Tuesday, February 24, 2009


This is an example of how I convert some images from reference photos into a comic book environment.

Most of the elements are significantly changed, such as posters, fabric designs and adjustments are made to make it a bit more aesthetically pleasing.

I also hate to use existing material or reference to anything else that could possibly be copyrighted (i.e.- Flogging Molly is changed to Smacking Polly, The Dave Matthew's Band is now Dan Michael's Band and the Notebook poster is now a Scrapbook poster.) The fewer existing material used, the less likely you are to be sued.


Monday, February 23, 2009

Michael Clark (1972-2009)

When I was younger, the only closest-distant family to me was my Aunt Simone (my father's older sister), my Uncle Steve, and their children Matthew and Michael. Michael was the older of the two, and well into high school, the farthest back I can remember of him.

Whenever I'd visit the Clark family, I usually entertained myself, but every once and a while when Michael and Matthew had the time they'd share with me wonderful things I had yet to be introduced to, like the latest Commodore 64 games or super hero cards my mother would deem too violent for me.

Michael, was one of the most intelligent people I've ever known. After college he traveled the world for his work, taking him to distant places in the middle east, like the Gaza Strip, Jerusalem or Iraq. On many occasions he and his mother explained what he did for a living, working for educational and training services, but my dad and I always liked to joke he worked for the C.I.A. My mother always scolded us for thinking such things, because to be honest, Michael never could strike you as a super secret spy...(but then isn't that the point?)

Michael also shared an interest in the Frattino Family history, and shared much of his findings with me, even going as far as putting me in touch with my grandmother's distant relatives, who happened to live just around the corner from Savannah.

Despite his travels, his work, and his recent development of a family, Michael managed to save a little time aside to attend Flagler's Few movie premiere back in 2005, right before I moved to attend SCAD.

Tonight at around 8pm, my dear cousins passed away. I had last seen him in the hospital shortly after Christmas, and while I was scheduled to see him a few weeks ago...I could not bare to see him in such a state. I always thought of him as a strong and respectful man. I would have hoped it wasn't a cowardly thing of me to avoid seeing someone so close to death, but I just wasn't sure I could do it. He leaves behind, his wife Lynn and their beautiful daughter Helen.

In memory to my cousin, Flagler's Few will be dedicated to him, as well as my father and my grandfather. Three fantastic men, who have left us in body...but whose spirits and memories will be a part of us forever.

Take care Michael, you'll always remain my super secret agent cousin...

Wednesday, February 18, 2009

Cross your fingers!

I did some calculations on how long it would take me to get part 1 out. Seeing as the book is doubling as my Senior Project for my Sequential Art final, and I plan on having it finished for presentation within the spans of a school quarter (10 weeks). If I were to finish pencil and ink at least 2 pages each day during the week for those 10 weeks, I could likely have the Part 1 done, finished and ready for publication and print by no later then June 1st...give or take a couple of weeks for word balloons and design adjustments.

Don't quote me just yet...but you may not have to wait until the end of the year to get your hands on a copy.

Cross your fingers!

Monday, February 16, 2009

Inspiration: Don Bluth Collection

A few years back Don Bluth, famous animator of such family classic like American Tale, Land Before Time, Anastasia and All Dogs Go To Heaven) dedicated over 850 boxes of storyboards, cell animations, concept designs and painted backgrounds to the Savannah College of Art and Design. Last week, I was lucky enough to view some select pieces from the archives at SCAD's Jenn Library.

Don Bluth, got his start as an assistant animator on Disney's projects Sleeping Beauty and The Sorceror's Stone. Bluth's attention to detail and vivid artistry are easily seen in these two early Disney classics, and something Bluth would carry over into his own fantastic creations.

Bluth's films are usually accredited as darker, richer and more mature in the animation world. Many of his films deal with far more advanced story-lines, some of which depict death and violence, something that most Disney films only touch on lightly or not at all. However, despite the heavier material on occasions, the films still fall well within the realm of family entertainment.

I've always been a fan of Bluth's works. Perhaps for the reason that his animation is so vivid and richer, and definitely because the stories are a lot deeper. Many of todays animators accredit Bluth as an inspiration for their own projects, but few of today's animations can match his raw talent and ability to weave highly imaginative worlds on paper.

I unfortunately did not come prepared for this trip (it was a last minute surprise) but I managed to snag some OK photos with my cell phone which I'm sharing with you now. Some of these images have never seen production and therefore are unavailable anywhere else. Most importantly, I want to note the photo reference that Bluth uses, a key factor in an artists work if they plan to ground their projects in the basis of reality. Something I spend a lot of time doing when coming to Flagler's Few, as I spend many of my hours simply photographing Saint Augustine, Bluth did the same when filming movies like Banjo the Woodpile Cat (as seen below).

So enjoy these pics! I'll see you next post with some new Flagler's Few stuff!

Monday, February 9, 2009

Flagler's Few SPLIT in two...

Because I've had a great amount of excitement for the release of this book, I've decided to speed up the release date by splitting the book into two parts. I divided 270 pages into two and found that right around the correct middle mark was a very convenient stopping point that will make it easy to create a Part 1 and Part 2.

So look out for Flagler's Few: The Reaper of Saint George Street (Part 1) to be available by the end of year, with the release of Part 2 early to mid next year.

After that, if the book is successful the series will continue with self-contained followups. Also, possibly with a hard-cover addition of this book contained with both parts.

Thursday, February 5, 2009

Crossroads Paranormal Radio

Be sure to check out my LIVE interview with Mike and Kris of Crossroads Paranormal, this Sunday, February 8th, at 8:30pm (EST)

Monday, February 2, 2009

The World of an Artist- Part 1

I thought in order for you to better understand how Flagler's Few is being made it would be best to enlighten you in the ways of an artist. Now, I don't claim to be a guru, master, or even a professional in the ways of art (right now we'll stick with amateur extraordinaire), but if there are any aspiring artists following this blog, I'll give you some insight into the realm of creating a comic.

First off, it's all about work space. Whether you're the neatest and most OCD artist, or you're one of the grunge, art-is-messy type, you have to have control of your surroundings. You can't create unless you're comfortable and unconstricted. In my surroundings, I like to keep everything within arms distance. In the picture above, you notice I've got my pens, my pencils, erasers and even my Apple computer's remote control (sitting on top of the Flagler's Few thumbail guide in the top left). This is essential because once I'm in the zone, I don't like to get out of it

Once I'm set up, I can get to work on creating. Now, all artists work at their own speed. I agree whole-heartedly with this, but if you're like me, and you want to get everything done so you can see the finished product, then SLOW DOWN! There really is no rush...OK...well that's not entirely true, you may have a dead-line or you might have an angry mob banging down your door for your book release (crossing my fingers). The point is, the slower you work...the better. You'll catch mistakes, notice errors and design a far superior page if you simply relax.