After a lot of planning and collecting of amazing work from amazing people, we’re finally launching the Sherbet Kickstarter. Our goal is to print a run of the first Sherbet Trade Paperback. I wrote it, Joshua Mathus drew it and you want to read it, even if you don’t know it yet.
It’s pretty awesome, folks. And features a pinup by yours truly!
Rocket Girl’s been getting some GREAT press in the last week and I’ve been too busy to post anything! Gotta write down all the cool stuff:
NPR gave a rave review! Holy cow I love NPR!!
Indiewire placed Rocket Girl in its "10 Comics Books That Deserve to be Movies" list! AMAZING.
Multiversity outdid their support for us in their recent writeup about their favorite colorists by putting me at the tippy-top of the article! It matters a lot to me that I get to color myself, so it’s GREAT to hear that people think it makes a difference. You are validating my happy place!
Speaking of Multiversity, we did a GREAT interview for their "Robots From Tomorrow" podcast with Mike Romeo. In it I wax philosophical that what motivates me is the rush I get when I try something difficult and succeed. I have to do it or I won’t want to draw.
During SDCC I interviewed with Juliet Kahn over at ComicsAlliance! Thanks, Juliet!
Steve Morris of The Beat fame has just opened up his new site The Spire and Brandon and I have an interview with him!
On top of all that, TONIGHT Brandon and I are going to Jersey City to sign at WORD Bookstore at 7:30. We’ll be speaking as well; don’t miss it!
Got this made. Rocket Girl stamp of approval! To stamp your books! Another reason you should get that exclusive hardcover at San Diego.
Oh man, so SDCC is about to happen, you guys!!!! And I have some extra cool things going on this year.
First thing’s first, Image will be selling an exclusive hardcover edition of Rocket Girl volume 1 at their booth, 2729. Make sure you get one before they sell out. They’re REALLY nice, and only $35. Extra special because they have a stamped foil logo!!!
I will be signing at the Image booth each day, and my writer Brandon Montclare will be joining me Friday through Sunday!
I have recently joined ranks with art dealer extraordinaire Jason Schachter over at Essential Sequential. He will have Rocket Girl original art at the show and I believe it hasn’t even gone online yet. I have not sold this stuff yet, folks! He’ll be at booth 4807, and is also selling an SDCC exclusive Rocket Girl print, of the issue 3 cover. Numbered to 100.
I’ll be signing at Jason’s booth as well. And will be attending a couple parties to boot. I’ll also be at Image’s artist panel on Sunday! Here’s the official schedule:
2-4pm—Signing at Essential Sequential booth 4807
4-5pm—Signing at Image Comics booth 2729
8pm—Image/CBLDF party at Westgate Hotel
2-4pm—Signing at Essential Sequential booth 4807
5-6pm—Signing at Image Comics w/ Brandon, booth 2729
1-3pm—Signing at Essential Sequential booth 4807
4-5pm—Signing at Image Comics w/ Brandon, booth 2729
8pm—Drink & Draw hosted by Wacom, at Boomshop Comics (835 5th Ave)
10-12pm—Signing at Essential Sequential booth 4807
2-3pm—Speaking at Image Comics “I is for Innovation” panel, room 7AB
3-4pm—Signing at Image Comics w/ Brandon, booth 2729
Here’s a little window into the colors as they develop! Sadly I didn’t save any WIP versions of the rendering process. I’ll try to remember that next time.
Because this piece was so unobvious I decided to flat out the overall shapes before I sent it out to my flatter Chris Canibano, so he could refine it all. So the first image is me, the second is him. I had him color hold a few things too…very important that the linework could be separated. The third is what I did to adjust the flats to the color scheme I had in my head.
The fourth image is a huuuge jump, but yeah, I did my rendering, which involves a shading layer, some gradients, and some dodge tool highlights. And I also, as you see, changed the background scheme a lot. I wanted the background to look like the sun’s rays, but it needed to be dark enough for all the bright things to pop! When I play around with color scheme, I select a few of the colors and mess with hue/saturation and slide the hue around to see if I get any ideas. I also use the color mixer to sort of unify the colors…group them together, so to speak. Picking colors is probably the most time-consuming part of coloring, and I don’t think I’m alone in this.
The last image is the final one; Here you can see what a difference all those effects make! We’ve got glowing effects as well as a texture applied. I don’t normally use textures on Rocket Girl…but again, I wanted this to seem like a depiction of buildings, not real buildings, so it was important to group and flatten everything to give it that effect. I made the texture in Painter 9 with their watercolor brushes—I used this technique waaaaaay back when with that very first Madame Xanadu cover. (I’ve tried the new Painter’s watercolors and it’s not nearly as good. Thank goodness I still have an old computer with the program on it!)
SECRET AVENGERS #9 Cover
By Tradd Moore (lines) and Matthew Wilson (colors)
Strange magic can be conjured when you love who you’re working with. Upon sending me the script for SA#9, Ales and Wil Moss (editor extraordinaire) gave me carte blanche to do whatever I wanted with the cover based on the contents of the issue. Thus, this feverish piece of divinity was immaculately conceived.
Matt always blows my mind with his color work, but DANG he knocked it particularly far out of the park on this one. It’s an absolute pleasure collaborating with this fella!
Here’s the penciling/inking process of the cover!
First, I can never draw the same thing well twice, and I plan better small, so I take that little thumbnail you saw earlier and I blow it up to the size I want to draw it at, and tape it to the board, and lightbox the image.
I do this in chunks instead penciling it all and inking it all…I find I can go way more complex that way, and it’s cleaner, and it gives me less of a headache because I can concentrate on one thing at a time.
This was a tough image to draw, mostly because I was drawing a bunch of famous buildings and it’s always hard to figure out how to get to that level of it being recognizable, without going overboard.
And in this particular drawing, I wanted the buildings to seem like depictions and to feel very flat. These days that’s really hard for me to do, because I’ve gone so many years trying to train myself not to do that.
But here, it’s supposed to be an illustration within an illustration…the buildings are like the sun’s rays, but more a depiction of the sun’s rays, much like either art deco or a really religious painting.
I’m learning that it’s a good way to go, to draw lots of little windows by just drawing stripes one way, and then going over it with a white gel pen the other way. This time I was crunched for time, so I did the white stripes digitally.