Part 1: http://vine.co/v/b0vlpUiueIx
Part 2: http://vine.co/v/b0r7j7gjraM
Part 3: http://vine.co/v/b0r65YWQqIh
Part 4: http://vine.co/v/b0r6iTLZvpQ
Part 5: http://vine.co/v/b06vwzvlZHD
The season finale of Asking For Trouble! The tournament of champions! Jennifer Howell, Dave Roman, Pedro Delgado, Jerzy Drozd, and Joe Dunn return to defend their crowns and see who is the winner of the winners!
Look y’all… I know I’m writing the sequel, so I have the appearance of bias, but I was lovin’ on Poorcraft long before it became vaguely in my minute self interest to have the first one get attention prior to the release of the second.
Poorcraft is up for an award and holy balls do I think it should win. If you agree, you can vote! http://www.stumptowncomics.com/awards.php
Hey, everybody! Much to my shock and delight, both of the books I published in 2012, Poorcraft and Smut Peddler, have been nominated for a Stumptown Comic Arts Award!
Poorcraft has been nominated in the Best Small Press category, and Smut Peddler has been nominated in the Best Anthology category. I am positively aflutter.
Uniquely, the Stumptown Comic Arts Awards are decided by popular vote. So I bet you can guess what’s coming!
The polls will be open for exactly one week. Please, folks, consider casting some bad-ass votes for superfine ladyporn and gold standard lifehacks. We’re up against some serious competition—Fantagraphics and Dark Horse are no joke, especially considering my “publishing company” is literally just me—but we’re gonna give it our best shot. If you liked these books, like the writing and the art, the creators involved, anything about ‘em, please show your support.
Vote at the above link (with a VALID email address, which will be used to confirm your vote) and spread the word!
Hooray comics! Hooray small press! HOORAY STUMPTOWN. See you there!
My new con idea: translation bookmarks!
I print comics for two audiences: Korean Comic-Con attendees, and as giveaways for western online fans who support my stuff. But the problem is: they speak different languages! If I print it in English, it’s harder to sell in Korea. If I print it in Korean, westerners won’t understand it! But since I have to order 1000 or so books at a time, I have to choose one or the other!
But at my last show, I tried a little experiment to sell some of my leftover Mystical Monkey books from The Whole Story. I printed all of the translated text on a double-sided bookmark, with each bit of dialogue numbered by panel and page. That way, readers can hold it under the panel like subtitles, and it’ll hold their place when they take a break from reading.
People seemed to dig it at the Original Only con. Hmmm, maybe I can even start considering doing Japanese cons now!
Another preview page of Poorcraft: Wish You Were Here, the Poorcraft guide to travel and adventure written by globetrotter Ryan Estrada and illustrated by supercartoonist Diana Nock. This is page 25, part of the chapter on making air travel as painless as possible.
Draw Me a Robot is a blog about artist workspaces, and I done got interviewed about where and how I work. I included images of my workspace both in theory and in practice in order to be thorough.
1. Who are you and what do you do?
I’m Ryan Estrada, and I’m an artist/adventurer. It’s hard for me to write bios because they get out of date so easily. At the moment I’m living in South Korea working on the pay-what-you-want digital comics publisher The Whole Story and plotting out a series of graphic novels that will teach you to speak languages through comics and comedy. But not too long ago I was traveling South America making adventure videos.
Before that I was trying to make an animated feature on a beach in Costa Rica. Before that I was making goofy nature documentary parodies in Kenya. Or writing in Panama. Or graphic novels in India. Or speed-comics in Japan. What I’m saying is I do a lot of crap and you can get a lot of it for free at ryanestrada.com.
2. What’s your hardware setup?
I just have a Macbook Pro and a Bamboo tablet. My hardware is always small and portable because I move so dang much. I had a light USB scanner that traveled with me all over the world but it died and now I have a giant clunky one that is attached to a terrible printer. That’ll have to be remedied if I move again!
3. What’s your workspace look like?
Constantly changing depending on where I am in the world, but at the moment I have a huge office in my apartment so I set up three desks for various stages of production. I typically ignore all three and just work on the floor in the middle of the room though like a kid with crayons. I like simplicity, and the workspace is mostly just so my studio looks legit. I keep all my art supplies inside a wooden Catbus that I found in a thrift store in Japan because that is obviously the best thing to do. In the world.
4. What tools do you use to make your cartoons?
I use whatever tools I can get cheap where I happen to be living. I still do all my line art on paper. I use the cheapest printer paper I can buy, because I go through reams of it and it all looks the same when scanned. I typically use a couple sizes worth of Uniball Vision pens (or the local off-brand) for detail like faces, and then just cheapo pens I can draw fast with for the rest of the character.