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Tag Archives: cartoon
It’s Taco Knight’s greatest frenemy, the mighty Pizza Knight! See him champion his greasy, cheesy feudal overlord, King Pizza in the bloody mêlée! Gasp as he dukes it out with Taco Knight to see who will reign supreme over dinner! The crash of cutlery! The force of character! The sauce! Oh, the sauce!
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Taco Knight takes to the field to defend the honor of the taco! See him charge into the fray to face his enemies, the dastardly taco trash-talkers. He rides victorious into battle on his fiery steed Salsa to prove the worth of handheld tortilla-based foods.
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This is why you shouldn’t have too many cats. They get into your runes and curse you, and then you end up with a case of demons.
Pineapples are so hardcore with their prickly attitudes and tough exteriors. But we all know they’re really sweet on the inside.
The majestic, golden pineapple. It’s the king and/or queen of fruits. (It is so above gender.) Bow down to the holy pineapple and display your allegiance by buying a shirt or print at Redbubble or Society 6.
Commander Sisko and Major Kira at Quark’s…as ponies. Sisko’s cutie mark is a Starfleet emblem with a baseball in the middle, Kira’s is a Bajoran insignia, and Quark’s is a few bars of gold-pressed latinum.
Someone who bought a copy of Bantam at a previous convention visited my table again at MSP Comicon this spring, and asked what I used to ink it. The short answer I gave at the convention was, “Mostly Microns, with some brushwork in a few places.” For anyone seriously interested in the making of comics, here’s a longer answer:
For me, a big part of inking is knowing the right tool for the job. I’m one of those people who switches tools depending on the task at hand. Usually when I’m working on paper, I like to use a Rapidograph for lettering, because it gives me a smooth, very dark black line. BUT, I started Bantam while traveling, so I needed tools that were easily portable. I actually drew the first couple pages on a plane, and carried them around folded inside an issue of National Geographic. So I broke from my usual routine and used a Micron (I think it was size 05) for the lettering. And since lettering should be consistent, that meant I had to use my Micron to letter the whole book. (Later, when I started on Bantam Returns, I went back to lettering with the Rapidograph since it was a new story.)
The first page here was done almost entirely with Microns. If you look closely you can see a couple different line weights. I think I had a 05 and a 02 in my purse when I was traveling with this page. There might have also been an ultrathin 005. The only part that isn’t Micron is the sky. I outlined the stars, moon and weather vane with ink and then used a black crayon to color the rest of the night sky.
Here’s a bit of page 2. Again, you can probably tell that I used a couple different Microns to get the different line weights. Anywhere you see crosshatching or stippling in this book, that was done with a Micron. I would have used a very fine-pointed tip for the bricks, to add texture while still allowing them to recede into the background. I think I may have used a Pentel Pocket Brush Pen to fill in the black areas on Bantam’s head and gloves. At the time, I wasn’t yet accustomed to inking with a brush, but I was making an effort to practice with it.
Here’s the page where Bantam and Little Pecker arrive at the creepy old factory. This page clearly has a mixture of brush and Micron work. Every single window is either missing or broken, and I used a fine-pointed Micron to draw all those tiny cracks. On the big, beat-up steel drum behind Bantam and Little Pecker, there are some brush marks to indicate dents, and those were done with the Pentel Pocket Brush Pen. The large black areas were filled in with a brush, but I think I outlined some of the details (like the barbed wire and ladder) with a Micron before using the brush.
It’s been several years since I drew Bantam, and since then I’ve gravitated more toward brushes, and stopped using Microns altogether. But I still switch tools depending on what I think the page needs. My Lolly comic, for example, is lettered with a Rapidograph and inked mostly with a sable brush, although I also use a Carbon pen for certain things. There’s more than one right way to ink, and plenty of good tools to choose from. Most of the artists I know settle on a few favorite tools, but it’s always good to experiment and add new things to your toolkit–that’s how you figure out what works best for you.
Gremaxa is a feathered, reptilian practitioner of essence magic, introduced in issue 5 of Cartozia Tales by Isaac Cates and Mike Wenthe. She goes on to appear again in issue 6, written by Jen Vaughn and drawn by Caitlin Lehman, and again in Tom Motley’s issue 7 story. Since I will be continuing the story in issue 8, I spent some time sketching her yesterday, and used fabric collage to color the drawing. Visit the Cartozia store to subscribe, and be sure to sign up for a premium subscription with fun bonuses, so you can get a neat little treatise on Cartozian magic and learn more about the essence magic used by Gremaxa.
This is one of the fun things you can do with layer masks in either Photoshop or Manga Studio/Clip Studio (I used Manga Studio 5 to create this image). Using layer masks allows me to choose where each fabric swatch should appear without actually erasing any of it. So if I need to, I can reposition the fabric under the mask to get all the colors and textures where I want them.
I drew this to critique the way art is devalued. Young artists are often scoffed at and told that they’ll starve, they’ll always be poor. When even artists repeat the refrain that art degrees are useless, there is a problem with either deeply-ingrained defeatism, or a lack of practical guidance (usually both). There are lots of interesting things you can do with arts degrees in the public and private sectors, and in multiple industries. It is not always easy, but it is rewarding. Art is everywhere, and people pay money for it. If only more parents and educators told young artists HOW to succeed in the arts, instead of discouraging them.
If you want a print of this, there are a few different options:
Order a signed print through my fancy internet store on this very website.
Cards with this design are available through my RedBubble store.
Framed, unsigned prints are available through Society6.
In this follow-up to the original Bantam comic, Bantam and Little Pecker are invited to join the Interdisciplinary League of Good Eggs and rub elbows with the greatest heroes of Cockham City: Arnold the Super Cardinal (created by Danno Klonowski), Wonder Pea Hen, Super Tough Chick, and Water Fowl! However, Bantam doesn’t get quite the reception he expected, and isn’t pleased with his first “mission…”