Saturday, July 12, 2014

Bi-Coastal! My art is in both Image Comics and Sailor Moon tribute shows this month!



Two group art shows opened up this month, one in Los Angeles and another right here in New York City. 


Out in LA, the Moon Crisis 2014 Sailor Moon tribute show opened at the Rothick Art Haus to a massive crowd of cosplayers and fans. LA Weekly has some amazing photos from the event. I unfortunately couldn't make it to the show as trips to LA are expensive, but if you are in the area there will be a second opening for the show on August 9th, and then the show continues running until August 30th.After that, you will be able to purchase a print of your own from my Society 6 page or through me directly at my upcoming convention appearances.

You can see my piece all the way to the left on the end.
My Sailor Moon poster!

Back here in New York City, I'm also taking part in One-Shot Gallery's From Spawn to Saga: Image Comics at 22 show. The micro gallery is in St. Mark's Comics in the East Village, NYC- one of my most favorite neighborhoods in the world. My Ladytron piece is available for sale either at the store or over the internet via the online gallery.




Thursday, July 3, 2014

Things I Love Thursday: Dressing Up and Artist Alley tables


Coming soon: Fenny and I as the 60's Cobra Typing Pool of Evil

 My partner-in-crime Fenny (of Little Asian Sweatshop) and I have started a habit of dressing up in matching outfits at conventions we work, because we are total dorks and LOVE wearing thematically appropriate outfits. We both LOVE dressing up. It's one of the things that brought us together in the early years of our friendship, as we met through the cosplay culture of anime and comic conventions in the late 90's. We both lived in Maryland at the time and went to many conventions in the mid Atlantic, but only attended as cosplayers/fans as opposed to working. It was fun and crazy and we'd wear 3 different costumes a day and pose for pictures and party party party. And as a total goody-two-shoes all through my adolescent years, it was like going from Dawn Weiner to Party Monster over the span of a weekend. My John Hughes moment of the girl dressed for prom having the slow descent down the staircase to show how hot no one knew she was was for me coming down the hotel escalator at Katsucon '00 dressed in a vinyl catsuit as my childhood hero The Baroness from G.I.Joe. Random nerds threw themselves before me and pledged allegiance. Dudes ran up to their hotel rooms to find their Cobra tshirt they KNOW they packed. Friends that knew me didn't recognize me. I had so many people stop me for pictures it was like I was on the red carpet. It was bonkers.

My first cosplay- Pikachu at Otakon 1998.
Subsequent costumes followed.


 During this time I was attending and then graduated from the Kubert School where I was studying to pursue my lifelong dream of being a comic book artist, so attending conventions suddenly shifted from being a fun place to hang out in a crazy outfit while blitzed out of your mind to a veritable job fair-meets-minefield full of potential coworkers, mentors and bosses. And there were the opinions my heroes- people whose creations I had been following since childhood to worry about. So thinking I could have my cake and eat it too, I would wear a costume and try to schlep my portfolio around to different creators for advice and editors for jobs. It didn't work out very well.

Dragon*Con 03 Fenny and I were 5th Element Stewardesses
 Portfolio reviews on a convention floor are tough enough on their own, but add a vinyl catsuit and a water bottle full of not-so-secret vodka to the mix and you will become a very sweaty, anxious, distracting mess. It still hadn't occurred to me at the time to just say screw it and get my own table to sell my wares and share my work. Get people to come to me instead. Cuz yeah, walking around for portfolio reviews as a young artist is a soul-crushing experience. You're waiting in lines, during a busy show where a lot of people are around you having fun, only to have your best and brightest works be torn down within minutes by a tired, irritable corporate servant looking for someone worthy (ie: safe or a sure bet) of spending the company's money. Which was never me. So I would keep drawing my weird punk rock characters and pinup girls and work my cliche Generation X slacker jobs- barista at an internet cafe, courier, tv/stereo salesperson, Tower Records store artist (the BEST) and Hot Topic manager. And go to conventions where I'd sink a crazy amount of money into costumes that I'd wear for a few hours then never see again. It was ludicrous. I wish I could go back in time and shake myself until the connection of costumes, conventions and retail would light up in my dulled 20's brain sooner.

D*C 03, Fenny and I as poppy and mushroom fairies

 I mean eventually it did happen, but I had to really get my life sorted before I had the courage to just put myself out there on an Artist Alley table. I had gone into a full depression in my life outside of conventions and was in an absolute rut personally and professionally. I suffered abuse, had my heart broken and made some really bad choices. Fortunately through a very tumultuous 2004-2007 I was able to get rid of my toxic friends (except Fenny of course, who's awesome), start dating my now-husband Phil Balsman and move to New York City to get an actual art/design related day job. These changes all had profound impacts on me. You can read all about that struggle HERE.


HOODIE OF SADNESS

As I was preparing to get my life together I started to take a step back from cosplay and started focusing more on the pinup aesthetic in both my art and my lifestyle. I also started getting attention for my art outside of the comic and convention culture via roller derby bout posters. I finally was starting to get recognition and realized I didn't necessarily need the approval of the editor reviewing portfolios. To be honest the lofty teenage pipedream of drawing X-Men as a monthly book kinda died years ago. I have friends from college who draw on monthly books. Once you see how a job like that can just grind you into the ground it looks a lot less appealing for a slacker like me. I'd much rather do a comic at my own pace. So instead my newfound artistic outlet of roller derby took me out of obscurity in the comic world and put me in the spotlight of the aging punk/tattoo/DIY/ counterculture, which is full of people all are trying to scrape by and figure out how to just get paid enough to survive doing the silly crap we love to do. This boost of confidence from an audience that was very receptive to my work was what I needed my first time selling at Baltimore Comic Con 2007, after I had moved to NYC the spring before. I was so afraid of failure I didn't tell anyone I was coming down for the show. I was terrified my toxic friends would show up and sabotage my hard work. All I had was prints and no other merch. It was very bare bones. I wore JEANS at the table and sat most of the time (which is UNHEARD of nowadays with me...). I don't remember how much I made or any real solid details but I do recall it being an overwhelmingly positive experience. Enough that I've been going to conventions in a professional capacity ever since. As I went to more and more shows I started using my sales and merchandising training from all my past retail jobs and started applying that to selling stuff I actually could stand behind with full confidence: my own artwork. Every convention is an exercise in trial-and-error, but they most especially were those first 2-3 years. Awkward merch on precarious displays. Too many things of stuff no one wants to buy. Overly complicated signage. You learn something every show you go to. Even the bad ones. Especially the bad ones. 

My first table- Baltimore Comic Con 07. I had no idea what I was doing.
 Around this time in my mid-late 20's I was coming into my own physically with quite a bit of a LADY shape. Surprising enough, for most it's a shock that I didn't always look the outrageously curvaceous way I do now. I was a very late bloomer. In 2004 I was going to hip-hop concerts and had no tattoos and was wearing knitted beanies in the summertime like a doofus. At one point I had a super corporate job where I forced myself to dress like a Sunday school teacher. I've gone through a lot of phases. I wasn't cosplaying at all by 2005, but me being me I needed an outlet to wear what I want. Too many hoodies will depress a person. I missed feeling and looking like a lady. I also had started getting to know about some other people in Baltimore (outside of the veritable noose that was my circle of friends at the time) via roller derby, and through friends-of-friends encountered Stacey Barich, founder of Atomic Cheesecake Studios. Fortunately through Stacey's photography studio I was introduced to pinup and midcentury fashion, and started incorporating nicer, more structured clothing into my wardrobe that was made to accentuate my body. I looked like a cartoon! I looked like MY cartoons!! But other than conventions, where can I even wear stuff like this and not get made fun of or harassed? Still living in suburban Maryland I didn't want to pull up at the fratty college bar and do a shooter in a tiny hat and corset. Or wear vintage fur and gloves to go over and pick up weed. Not having outlets for awesome outfits was driving me crazy. It wasn't until I moved to NYC that I felt comfortable dressing how I wanted to, because EVERYTHING in NYC is so crazy all the time that it's really not that big of a deal. I started going to events like burlesque shows and art openings where eccentric dress is actually rewarded with compliments and not with drunk rednecks screaming at you from across parking lots. NYC is truly a place where eccentrics like me can run free in their native habitat.

2008-2013's ensembles and costumes. A slippery slope indeed.

Once I started running my own tables and got a pleasant reception about my work, my confidence boosted. This might be a surprise to those of you who have met me in person, but I'm kinda socially awkward. Daresay a bit of a wallflower. At actual social events, I tend to stick to the sidelines. Without the visual aid of my artwork and merch, it's kinda hard to tell the average person what it is I do all day. I've watched people's eyes glaze over as I explain how I letter manga for my dayjob. That doesn't happen nearly as much at conventions I'm vending at. The Artist Alley table I stand behind and the silly outfits I wear are my sword and my shield. I've said before in a previous entry on here and I've said it a zillion times over since, I'm like one of those deep sea fish with the dangly light- I bring people to my table with my big, bright ensembles and sparkling personality then chomp down on them with the concept that I drew (and now SELL) all the artwork in front of me on the table. Some people are actually shocked. "You drew all this stuff?", they say. And it's like yeah, dude I frickin' hustle. As fun as this all is, it's still WORK. I'm my own booth babe. (I actually found a tshirt that says that.) Wearing outfits and getting dressed for conventions makes people happy to see me and that's a nice feeling. It's hard to be in a bad mood while wearing a fantastical outfit and surrounded by positivity and excitement. And especially with the more costumey-spin I've been doing with my convention outfits- it's a way to show my love for a character or property in my own way and on my own terms. Especially superheroes. Like I love both Wonder Woman and Power Girl. I see a lot of myself in them. But as much as I love them, I really don't want to run around with my ass hanging out. Hence why I made them both retro ensembles that evoke the character without having to wear a lycra jumpsuit. That's where being an artist comes in handy. Most of the characters I draw wear what I would wear. My art imitates my life and my life imitates my art. Those costumes (seen in the above collage) are literally items just hanging out in my closet. My Power Girl dress is my *wedding dress*! And then it just makes it awesomer to encounter people who really feel what I'm doing. If I'm gonna go through all the trouble of stepping away from my art and leaving the comfort of my house and getting myself hyped up to talk to people for hours upon hours with no break then goddammit I'm gonna at least look cute and make money. Haha.
 
 So the original reason I wanted to post this! Fenny and I are dressing up as an evil 60's Cobra typing pool! It's like Mad Men-meets-G.I.Joe! It's basically all stuff from my closet!! Yay! So I'm dressing up of course as The Baroness (revisiting one of my 'classic cosplays') and Fenny is being the HR manager!

It's basically just me with a Cobra patch.


Fenny's gonna look ADORABLE.

Other outfits Fenny and I are doing:

The Monster's Mate (aka Phyllis Dyller) and Francesca from Mad Monster Party for Monster Mania in October

Victorian swimmer ladies at Visionary Tattoo Arts Festival in July!

Tuesday, July 1, 2014

Visionary Tattoo Arts Festival 2014 is THIS MONTH

 Billboards for the 2014 Visionary Tattoo Arts Festival are popping up in New Jersey and I am super duper excited!! This is one of my new favorite shows to attend and it will be happening at the end of the month (July 25-27) right on the beach in Asbury Park, NJ and again the show will feature my art for all of it's promo materials. Check out my recap of the show last year here. My BFF Little Asian Sweatshop and I will be there to hang out and peddle our awesome wares. If you're in the area it makes an awesome weekend getaway- check out the show, hit the boardwalk, breathe in the beach air and get a tattoo!

Neat!!
One of FOUR this year!


Pearly Whites Sketch dump- July 2014

Had some time to myself during a weekend visit to my parent's house in Maryland and spent a good chunk of my time out on the back porch sketching and writing for my eventual comic, Pearly Whites


It's coming along. I actually closed a few gaps in the progression of the story and even made up a character or two that streamlines a very complicated origin story. The problem with writing a story that's been in my head since I was 15 is that that early on I had so many bad teenaged ideas ingrained into the story that they're simply taken as history. But in reality, I can change whatever I want and no one other than me will really know the difference. I mean some of these characters have been hanging out in my head for over 20 years so I don't necessarily want to un-make my imaginary friends, but for the sake of story sometimes you make sacrifices. I'm pretty proud of how much tighter Pearly Whites is getting though. I think I might actually *finally* have the beginning of the story figured out, which is exciting. It just keeps getting more and more ridiculous. It's like I'm taking a pinch from everything I love and putting it in a mixer and making my own cake of awesomeness.







Friday, May 30, 2014

Progress pics on some comics-inspired pieces


After a super-stressful and work-intensive last couple of months, I'm happy to take a step back and chip away some less demanding pieces for art shows, future merch and the like.


Wonder Woman
After having several customers at various shows in recent years ask me for Wonder Woman merch I *finally* sat down and drew everyone's favorite Amazon. This of course being a chibi version I plan on using for mini prints and magnet sets- so keep a lookout!


Original inks on vellum- colored with paint pens and colored pencil.

Blue lined pencils.

Inking on vellum!

Coloring with paint pens!

Supergirl
Since I tend to do my chibi pieces as two-packs I figured I'd draw Supergirl as well to go along with my Wonder Woman. I decided to go with the more casual animated version, since that seemed more fitting to my style and I think encapsulates the character's personality better.


Supergirl original inks on vellum!

2nd pass of pencils on top of rough blue lines.

Color progress.

Ladytron 
 I drew Ladytron from WildC.A.T.S. for an upcoming art show- From Spawn to Saga: Image Comics at 22 at the One-Shot Gallery in St. Marks Comics, NYC. I've always been a big fan of the character visually and thought she was criminally underused in the comics she was featured in. However as visually arresting as she is I can totally sympathize with any artist having to draw her, because MAN WHAT A NIGHTMARE. Personally I've never been a fan of drawing tech. I'm also pretty sure I haven't drawn anything this 'futuristic' in 12-15 years. Fortunately I had some ball-jointed dolls to look to for reference which helped greatly.

Digitally colored version. What I love about Ladytron is that she's basically a bionic Brody Dalle.

Inks.

Toned vellum version that will be on display at the art show.

Tattooed Sailor Girl 
What was originally going to be the artwork for this year's Visionary Tattoo Arts Festival poster is now going to the poster for the 2015 show. Which I'm actually totally fine with as they are going to use the teaser poster I put together back in February for the official poster for this year, and I have the poster for next year already like 85% finished. Either way, I'm playing with coloring the original inks for the sailor girl for the now 2015 poster because doing stuff like painting my originals is strangely relaxing for me. I dunno.


Also, my new addiction:

I'm pretty sure I now have this instead of blood.


Thursday, May 15, 2014

Things I Love Thursday 5/15/14: Then She Fell

Then She Fell


"An immersive theater experience combining a hospital ward, the writings of Lewis Carroll, and just 15 audience members per show.
Then She Fell is a fully immersive, multi-sensory experience in which only 15 audience members per performance explore a dreamscape where every alcove, corner, and corridor has been transformed into lushly designed world. Inspired by the life and writings of Lewis Carroll, it offers an Alice-like experience for audience members as they explore the rooms, often by themselves, in order to discover hidden scenes; encounter performers one-on-one; unearth clues that illuminate a shrouded history; use skeleton keys to gain access to guarded secrets; and imbibe elixirs custom designed by one of NYC’s foremost mixologists."



 Immersive theater has become one of my new favorite things in recent years. There are few opportunities in this world as an adult to totally give yourself over to your imagination and play along within a fantasy alongside actors in sets constructed to make you believe you are in another world. I frequently refer to immersive theater as 'Chucky Cheese for goths'. As I have started to get more involved in writing my own stories for my eventual comic Pearly Whites, these experiences have been paramount in jumpstarting my creativity. To be able to give yourself over to such fantastical situations has given me so much inspiration. 

HELL YEAH special Alice in Wonderland themed outfit for the occasion.
  I was introduced to the concept of immersive theater with the noir-themed take on MacBeth that is Sleep No More, which I talk about at length in one of my most popular blog posts ever (guest starring Dita Von Teese!). Though there are to be inevitable comparisons between Then She Fell and Sleep No More, they both have their own strengths and weaknesses. Like the above description states, Then She Fell has only 15 audience members per show. This is definitely something which puts it over Sleep No More, which in it's popularity has caused a veritable cattle call of people clogging stairways, looking at their smuggled phones in disinterest and aggressively crowding around actors in order to attain the coveted 1:1. With a smaller audience at TSF in a much more intimate venue, the itch for the 1:1 experience a seasoned Sleep No More fan such as myself desires is scratched for the full 2 hour runtime of the show. The already small audience gets broken down into smaller and smaller fractions as you are led around the Victorian hospital setting by ushers dressed as nurses. The tracks are specific, so you are not free to roam like in SNM, but this also allows you to experience everything the show has to offer and you never feel as though you've missed something. As a SNM veteran, I was used to being right behind actors, keeping pace so as not to miss anything. Doing this with the ushers of TSF, as I found myself being at the front of a group of three being led down dark corridors to another room, by the time we would reach our destination I would realize that the people behind me were snatched up by other actors and taken to other rooms for their own experiences and I was alone with mine. TSF does amazing things with the spaces provided. Some of the rooms you are placed in are no bigger than a walk-in closet but are transformed into these vignettes between you and an actor where you're asked to take part in the story much like Alice herself. In one room you are prompted to take down notes as a very handsome yet sad Lewis Carroll dictates a love letter to you. In another you are prompted to help paint roses red, surrounded by dried bouquets. One of my favorite scenes was in one of the bigger rooms that contained the Mad Tea Party. The dancing is amazing and you even get to sit alongside the Hatter and company- just be ready to "CHANGE PLACES", of course. One of the only things I think fell flat was the usage of skeleton keys. At the beginning of the night you are issued a ring of keys that you are free to use around the rooms for various lockboxes, drawers and closets. In my experience it was a novel idea at first but I soon kept running across the same Xeroxed paperwork from mental institutions, old photos and poetry over and over again. I think it's almost unnecessary. But that's me. Overall I loved the experience of Then She Fell and highly suggest you check it out if you're ever in the NYC area. I actually lucked out incredibly with this show as the venue is a mere 15 minute walk from my house.

Website:
ThenSheFell.com

The letter you get at the end of the night. I thought it was nice. ^_^
Bonus:
So when Fenny and I attended back in November, who was in the super-small audience with us but Neil Patrick Harris and his husband David Burtka!! We didn't run into either of them during the actual show, but we were in the room with them at the beginning and end of the show. They were just as well-dressed and fit as you would expect. It was pretty funny because the show was running late because of them and as we're sitting in the waiting room with the other members of the audience they come in like 15 minutes late and I'm all 'geez who are these assholes' under my breath and they turn around and I'm all HOLY SHIT (to myself). Meanwhile, Fenny is completely clueless and as they sit down two seats from me I nudge her and say in her ear 'do you promise not to freak out?' to which she's all 'huh?' and I say 'that's fucking NPH and his husband right there'. Fenny looked over and gasped and I pinched her leg and rasped in her ear 'be cool! be cool!!!!' She was. At the end of the show they got their coats and were whisked away from the venue in a private car. So no one else freaked out either from what I know. Added an extra touch of weirdness to an already surreal night. Haha.



Saturday, May 10, 2014

I finally finished the Sailor Moon poster!


Ahhh! It's FINALLY DONE!!! GET IT AWAY FROM ME!!!


Animated progress shot GIF:


After 6 months of working on this great big beast of a piece I am finally finished! Now onto finding a printer, getting it framed and sending it off to Cali for Moon Crisis 2014!!


Not going to Cali for the show? Me neither. :\
Buuut you will SOON be able to order a print of your VERY own at Society6 or thru my future convention tables!
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