last two or three years.
Actually, the other thing that Low Life, Zombo and Dredd are capable of is managing to fit a story into five page episodes: always introducing the scene for new readers, always maintaing the pace for existing readers, either week on week or in collections.
Beasts of Burden - by Evan Dorkin and Jill Thompson
Splendid. A while ago I started writing some short stories (as part of my Story a Day in May) about a tribe of Rats, and would really like to translate these into comics and expand on them. I've not been able to figure out how to do animal comics without anthropomorphising them physically to some degree (A topic covered also in Bryan Talbot's excellent talk on the subject which i've seen three times now) or giving them the ability to carry swords of wear monocles.
Beasts of Burden shows how this can be done: in both the words and pictures. It a beautiful book, and I'm not sure enough people have read it. You should.
SuperHuman - by Michael Carroll
The first of (I believe) the second sequence of New Heroes books from Michael Carroll, which Michael very generously swapped for my own Tales of the Hollow Earth. Strong characters here, and strong development too including a very dark and not yet resolved subplot for the heroes.
This is a novel rather than a comic, though it tackles comics traditional subject matter and is actually pitched much more at comics traditional expected audience than comics currently are. Very difficult to imagine though, what format this would have taken if it was a comic, or why Michael chose prose rather than comics for this story (he is also a writer for 2000AD and the Megazine).
So, I'm planning to read more of these in 2012, as I really want to think more about this and also read more about these people - especially that of the main villain. He did seem to have been on the cusp of some self awareness in the final few pages, but this may be unlikely as those pages may have been his last. We'll see.
I might re-read Wild Cards too.
The Lovecraft Anthology (Volume 1 Edited by Dan Lockwood)
Following 2010's best single web comic: His Face All Red, i'd been thinking a lot about horror (or comics of a dark nature) and how they appear to be working best when drawn in a cartoony or ligne claire style (see also Cinebooks excellent 'Green Manor').
Understanding Comics 101 would say the minimalist creates empathy and this more nieve style might imply that the characters are childlike in their fragility, but I think that there's more to why thus combination works yet. I think horror may be the best genre in which to ask the question: how are comics different to books and films.
Anyway, the Lovecraft anthology from Self Made Hero is a pretty beautiful piece of work (as are all of the books they publish), and it would be remiss of me not to point out that the many talented artists and writers successfully do in fact find ways to express unimaginable horror in comics. That's some achievement.
Nic Wilkinson and Ian Sharman's Lettering Workshop at ThoughtBubble 2011.
This was not a technical talkas I'd expected, but was instead focused very much on artistic and storytelling concerns of relevance to not just the letterers but artists and writers also. Some very interesting points were made on the subject of reading order and pacing control that I've yet to fully process, but I have been back through my own work with an eye on 'what should I have done here'.
---
So, yeah, those were, for me, an great set of examples on why and how comics forms and formats work, how they differs from other mediums and how they are better or worse for some genres than others. All are well worth your time.
Sunday, 18 December 2011
Wednesday, 14 December 2011
Dr Sketchy - Tis the Season to get Sketchy
Here are my images from the Dr Sketchy - Tis the Season to get Sketchy life drawing and cabaret at World Head Quarters on Sunday. Images in reverse chronological order, so the afternoon finished with....
The Creative Martyrs. Gustav and Jacob Martyr two splendid and somewhat terrifying fellows are quite, quite brilliant, and I advise you to see them if you should ever get the opportunity. This drawing I think I might have a go at inking and possibly colouring at some point:
Meg La Mania - the fantastic Dr Sketchy's resident singer. Tinsel is extremely hard to draw, but I was pretty pleased with these head and shoulder portraits:
Amelie Soleil is the chief and brains behind Dr Sketchy Newcastle, and I've inadvertently made her look possibly too strict here (that's a flower in her hand). Amelie performed an very splendid and hazardous looking magic act that involved very sharp edges...
Drawings wise, though, the top one seems a little too static, though I think I managed to get the low lighting around her face. The second, more sketchy drawing seems to have more life to it.
We arrived late, partway through a series of rapid poses from Trixie D Licious - hence the really sketchy beginnings that I'm actually quite pleased with. Moved onto pencil for the last portrait, but have far too many lines here.
Trixie's burlesque performance was quite frankly stunning. Through which the audience maintained a polite and respectful silence, possibly inappropriately so: it was a Sunday afternoon and I think she took us somewhat by surprise?
So, as Amelie Soleil later pointed out: it's cold up there, but despite our (or at least, my) struggling to find the correct etiquette for Trixie's turn, we had a great afternoon: all the performers were fantastic. We'll be there next time, possibly (having seen what is possible) with an iPad, and a Gin and Tonic might also be appropriate. Excellent.
The Creative Martyrs. Gustav and Jacob Martyr two splendid and somewhat terrifying fellows are quite, quite brilliant, and I advise you to see them if you should ever get the opportunity. This drawing I think I might have a go at inking and possibly colouring at some point:
Meg La Mania - the fantastic Dr Sketchy's resident singer. Tinsel is extremely hard to draw, but I was pretty pleased with these head and shoulder portraits:
Drawings wise, though, the top one seems a little too static, though I think I managed to get the low lighting around her face. The second, more sketchy drawing seems to have more life to it.
We arrived late, partway through a series of rapid poses from Trixie D Licious - hence the really sketchy beginnings that I'm actually quite pleased with. Moved onto pencil for the last portrait, but have far too many lines here.
Trixie's burlesque performance was quite frankly stunning. Through which the audience maintained a polite and respectful silence, possibly inappropriately so: it was a Sunday afternoon and I think she took us somewhat by surprise?
So, as Amelie Soleil later pointed out: it's cold up there, but despite our (or at least, my) struggling to find the correct etiquette for Trixie's turn, we had a great afternoon: all the performers were fantastic. We'll be there next time, possibly (having seen what is possible) with an iPad, and a Gin and Tonic might also be appropriate. Excellent.
- Photo's on the Dr Sketchy Newcastle facebook page.
Life Drawing from a while back at the Mushroom Works
Having attended Dr Sketchy's Newcastle this weekend, I was reminded to upload some older life drawing that I did last year at the Mushroom Works (I thought I already had) If you're in Newcastle and interested in doing life drawing, I recommend checking those two places out.
I'll get the Sketchy's set up soon. Here are the Mushroom works set:
I'll get the Sketchy's set up soon. Here are the Mushroom works set:
Tuesday, 13 December 2011
Canny Comic Con : The Aftermath
Well, it happened: Newcastles many and various comics groups and fans finally got a canny comic con for this millennium.
Thanks to Alexi Conman, Newcastle city library and everyone who helped out, was a guest, did a talk, manned a stall, ran a workshop, helped people find what they were looking for and the five hundred or so people who attended, it was, to my mind, a very very fine day and most excellent success.
Highlights for me were many and various, but it's always a pleasure to have an opportunity to catch up with Ben Clark (Magic Beans Comics), Paul Scott (Omnivistascope), Graham Pearce (Sgt Mike Battle), Stacey Whittle (Small Press Big Mouth), Leonie O'Moore and Al Ewing (Zombo, Judge Dredd) and meet a great many people for whom up north is down south - in particular:
...and of course the Paper Jam Comics Collective, whose own Andy Waugh chaired or took part in several of the talks; Jack Fallows, who opened proceedings with the first talk; Mike Thompson manning the Travelling Man table; Britt, who I shared a table with; and Ian Mayor who acted as people wrangler in chief. Others running workshops I'll mention below. And this lot who heroically manned the Canny Communal table:
I didn't make many of the talks as I was mostly occupying my stand during the day. The two that I did make were excellent:
The atmosphere... for the whole day reminded me of HiEx, in being bouncy, easy going and family friendly, which is a sure sign of something going right.
Thanks to Alexi Conman, Newcastle city library and everyone who helped out, was a guest, did a talk, manned a stall, ran a workshop, helped people find what they were looking for and the five hundred or so people who attended, it was, to my mind, a very very fine day and most excellent success.
 |
| The Canny Comic Con is GO! |
- Gordon Robertson and Luke Halsall of the Glasgow League of Writers who I'm now hoping to be working with at some point in the future.
- Ed Murphy of Rough Cut Comics, who I first ran into at Thought Bubble and whose enthusiasm for the con and comics knows no bounds that I could see.
- Gary Erskine, whose Roller Grrrls project lured me in with sexy and powerful artwork to reveal an extremely well thought out project with a very human core to it. Looking forward to this one.
 |  |
| Graham Pearce and Al Ewing | Gary Erskine |
...and of course the Paper Jam Comics Collective, whose own Andy Waugh chaired or took part in several of the talks; Jack Fallows, who opened proceedings with the first talk; Mike Thompson manning the Travelling Man table; Britt, who I shared a table with; and Ian Mayor who acted as people wrangler in chief. Others running workshops I'll mention below. And this lot who heroically manned the Canny Communal table:
 |
| The Canny Table: Terry, Matt, Lydia and En |
- Bryan Talbot's Grandville and the Anthropomorphic Tradition is a talk i've seen a few times and which I don't tire of: it's constantly evolving and always fascinating. See it if you can, and this time round he had preview cover artwork for Grandville: Bête Noire, which we're told will be a take on James Bond. It looked smart. Bryan is a class act and was the first guest to confirm for the con. You should all buy Grandville and see his talk if ever you get the opportunity.
- Dr Mel Gibson's talk Studying Comics: Where to start? demonstrated that there's a world of literature beyond Scott McCloud. My Recommendation is to check out her website: www.dr-mel-comics.co.uk
 |
| Ingi, from Tees Toons. With Isaac, Mark and Jacob |
The atmosphere... for the whole day reminded me of HiEx, in being bouncy, easy going and family friendly, which is a sure sign of something going right.
- The all ages workshops and competitions from the fantastic Cuttlefish Comics, Tees Toons, Art Heroes and the lovely Brittany Coxon.
- Judge Dredd and the Readers of the Lost Art giving away free comics.
- Newcastle City Library whose staff were entirely brilliant, but also, just the fact of hosting in a community centre rather than a professional convention centre made for an excellent mix of kids and kurious.
- The list of people I didn't speak to nearly enough and/or haven't mentioned here is enormous
 |
| Paul Regan has the power to make cigarettes hover in front of his face awaiting their turn. |
 |  |
| Spleenal by Nigel Auchterlounie, looks filthy. | One of Doug's first stories for an american publisher was one of my favourite Grant Morrison Doom Patrol stories. |
 |
| Gary Bainbridge, who I typically didn't get to talk to enough. |
- Roll on Canny Comic Con 2012.
- More photo's here.
- Alexi Conman's thoughts on the day and the celebration of comics
- I didn't mention the Viz, while I respect it a lot it's not really my thing. However: Ian Mayor's report for Bleeding Cool rightly addresses why their presence was essential and excellent.
- Cuttlefish's Canny Comic Con Roundup
- Ingi talks about the monsters
- Andy Waugh reports
Wednesday, 7 December 2011
The Canny Comic Con - It Is Nearly Time
This Saturday, it will be, as I shall never tire from pointing out, the Canny Comic Con. It will be magnificent. It's free, it's at Newcastle City Library.
So, what will it have? I'll tell you what it'll have:
You should be there from about 9:50ish if you want to catch the first talks. It'll be great. Want to know more, follow @cannycomiccon and #cannycc
 |
| Poster by Cuttlefish and I |
So, what will it have? I'll tell you what it'll have:
- Family Friendly Workshops!
- Talks and Panels!
- A Drink/Draw Launch Party on Friday evening at the Tyneside Cinema!
- Guests! including (featuring even) but most assuredly not limited to:
You should be there from about 9:50ish if you want to catch the first talks. It'll be great. Want to know more, follow @cannycomiccon and #cannycc
Saturday, 3 December 2011
Tales of the Hollow Earth Issue 2: Entomology - 2nd Printing, New Cover
Coming soon to a Canny Comic Con near you.
Also, if you're a google+ kind of person, Tales of the Hollow Earth now has a page on that system.
Friday, 2 December 2011
Made in Newcastle Christmas Market
Why it's the Made in Newcastle Christmas Market this Sunday!
- The days are just packed:
The market is happening a the Royal Station Hotel, which is just beside Newcastle Central Station.
Proceeds from the £1 entry fee will go towards future Made In Newcastle projects, workshops, exhibitions and events.
PaperJamComicsCollective : "Alcohol, and that"
The latest anthology from the Paper Jam Comics Collective: Alcohol, and that is more or less complete. I initially didn't think that I'd be able to contribute, but myself and the lovely Britt jumped in at the last possible minute to work on the cover. I pencilled, Britt inked, we both coloured. Here it is:
Now it just needs to get printed, but it will doubtless be ready in time for the magnificent Canny Comic Con
Wednesday, 30 November 2011
Entomology Redux : Digitally Remastered.
With the move of Tales of the Hollow Earth 3 to colour, and what with issue 2 (Entomology) having had a pretty rushed final few pages and a terrible, terrible print job, i'm digitally remastering it.
Never go back, I know... but... damnit, i'm redrawing all the balloons, colouring all the pages and fixing some of the panels. Some quite radically.
The new colour version of issue 2 will be available at The Canny Comics Con on December the 10th. The new version will cost £3 unless you had a copy of the previous print in which case it'll cost you £2. There weren't many of you and I know who you are :-)
Never go back, I know... but... damnit, i'm redrawing all the balloons, colouring all the pages and fixing some of the panels. Some quite radically.
The new colour version of issue 2 will be available at The Canny Comics Con on December the 10th. The new version will cost £3 unless you had a copy of the previous print in which case it'll cost you £2. There weren't many of you and I know who you are :-)
Monday, 28 November 2011
Canny Comic Con - poster number 3
The second poster for the Canny Comic Con is above. Art byCuttlefish Comics, and design by me. It shall be awesome.
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