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Long John

Losing Every Thing Changes Everything

Sketch Fridays #18 – Binder Clip Doodle

Feb23
by DBethel on 23 February 2016
Sketch Fridays #18 - Binder Clip Doodles. Click for larger version.

Sketch Fridays #18 – Binder Clip Doodles. Click for larger version.

For two years, I worked at the Art Institute of California – Sacramento, teaching academic writing to future chefs, game designers, graphic artists, and film directors. Though I am no longer employed by that institution, I hold my work there as a proud achievement both personally and vocationally.

Ai (as it is colloquially known) was my first job after earning my Master’s degree, secured only because of my own desperate ambition and, I guess, pedagogical confidence. After a few months of unemployment and light research that found they did offer writing courses, I walked into the building with my CV and a few of my published Eben07 comics in a folder. I hunted down the director of general education, a good man named Doug Herndon, and nigh commanded him to hire me. They weren’t soliciting for instructors, but he took my folder and our awkwardly bold interaction away into a meeting that I hoped was mildly ruined because he had just met a very confident dude who came out of nowhere. Ultimately, he called me five months later with the offer of a Summer class.

Working there seemed to be the perfect blending of my aptitudes––teaching, writing, and art––and it was. Without any pretension or facetiousness, I felt like I was teaching to “my people”––people who were trying a different route, who had ideas that were, sometimes, bigger than their talent but were trying anyway (talent can always catch up). Being among those students hit my nostalgia in a way I forgot I had access to. The devotion to simple passion and creativity for the sake of creating, of being motivated by the power of art rather than satisfaction of final products reminded me––in both positive and negative connotations––of my teens when I was, probably, at my most creatively active (though not productive) albeit lost and misguided. But my creative fire at that time was hot and tall, a beacon that signaled out into the dark ocean of adulthood.

Despite that synchronicity––and to the surprise of many friends and family––I viewed my capacity in that building only as a Composition instructor and didn’t incorporate my own experience or successes as a comicker or any of my art into my pedagogy. I didn’t use my comics as examples or use comics as classroom aids. For four hours once a week, I thought of myself only as a writing teacher and nothing more despite a clear fundamental connection with this student body. This was mostly due to my training, but I did engage the students with the fact that, yes, I am an English teacher teaching a subject you have hated since you were in elementary school, but I was also a big nerd.

At my main (and currently, only) employer, I don’t rely on my nerdiness to relate to students. I keep those worlds wholly severed. I find that I am the same way socially; I never mixed friend groups or even my hobbies. When I’m in a guitar mood, I play guitar; when in the groove to write, I write. Rarely has one hobby bridged into creative inspiration of another.

I enjoy the compartmentalization; I find it comforting and organized, which is in stark contrast to my brain’s percolating stew as it noncommittally brings new creative ideas to the surface in no particular pattern and anchoring them feels like a puppy trying to catch bubbles.

However, the thin walls between my endeavors allow for occasional bleed-through, yielding surprising results.

When my students submit papers, they do so in packets. Sometimes, these packets can be thick. I ask them to secure them not in a folder (as that can be quite bulky), nor stapled (I like to take the packets apart), but with a binder clip––the greatest gift to humanity. The extent of my cartooning in a classroom is to accurately recreate a binder clip on the chalkboard to illustrate the type of fastener I prefer.

I have drawn many binder clips since 2011, but it ratcheted up a notch this last week as my students workshopped their papers and I irresponsibly doodled at the desk in the front of the classroom for one of my sections.

Every now and then, my interests overlap despite my best efforts to keep things codified and neatly organized. Even if I scoff at the idea of letting my disparate talents mingle, the results are often pleasing and worth the few minutes of anxiety. Hence, a binder clip jumps away from an off-camera explosion, coming soon to a theater near you.

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Sketch Fridays #17 – Long John Preview #02

Feb12
by DBethel on 12 February 2016
Sketch Fridays #17 - Sneak Peek #02. Click to enlarge.

Sketch Fridays #17 – Long John Preview #02. Click to enlarge.

Art should be about challenge. For both the artist and the view, art should inspire thought and discourse, the liminal edge could even be defined by the question, “do I enjoy this?”

For creators, especially, I think this question pops up regularly as we become mired in work. I haven’t made it a secret that drawing is not my favorite thing to do––however, I do not see myself as a writer for other artists quite yet. The best way for me to get my illustrative ideas out is to do them myself, even if it isn’t the most fun thing to do––the challenge (as goes the cliché) is the reward.

Long John has been a battleground, in that sense. I have come across pages or ideas where I dare myself to try something new. I don’t actively seek this out––I am a lazy artist by nature––but I do notice the call to arms occurring at different times, depending on the situation. Sometimes, it happens in the planning stage, and I get (as a result) interesting layouts. Other times, it is with technique and I get surprising results.

With an upcoming page, I realized I had to draw someone disappearing into a forest. The question I confronted was, “how do I draw that?” For which, the immediate answer was, “I don’t know.”

One of the biggest––and most visible––challenges I’ve confronted in Long John is the constant tug of war between letting the linework do the work and letting the coloring do the work. I realize that I can do a lot with coloring (especially minimalistic coloring), work that can be done were I to spend more time thinking with the pen rather than with the Photoshop swatches.

This paid off in the first chapter a few times, and I see in hindsight that despite the setbacks and whatnot in chapter two that I’ve been steadily pushing myself to try new things with the ink. The biggest problem I’ve come across in this process is that, whenever I try something new, I see it on the page and think it looks like garbage, but I’m connecting it to my past work––and, most likely, my safest work.

So, I’m brought back to a figure retreating into darkness. The included drawing is even a second attempt. I drew it on a separate piece of bristol, cut it out, and taped it over the original panel on the page (which is how I address art issues, rather than relying on digital solutions). While I found I can only do so much on the page––at least the sense of depth is alluded to––I know it will look right once I add the color. My weakness can be to rely on one or the other, but it’s when I rely on both that I can actually bring something new to the comic as well as my artistic tool belt because even if I can’t always say I enjoy doing it, I do very much enjoy what it yields.

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Sketch Fridays #16 – Wolverine

Feb05
by DBethel on 5 February 2016
Sketch Fridays #16 - Wolverine

Sketch Fridays #16 – Wolverine (Click to enlarge), complete with ’90s era feet-hiding in use.

Growing up a reader of superhero comics, I’ve noticed fans tend to relish in the practice of categorization. This is endemic to many fandoms (if not all), and a lot of this categorization is defined with the superlatives of “Best” or “Favorite,” things that will drive a young fan’s passion and, when older, looks quite silly in hindsight.

Because superhero comics are character-driven, we have the pleasure of seeing multiple artists tackle the same character filtered through individual styles. For fervent fans, this conversation usually can be as civil as a Rogerian argument or as vitriolic as a cable news analysis panel, but, through calmer eyes, I find it fascinating how artists translate the symbols of a character into something uniquely their own.

X-Men #1 cover (1 of 5) by Jim Lee and Scott Williams.

X-Men #1 cover featuring Cyclops and Wolverine (1 of 5) by Jim Lee and Scott Williams.

I’m pretty sure that upon first glance, Wolverine became my favorite character in the X-Men (though I am a staunch Cyclops apologist as well). I had a lot of anger issues when I was young (still do, but I’ve learned to manage those tendencies much better), and Wolverine crouched (and grimaced) as a kind of self-help guide to how to deal with that kind of problem. He had a short fuse, he had problems making (and keeping) friends, but he was also a hero. Despite his anger, he used it to do good, even if it made a mess in the process.

Wolverine by Arthur Adams.

Wolverine by Arthur Adams.

There are a few requirements for Wolverine, but are prioritized around the iconographic aspects of his costume and superpowers: the pointy mask, the claws, and––if unmasked––his pointy hair. Secondly, his small stature, hairy arms, and costume choice (he’s had several, though for those in the know––and as is evident by my choice of images and my own drawing––his “brown and tan” costume is my favorite) tend to be recognizable milestones that are more malleable. Though that seems like a pretty rigorous checklist, there is quite the range for exaggeration and interpretation that artists can weave through those eyelets.

Wolverine by Sam Kieth

Wolverine by Sam Kieth

My tastes are always in flux, but I often wonder what “my” Wolverine (or Batman, etc.) would be. Right now, I like the compact frame and the restrained wings of the mask. The way the movies reinterpreted how his claws worked really impressed me and I feel compliment his personality and general approach to conflicts rather well. I tend toward a practical approach to costuming, though I couldn’t resist the wings on the boots, if only to echo the mask. But, I still try to include visible seams and I don’t particularly like to see individuated muscles or ligaments through the fabric, though I pushed that limit a little bit.

Wolverine by Moebius

Wolverine by Moebius

Though I haven’t looked at a Wolverine or X-Men comic in almost ten years (aside from Old Man Logan and the first volume of Astonishing X-Men), it seems now that the interpretations of the character seem to vacillate between Wolverine as raging animal, hulking brute, or grumpy drunk. Like all characters in the X-Men, being representatives of the Other and just wanting acceptance in a world that shuns them, I prefer to approach Wolverine from a humanistic perspective––he’s a person first, clawed maniac second (and even then, I would prefer to keep the homicidal rages as a thing of myth rather than actual habit). Perhaps it’s because I find a lot of his “faults” in line with my own, what I want is to see a heroic figure that shows that even angry people––with a little work––can be normal and functional; that the anger, rather than simply being a quality that ostracizes, is as much a tool as his claws and heightened senses to be used to help rather than harm.

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