38 Years Ago Today

I don't always enjoy everything about being my age, but I will always be grateful I was alive to witness and remember this:



I consider it a rare privilege in all of human history, as if I'd been standing on the shore watching Columbus set foot in the Bahamas or Lewis and Clark reach the mouth of the Columbia. You young punks may have all the strength, speed, stamina, flexibility, resilience, health, beauty, mental acuity (what was my point? My mind wandered a bit. Oh yeah I remember now...) but I've got Apollo 11.
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Comic-Con Pre-Flight

Quick note for those interested in how our girls are doing in Scotland: great! Their course on Medieval History & Warfare sounds engrossing without being so demanding that they have no time for fun. They've done quite a bit of exploring on their own, and also tried their hand at Scottish cooking. They'll get to spend a few days in London on their way home and we're looking forward to having them back at the end of the month. Maybe they'll let me post some photos (we haven't seen any yet; their Internet access is limited, plus they have better things to do than sit at a computer typing to the folks).

A tiny slice of last year's Comic-Con

It's hard to believe that Comic-Con International is a week away. San Diego is a city my wife and I like very much and we're going to make a nice vacation of it. I'll also be there to work, which assuages my conscience come tax write-off time. In the unlikely event anyone reading this would like to meet me, I'll be signing Mom's Cancer on Saturday from Noon to 12:30 at the Abrams booth (#1021 in Aisle 1000--look for the big numbered banners hanging from the ceiling).

I may do additional impromptu signings, and will certainly leave dozens of autographed books at the booth; check there for schedule updates. Abrams has several other authors lined up, including my friend and New York Times Bestselling Author (that's a string of words I've never been able to use before) Jeff Kinney, plus a great selection of graphic novels and comics-themed books I'd buy even if they weren't from my publisher. I'm really looking forward to seeing some friends, maybe making some new ones, and meeting some talented creators.

The other place you'll be sure to find me is at the Eisner Awards on Friday night. Jackie Estrada does an impressive job putting the event together and, for the first time, Abrams has enough people and presence to occupy an entire table. Cool. Mom's Cancer is nominated for two Eisner Awards: Best Reality-Based Work and Best Graphic Album-Reprint. A while back I said I didn't expect to win either and might share my guesses as to who might. How 'bout now?

Besides my book, nominees for Best Reality-Based Work are I Love Led Zeppelin by Ellen Forney, Project X Challengers: Cup Noodle by Tadashi Katoh, Stagger Lee by Derek McCulloch and Shepherd Hendrix, and Fun Home by Alison Bechdel. I must admit I haven't seen the first three works, which you might think would handicap my powers of prognostication. It does not. Fun Home is the 942-pound gorilla in this category--critically acclaimed, terrific sales, and huge mainstream crossover readership--and, as sure as the sun will rise over San Diego Saturday morning, it will win no matter what it's up against. It might even deserve to.

I figure my odds are only slightly better for Best Graphic Album-Reprint, where the competition is Absolute DC: The New Frontier by Darwyn Cooke, Castle Waiting by Linda Medley, Shadowland by Kim Deitch, and Truth Serum by Jon Adams. I haven't seen Truth Serum. Shadowland and Castle Waiting are both worthy works to which I would be honored to lose, but my pick for this category is Darwyn Cooke, whose deliberately retro storytelling and inkwork earned wide acclaim and restored something very fresh and fun to the superhero comic. He's won Eisners before, and I think a lot of the voting pros appreciate his uniquely stylized take and will be happy to reward him for it. However, if some bizarre vote-splitting occurs, I might have a shot here.

Having a sincere near-zero expectation of winning removes any tension or anxiety I might otherwise feel about the trip. As I think I wrote last year, Comic-Con International is fun in the same way being at DisneyWorld with 100,000-plus people is fun: you know the crowds will be crushing, parking impossible (in fact we're going sans auto this year), food scarce and expensive, all the good attractions filled beyond capacity, and you'll never get around to half the things you want to do. And yet, with some patience and strategy, it can be a blast anyway.
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Patricia Storms

One of the nice things about cartooning is getting to know other people who do it. Despite being in a competitive business where too many people chase too few jobs, cartoonists have a reputation for being gracious to newcomers and generous with their time and advice. I've found that to be mostly true.

Among the first and kindest pros I got to know after Mom's Cancer gained some notice was Patricia Storms, whose encouragement I greatly appreciated (and which "earned" her an acknowledgement in my book). She lives in Toronto and we've never met, but we've gotten acquainted online and via e-mail, and I think of her as a real friend. Better yet, I think she's a very good cartoonist, with a rich, expressive, confident ink line and a passion for hand-crafted authenticity I really respect. Best of all, she loves books. Over recent months it seems like Patricia's career has really taken off, with several book-illustrating projects and exciting new opportunities. It's been neat to watch and well deserved.

I mention her now because Toronto blogger Debbie Ohi has posted
a nice interview with Patricia, and because I feel like I owe her one. Or several. Now go buy her books. She's a great talent and person.

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Dog Days of Summer

Yesterday, I had to teach myself to draw a prairie dog, and it occurred to me I was applying some principles that some of you might find interesting. If not, come back in a few days and I'll try to write something better.

Reference images are a good place to start, and one nice thing about living in the 21st Century is that several hundred prairie dog photos are just a google away. Pause for a moment and offer a quiet prayer of appreciation and pity for old-school artists who diligently clipped pictures out of newspapers and magazines to create their own enormous "morgues" of reference images on every subject imaginable and then cursed themselves for not having a prairie dog on file.

But, to paraphrase Spock on logic, reference images are the beginning of wisdom, not the end.

I don't recall ever needing to draw a prairie dog before. However, I start with the knowledge that many vertebrates--and all mammals without any exceptions I can think of--are basically built the same. We've all got the same parts; only the proportions are different. (I'm talking about quick and dirty cartooning here, not veterinary textbooks.)

Human, Horse, Bird

Human arm, Bat wing

Knowing that is a big head start and helps avoid some common mistakes, like drawing animal legs sticking out of the bottom of bodies like table legs.

Now this is a perfectly valid cartoon cow, depending on what you're going for. However, it will be a more problematic cow to show walking, running, lying down, or chatting about the weather with its fellow cows. It won't move right. Also, if you don't understand how the legs basically attach to the top of the cow instead of the bottom, you miss out on drawing the nice fiddly bits like the hips and shoulders that give your line something interesting to do and help position the cow in space. Since I don't want to spend all day learning how to draw cows, I borrowed the cartoon below to illustrate how an artist who know how cows are put together can do a lot more with them.

I've got no argument with a cartoonist who draws a "table leg" cow, but they should realize it's a choice, with pros and cons.

So with a basic understanding of bone structure and some reference photos, I can sketch out a prairie dog, always looking for how its proportions differ from a human's. I don't need to do a detailed anatomical study--after all, it's a cartoon--and I end up with a critter that might be a prairie dog, groundhog, woodchuck, nutria, or any of a hundred similar rodents. I'm not claiming it's a great prairie dog but for my purposes it's close enough; if I draw it standing in a hole, readers will get it and I've done my job.

However, I still have some decisions to make. How much do I want to anthropomorphize my prairie dogs? Do I want them to move and react like fuzzy little humans (e.g., Mickey Mouse) or retain their essential prairie doginess? In real life, an alert prairie dog looks different than an alert person. Depending on the character and story, I may want to map human poses onto their little bodies to help readers recognize movements and reactions they're used to seeing in people. There are different degrees of this:

Alert prairie dog, Alert anthropomorphized prairie dog, Alert prairie dog businessman wondering if the coyote next door is going to catch him before he gets to his commute train

If I were drawing a lot of prairie dogs or creating ongoing characters I'd have to draw the rest of my life, I'd spend a long time sketching them in every pose and activity imaginable, making sure I understood the shapes and how they moved in space, always looking to streamline and simplify. But in this case I just need a prairie dog to be a prairie dog, and I'm done.

Writing it all out, that sounds like a lot of thought and analysis just to draw some stupid prairie dogs. In fact it's a pretty quick and not entirely conscious process, and I've already made a lot of decisions before I put pencil to paper. But these principles and questions are always in the back of my mind. I ain't sayin' it's the only way or the right way; it's just one way that seems to work sometimes.

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Fledglings Update

1. Our two young scrub jays are doing just fine in our backyard, skittering around while their parents fuss over them. They're getting bigger and more aerodynamic every day, though I don't know enough about avian development to predict when they'll be flying. We're trying to leave them alone to develop on their own.

2. Our two young daughters are doing just fine in Scotland, finding their way around a small hamlet adjacent to campus and figuring out which bus takes them into the next decent-sized town. They got e-mail access today and found an Italian restaurant so I know they won't starve. We're trying to leave them alone to develop on their own.
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