We all drew portraits of each other. See if you can figure out which one I drew.

Outlaw Page 20 | Thesis Project

Outlaw Page 21 | Thesis Project

Outlaw Page 22 | Thesis Project 

Outlaw Page 23 | Thesis Project

Outlaw Page 24 | Thesis Project

Outlaw Page 14 | Thesis Project

Outlaw Page 15 | Thesis Project

Outlaw Page 16 | Thesis Project

Outlaw Page 11 | Thesis Project

Outlaw Page 13 | Thesis Project

It’s coming together nicely, though I’ve also been distracted with various freelance projects. I recently completed a storyboard project for a client, which consumed two and a half weeks of my time. It was a lot of valuable time to dedicate to something other than my schoolwork, but it paid well, and I’m starting to think about practical financial options for when I graduate.

But here are some pages I’ve been working on. Klaus told me at our last meeting that I’ve made a breakthrough, which I totally feel to be true. Lately, I’ve been able to knock out a penciled page within four hours; something I’ve never been capable of before. It’s exciting to finally feel like I can do the things I want to. Though the road ahead is a long and hard one.

Outlaw Page 2 | Thesis Project

Outlaw Page 8 | Thesis Project

Outlaw Page 9 | Thesis Project

Outlaw Page 11 | Thesis Project

Outlaw Page 12 Pencils | Thesis Project

The end of this semester marks a huge change in my growth as an artist and illustrator. It’s a jump that I never would have imagined possible. This whole year, I’ve felt like I was ramming my head into a brick wall. That I was getting no where and only injuring myself and my wife by being in grad school, racking up debt, and living in New York City (which I find to be a very hard place).

But very recently, I’ve seen light at the end of the tunnel. I’m starting to enjoy the images that I’m making. And, most importantly, I’m beginning to understand how illustrative and comic making processes works.

If there’s anyone to thank for this leap, it’s Klaus Janson, who I’ve had the privilege of meeting with every other week. He’s been incredible, giving me resources, advice, and feedback on my work. It’s been great to talk to him about the business of comics, since he’s been in the industry for so long and know all of its ins and outs. Simply getting to meet with him one on one has been worth the sacrifice of being here and going to school.

I feel like I’m moving forward. And that is something that I needed desperately. We’ll see if it pans out.

Outlaw Page 1 | Thesis Project

Here are some pieces that I’ve been working on this semester for my Thesis Project, titled “Outlaw”. It’s a short graphic novel, based on the Icelandic Saga of Gisli (about 66 pages). I’ve finished the script and thumbnails for the first 24 pages. This is the first page of the book.

The story is broken up into 3 issues, and I’ll have the first one finished before the end of next semester. It will have a little color and be completely lettered. I’m hoping to shop it around to various publishers (both comic and book publishers). With a 24 page comic, at least I’ll have an awesome portfolio piece to help get my foot in the door.

Outlaw Concept Sketch | Thesis Project

Outlaw Concept Sketch | Thesis Project

Outlaw Concept Sketch | Thesis Project

Here’s my reworked punisher pages.

Punisher | Comic Sample Portfolio

Punisher | Comic Sample Portfolio

Punisher | Comic Sample Portfolio

I’ve also been hard at work on my Thesis project. At the beginning of this semester I thought I would do several small comic short stories (6-8 pages each). But the more I thought about it, the more I wanted to do a longer, more cohesive story.

I took a viking literature class my last semester of undergrad. We studied various icelandic sagas and epics. I thought it would be a lot of fun to drawing vikings, swords, ships, and battles. So, I’m writing and illustrating a graphic novel based on the Gisli Saga.

It’s a story about a man who’s forced to kill his brother in law, which leads to his outlawry and eventual death. The story will take place in 3 parts, 22 pages each.

Here are some concept sketches for my book:

Concept | The Saga of Gisli

Concept | The Saga of Gisli

Concept | The Saga of Gisli

I hope that’s normal.

Weekend before last was New York Comic Con. I got to meet several of my favorite artists, including Sean Murphy, Kristian Donaldson, and Nathan Fox. I lugged my portfolio around, and begged reviews from them and others. I got some great feedback and encouragement.

I had the last 6 pages from my comic, Ezekiel as well as these pieces in my portfolio:

Punisher Sample | Comic Portfolio

Punisher Sample | Comic Portfolio Punisher Sample | Comic Portfolio

When I first met with Klaus, I told him one of my goals for this year was to have a competitive, professional, comics portfolio. He said he had an old punisher script lying around, so we started our conversation there, with me drawing 6 pages from the Punisher. It’s been fun, though I’m having to redraw a great deal of it.

Northlanders Sample | Comic Portfolio

This is a page from Northlanders. I think I’m going to be drawing a viking comic for my Thesis Project.

Sample | Comic Portfolio

Sample | Comic Portfolio

Sample | Comic Portfolio

After getting feedback from some people the Friday of Comicon, I decided it would be worth my time to create a couple portfolio booklets to drop off at Marvel and DC Comics. They review your stuff, and if they feel like you’re good enough, will give you a portfolio review the next day.

Sunday, Marvel seemed to think I was worthy, and I got a portfolio review from Bon Alimagno, Marvel Comic’s Talent Coordinator. He was very gracious (I know he was exhausted from the con), gave me great advice, and told me to email him in three months with new work after I had processed all the advice I got at the con.

Overall it was an incredibly encouraging experience, and I hope that I continue to improve.

But comics aren’t all I’ve been doing. Here are some illustration pieces I’ve done in the past few months:

Metamorphasis | RPC Women’s Ministry

Go Free | Blake Mankin

Putting Kids Away | Ithsmus Magazine

Yes?..

I’ve finished my book project (though it has yet to be printed). The show is on starts on the 23rd, and the Opening is the 27th. I’m thankful that it’s finished. I’m ready to move on to another project.

I learned a lot during this whole ordeal. I’ve discovered a lot about my process, how I need to work when attempting to illustrate a comic book. But I’ve also learned that there are a great deal of things I need to work on.

Ezekiel | Book Project

Maybe everyone know this, but I’m beginning to realize that drawing comics well, like doing anything well, requires a great deal of patience and hard work in a ton of different areas, especially figure drawing. This morning, while drinking coffee, I was comparing drawing comics to dunking in basketball. There’s no simple solution to drawing well, just like there’s no simple solution to dunking on a basketball hoop 10 ft off the ground.

I imagined a 10 year old kid asking Michael Jordan how to dunk. How do you answer that? “Lots of practice?” There are so many different factors, leg strength, coordination, concentration, familiarity with the game. Dunking is icing on the cake of hard work, training, and practice. Comics are the same way. Drawing comics well is the icing on a cake of hard work, study, determination, and a crap load of practice in a variety of different areas, specifically anatomy.

So this summer I’ve been kicking my butt when it comes to figure drawing. Someday I’m going to compile a list of all the drawing resources I’ve used, how I’ve used them, and exercises I’ve done. Mostly though, I’ve been working through Andrew Loomis’ Figure Drawing for All Its Worth. Not only have I’ve read every single page, but I’ve been copying all his drawings (some multiple times).

In high school I used to think that copying anything was cheating. That someone who was truly skilled in drawing drew from his head. So, I was too arrogant (and probably lazy), to work out the figures and forms from my drawing books. But now I realize that the only way to draw something well is to know it deeply, intimately, and that can only be had through meticulous study and practice.

I thought I’d post some of the anatomy studies, as well as some jet planes.

*some of the drawings contain nudity*