Becca Hillburn's Blog, page 6

SPX 2019 Con Recap

September 14th and 15th marked the 25th anniversary of the Small Press Expo in Bethesda, Maryland, and the first time in six years I've won the SPX lotto and was allowed to purchase a table.

My friend and fellow comic artist Kabocha and I both put in for tables, and I was the lucky winner this year.  We opted to split a full table between the two of us-$200 each.

I've put in for SPX every year since 2013- the last time I tabled with them- and this was the first year I've been able to go back.  I was really excited about the opportunity- I've made it no secret that I feel isolated and stranded in Nashville, TN, and I was hopeful that SPX might provide opportunities to show my work to editors and help me land more paying work.  I was also eager for the chance to see old comic friends and get caught up on buying their comics.

The plan was to fly in to Philadelphia, drive back with Kabocha to Delaware, then drive down to Maryland for SPX on Friday.  We opted to share a hotel room, and drove to Bethesda in Kabocha's car, parking it at the Marriot on Saturday and taking a Lyft in for set up.  On Friday night, tabling artists could pick up badges and attend a Meet and Greet, but we arrived a bit too late to take advantage of that.

Small Press Expo 2019 Artist Recap-Short Version: 



What Sold:
Surprisingly, my biggest sellers were wooden charms and mini-prints.  I really thought the original art and 7" Kara Volume 1 would sell decently well at SPX.  I also thought my hand-painted charms would sell well- they used to be quite popular at MTAC, and are one of a kind- but while people admired them, they didn't really move.

While SPX was frequently quite crowded, sales weren't particularly good.  Perhaps that was due to how crowded it was- people didn't spend much time just exploring, as there was usually a crush.  This was an issue in 2013 as well.  The variety in the crowd, as well as those tabling at SPX has really increased since 2013- in 2013 anime and manga influenced art were in the minority, and few customers were looking for comics in that style.  This year I saw many artists with manga influenced art styles, and many attendees with itabags or wearing anime shirts.  I'm really glad to see that the stigma against anime inspired art styles is starting to die down.




Initially, I was concerned that our placement would be terrible- the map makes it seem like we're at the back of the room.  Our placement wasn't great- we were about midway to the back, at a corner that doubled as an exit, and this placement had it's own issues.  Corner spaces tend to be the worst- multiple people are crammed in the space for one or two people, and ours wasn't an exception.  Our table neighbor at the corner had a large back display that blocked the exit and made conducting sales difficult.

On the plus side, Joseph was able to get a couple great Artist Interviews while at SPX.  Check out his interviews with Caroline Hu and Shoona Browning below, and click through to Youtube to find their social media links! 
Caroline Hu- SPX 2019 Artist Interview: 


Shoona Browning- SPX 2019- Artist Interview:



Costs:


Flight to PA, on Southwest, Total: $350Using accrued loyalty points: $20Hotel room:- Stayed off-site at a nearby Hilton because the Marriott was totally booked- $286 total, $143 my shareLyft from Marriott to Hilton and Back: $83 total- would be non existent if able to stay on-siteFood Total: $203, split between two peopleTable cost- $200, split in half- $100Estimated amount spent on comics: $290

Total Con Cost, Estimated: $879 (for two people)
Total Sales: $225.00 

Pros:
Got to meet Kabocha, a close online friendHad a lot of fun in generalSaw Kathy and Rich againGot to meet a lot of older comics pros at the dinner they hostedMost of my neighbors were awesomeFelt like an actual comic artist interacting with peersAttendees were awesomeMost other artists were awesomeWater fountains everywhereSPX had free coffee for artistsExcellent program art with really nice artWider alleys than 2013Able to meet several Twitter mutuals/other webcomic artistsLotto system gives more artists a shot at a table
Cons:
Didn't actually see many editors at SPX, and saw none during the show, and none walking around looking at artists in our sectionMaybe have editor badges?A lot of editors talk about SPX being an It Con for discovery, but I never saw any walking aroundNo noticeable delineation for Kid Friendly and Kidlit comics, outside of the program guideBooksales were lower than usualOne neighbor's backdrop blocked the exit shared by all of C block, literally anyone leaving hit the grids on our tableLighting caused eyestrainIf you don't live in driving/train distance, SPX is still an expensive con- we need more indie comic cons across the US (at least one per region) that have potential for actual hiring opportunitiesSales weren't great- basically lost money doing SPX this yearVerdict:
I enjoyed my trip to Delaware and Maryland, but if I hadn't used SPX as an excuse to meet up with a friend from the internet, I think my opinion of this year's SPX might be a bit different.   Sales were disappointingly low for the costs, and while it was lovely getting to meet artists I've admired from afar, I would have liked to see higher sales, and would have preferred to sell more copies of 7" Kara.  I'm also frustrated that I feel like SPX and TCAF are a still necessity for artists who wish to find jobs within the comic industry.  While the internet has gone a long way to open up comics to a wider variety of artists, many editors still cite shows like SPX as the main way to get discovered.  And although I tabled at SPX, and was present at my table for most of the show, I saw few people who identified themselves as editors or publishers. 
Right now, the US indie comic scene has quite a problem on its hands- a severe lack of good indie comic conventions for a country the size of the US.  There are 50 states and two territories- there should be 52 decent indie comic cons, if not 104.  Artists shouldn't have to make the pilgrimage to Bethesda every year to jockey to find paying work and impress editors- there should be more opportunities for comic artists to present their work to an audience interested in the material they make.  For artists who live far from comic work epicenters, finding paying work in comics, particularly as an assistant, an intern, or as a flatter is unlikely- but these types of jobs allow new talent to learn on the job and make important connections.
I have never lived in a true comic epicenter.  From Louisiana to Georgia to Tennessee, I was lucky to find comic work remotely when it was available, but those times were few and far between.  Even my time at SCAD hinted at comics isolation-I attended a comics program that could afford to fly in editors, but SCAD was a small oasis of possibility.  Without SCAD faculty benevolence, comic artists in Savannah are just as isolated as comic artists in Louisiana or Mississippi.
Attending SPX, tabling at SPX, is a bit like a drowning swimmer gasping for air.  It's great to be around other comic people, but one weekend isn't enough to survive.  And of course, $225 in income for two days is laughably little compared to time, money, and energy spent to get to SPX.

Those who follow my work here and on Youtube know I try to attend smaller indie comic shows in the south.  From NOCAZfest (now defunct) in New Orleans, LA to Handmade and Bound here in Nashville, I make it a point to put in and table.  Unfortunately, those sorts of events don't attract publisher attention, so while it can be a great way to sell directly to my market, it's not particularly sustainable for me.

So, as I have in the past, I challenge editors and publishers to break out of their comfort zones and attend conventions (with an intent to hire) outside of their normal stomping grounds.  Seek talent from a variety of shows, in a variety of states.  Diversify in new ways, and seek to represent voices from all across the US- not just those conveniently in your backyard.

Small Press Expo 2019 Recap Full Version: 

Small Press Expo 2019

I am so excited to announce that I'm going to be at SPX this weekend!  It's been a long time since I won a table in their yearly lotto (2013 was the last time, I believe), and I'm happy to make the pilgrimage back to Bethesda, MD to join legions of other indie and small press comic artists.

I'm sharing a table with Kabocha, an online friend and fellow comic artist.  We're flying up to DE a little early to hang out, and I've already bullied convinced Kabocha to teach me the ways of foiling and using a Cricut.  This will be our first time not only tabling together but hanging out in person, and I'm really looking forward to it!
We'll be tabling at C-10 under a pseudonym- Tiny Cats- representing our two gray cats Bowie and Niji.  Look for these best boys if you make it to SPX this weekend!
If yall haven't yet, yall should check out Kabocha's amazing work!Webcomic-LinkedPhotoshop and Clip Studio Paint Assets

I'm going to have so many great zines and minicomics for sale this SPX!  I did fresh reprints of EVERYTHING- my minis are still hot from the printer and ready to go home with you!  I print and assemble everything myself, so if you're looking for indie press- it doesn't get much more indie than one woman working out of her apartment, printing on a small duplexing toner printer.

Wanna peek and a pitch?  Check this out! 


I'll also have copies of 7" Kara Volume 1!  Every copy comes with a free wooden charm.  If you've been eyeing Kara for awhile, or enjoy it as a webcomic, SPX is a great chance to get a copy- it means I have less to fly back.


I'll also have copies of 1001 Knights Volume 3- Wisdom!  My short watercolor comic, Knight School, is in this volume.  Each volume is standalone, so Volume 3 can be enjoyed as an individual anthology.









And it wouldn't be me if I didn't have some original art for sale!  This is just the new pieces I've added- I have something for almost anyone!  So if you've always wanted to own an original piece of art, you can pick one up, ready made, or you can
COMMISSION ME!
I'm going to take mail ins of all types, and I'm offering inked chibis and tu tone marker pieces at SPX! 
I'll also have: 
Handpainted, sealed lasercut wooden pins



Each one is one of a kind, handpainted by me, and sealed with a UV gloss coat! 
Brand New Charm Designs!
Making a debut at SPX!  Most are available with a loop or pinbacks, in cherry and maple. 





So if you're in the Bethesda area, and you've never been to SPX, you should swing by, if only for the experience.  There's going to be a literal legion of indie comic artists there- it's a great way to discover a new favorite!  And if you're going to be there, make sure you stop by table C-10 and say hi, I'd love to meet you! 
See something you like, and won't be at SPX?  Get ahold of me via email- we'll work something out!

Figure Drawing for Comic Artists!

Come learn the secret to figure drawing and learn how to draw your own comic and cartoon characters.  In this class, we're going to learn how to transform basic shapes into anything you wish to draw- including people!

Register through Plaza here!




In From Stick To Figure, we're going to talk about Constructive Human Anatomy- a system of breaking down the human figure into basic shapes.



If you can draw stick figures,  circles, eggs, rectangles, and triangles, you're off to a great start!  This system can be modified for any art style- from realism to extreme cartooning, and once you have the basics, it makes quickly and accurately drawing figures and characters so much easier!


Learn how adjusting basic body shape and proportions can change your art and give your characters a fresh feel! 

Learn how to draw challenging subjects such as feet and hands! 
Learn how to draw the head from multiple angles! 

Gain confidence in your figure drawing and character design skills! 
From Stick to FigureSunday, September 8th, 1-4PMPlaza Artist MaterialsNashville, TN$25 admissionAges 13 and up

Register through Plaza here! 
Not in the Nashville, TN area?  Full presentation is available to my Artnerds on Patreon!  

A Quick Turnaround- Learning From Your Mistakes

An important part of my watercolor journey, and one I sometimes forget, is taking time to access a piece and learn from past mistakes.   When you force yourself to hurry, you rely on past knowledge and experience, rather than allowing intuition and taste to guide your work.
I'd mentioned earlier that when able, I use my evenings for watercolor illustrations and my days for comic work.  Working with limited time means I'm liable to take shortcuts, make mistakes, and not give my work the time it really needs.  Sometimes overworking a piece isn't the solution, but taking time to think and make educated decisions, knowing when to hold back and let the paint speak for itself.

Materials:Blick Premier Watercolor PaperHB PencilMix of watercolors- Winsor and Newton, Daniel Smith, Mijello, Holbein, SennlierMix of watercolor pencils- Derwent Inktense, Supracolor II
In my post last Monday, I mentioned briefly that I was disappointed in the piece below.  I felt like it was overworked, like it had lost its freshness.  Just because I was disappointed in how it came out doesn't mean it's lost it's value, but I was determined to learn from my mistakes and handle it's sister piece differently.


The concept for both these pieces started with really tiny pen doodles.  I didn't even bother to scan them- I just took a bad phone picture and sent it to myself via email.

As with Lost in the Bromeliads, I worked on the sketch for this in December, using my Surface Pro 3.  One of the major things I wanted to work on was portraying a character actively in an environment.


For the Elephant Ears piece, I really wanted to keep things light and fresh.  Of the two, it was my favorite sketch and preferred concept- I really wanted to convey a sense of scale, a particular environment.  I wanted the viewer to put themselves in Kara's shoes- what is it like to explore a yard? a flower bed?

So for this piece, my goal was to keep the layers lighter- don't try to add as much contrast (because I went way too dark with the bromeliads), and let some of the underwash shine through. 
Earlier this week, I removed this piece from the stretcher boards and scanned it in, trying to maintain the colors achieved in the original (near neon yellows, bright blue undertones).  Color correcting originals is always a challenge, and there's usually a little something lost in the process, but I've gotten pretty decent at it over the years.  Below are a few Twitter threads on tips and tricks I use to correct images.
Digital Corrections for Watercolor: Color Correcting Watercolors
Surgery/Resizing HeadsAdding ShadowsGeneral Corrections- Cloning, ShadowsChanging the Lighting in a Scene

Making Comics and Intermediate Comic Classes Fall 2019

I'm so excited to offer TWO comic classes in Nashville this Fall!  Both are six week classes designed to help comic artists learn new skills and make a finished, printed, and assembled minicomic or zine to exchange at the end of the six week class.  
Making Comics is an introductory level comics-craft class great for anyone 13 and up that teaches the basics of planning and creating a comic.  This class is great for those interested in making their first comic, or interested in continuing their comics journey in a class setting.
Intermediate Comics builds on concepts and skills taught in Making Comics and covers additional topics such as adding color or tone to your comic pages, scanning and digitally correcting your pages, laying out your comic, and printing your comics.  In Intermediate Comics, I'll provide students with class tech access including a limited number of tablet computers, access to a large format printer, and scanner access.
Sign up for Making ComicsSign up for Intermediate Comics
While students are requested to bring their own sketchbooks and invited to bring materials they'd like to experiment with, Nashville Community Education and myself provide all needed materials, and I work with students on a one on one basis in class and online to help them accomplish their comic goals.
Classes are open to anyone 16 and up to take on their own, or for 13 year olds to take with a parent.  This could be a great class to take with a friend, a family member, or your partner!
Both classes have open enrollment right now, and Nashville Community Ed offers scholarships!


Making Comics
Students will learn how to plot, plan, and prep an eight page mini comic, on the topic of their choice. Learn how to make daily journal comics, create recipe comics, or tell a short story in this immersive class. No drawing skills necessary - artists of all skill levels are welcome. Materials are provided. A final class on March 7 will meet at Wake Up Comics inside Groove Record Store for a comics and zine exchange! Note: Open to ages 16+ (no parent necessary) or ages 13+ if a parent registers as well! Check out the syllabus for this class hereSign up for Making Comics



Brand New!Intermediate Comics
Interested in taking your comic-making experience to the next level?  Intermediate Comics expands on concepts taught in Making Comics, and provides materials that more experienced students will enjoy. Students will develop or hone their own comic art style, experiment with digital art processes, alcohol markers, and watercolor, learn how to letter and layout their comics, and have access to a large format printer and scanner during this class. Class ends with a joint zine/minicomic exchange shared with the Making Comics class.Intermediate Comics is for artists who have already taken Making Comics, or comic artists looking to expand their experience.

Check out the syllabus for this class here!
Sign up for Intermediate Comics

Learn more about my Nashville Community Ed classes!

The Zine Exchange: 

The above video was shot at our Zine Exchange, held at The Groove in East Nashville, after class officially ended.  NCE Fall 2019's Zine Exchange is still in negotiation, but I will announce a location soon!  The zine exchange is an opportunity for students to exchange their finished zines and minicomics and celebrate six weeks of hard work with friends and family!  Open to the public, food and non-alcoholic drinks are provided!

Zines and Minis Made by Making Comics Students


For Making Comics, layout and printing are handled by me, zines and minis are assembled by students in class.  For Intermediate Comics, I teach students how to layout their own zines, and we spend time in class printing and assembling copies.  Any zines/minicomics that are not finished in class are finished by me, so all students with a complete zine or minicomic will have something for the exchange.  Students don't need to worry about printing or printing costs-this is covered by the class fee.

Kara in the Bromeliads

Saturday, I finished this watercolor illustration of Kara, lost among the bromeliads.  It'd been sitting on my drying rack, first as bluelines, then as pencils, for at least a couple of months, along with the rest of the huge stack of half-finished art that's been piling up.  

During the day, I've been working on Naomi's bonus chapter for 7" Kara Volume 2 and using my evenings to wind down and paint.  At first, it was used specifically for Volume 2 materials- the cover, title page, page border illustrations, cast of characters page.  I decided to sneak this one and her sister piece (Kara in elephant ears) into the mix.  I have no book-specific use for them yet, but I wanted to paint something a little different in the evening.
Materials:Blick Premier Watercolor PaperHB PencilMix of watercolors- Winsor and Newton, Daniel Smith, Mijello, Holbein, SennlierMix of watercolor pencils- Derwent Inktense, Supracolor II

The sketch was a doodle to keep my hands busy while I was in Luling during Christmas.  Internet is poor there, and the lighting is bad as well, so it's a great opportunity to do digital work.  A lot of my Kara illustrations fall into the same trends- close up, lost sense of scale, limited background, upbeat.  I wanted to do a few illustrations that changed that and gave me more material to play with when promoting 7" Kara. 

This isn't my favorite piece by far.  It's overworked- the bromeliads are way too dark, I lost a lot of the freshness it originally had.  The bromeliads are also too rendered and tight- they feel stiff and formal.  This piece isn't fun, it isn't lively, and while it does convey a feeling of being lost, the stakes are lost.  I struggled with the paper as well- I used Blick Premier cottonrag paper, removed from the block to run through my printer, and for some reason, it handled really poorly this time.

But none of that actually matters-not really.  In three months, these flaws won't really stand out to me, and while it will probably never be my favorite piece, it's passable and serves a purpose.  Sometimes you need art you can share while you're in the middle of a new comic chapter.

God Save the Zine!

10 years of Zines and Minicomics
What are Zines?



Small, self published, often self printed, generally self assembled booklets.Zines (zeens, not z-eye-ns, short for magazine) can be just text, text with a few illustrations, illustrations with a little text, just illustrations, comics, or a combination of all the above. Zines can be personal, political, recipes, how-to's, essays, short fiction, poetry, comics, or all of the above.Zines can be the work of a single person, the contributions of a collection





Recently the term 'zine' has been co-opted to mean fandom based anthologies with multiple artists, Kickstarted and printed in a perfect bound format.  The term 'doujin' is really more fitting for that sort of project, as zines are really more of a small scale, DIY project that anyone can tackle, and is intended to be a product of the masses, for the masses.

Who are they for?
Anyone.  There are all sorts of zines, on all sorts of topics- if you search hard enough, you will find a zine that appeals to you.  And if you can't find one- you can MAKE one.  Zines can be for stay at home dads looking for easy recipes on a budget.  Zines can be for rugged outsdoorswomen who want to share their knowledge of field medicine and foraging.  Zines can share political beliefs, or the history of a particular cause.  Zines can be a how to guide for kids looking to start making their own zines, or a manifesto on the importance of voting for 20 somethings who can't get off from work on Election Day.


Who makes zines?

Anyone can make a zine- that's the beauty!  If you've got recipes you want to share, a trip you'd like to memorialize, a political viewpoint you want to disseminate, knowledge that should be preserved, short stories that need a home, mini comics that you'd like to see in print- you've got content for a zine!

What's in a zine?
While there are a variety of ways to manufacture your own zines, my favorite method is the simplest- 8"x11" sheets of paper, folded in half to make 5.5"x8" booklets.

Cover:

Japanese mulberry paper cover, with block printed text, stab binding

I like to use a heavier stock for my covers- usually cardstock, but you can use almost anything- modpodged cutouts and ephemera, handmade paper, fancy scrapbooking paper, a carefully designed and printed cover- it's up to you!

You can even screenprint, risograph, or block print your covers!

Pages:

One sheet of paper will generate four pages of zine.  If you wanted to print and bind an eight page comic with a wraparound cover, that's three sheets of paper.

Content:

Again, this could be almost anything.  Can't draw, but want to include art?  How about collage?  Prefer to work digitally?  Not a problem at all.  The focus on zines isn't the most polished content- it's getting the content out there, in a way that's sustainable and affordable for the creator.

This can be in black and white, color, or a combination of the two, but keep in mind that color greatly increases the price to print.

Personalization and Decoration:



Ideas to get you started:
Travelogue zine/minicomic that includes ticket stubs, photos from places you've visited, sketches, and journal entries.Inktober illustrations collected into a themed zineMermay, Magical Girl March, March of the Robots, World Watercolor Month themed zinesA how to zine for a craft or hobby you enjoy (sewing, fencing, foraging)A collection of family recipes to pass on to the next generationInformation about self care such as useful stretches for artists

How do you make zines?
Designing: 
You're going to want to design around the format of your page.  For our example, we're still talking about the 8"x5.5" booklet.

If you're working digitally, you can either design individual pages (8" tall by 5.5" wide) or you can design as spreads (8" tall by 11" wide).  If you're working traditionally, it can be really helpful to work on pages that are the same size as your finished book, or that work along the same ratio.

Digitizing:

If you work digitally, your zine is already digitized!  If you work traditionally, you have a few options:

Home scanner- scanning your pages at home

Don't have a scanner?
Bring to the library and request that they scan it for you

Bring to a copy shop, pay them to scan your pages

Take photos of your pages/graphics using a smart phone- aim for clear lighting with no cast shadows- natural light outside works well!

Layout:

You CAN collate zines by hand, but I prefer to use Adobe InDesign or Affinity Publisher to help with collating and printing.  I have a tutorial on laying out zines and minis using Affinity Publisher here!

Printing:

Many artists print their zines at copy machines or copy shops such as Staples or Kinkos.  I hate waiting around Staples for three hours, so I purchased an inexpensive duplexing toner based printer to print minicomics at home.

Helpful Materials:
Cardstock (white)
Cardstock (Colored)
Copier Paper
Kraft Paper 


Assembly:



Folding:
Bonefolder

Sewing/Bookbinding:

Japanese 
Saddle Stitch

Stapling:
Assembling minis using a longarm stapler in my Making Comics class 
Longarm Stapler
Saddle Stitch Stapler


What to do with zines?
Selling Minicomics and Zines at A2CAF 2019

Sell them
Indie comic cons
Library conventions
Anime cons
On Consignment
Online- physical copies
Online- PDF copies
Sell on consignment through record stores, local bookstores, gift shops, boutiques

If you have questions about selling zines and mini comics, check out How to be a Con Artist!

Zine exchange for Making Comics, Spring 2019

Give them Away
Give them to friends
Give them to family
Hand them out to strangers
Put them in Little Libraries
Host a zine exchange- in person or by mail

Leave them places
Dentist Offices'
Hair Salons
Dr's Offices
Libraries
Bowling Alleys

Recommended Materials to Get Started:

Copy Paper
Colored Cardstock
Bone Folder
Long Arm Stapler

Useful Resources:
Laying Out Your Minicomics and Zines
Sea Lemon- Bookbinding
How to Make Your own Minicomics
Zines are Power-Twitter Thread
Cool Minicomic Format
Analog Self Publishing

Fun in Breaking Format

Don't adjust your picture- the image you see is correct (unless it's broken up into weird pieces, then no, it's not).  This strange format was inspired by an equally odd sample of Grumbacher watercolor paper I received in an Artsnacks.

The paper itself is pretty mediocre- soapy the same way Winsor and Newton's first watercolor paper was, probably too much surface sizing.  I used Da Vinci watercolors on it- these are some of my favorite professional watercolors- and even they look a bit amateur on the paper, as they never actually soaked in.  But this isn't about the paper, it's about the format, and how much I enjoyed playing with an unusual aspect ratio.

Shaking things up and changing format and ratio can be inspiring!  By working on an inexpensive sample, it gave me a chance to doodle and play- important hobbies for an artist.

What do YOU do to add inspiration and innovation to your artistic routine?

For the curious, there's even a tutorial for this piece on my channel, where I walk you through it step by step.

Strathmore Illustration Board and Watercolor

Generally, when I do watercolor illustration, I go for watercolor paper.  I use both cellulose and cottonrag, and my tastes are pretty cheap- I like Canson Montval for most Kara pages, but will burn through cotton rag for unbox and swatches and field tests.  I also like mixed media paper, particularly if I'm using alcohol markers with my watercolors, and I really enjoy using it for inking.  Up until this test, I'd never afforded myself the opportunity to try illustration board.

Illustration board is a heavyweight art board and is often comprised of two elements, usually a drawing, mixed media, or watercolor paper attached to a thicker board, sometimes chipboard.  Its intended to be structurally sound enough to not require stretching or futher support.  Strathmore Illustration board comes in several different types, all within their 500 series range- Lightweight Vellum, Heavyweight Vellum, Heavyweight plate, and Heavy Weight Vellum (for wet media).  All of their illustration boards use cotton fiber mounted to archival boards in varying thicknesses.

While I generally love Strathmore papers (particularly their bristol boards and their toned papers, but I also really enjoy their mixed media Visual Journals and mixed media papers), I avoid using it for layered, detailed watercolor art.

This piece originally started as a much larger sheet of Strathmore Illustration board, which the kind folks at Jerry's Artarama here in Nashville cut down for me.  I went for 12"x9" as the main cut, as that and 8"x10" are the sizes I use most frequently.  I honestly can't remember which type of illustration board I went for- I assume I weight for heavyweight vellum for dry media, as the texture on this paper isn't really suitable for watercolor.

Originally, I was going to treat this as mixed media- Copic markers and watercolor, but I wanted to do something with soft blends for the clover.  I may do another piece using alcohol markers to see how well they handle on this paper.

If you like soft blends and transitions, Strathmore Dry Media illustration boards are not for you.  As you can see from the 'gradient' in the sky- I had difficulty getting smooth transitions between shades and colors.  I didn't really struggle much with this paper, beyond the inability to blend out as desired.  It accepted the watercolor decently well, I had no issues with buckling, and the paper itself did not pill.  Colors went down bright and saturated and it was easy to ink on.

Looking for something that accepts watercolor?  Awhile back, I reviewed Canson's Montval Artboard!  Possible follo

Saturday in Nashville

This Saturday morning, I'm going to be repping comics down at the Cohn School as part of Nashville Community Education's Open House!  This event is free to the public, and is a perfect way to meet some of NCE's instructors and get a feel for their classes.  Some instructors will also have things for sale- I'm going to have comics, minis, and my brand new charms!

I'm going to have a standalone announcement soon, but this Fall, I'm offering two classes with NCE:

Making Comics
Intermediate Comics



Making Comics is a six week long introduction to planning and creating your own comic.  Intermediate Comics builds on that, and covers topics we weren't able to cover in Making Comics- figure drawing for comics, options for adding color, scanning and digitizing your work, lettering, and even layout!

Come learn about both these classes, and pick up a class by class breakdown, at the Open House!

After the Open House, I'll be at Plaza Artist Materials, teaching a three hour comic bootcamp!  We're going to learn about planning a comic, the basic process, and how to turn one sheet of paper into an eight page minicomic! 

We're going to provide the materials, but you're welcome to bring your own favorite comic making supplies!