Posts Tagged ‘Joe Williams’

Mood Indigo

Wednesday, September 1st, 2010

Back when I was in art school hanging with the DUCKWORK crowd who would eventually morph into the Comico crowd, we would compare notes about art supplies and techniques. Back then, some of the guys were real excited about using non-repro blue leads in a mechanical clutch pencil or a lead holder. The robin’s egg blue color wouldn’t reproduce on a stat or PMT which was a high contrast photographic reproduction. That repro would be pasted onto a board along with the text and all of the other page elements, and then a negative would be shot of that in order to burn a printing plate, etc…etc… The blue lead was also great for sketching and building a drawing. The blue ultimately wouldn’t show up so you could sketch and sketch to your heart’s content. Coming back in with a regular black lead pencils would define and firm up what you were trying to get at in the blue sketch. Recently I went walking into a brand new art supply store which is part of a national chain looking for non-repro leads. I looked around, but no dice. Black leads, but no blue. I asked one of the clerks wandering the floors. She asked me what I meant by non-repro. It was then that I realized that this sales girl was probably a toddler when companies started selling their stat cameras for scrap. She had grown up completely enveloped in the digital age.

What to do? I looked around and found something that is working a lot better than the old blue leads. Pictured above is a 0.9 mm mechanical pencil and indigo blue leads that fit in it. The leads are thick enough so that they give a nice beefy line like a wooden pencil, but are a consistent thickness or thinness so they never have to be sharpened. That isn’t the case with the thicker leads that went into the clutch pencils. I was constantly using a lead pointer on those things.

The blue leads aren’t non-repro, but, as I said before, we’re living in a digital age – it doesn’t matter. I can build and build the sketch with the blue pencil and then refine it with black. I scan it in and ink it digitally on a separate layer.

The indigo leads are fun to work in. I start out really sketchy and light and start leaning on the pencil more heavily as I make decisions about lines. I know it’s a poor craftsman who blames the quality of his work on his tools, but a 0.9 mm mechanical pencil with blue leads is making doodling and sketching just plain fun for me again. I love this pencil!

Of course, if they stop making the leads, I’ll be sunk. Maybe there will be another color. I don’t know. I’m not sure what the industrial purpose of these indigo leads is now if any. If that market dries up, they will go the way of the non-repro leads. I’d better stock up!

I may ink and color digitally, but I’m not ready to sketch digitally. I think I’ll always be analog in that regard.

Telecommunication! Monkey & Bird Continues!

Friday, August 27th, 2010

Monkey & Bird continues at CO2 Comics! Take a look at the latest cartoon fun from Tina & Joe HERE!

Don’t PANIC!!! Monkey & Bird Continues!

Friday, August 13th, 2010

Monkey & Bird is BACK at CO2 Comics! Read the latest from Tina & Joe HERE!

As a bonus, have a look at the sketch for this panel before it had all of those pixels slopped over it:

Visual Metaphors

Wednesday, August 11th, 2010

I haven’t posted a series of my visual metaphors in a while, but I was pleased with the way this one turned out so I figured I would foist it on you, my loyal readers.

This series is about an engineer who is transitioning from a technically centered aspect of his career to more of a people centered aspect. There is doubt and a little trepidation along the way, but in the end, he sees it all working out well.

The future is unclear, but it will be bright.

The images are a combination of Adobe Illustrator and Photoshop. Sometimes I’ll sketch a little thumbnail, but usually I just dive right in and start pushing around pixels in response to my client’s written metaphor. I usually start with some images I have floating in my digital morgue. If I can’t find what I want, I’ll run out and shoot a picture of an object or a texture. If that doesn’t work, I’ll draw or paint the whole darn thing digitally. It’s really a number of techniques all thrown together, and it makes my client happy.

Swamp Things

Tuesday, August 3rd, 2010

Before I start this entry, head over to CO2 Comics’ Blog NOW and read Gerry Giovinco’s history of DUCKWORK. He fills in some of the enormous gaps left by my own meager history of PCA’s semi-official student paper. His entry comes complete with embarrassing photographs!

It was 1982, and DUCKWORK was a dead duck, but one of the ex-Ducks decided to have a party. Being that I talked incessantly about film and had mentioned the cinematic efforts of Plague Productions more than once, somebody suggested a film festival. I could bring my reels and we could fill the rest of the evening out with commercial films which were mainly released in 8mm format by a company called Castle Films. They weren’t the entire film. They were more like highlight reels that told the story in a greatly condensed form.

I had some horror films like The Mummy and House of Frankenstein. I think Matt Wagner had some of the old Batman serials from the ’40s; Bill Cucinotta brought some reels, and there were a few other things to pad out the bill.

The Mummy

So it was decided. The kids were going to put on another show. Matt decided to hold it at his apartment which was among some student housing in a tenement-like building in the 1400 block of Spruce Street. It was a large apartment that Matt shared with two or three other roommates and it, and it was called The Swamp.

Matt also did me the honor of drawing this poster for the party.

It was a good time. I think we projected the movies against a wall or a bedsheet. The place was packed. My movies got a good response as did the other movies. We all laughed hysterically at the Batman and Robin serial. I think the version of The Mummy is my favorite although it was heavily condensed. This 8mm version had sound and the picture quality was terrific. It was edited very well and felt like a poetic dream projected large in that apartment. Boris Karloff’s sonorous voice sounded especially eerie beckoning a lost lover from across the seas of time. Great stuff.

For me, it felt like the last hurrah for the DUCKWORK gang. DUCKWORK was done, but the Ducks were still a fairly tight group. We still saw each other in classes or in the halls of PCA or got together when we weren’t buried under an avalanche of school work.

Next time: Wrecking Ball

Girl Talk

Friday, July 30th, 2010

Girl Talk

Monkey & Bird by Joe Williams and Tina Garceau continues at CO2 Comics! Read the strip here!

Mommy Dearest II: The Revenge

Tuesday, July 20th, 2010

While I was looking for sketches for my abandoned opus Gomer Pyle Goes to Viet Nam, I found this sketch for another possible DUCKWORK strip. This was either going to be Mommy Dearest II: The Revenge or Joan Crawford Has Risen From the Grave. Obviously, Joan’s adopted daughter was going to get it EC Comics style in retaliation for penning her famous tell-all. Don’t mess with willful and driven Hollywood Stars even after they are dead!

DUCKWORK’s Swan Song: The Party’s Over

Monday, July 19th, 2010

It was 1982.

Issue No. 6 was the last issue of DUCKWORK. I am not sure of the reasons why, and I’m hoping that Gerry Giovinco does his history of the paper because he was directly involved with the nuts and bolts and all of the behind-the-scenes issues involved in publishing that student paper. Me – I was a clueless freshman who hung out, handed in 3 installments of a strip and irritated everyone with a constant stream of movie trivia and trivialities. I know money was an issue as always. The school was playing musical deans at the time, and the old guard was going out and the new one coming in, wanting to make changes. I know that everybody was trying to get their academic act together. The workload was tremendous particularly for the illustration majors. Time was a precious commodity. What was the sense of working on a school newspaper if you were going to flunk out of that school? Crack those books! Write that term paper you’ve been avoiding!

After issue No. 6, I was proceeding with the idea that there was going to be future issues and was working up ideas for other strips. I was going to continue my trend of mocking classic and sub-classic television programs and started to work up sketches for Gomer Pyle Goes to Viet Nam.

I found these sketches in an ancient, GBC-bound sketchbook. I don’t know why, but I must have been using an 8-H pencil at the time. These drawings were so light they were practically non-existent. I had to really play with levels in Photoshop to get something to show!

Anyway, Sargent Carter having heard one too many “Golly’s” and “Shazam’s” seizes on an opportunity to ship Pyle off to South East Asia. Carter figures Pyle won’t last a day and he’ll finally be rid of that lumbering lunkhead forever! Of course, just like the TV show, nothing works out Carter’s way. Pyle sees action and gets blown to bits. He is shipped back to the old Sarge in a small crate. Carter opens the crate finding a basket case Pyle still alive! Naturally it ends with a deliriously grinning and quite mad Gomer Pyle shrieking, “Soo-Prize! Soo-Prize! Soo-Prize!”

Maybe it’s a good thing DUCKWORK ceased publication.

Weird War TalesThe story was based on/ripped off from one of my favorite comics in my collection – Weird War Tales. Comic companies had done so many variations of war and Western comics, why not offbeat ones? In the cover story, the GI buys a talisman from a shaman. The shaman promises the American that he can not die as long as he wears the talisman. The soldier figures that he has just got an incredible bargain. The problem is that the talisman only keeps the wearer from dying – not from harm. He ends up at the end of the tale in a wicker basket hoping that somebody will remove the talisman thus granting him the sweet release of death. John, my older brother, bought it, read it and threw it to me as he always did at the time. He may have read it and forgot about it. I obsessed over it. The cover is etched in my mind. I still have it. The comic had the Comic Code seal meaning it was safe for kids, but it gave me the willies!

South Street Art Supply

Eventually word came down that the school was not going to fund any future issues of DUCKWORK. Gerry thought we could keep it going by selling advertising space. That’s what regular comics and newspapers did! There were ads in previous issues for art supply stores, small shops and cafes. We would just have to dedicate more space in the paper for advertising. The problem was that the Ducks would do the selling. Not everyone can be a salesman. Making a cold call to a little shop is tough. I was miserable at it. I think the cheapest ad was $15 for placing a business card on a page. No bites. The other Ducks were equally successful. It was dispiriting. Who wanted to go from store to store, door-to-door just to be rejected? Besides who wanted their place of business associated with comics about cannibalism, necrophilia and over-sexed water fowl? Showing potential advertisers copies of the paper was a deal killer. An inept sales staff and the utter lack of time caused by the crush of school work amongst other commitments meant that DUCKWORK was a dead duck.

I think Comico was starting to come to life. Gerry Giovinco, the driving force of DUCKWORK, had much bigger fish to fry than a little school newspaper. He was on the precipice of independent comic history!

Gerry will hopefully clear up the timeline in his column over at CO2 Comics.

Anyway, the plug was pulled. The DUCKWORK sign came off of the door of the tiny office on the 13th floor. I remember passing it a few times and trying the knob. Locked and unoccupied. DUCKWORK was dead. Nothing else came in or was started up to fill the breach. No other paper was started up. Not even mimeographed typewritten dispatches! No other Spanky McFarlands came forth to declare that he was going to put on a show. The party was over.

Next Time: Epilogue Part II!

Down In Space It’s Always 1982

Friday, July 16th, 2010

DUCKWORK No. 6

1982 and the my second semester arrived at PCA after a lengthy winter break. The second semester wasn’t as bad as the first. It was still the Foundation program that all freshmen had to go through, but it wasn’t as baffling or mind numbing. We continued drawing from models in drawing class; started doing actual figure sculpting in 3-D, and moved into color theory in 2-D which was fascinating. God help me, I was starting to enjoy it.

I didn’t live on campus and took a bus into Philly from my parents’ home in NJ. There were people I hadn’t seen in a month and it was nice being reunited. I soon found myself back on the 13th floor seeing what the Ducks were doing.

Of course, if I did live on campus, I may have met my wife, Tina Garceau. She was in her second year there at the time, and although we had probably passed each other in the hallways a thousand times, I never met her. She claims she remembers me, but I don’t really remember meeting and speaking with her until we were both out of school. Like two ships passing in the night.

Uber-Geek in Zombie makeup circa 1982

There was a pretty good chance that she would have run away screaming if she did meet me back in PCA. I guess things all worked out for the best.

So what about a new issue of DUCKWORK? We kicked around some ideas. Gerry Giovinco wanted another unifying theme similar to the previous issue. At the time, EC comics were being reproduced in expensive hardbound volumes. Some of them were circulating around the DUCKWORK office and we all marveled at the work of Jack Davis, Wally Wood, Graham Ingels, Jack Kamen, Bernard Krigstein, etc. This gave us the idea of doing a spoof of the old EC horror and crime comics. Being a big horror fan, I loved the idea. We kicked around some more ideas and decided that the unifying theme would be The Philly T-Square Massacre!

DUCKWORK No. 6 jettisoned the notion that it was a school newspaper and the majority of its 12 pages was filled with funnies most of which all tied into the T-Square Massacre theme! Gerry Giovinco’s Star Duck spoofed The Empire Strikes Back; Bill Cucinotta’s Punk Duck taunted the mysterious T-Square murderer: Matt Wagner spoofed Death Wish; John Rondeau did Tales of Suspense; Nickie Boston’s and Anna Miyaji’s Spineless Wonder was offered a good deal on a T-Square by a street vendor; Andrew Maltz was Thinking; William Bryan’s Cat Man was meanaced by T-Square-Headed Sharks.

…and, of course, The Brady’s Last Vacation came to a gratuitously violent and tasteless conclusion. It was a two-parter.

Sheesh! All I can say is thank God for digital lettering!

Well, it wasn’t the greatest work I’ve ever done, but I had TWO installments in that issue of DUCKWORK, and I was a full fledged Duck! If they had a private crapper, I would have had a key! I had ideas for future strips that were going to be bigger and certainly better drawn. DUCKWORK was going to be bigger and better. It was going to be great!

But sadly it was not to be. Issue No. 6 was Duckwork’s Swan Song.

Next Time: Epilogue

No, You’re Out of Order!

Thursday, July 15th, 2010

DUCKWORK April 1981

After I started posting my experiences with DUCKWORK, I had found this issue from April of 1981 stuck inside the pages of a later issue. This is the second issue of DUCKWORK.

I was still in high school when I picked this issue up. It must have been when I went to interview at PCA. I went with my Father and I brought a portfolio stuffed to overflowing which included drawings, mechanical drawings, paintings, photography and an 8mm projector and movie screen in order to show the interviewer the 8mm opus The Huns which I directed. I was afraid that I would be rejected so my Dad and I figured that we would bring in everything including the kitchen sink. Well, we didn’t bring in my baby pictures, but we thought about it. Little did I realize I had little to fear from rejection. I’m pretty sure that if you walked upright and could legibly sign your name, you were in. I kind of got that feeling when the interviewer said, “Oh, and you got good grades, too. Nice!”

This issue was a 12-pager with only 3 pages of comics. Gerry had a full paged adventure of Star Duck. The others were Amazing Comix, Sick Pup Funnies, Cliches Illustrated, and a tiny 3 paged comic that’s a little hard to make out in the copy I have.

There’s also a special shout out from Gerry to Evan Nurse who was a Junior Duck at the time.

I must have picked it up at the front desk, and 29 years later, here it is again!

After the interview, my Dad and I decided to make a day of it in the City of Brotherly Love. We ditched my portfolio and took a long walk. We ended up traipsing up the Parkway and went into the Philadelphia Museum of Art. Dad was born and bred in Philly, and it’s something he used to do in his youth. He enjoyed the trip down memory lane.

Philadelphia Museum of ArtDad at the PMA long before our walk there.

I wish I had a tape recorder to capture Dad’s roving commentary at the Museum. It was hysterical! I’m laughing and getting a little misty-eyed as I’m typing this.

Don’t miss our thrilling conclusion: DUCKWORK’s Swan Song!