Talented comic artist Todd Nauck will be hosting a special Q&A, signing and artist workshop event to celebrate his first art installation in an accredited museum, the Bakersfield Museum of Art. The exhibit opens February 4th. 

Todd Nauck has over 17 years experience in the comics industry. If you’re into comics, you’re probably familiar with his work for Image, DC and Marvel comics - Amazing Spider-Man, Friendly Neighborhood Spider-Man, Teen Titans Go, and Wild Guard, Young Justice and the Spidey and Obama teamup.

When he travels to comic shows and conventions each year, fans commission him to create artwork rendered in Copics.

Recently, we were lucky enough to chat with Todd on Twitter about his art making process, his Marvel Custom Solutions projects, and the artwork he created for Extreme Makeover: Home Edition, Lance Briggs (and others) for the NFL Superbowl, and ESPN.

We asked him to explain his unique creative process. His approach – which involves first defining the form in color – deviates from the more conventional approach of starting with pencils, following up with inks, then finally adding color. Seems that @RAHeight also likes working this way:

Judging from the dozen or more images he started posting, this method works very well for him. He chose the subjects from recommendations from his army of loyal Facebook and Twitter fans.

A few images unveiled during the conversation (see all of them, here):

During the Q&A session, Todd was answering questions from our audience. @Darksparkle asked about skin tone colors:

Next, @WorkingClassGMR asked:

Fellow Copic-loving artists @AH_AdamHughes, @CatStaggs and @MahmudAsrar each got shout outs for being inspirational Copic artists.

If you love comics, follow these great artists and let Todd know you enjoy his Copic sketch cards! He’s super interactive, and who knows – perhaps your suggestion will get chosen the next time the request lines are open…

On that note, what are your favorite comic titles? If you commissioned an original Todd Nauck Copic sketch, who would want him to draw? Let us know in the comments, below.

Todd Nauck online:
Website: The art of Todd Nauck
Facebook: Todd Nauck
Twitter: Todd Nauck

More information about the special Q&A, signing and artist workshop event at the Bakersfield Museum of Art.

Recently, reading a collection of popular Japanese ghost stories called Kwaidan inspired me to create a comic based on the work. Since these stories were collected and translated over a century ago, I wanted to use traditional illustration techniques and media to honor its rich history.

With the help of Copic Multiliners, the lettering, background textures and shading tones have all been hand rendered using pointillism and hatching. By mixing simple techniques and rendering them using multiple pen sizes in the same element, I’ve added greater levels of depth and subtlety to these pages while keeping the style personal and unique.

COPICS Used: Multiliners of the following sizes: 0.05, 0.3, 0.5, 0.8, 1.0 and Brush-M

To begin my project, I create a storyboard on standard copy paper folded into a half-size booklet (4.25″ x 11″). This allows me to read it like a finished comic. I can see how things flow and make changes before spending too much time working on the details.

From there, I sketch rough pencils on Bristol board at 1.5x the finished printed size. I work them until they’re ready to be inked. For this step, I prefer hot press (sometimes called “plate finish”) Bristol board due to its smooth surface, heavy weight and durability when erasing and inking.

I use non-photo blue guidelines to mark the comic’s live area and trim guides. Turquoise colored Multiliners are perfect for creating guidelines when preparing your own custom boards. These blue lines will disappear when scanned, leaving only the black ink ready to be printed.

 

Figure: For basic line-work, I use the 0.05 Multiliner SP due to its precise nib that gives me really fine detail which stays razor-sharp at the reduced, final comic size. Before adding shading or texture, I complete all of the figures on the page. Once the outlines are finished, I move on to the shading and texturing of the figures.

Background Basics: At this stage, I only add basic texture and shading to the backgrounds. Leaving the backgrounds until after all of the figures have been finished lets you shade and texture them appropriately so they don’t overpower the characters.

Fabric: By combining pointillism and hatching, I create a smooth base shading with only 0.05 on areas like this kimono, followed by pointillism layers using 0.3 and 0.5 to create shadows and folds in the fabric. This is a great low-tech way to do your own shading screens (screen tones) directly on your artwork. By varying your lines and point density, you can simulate different materials, indicate the draping of fabric and create the illusion of volume through light and shadow.

Backgrounds, leaves: Once the figures are shaded, move to the backgrounds. I did the leaves using the Brush-M because its flexible tapered brush nib allows me to create that classic leaf shape with just a gentle press on the board. For each leaf, I held the pen at an angle and dabbed at the paper lightly, compressing the brush tip only hard enough to leave as large a mark as needed. To get a more realistic look to the leaves, I rotated the direction of the pen so the leaves weren’t all pointing in the same direction and varied the brush angle and pressure to vary the size or shape. The shallower the angle, the longer the leaves. I also created perspective by making the leaves smaller on trees that were farther in the background.

Grass: I rendered the grass with three sizes of pens, beginning with 0.05. By pressing the pen to the paper vertically and quickly flicking the pen upwards by rotating my hand backwards, I created random tapered lines. By flicking the pen, it caused the tip of the pen to lift in an arc from the paper, naturally tapering the tip of the line. For a more natural, grass-like look, I added in 0.3, 0.5 and 1.0, especially when creating the shadowy area and repeated the process a few (thousand) times! To get a smooth texture on this stone wall background, I used 0.05 for crosshatching.

Crosshatching: This is one technique that Multiliners excel at because of their consistent line thickness and ink density which is why I recommend them for anyone wanting to achieve this style of shading. By filling an area with an even layer of parallel hatches, the shading looks smooth. To create different shades or a gradient, I hatched in one direction and then again at a ninety degree angle. I repeated this in a third direction, or as many as I needed to achieve the darkness level I was looking for. For the textured surface of earth and rocks at the base of the wall, I used 0.05, 0.3 and 0.8 to create multiple layers of pointillism with a random placement of points. By intentionally building up 0.3 and 0.8 points in certain areas, I was able to simulate peaks and valleys which either caught the moonlight or were in shadow.

Lettering: Even though this page has no standard lettering on it, I wanted to show an example of lettering using Multiliners from a different page. Drawn at 1.5 times the finished comic size, I laid down parallel nonphoto blue lines 3mm apart for the lettering and 2mm apart for the leading (the vertical space between each line of lettering). Since I was going for a clean, mono-weight lettering style, I simply drew out the letters using a 0.3 for standard text and a 0.5 for bold. In this case, the Multiliners beat a traditional nibstyle pen and ink’s varied lines.

As you can see below in the finished page, basic illustration techniques can be taken to the next level simply by using a variety of Copic Multiliners. By switching between pens, you can add as much depth as you need to set the mood for your piece.

What Multiliner techniques do you use? Let us know in the comments, below.

For more from Alex, visit him online. Enjoyed this post? Feel free to let him know.

Website: http://AlexHeizer.com/
CopicColor: Alex Heizer
Twitter: @AlexHeizer
Facebook: Alex Heizer
Google+: Alex Heizer

Daniel Govar is an extremely talented illustrator with an impressive roster of clients, including DC Comics, Nike, Marriott and various U.S. sports teams. In addition to illustrating nearly 15 books, his work has been seen in worldwide publications such as Entertainment Weekly and TV Guide. Read on to learn more about Daniel, his work, and his love of Copics:

Tell us about yourself!
Originally I am from Arkansas, but I was an army brat and we moved all over – Hawaii, Canada, Oklahoma, and finally here in Maryland. I think at some point I’ve been to or lived in every state in the US save Alaska. I got my degree in Imaging and Digital Art from University of Maryland, Baltimore County, and was introduced to the wide world of digital art forms there, studying animation (both traditional and 3D), video development and editing, and interactivity and web programming. It was a pretty all-encompassing major and one they’ve since dissolved and broken into individual focuses. Personally I like the rounded approach and appreciate the education in knowing how all the pieces fit together. My personal interests were initially in interactivity and it’s possibilities, and I would always put my illustrations (of which I had very little formal training save figure studies and a few paintings classes here and there) into anything I created. I got a job out of school creating educational programs for children – an Astronomy program, a History program, and a program on Ancient Greece – all filled with illustrations and animations.

Do you prefer traditional or digital media?
I use both and find that when they work in harmony my work looks best. My DC comic series AZURE was done entirely digitally. From beginning to end I used Photoshop to create every page. It was only when I started going to conventions that I saw the folly in this as a comic creator – there is a huge market in original art that you lose when you work digital-only. I now do most of my color work in Photoshop, and do most of my black and white and grayscale work in traditional medias – Primarily using Copics for the traditional work with a few India ink washes for added textures.

What other mediums do you work in?
My weapons of choice have evolved over the years but it depends on what the project requires. I think I am most comfortable with pen and ink (Copics), markers, watercolor, and digital mediums. I have done large scale oil paintings, and sculpt from time to time as well, though these days the demands for my time are spread between paid art, friends and family, and my dog.

What is the toughest part of comic storytelling?
I would have to say each part of the process has it’s challenges. Comics is a hugely social industry and many people go into making most comics. Learning to work with others and to be able to articulate in words what you aim to convey in illustrations is one of the most useful aspects of making comics. Many people you must work with will not be artists, and you will need to be able to explain or understand what they are trying to explain with words and then translate that into imagery. The best way to learn is to sit down and make a comic. Start small and work your way up to something larger.

Personal Site: http://www.danielgovar.com
DeviantArt: http://saulone.deviantart.com
Facebook: http://www.facebook.com/pages/Daniel-Govar/139723602709280
Tumblr: http://saulone.tumblr.com
Twitter: http://twitter.com/saulone

Tools used: Ballpoint pen, Photoshop, scanned paper textures

Allison Strom is a talented illustrator whose latest work can be seen in Vera Greentea’s independent comic Recipes for the Dead: Issue 2. Read on to learn how she incorporates Copics into her process and find out where you may be able to meet her in person:

Tell us about yourself!
I was born in New Orleans. I was probably drawing at the time, and then just sort of kept at it for going on 25 years. I think when I was growing up I wanted to do covers for fantasy novels like the ones my older sister and my dad read – Like the ones with big elaborate dragons and explosions and battleships and stuff. That was basically my entire impression of illustration until I started going to school at MCAD.

Do you have any formal art training?
I’m currently pursuing a degree in Illustration at the Minneapolis College of Art and Design, but I’ve also been working as a freelance illustrator since before I enrolled back in 2007. It’s slow going! But both are excellent teachers, and although learning to find a balance between them is rough, it’s been worth the stress so far. Being at MCAD has been like learning how to speak after years of thinking I already knew how, and I love seeing how my experiences at school translate into my work outside of class.

When did you first become interested in creating comics?


To be totally honest, I thought I’d finally scared myself away from it. I always liked the idea of drawing comics, but it wasn’t until I took Jim Keefe’s Intro Comics class that I really started to find my footing with creating them. From there, it sat in the back of my mind until I got the script from Vera for Recipes for the Dead. Then it basically took over my brain.

Tools used: Pencil, Copic Multiliner, Copic Sketch markers, Photoshop

What’s the most challenging thing about working on a comic series?


I like to be able to spend eons lovingly tailoring a piece of work. But with comics, that’s got to be the entire book, not any individual panel. It’s so hard for me to let a drawing go and just move on to the next!

The comic you’re collaborating with Vera Greentea on, Recipes for the Dead, raised over $9,000 on Kickstarter – more than quadruple the fundraising goal. How did it feel to have such a positive response to the project?


It would almost be scary, except it’s completely wonderful. It makes me hate the fact that I’m not more experienced, because I want this to be the best thing I’ve ever made.

Do you prefer traditional or digital media?
I spent a lot of time as a primarily digital artist working in Photoshop, but I was starting to feel like I spent all my life in front of a monitor. Nowadays, I like using digital media to enhance a foundation drawing or coloring made with traditional media. I love to work out of my sketchpad for as much of a piece as I can get away with. I use pencil mostly, but also pens, ink, watercolor, charcoal, pastels, colored pencils; it’s always switching around. I think that’s what I like the best about making art: You can always find another way to do something, or undo something, in a worst-case scenario.

Describe how you incorporate Copics into your work:
I use Copics to add tone and texture to my inks before they go to color. Sometimes I use warm grays to set the temperature of the light throughout the scene, that way the shaded picture doesn’t come out looking “shiny”. I’ll go through after that with cool grays to work up shadows and depth, and maybe to describe form here and there. Finally, I use Photoshop to add color and maybe a few more textures, if I feel like there’s a space that needs a little roughing up. I try not to let this part overpower the drawing underneath, and to keep it so that the finished piece still keeps all of the expression and liveliness of the scanned original. It is always tempting to just fix a picture to death!

Tools used: Pencil, Copic Multiliner, Copic Sketch markers, Photoshop

What are you working on right now? Any personal projects?
I love making storyboard animatics. I feel like it’s a medium stuck between comic and animation, and it’s extremely expressive. I’m currently poking at an idea for a short project about a ghost who lives in an abandoned lighthouse. It’s not getting finished any time soon with my current workloads, but it’s something I enjoy coming back to whenever I can find time. It’s not really for anything special either. I just think its important to have something like that, where there’s no pressure and you can just enjoy it no matter how long it takes to pan out.

Aside from that, I’m always working on new artwork to sell at Anime Conventions I attend. It’s fun designing buttons and posters of my characters from various stories I’ve got no idea how I’ll ever write. I love them anyway.

Tools used: Pencil, ballpoint pen, Photoshop

Any exhibitions or shows coming up?
I’m going to be at Anime Detour and Animinneapolis this year, both in Minneapolis MN. I’m also trying to get into A-kon in Dallas TX, and Mecha Con in New Orleans LA, but we’ll see what happens!

Find Allison on the web:
Portfolio: http://shirotsuki.deviantart.com/
Tumblr: http://alliebirdseed.tumblr.com/
Twitter: http://twitter.com/clearblueNEL

Tess Fowler is a California-based comic book illustrator. Her work includes a handful of books for Zenescope, including issues of the Charmed series, and a number of sketch card jobs for properties such as Marvel, Lord of the Rings, and Indiana Jones. In addition she publishes a web comic at www.borisandcharlie.com, and creates portrait and pin up commissions in Copic marker and ink.

Tell us about yourself!
I was born and raised in Northern California’s Silicon Valley. I have no formal art training. They tried to put me in art classes in junior high and high school but I either flunked out of them for disobeying directions, or begged until they switched me to drama classes.

Are you self taught?
The comic book community is small and close knit. There is always someone to offer tips or tricks for improvement. I’ve been tutored by some very lovely pros along the way.

When did you first become interested in creating comics?
From the time I was very small I made my own comics. I folded up stacks of paper and bound them with the traditional three staples. I had my own system for this where I tore apart a cardboard box and laid out my books flat, then opened the stapler and placed it over the fold line, followed by slamming my hand down to make the staple puncture the entire stack. Then I folded all the staples down with a butter knife. While other kids were outside enjoying the sunshine, or playing video games with their friends, I was sitting alone with a pile of markers making picture stories. I took my art very seriously even as a kid because I always felt like I had to be ready for the day I’d make real comics.

What’s the most challenging thing about working on a comic series?
Definitely deadlines. I like to add a lot of detail into my work and that’s just not feasible when a book needs to hit the shelves by a certain date. That’s why I started my own web comic, so I could have an outlet for my love of detail. It’s made me ten times faster.

And the best thing about working on comics?
The best part of working on comics will always be the work itself, for me. The act of creating a visual story onto a once blank sheet of paper is a magical experience that is hard to describe. But aside from that I have to say I really adore the fans. I’ve met such unbelievably wonderful people in this line of work.

Do you prefer traditional or digital media?
I do everything traditionally, except for scanning of course. All of my commissions and pin ups are done in Copic markers and Multiliners. For me there is nothing that can replace the feeling of paper beneath my fingers as I create my art.

What are you working on right now? Any personal projects?
I’m currently working on Charmed for Zenescope Entertainment, which is my fifth project for the company.  And I’m inking the entire book in Copic multiliners. I also have my own web comic called Boris and Charlie which is also inked with multiliners. It’s about a little eight year old girl who lives with a giant closet monster and a talking cat.

How long have you been using Copic products? How did you first learn about them?
I first discovered Copic products back in 2006 when I was working a comic book convention and saw them on another artist’s table. After experimenting with them myself that following winter I never turned back. They replaced every other product for me because of their versatility.

What’s your favorite Copic product and why?
I can’t live without my Copic sketch markers. The brush tip and square tip in the same marker give me a greater ability to play with effects, especially in portraiture. Blending and layering is made easy because the color flow is so smooth.

What advice would you give to girls interested in pursuing a career in the comic book industry?
Follow your heart, listen to your gut…and carry a really big stick.

Find Tess on the web:
www.tessfowler.com
Check out Tess’s web comic at www.borisandcharlie.com
Become a fan on Facebook!

Abdul H Rashid is a talented comic artist whose work is featured in the NEW-GEN series distributed by Marvel Comics. Read on to learn more about his work and love for Copics!

Who are some of your favorite artists/creators? 
I think you’ll hear these names come up from most of us in the industry that grew up with their art and innovative creativity in the late 80′s and thru the 90′s…Jim Lee, Todd McFarlane, Frank Miller, and (the late) Dwayne McDuffie. For varied reasons, each of these artists/creators has made it a point to develop established and creator-owned projects that have major influences in the industry. It’s my turn now. lol

When did you first become interested in creating comics?
I’ve always loved how art can tell a story, but not until reading ”The Dark Knight Returns” by Frank Miller, and “Watchmen” by Alan Moore, did I really consider venturing (seriously) into the arena of creating comics. The story telling and flow, both visually and literary, were done so well that it was one of those “ah-ha” moments for me that had me saying…”I want to do that when I grow up!” The idea of developing a product that allows for readers/viewers to have fun and escape from the “real world”, even for a brief moment, was and is something very important to me.

What’s it like having Mark Hamill on board as a Creative Consultant at NEW-GEN?
Very, very surreal!!! He and I sat next to each other during the NEW-GEN NYC Comic Con panel addressing the attendees for the announcement of the movie and the current comic storyline. There were well over 1000-plus people there, and I was simply more caught up with the fact that I was sitting next to such an iconic figure in the industry like Mr. Hamill. I’m significantly inspired by the level of professionalism projected by Mr. Hamill as well as the way he interacted with the fans during the Con…which is something that I intend to make a part of my growth in the industry. I think that the NEW-GEN project can only benefit greatly from having such input and experience infused in it coming from such a resource. I am more than excited to see things develop into film and projects beyond. I see NEW-GEN being something that many people won’t expect and will be pleasantly surprised with.

.
.
What’s the most challenging thing about working on a comic series? 
My situation is a bit more unique than most artists as I have had the opportunity to help with the evolution of the project from a wider creative position. Developing both the visual and written content has been EXTREMELY fun and a great learning tool for the other projects that I am working on now and in the future. The biggest challenge that most artist would probably say…in general…is time. There is NEVER enough. Sometimes, I find myself wishing for 48-hour days during the times I’m creating.

Do you prefer traditional or digital media?
I actually favor both…and utilize them in regards to specific stages of the creative process. I love the traditional pencil and inks for the actual illustrations. Something about the “hands on” dynamic of that process via the “old school” tools is really fun to me. From the digital side…the colors that come from some of the software that’s out today (when used by a solid pro) are SO vibrant and amazing to bringing the black/white inks to life. I’m definitely a proponent for both.

What are you working on right now? Any personal projects?
I’m working on a few projects for the coming year. Of course, I will be working closely with APNG Enterprises on the NEW-GEN franchise as we wrap up the current storyline New Dawn that explains the origin of the main “super-dude” of the series, as well as the developments for the feature film going into production.

In regards to personal projects…I am developing a project line of new series and characters coming out of my studio, AHR Visions. It will generate a variety of series that will crossover to various multi-media as they evolve. The flagship titles are The 8 (Centered around a society of super-powered immortals engaged in an underground war unknown to the rest of the world), The Black Rose (Imagine Batman merging with the gangster movie King of New York), ReBirth (Sci-Fi anthology series in the spirit of Ghost in a Shell and Akira), Lady Skorn (The studio’s premiere female hero) and a few other projects, beginning summer 2012! I am very excited and anxious to be contributing new ideas into the industry. I’m hoping the fans really enjoy them all.

What’s your favorite Copic product and why?
Not to sound too much like a commercial, but I am a huge fan of the Multiliner pens. When inking, it is SO IMPORTANT to have a strong presentation of line boldness and sharpness. The Copic Multiliners are surprisingly precise in application. I find them to be a very comfortable and enjoyable brand of pen to utilize…especially for the amount of drawing I do. Having a tool that is just fun to use is pivotal to the creative process.

Favorite band or musician at the moment?
I’m more of an “Old School” music fan. My taste varies from Public Enemy to Wu-Tang as far as Hip-Hop. I dig Rob Zombie to Rage Against the Machine. I’m into everything really…hip-hop, rock, R&B, classical. Well, I can’t do pop-rock or country. I struggle with those two. (lol)

Any words of advice for new artists? 
Practice, practice, and practice some more. Keep focused and stay targeted to your objective. You’ll get rejections, but keep learning from them. Make your own way and demand for the attention through your talent and professionalism. And be more than just “an artist”, be an all-around total-package. Illustrate, write, contribute to project development and creation…be able to do it all. BUT, be sure all you do is solid!

Find Rashid on the web:
AHR Visions
Visit APNG Enterprises for all things related to the NEW-GEN franchise and the developments of the current comic story arc and feature film.

Many thanks to CopicBrasil for kindly sharing this interview with talented DC Comics artist Mahmud Asrar- enjoy!

Hi Mahmud, how are you? Tell us a bit about yourself. Who is Mahmud Asrar?

Mahmud Asrar- Thanks! I’m doing great lately. I’m a half Austrian, half Pakistani artist based in Turkey. I am a professional comic book artist and I’m currently drawing Supergirl for DC Comics. I’ve always wanted to draw comics ever since I was small and started out with creating fanzines along with some friends. In time I started getting some paying work and got to do work for almost all of the bigger comic companies. Some of the work I’m more recognized for are Dynamo 5 with Jay Faerber for Image Comics, a bunch of Marvel Comics work including Shadowland: Power Man, and Star Wars Jedi – The Dark Side for Dark Horse Comics, among others.

What does your studio look like? How is it organized?

MA – My studio is currently a room in the house. Usually my studio is pretty organized. I’m not one of those messy artists. I like to find my pens where I put them so I try to be tidy. Right now it’s a little out of order as we’re on the verge of moving. I’ve got the drawing table, the computer and everything else I need with my work all set up in my room. Of course I have a TV in there for background noise when I’m not listening to music. Then there’s the light box, scanner, printer, reference books, art materials, framed artwork and of course some toys and figures.

How is your day divided? Tell us about your daily routine…

MA- I’ve enjoyed drawing ever since I could hold something that would leave a mark. People around me encouraged me in that too which helped as well. I was never told to do “something serious” instead of drawing so I was lucky in that sense. For a while in my youth I didn’t know what direction to take in my life but ended up deciding to get a university education on arts. I’ve studied graphic arts for two years then moved on to animation as I thought it’d be closer to what I want to do. At this point I was pretty certain I wanted to be a comic book artist. Didn’t know it would happen of course but I dedicated myself to it and in time it became a reality..

Where do you draw inspiration from? Do you have any favorite source? What are your favorite artists for the moment?

When have you decided to work entirely on markers? Why did you choose Copics? What are the advantages and disadvantages of working with markers instead of 100% digital?

What are your plans for the future? What sort of things would you be interested in doing?

What’s it like? Who started it? How can I participate? To help answer these questions, and promote this wonderful event, we’ve compiled a list of 10 helpful links:

1. 24 Hour Comics Day site

2. 24HCD Event Locator

3. 24HCD Blog

4. 24HCD Twitter

5. #24HCD Hashtag feed

6. YouTube Videos from Last Year

7. About Nat Gertler, The Founder

8. Blog Post on the Experience by Artist @Matt Madden

9. About DIVA’s Eugene, Oregon Event

10. Some 24 Hr. Comics by World Record Holding Artist, David Chelsea

[BONUS]: Scott McCloud’s describes “The Phenomenon”

[EXTRA BONUS] Blitz Comics’ Survival Kit

Check out our previous posts on David Chelsea, whose Snow Angel comic was recently featured in Dark Horse Presents – Issue 2.

If you live in Oregon, join us at the event on Saturday, and at the DIVA’s related show “Art of the Graphic Novel”, which opens Oct.7th. See you there!

Check out David’s blog post to learn more about his technique, and pick up a copy of Dark Horse Presents #2 at your local comic store.

I was born in Los Angeles and grew up in Missoula, Montana. I’m a self taught artist. I originally wanted to go to college for architecture or illustration, but I realized early on that my art had its own ideas for me. I always had trouble following assignments when I was taking art classes in high school.  My teachers would think I was just being stubborn and give me a low grade. Of course I WAS being stubborn, but I was also trying to do something that felt really important to me.  My favorite thing to do was to just sit and draw without trying to control the outcome. It never really felt like I was drawing to make art.  It always felt more like drawing was a physical act that allowed me to think more clearly. Drawing in this way helped me find a place in myself where I could relax and get perspective on things.  I ended up travelling a lot after high school instead of furthering my schooling. During that time, my art felt more like a personal practice, something I needed to do for myself, and I rarely showed it to anyone.  I feel like it was really valuable for me to develop my art away from any kind of influence, and only start sharing it after I’ve been alone with it for awhile.

What is your earliest memory of drawing or making art?

My first memory of being creative was simply the act of pretending. It’s interesting to think back and try to remember what it use to feel like to pretend things as a child. Through simple actions, like rolling a toy car across the floor of my living room as a child, I was also taking part in an imagined, alternate scenario that was happening invisibly all around me.  I remember having really intense and sometimes frightening pretend experiences, then suddenly being called to dinner time.

The act of actually making pictures was a whole other story. When I was a kid, I wanted to draw well, really bad. I wanted to be good at coloring. I remember having a robot coloring book, and coloring each picture as carefully as possible. I remember getting my mom to color some of them, then trying to color as nicely as her. I use to enjoy trying to carefully cut out pictures from magazines with scissors. I’ve always wanted to be able to create delicate details and intricate scenes with my hands. I remember getting really discouraged when I was trying to draw in middle school, because I could sense so much possibility in each drawing, but my ability to draw felt far removed from the things I could imagine. I loved thinking my way through pretend, epic scenarios, visualizing alien worlds, and making movies in my head, but drawing didn’t feel like a place where I could document these kinds of thoughts until later. Drawing was something to sit and do carefully. I was a rowdy kid, and this is one of the few calm activities that could wind me down.

My Brother and I were both really affected by the early Star Wars Movies. Growing up with tons of alien action figures and a big set of wooden building blocks was a good thing. We would create entire scenes and light them with flash lights. We went through a destructive faze where we blew up a lot of our toys in an attempt to create movie special effects.

We were  really, really into comics too.  Something about that dynamic combining of words and pictures has always stuck with me. The way that my eyes interacted with the line work, the colors, and words on the page; the epic and strange mythological stories that seemingly continued endlessly, with dozens of characters, and multi-dimensional crossovers. It was the closest thing I had found to the kinds of things I liked to imagine in my own head.  It took me awhile to come back around to realizing that comics were the ultimate art form for me. Being able to tell stories with my drawings is a challenging and satisfying thing that I want to be exploring for years to come.

Tell us about the role different media play in your artistic life.

I love exploring different media, but drawing is really at the center of everything I do. I like building sculptural works, especially when they’re also wearable.  I’ve been working on some cut out paper characters for my brother to animate. I write. I’ve dabbled in music a bit. I paint, but too often these days.

When and How did you start using Copic Markers?

My good friends Teesha and Tracy Moore introduced me to the Copic Sketch markers and I fell in love with them instantly. I’ve been using them to color my new comic and they’ve been amazing. I wish I had an endless supply! They’ve really affected my work in a positive way.

Do you have a set process you go through when creating?

It’s always mutating. Right now I’ve got a little studio about 6 miles from my apartment. I ride my bike there in the morning. The bike ride itself feels like an important part of my process now. It gets me pumped up to really get focused when I get there. Sometimes I’m laying out dozens of pages all over the floor, sometimes I’m cutting out panels, gluing, or coloring. Sometimes I’ll spend all day just sitting and drawing on a single page. Like that it’s always changing. I’m about to start in on a really large installation piece at the Portland Airport, I’ve never done anything this large before, so I’m about to discover out an entirely new process.

What’s your favorite part about being an artist?

The personal experience of it. The constant discoveries and surprises that happen while working.

What is the worst part about being and artist?

It can be really challenging to make ends meet. I feel like making art is meant to be my full time job, but it doesn’t always  seem like that feeling matches up with the demands of society. It sort of feels like I have an imaginary job I go to every day and I’m hoping that one day it will be accepted as real. I’ve never quite felt like I’m on stable ground, but I’m truly thankful to be making art full time!

Do you have any advice for others looking for artistic inspiration?

I think that not enough can be said for simply being yourself in your work. I think that everyone has their own natural way of making art. Your art can only really start talking to you if you let your art have its way.