Gerry Alanguilan's Blog, page 16

First Post of 2012

We're 10 days into January and I haven't posted anything yet! Anyway, it's a new year and I'm still working. And I'm extremely grateful for that. I never forget how lucky I am to be working at all, in an industry that I just love to death. A new year comes with new projects! Finally finishing off Superior with the final triple sized final seventh issue which comes out well, very soon! I'm already working on two other projects one of which is "Supercrooks" written by Mark Millar and pencilled by Leinil Francis Yu. Click here for a preview!

I'm also inking another Leinil Yu project, an issue of Avenging Spider-Man for Marvel Comics. I don't know yet what number it is, or other creative people involved, but I'm nevertheless excited that I'm getting to ink SPIDER-MAN. Oh man.

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I received an email asking me to audition for an ad for a drink product where I'll be asked to play the typical energetic dad. Yes! It's my chance for people to get sick of my face as the ad is played over and over in between people's favorite TV shows. It's a thrill to be asked, but really, it's not my thing. As I've often mentioned before the videos on You Tube are simply stuff I do on my free time, and when I need to release some stress. It's not something I want to do professionally.

More later.

2011

It's just a few hours away from 2012, and as usual at this time, I try to think of all the things I was a part of during the past year. I have to say that it's been a great year for me. I would have to say it's one of my best years ever. I'm very happy in both my personal and my working life.

This entry for January 2006 is probably the earliest post I had about Elmer. If you asked me back then what Elmer would accomplish in 2011 I would not have believed it. I'm very glad I've proven most importantly to myself that this is something I can really do. That this is something I can be doing for the rest of my life. That I'm not just wasting my time. For the longest time I truly felt insecure whether I can really do something worthwhile in comics.

Thank you to everyone who bought, borrowed, downloaded, read and supported Elmer in whatever way you did. You guys have my gratitude. I promise I will continue to write and draw my stories, no matter what happens.

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Of interest to long time readers of Wasted… you all probably know the background of that book, and why I made it. If not, you can read my account here.

After 21 long years, I've had the opportunity to meet with the girl who had caused me to do Wasted. I hadn't seen her at all in all this time although we do correspond, albeit almost annually, via e-mail. It might sound dramatic, but the truth of it is, 21 years is a long time to carry hard feelings. I had gotten over her many many years ago, long before I even met my wife. Whatever fury and anger and drama that could have transpired had we meet soon after the break up seems to be almost laughable 21 years later.

We met, and we talked as friends, and it was great.

But I cannot deny that I would probably be a different person today without her. There would have been no Wasted, and I probably wouldn't have pursued comics as hard as I did. So I'm grateful to her for that.

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I hardly drink anymore, but I have half a bottle of champagne to finish by midnight (courtesy of my French publisher). No more firecrackers for me! Happy New Year, and Be Safe Everyone! See you all in 2012!

Help For Sendong Flood Victims in Mindanao

Click for Larger Image

Because even in times of great disaster, people can still use the occasion to scam other people, I'm naturally very picky about where to send donations. It's difficult for me to trust random people who I don't know, who for all I know are truly trustworthy. But the problem is, there's no way for me to know if I don't know you. So I do apologize if I would only send donations to, and always recommend people send donations to the Philippine Red Cross.

Comics artist Carlo Vergara has provided a nice graphic showing how to easily make such a donation. Please do consider sending any amount.

Another agency I would trust would be LBC, and they're offering to send any donations (food, blankets etc) for free. Just go to any nearest LBC branch.

It's difficult to imagine how bad it is for our fellow Filipinos down south specially if we're far from it, but I assure you, it's pretty bad, and donations are badly needed. Thank you.

A Lie Told Often Enough Becomes The Truth

… BUT ONLY IF WE LET IT.

Once again, misinformed people in media keep parroting that Carlo J. Caparas is a National Artist. Now, I want to give these people the benefit of the doubt, and be kind and say that they are simply "misinformed". But it is a lie nevertheless, whether it is intentional or not.

Now I know there are people out there who are TIRED of me talking about this, telling me I say the same things over and over. Just so you guys know, I really don't want to talk about CJC anymore. I'd be perfectly happy never to talk about him again on this blog for the rest of my life. But if untruths like this keep getting printed, I'm forced to respond. Because if untruths like this continue to be spread without anyone protesting, then it will definitely become the truth. And that would be unfortunate. So I will keep on talking about it, because THEY don't stop talking about it. If you want me to shut up, well, don't look at ME. Tell THEM To shut up first. Otherwise you'll just have to deal with blog entries like this. Or just get the hell of my blog if you can't handle it.

These may be "innocent" mistakes, but there has just been too many "innocent mistakes" about this issue. A true journalist checks his or her facts before they talk about it. That's called "RESPONSIBLE JOURNALISM". And if these journalists check their facts, they would find out that Carlo J. Caparas is not a National Artist as of today.

Will I ever close the book on this issue? I wish I could. I swear to God I wish I could. I've already said what it would take to shut me up. It's really up to them.

Thanks to my pal Jonas Diego for alerting me to this latest debacle and click on the link below to read about it.

http://jonasdiegocom.blogspot.com/2011/12/againcarlo-j-caparas-is-not-national.html

Do you want to know how this issue all got started? READ THIS. Sorry, but jacking info into your brain instantly Matrix-style is not yet possible at this time. If you want to be informed to help you form your own opinion, a certain amount of reading is involved.

3rd San Pablo City Comics Festival Contest Winners

Click for Larger Image.

Kathrine Cristostomo (Academia de San Ignacio de Loyola) , winner in the Children's Category

One of the 3rd San Pablo City Comics Festival main events was an art contest with two categories, Children's and Young Adults. Since I was from San Pablo and was familiar with how art contests are usually held, we decided on a twist that would challenge the contestants. First of all, we did not have a theme for the contest, but rather a challenge.

Since we in the Komikero Artists Group are of the belief that art should be learned by stages, beginning with the basics before moving on to more advanced techniques, we challenged the contestants to depict any scene at the Ultimart Mall, but illustrate it as close to life as possible. We discouraged using whatever styles they had so far developed be it Japanese, American or European, and simply draw from life as faithfully as possible. We believe that this exercise would help hone an artist's powers of observation, and help the artist develop his own unique interpretation of life. We believe this is a way which an aspiring artist should begin.

And if in the future they decide to stylize their art to their own preference, then their work will be much more fundamentally sound armed with the knowledge of the basics, and hopefully they would have developed their own unique artistry to make their own mark on whatever style they chose to use.

Alexis B. Ravana (OST), winner in the Young Adults Category

The challenge also included a test if contestants would follow instructions. We also believe that any aspiring artist should learn a certain amount of professionalism by following instructions that they were given. Although it's rather strange to give artists certain restrictions, but we believe it is important to have restrictions for artists who are just starting out. This is to help guide them into the proper process of learning about art, and how to develop themselves as artists properly. Once an artist knows the basics, then they are now free to experiment as they wish as full fledged artists. But before they get to that level, they need to learn a lot of things first.

"Bago ka maging feeling artist, maging artist ka muna." Or more appropriately, "Before you break the rules, learn the rules by heart first." This is one of the things I personally wanted to emphasize on.

Judges for the contest include Pol Medina (Pugad Baboy Creator), Kajo Baldisomo (Artist of Trese) and Carlo Pagulayan (Marvel Comics Artist).

Congrats to all the winners, and thanks to all those who joined, and thanks to the judges who helped choose our winners. Merry Christmas!

"Paskong Teknicolor" by A.S. Vel and Emil Rodriguez

This is a nice Christmas komiks story from writer A.S. Vel and illustrator Emil Rodriguez. I received this story as a loose comics supplement that came with no date or any other publishing info. But based on the creators involved, I would hazard a guess that this was published around early 1960s. Komiks released during this era published closest to Christmas usually had a special comics supplement that included short Christmas stories, often in color, or in this case, a variety of red hues. Click for larger images.

Related posts:

"Underpass" by A.S. Vel and Nestor Redondo

http://gerry.alanguilan.com/archives/3374

Emil Rodriguez Mini Gallery

http://alanguilan.com/sanpablo/2005/09/emil-d-rodriguez-part-2.html

Valedictory Address illustrated by Emil Rodriguez

http://alanguilan.com/sanpablo/2005/09/emil-d-rodriguez.html

Offsite:

Pinoy Comics USA: Emil Rodriguez: First to America

http://pinoykomiksausa.blogspot.com/2009/02/featured-artist-emil-rodriguez.html

Emilio Rodriguez' Moses:Elevating the Art of the Comics

http://pilipinokomiks.blogspot.com/2006/03/emilio-rodriguez-moseselevating-art-of.html

New Pinoy Superheroes on GMA 7!

Featured creators include Gio Paredes, Paolo Fabregas and Budjette Tan. Mabuhay ang Pinoy Komiks!

Thinking About the Future

Comic book artist Jason Pearson's disturbing post at Facebook yesterday brings to light the plight of many working (or not working) in comics today. It's a hard hard business. There has been a seismic shift in the comics industry that occured over the last 10 years. On one hand one can point a finger at the dire state of world economy, but at the same time, one can definitely point a finger at developments in technology that has affected the art and craft of creating comics.

Although many in the chain of comic book creation are affected, it is comic book inkers and hand letterers that I think are being hit hardest. With the development of new ways of producing comics, companies are starting to use inkers and hand letterers less and less.

For those not fully aware of the chain that describes the production of comic books, it usually starts off with a writer coming up with a script. It is then handed over to a penciller, who draws the story in pencil. And then an inker comes in who clarifies and solidifies the pencils using a variety of inking tools like pens, brushes, etc. This is to make the artwork more easily reproduced in printing. The page is then handed to a colorist who will add colors, usually by a variety of computer programs, Photoshop being the most common. In the older days, the lettering was applied by hand before the page was inked. Today, comics are computer lettered after a page is colored.

Because computers are now used more and more in production, it's now easier to work directly from a penciller's lines. Skipping the inker, the pencils are processed in Photoshop to make it cleaner and darker, and is then colored on directly. To make this process work, pencillers are usually required to pencil more tightly and more cleanly. Although pencillers can charge more for the extra work, the production cost is still reduced when taking the inker out of the equation. It makes perfect business sense, and I really can't fault any company that would endeavor to cut costs in production. This is perfectly true for any business.

Unfortunately, this means inkers are getting less and less work. This is a reality that all inkers need to face. We can't stop technology. Once it gets a foothold, for better or for worse, nothing can stop it. All we can do is adapt and ride the waves.

Here's an article by comics artist Sean Gordon Murphy on his fears that comic book inking is becoming obsolete:

http://seangordonmurphy.deviantart.com/journal/Obsolete-Inking-271985217

Here's inker Joe Weems about his need for an inking job:

http://joeweems5.deviantart.com/journal/Who-needs-some-Inks-273313029

Other inkers have expressed the same sentiments at mailing lists and direct emails to me.

It's one of the many reasons I kept pushing to create my own comics like Wasted and Elmer. I feel the need to diversify and become adept at other aspects of comic book creating. I have to think of my future. I'm perfectly happy inking Leinil Yu for all time in whatever he does, but there is always the possibility that it will not always be there. So I will continue creating my own comics, and continue creating my own characters. I do it not really just because of necessity, but because I want to do it. What I had written before about my need to express my creativity in other ways is still true, much more so today.

If I can give some advice to my fellow comic book pros who may find themselves in a dire situation, never forget that you are an artist first and foremost. Forget about that "tracer" crap because we all know it's not true. Give a non artist some pencilled art and he won't know what to do with it. As artists ourselves, we completely understand what we need to do. You are artists, and inking is not the only thing you can do. Give pencilling a try, or writing , or coloring. If they don't hire you, publish your own comic book. Find sponsors or get a Kickstarter going. Next, you can do commissions. Commissions are what some of my friends do when they're in between jobs. It pays very well too. Since I'm in between jobs myself, I will start on a couple of commissions too. Sell your original art. If you're US based, it's so easy to attend a convention and sell your art there. You can spend the day sketching and you'll get something out of that. Next, you can explore other fields of art. Create logos, design T-shirts, provide designs for tattoos, go into animation, go into painting, accept jobs from advertising companies. Next, you can even start your own business. If you self published your own work, you can merchandise the crap out of it. There are so many things you can do as an artist!

I hope aspiring artists take all this to heart and learn from the lessons we are seeing today. It's not enough that you manage to break in today. Your future is not secure. As a 16 year veteran of comics my future is not secure. But that is the risk any artist takes. As artists our every decision is a risk. Once you are in comics, always treat it as your last project and work the hell out of it, working the best that you can. More importantly, do it on time. The proving process never ends. You're only as good as your last job. Never become complacent. It only takes one bad job and one disappointed editor for you to fall off the tracks.

However, it is still disappointing nevertheless that a once great tradition in comics seems to be slowly dying. I'm not convinced that it will die out all together though, as there will always be pencillers who want to be inked, and many comic book readers who still want inked comics. But we are becoming almost an endangered species. But for this endangered species, there is no outcry from the comics community at large, no widespread concern that a form of art unique to comics is gasping for breath.

I really can't blame the comics readership. For the most part, they read comics to be entertained. They want to follow the lives and adventures of their favorite heroes. What goes on behind the scenes, well, most of them really would rather not know. And I understand that. Indeed, many regular comic book readers don't even understand what the job of the inker is, and how we contribute to the production of the book. I myself didn't know what "inking" was until I became an inker myself. It's a hard job to describe. I would like say that inking is an essential and important part of the process, but I would perhaps only be deluding myself seeing comic books being published (and be successful) without the benefit of inkers. There's really nothing concrete for me to stand on.

What am I really saying? This is unfortunately, a reality. As I mentioned earlier, there's no stopping technology. All inkers can do is adapt. But at the same time, I wish more people cared. I wish people cared more that the art of comic book inking is being endangered. I feel people are so eager to embrace technology that they forget to realize that living, breathing people are getting trampled underfoot. I think inkers sorely need appreciation and attention for the things we do. There should be an Inkers category in the Will Eisner Industry Awards. There should be an Inkers category in Comic Book Resources' Twitter directory. There should be more inkers invited to comic book conventions. There should be more inkers invited to speak at podcasts. There should be more inkers being interviewed and profiled for various comics websites. There should be books and magazines profiling inkers and the work we do. There should be an Inkers Appreciation Day in comics!

If you can, please visit the site below. It's a website that celebrates and promotes the art of comic book inking. If you can spread the site around, it would be great. A little understanding of what inker truly does would be just great.

The Inkwell Awards

http://www.inkwellawards.com/

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I also need to address some rumblings from the comics community about how inking jobs are being taken away by artists in 3rd world countries who work for cheap. I live in a 3rd world country. I understand the sentiment, and I will not deny that there may well be artists in 3rd world countries working for slave labor rates. Fortunately, I'm not one of them. I'd like to say that my rate (without being specific about what it is), is competitive with rates inkers make in the US, commensurate to my experience in the business. And as far as I know, none of my friends who also work in US comics accept slave labor pay. As far as we are concerned, they did not hire us because we sweat at shops.

Once again, that is not to say that it does not happen. I have encountered a Hawaii based publisher who wanted to hire me for 10 dollars a page, all the while boasting what a great rate it was, and that he had another artist in Bulacan already working for him for less than that. As if I should be thankful. Needless to say I declined, and I didn't decline nicely.

I've always posted on this blog advice to my fellow comics professionals never to sell themselves short. Many still email me today asking if they should accept this or that job which pays this or that rate. And I do gladly give my advice. I always tell them to be proud of what they do, and as Filipinos, our talent and skill can match toe to toe with any artist in the world. And they should charge accordingly.

Ruben "Rubeny" Yandoc: Filipino Komiks Writer and Artist

Click here to read the entire story.

An art gallery of Filipino Komiks creator Ruben Yandoc, also known as "Rubeny", has been uploaded up at the Philippine Comics Online Museum. Click here or on the link below to see a gallery of his Philippine work, which includes collaborations with other writers and stories he wrote himself. Also included are full installments of stories, including a couple of complete stories which depict the origin of the Christmas Tree (above), and a peculiar (and familiar) monster called "Dagul".

Ruben "Rubeny" Yandoc: Filipino Komiks Writer and Artist

http://alanguilan.com/museum/rubenyandoc.html

Philippine Comics Art Museum Online

"Bold Stars" and the Nature of Collaboration

When I set about to do "Where Bold Stars Go To Die", I had many objectives in mind. One objective that I haven't talked about until now is the nature of collaboration I had with Arlan Esmeña, and how I wish it would set an example of how "collaboration" in Philippine comics could be accomplished. I wrote the story, and Arlan provided all the designs and illustrations. Please bear in mind that "designs" and "illustrations" are two different things. Those two are often confused, and the confusion and misunderstanding often lead to artists getting taken advantage of.

"Design" is the act of coming up with the look of the characters and settings. This takes a lot of brainpower and patience to achieve. "Illustration" is the act of drawing those designs.

It is because Arlan was responsible for the designs of the characters and all the settings, I consider him a full co-creator of "Where Bold Stars Go to Die", and not simply a peon which I pay a page rate to draw my story.

Because I consider Arlan a co-creator, I have agreed to give him 50% of all profits made by Bold Stars, and today, I handed over 50% of all money I made from Bold Stars to Arlan's wife. (Arlan passed away in February 2010.)

I believe that to be the nature of collaboration in comics. It's by no means the only kind of collaboration. It really depends on the creators involved, and how each creator contributes to the creation of the work.

I hope CJC and other komiks writers take this as an example of how a *true* collaboration is done in comics today: Writers and artists share in the creation, in credit, as well as compensation. I make it a point to say this because I just feel utterly bad for all their past "collaborators" who did all the designs and illustrations, and only got a page rate in return. They got none of the credit, and none of the further compensation those properties made and still continue to be made today.