Oct 222017

Late 1996, I resigned from Colossal Pictures, the only full time staff position I’d ever had. By then I’d been working in animation for 15 years, but recent job disasters had soured me to the industry, and I was unsure what to do next. After traveling for a few months, I’d decided to focus on the enjoyable aspects of being a cartoonist by creating some projects of my own, and by February 1997 I came back to San Francisco to draw. Although my plan was to save money by working at my kitchen table, Robert Valley suggested that I sublet some space at an animation studio he’d founded in 1995. I did, and it represented a turning point in my creative life.

For several months I didn’t think about paid work, but came up with silly characters and goofy situations for them to be in. I’d recently created some characters for a company and loved the creating part, but the process of getting it made wasn’t a fun experience at all. To rekindle the joy I once felt at being a cartoonist, I resolved to make something primarily for fun. My own thing, not tied to schedules, budgets and the whims of others. I started doodling in the solo medium of comics, and gradually, I began enjoying drawing cartoons again. ROCKET RABBIT, SEPHILINA, and many other personal projects, were all born out of this period of play.

Rocket Rabbit Rocket Rabbit Rocket Rabbit

At around the same time, more freelancers moved in to Robert’s studio; Bosco Ng, and Steward Lee, two more colleagues from our Colossal Pictures days. Maverix slowly became a shared workspace for a loose collective of freelance artists, each working on their own professional or personal projects, while sharing resources and sometimes collaborating on certain jobs, and my American freelance career had begun. More artists joined; Sho Murase, Derek Thompson, Vaughn Ross, and Robert’s brother, John. I’d been on staff continually since arriving in the USA, but once Maverix became my base of operations I could try my hand at a variety of different projects at many different studios, both in San Francisco and Los Angeles. Following various leads (from ex-Colossal Pictures colleagues) I worked for ILM (‘Frankenstein’) Pixar (‘Finding Nemo‘) PDI (‘Tusker‘) and on various commercials and shorts projects at Wild Brain.

The balance between my career, private life, and personal projects had always been hard to manage. When working in a professional studio, I’d get wound up in the cogs of production and think of nothing else but my job, but working at home as a freelancer didn’t give enough structure and I’d waste my downtime. At Maverix Studios however, I had the freedom of a freelancer with the routine and inspiring camaraderie of a studio, allowing me to do my personal projects for the first time. The studio changed its spelling from MaveriCKS  (initially named for the NorCal surf spot) to MAVERIX, to mark the transition from the commercial studio it once was to the collective it had become (besides, that domain name was available). Around 2000 we bought a shared G4 computer (the first time I’d ever used Photoshop) and soon after got a shared website:

Maverix at times became a hive of industry, that expanded from the core membership to include friends helping with various animation projects (commercials and the like) and this meant that it was often a raucous place to work, with loud music, people playing video games, a barking dog running around, and friends of friends dropping by with beers. It could be a difficult place to concentrate in, and ironically I sometimes had to work on my kitchen table at home simply to get away from the noise in my paid workplace, but it was always an energetic and inspiring place to brainstorm, despite those distractions. When we were buzzing with activity, we’d take breaks by playing video games. I remember those competitions fondly, even though I was the loser every time, and the brunt of good-natured smack talking that was a fun feature of these bouts of digital fisticuffs.

During a slow spell at the studio in early 2001, Bosco Ng, Derek Thompson, and I were sitting with nothing to do, and somebody suggested that we should each make a comic for that year’s Comic-Con and actually exhibit. We’d all been attending and submitting portfolios for years, but actually making something to sell had never occurred to us before. We were perhaps inspired by the recent example of a colleague from ILM, Steve Purcell, who had a Comic-Con table the year prior to sell his own artwork. We decided to do something similar ourselves and just make something for a change, instead of getting raked over the coals by snotty art-directors at portfolio reviews. Many times throughout my career, in eager beaver conversation in pubs or coffeeshops, such notions had been mentioned before (“let’s make an animated short!” etc) but this was the first time we followed through, and made the things we said we’d make: three separate comic books.

We knew nothing about printing or exhibiting, but it was remarkably easy to exhibit at Comic-Con in 2001; there was no waiting list, and in February 2001 we booked a table for July that same year, which would be unthinkable now. We’d committed to exhibiting and the ensuing period of making stuff remains one of the most pleasant stretches of several months in my entire career. Each day, the three of us would come in to the studio, jazzed to draw our comics, excited about what we were each doing, and what the other two guys were doing too. My effort was NERVE BOMB (my first Rocket Rabbit book) Derek made BINDU (a collaboration with Brian McDonald) and Bosco made METALUSION. We got them printed just in time. It is quite common for a group of artists to self publish these days, but it wasn’t as common back then, and we got a good reaction simply because of the novelty of a booth containing three artists selling their own stuff. A high point was when Mike Mignola visited our table and bought our books.

I got a rude shock when I finally got my bill from the printer. I’d cut the print deadline very close, and asked the printer to ship a few hundred of my comics expedited direct to San Diego, so they’d make the convention deadline, and ship the remaining 1800 books to San Francisco, at regular rates. They instead sent ALL the boxes to San Diego. The bill for expedited international shipping (from Canada) for 2,000 books was brutal. As that last minute transaction had been all arranged on the phone, I had no paper trail as to who said exactly what & when, so when the printer sicced a collection agency onto me I had to pay up. This was my first lesson that getting things printed was often the sour note in self publishing..

The next few years saw all Maverix members exhibiting their own projects at Comic-Con. There was the annual drama of getting various personal projects drawn and printed in time for the show, shenanigans with printing companies, Kinkos, or ink-jet printers. Hare-brained money-saving schemes to drive to the Con, all Maverix members crammed into a rented van, like the Scooby Doo gang or some lame rock band. Several years of fumbled bookings in shitty San Diego hotels, and assorted shenanigans; Robert accidentally drinking Sho’s contact lenses (twice) or getting stranded in Tijuana without his passport. Oh, such tales could be told (and might be one day.)

Maverix was a chaotic band of loons that nevertheless helped me break the cycle of my own creative lameness. I am not sure why it took me so long to actually make something of my own, except that when younger, I had no idea how to get things printed or made. Researching the means of production wasn’t easy in the 80s and 90s, and it’s only relatively recently that those technologies have been accessible to your average Joe & Jane. Even so, I deeply regret not getting off my arse many years earlier and making something. Anything. I always thought about it, but somehow had the feeling that I needed permission or validation from someone else to move forward. The younger generation of artists today do not make that mistake, and self publish books and make short films right out of school. This is definitely the way to go. When you’re young and before you have a family, you should make stuff of your own as much as you can, as personal projects are the gymnasium where professional artists get to train their creative muscles and stretch themselves.

Maverix became known as a fun place to hang out. The studio was not far from San Francisco’s South of Market club scene, and would often serve as a staging area for night club away teams, and after-parties. There were themed movie nights (“Ape Night” or “Monster Night”) or we’d simply gather to watch the latest anime blockbuster or foreign hit film on Bosco’s groovy projector. Maverix knew how to throw a very fun party on any pretext at all, and members of other bigger studios would all mingle on our common ground.

On the fateful day of September 11, 2001, I was the only person working at Maverix. This was before the era of carrying the internet in your pocket, and I was unaware of the world-changing attacks on The World Trade Center. I walked into work early that morning, and assumed that the police vehicles surrounding City Hall were there for another episode of ’Nash Bridges’, and continued to the studio, where I was working on paper and therefore not connected to the internet. By mid-afternoon, no one else had come to work but I didn’t think much of it, because Maverix was the kind of place where people kept odd hours. Later in the day, I went out to get something to eat at a nearby deli, where the the radio broadcasted something hectic in Korean. The guy making my sandwich was agitated about something in New York, but didn’t speak clear English, and I assumed it was a sporting event. After I walked all the way back home at about 11PM that night and turned on my TV, I finally saw the nightmarish images of airplanes dissolving into the Twin Towers. It still took 20 minutes for it to sink in that this was NOT a movie. That this was real. For the next 24 hours I stayed glued to the TV trying to make sense of it all. Al Qaeda who? Osama Bin What? Why?

My girlfriend at the time was in Europe traveling with her family, stranded by the USA flight ban imposed in the wake of the attacks (for everyone other than the fleeing Bin Laden family). It was a stressful and gruesome time. At the national level there was great distress, but many things in my own life started to fall apart after 9/11. Freelance work started to dry up almost immediately, and most of my friends were out of work for a long time. As the disasters stacked up – political, personal, professional, financial, psychological – it was almost comedic, like a sequence from a movie where a shlub (a Jerry Lewis or a Jim Carrey) is subjected to one humiliating pitfall one after the other, to teach him ‘a lesson’. The difference being that everyone was experiencing this spiral of disaster at the exact same time. For me this grim period culminated in a bitter break up with my girlfriend in September 2002, leaving me dejected about life in America, about relationships, about work, and human beings in general. It took several years to find my optimism again.

The original 9th Street address of Maverix Studios was in a seedy part of town. My memories of Maverix itself are overwhelmingly positive, but any negative memories come from that low-rent tawdry neighbourhood, rife with petty crime and scuzzy ne’er do wells prowling about. I had two different bikes stolen from inside the studio itself within three months, and I wasn’t the only Maverix member to have issues with theft. There was a strange ecosystem of Fury Road shantytowns in the alley behind the studio near our dumpsters, ruled over by a semi psychotic Hobo Warlord in camouflage combat pants, stripped to the waist. This methed-up alpha hobo was known to us as ’Hatchet Man,’ because we’d often see him out our back window flexing his muscles and practicing tossing his tomahawk into a telephone pole; wzzzz THUD! We’d have to thread our way gingerly past Immortan Joe and his underlings to put stuff in our own dumpster.

The back alley shanty town would grow, and periodically the city would swoop in to roust the squatters, and steam clean their paste off the alley. Then another shanty would slowly re-assemble, only to be purged when it too became a festering sore. The City wanted to offset costs for these frequent cleanups, and clearly the hobos had no money, so The City would attempt to send US the bill for these cleanings. One time I was at home in the shower in my own apartment when there was furious rapping on the door, with an officious voice demanding; “Open up! City Trash Police!” (or some such). I opened the door in my bath towel to be confronted by a guy we came to call ‘The Garbage Nazi‘, an enforcer with the city who’d found a scrap of rubbish in the alley bearing my name and address, and this was to be the justification for a BILL from City Hall; if any of our trash was strewn about by the human racoons that lived in the alley (as it often was) we’d get hammered by The City for alley cleanup. There were already stiff penalties for not having a padlock on our garbage can. However the entire system broke down when the guys driving the garbage trucks and emptying our dumpsters wouldn’t put the locks back on after emptying our trash. Then our garbage cans became prime scavenging sites, and even impromptu porta-potties for Hatchet Man and his homies (yes, not kidding).

The initial draw to the area was cheap rent, when most businesses around us were fabric sewing sweat shops, likewise taking advantage of low costs. The first wave of internet start ups happened around that time, and when the tech boom hit the neighbourhood, suddenly those crappy sweatshops were turned into tech lofts and the area was awash with hipsters on scooters. But the .com boom of San Francisco wasn’t all glamour. Sometimes, when working late, we’d overhear tawdry transactions taking place in the medieval monkey cage in the back alley below the studio. It’s a strange disconnect to be working on a child’s cartoon at 2 in the morning, when you hear some drunk tech-nerd stumble out of a nearby bar to haggle a drugs-for-sex swap with a hobo-junkie. This sleazy Blowjob Bartertown was an aspect of the SF tech boom not covered by WIRED magazine.

Maverix soon lost its lease due to the escalating crazy rents brought on by this .com boom, when our landlord suddenly wanted us to pay something like $10,000 a month for a space that cost less than $2000 a month previously, which was very indicative of the greed of that time. The combo of tawdry sleaze & crummy infrastructure and high prices was brutal (and became the problem with San Francisco in general). When it was time to renew our lease in 2003, we couldn’t afford to be in the area any more, so the studio moved to 17th street and the new space was infinitely better than the original place. By that time, some of the members chose to become a proper LLC company, and the loose collective dissolved, and I left Maverix (thinking that we could barely manage the studio trash cans, let alone file paperwork for an actual company). This separation was 100% amicable, it was simply that our different goals for the studio had changed. Although I was no longer officially a member, I still participated in many Maverix events, and often dropped in on my old studio mates. We are all still good friends to this day.

One of the things I was most happy to collaborate in were the Maverix charity art auctions. The first was held out of a desperate need to express our love and support for our friend Mike Murnane, who’d been brought low by a tragic accident. He required surgery but had no insurance, and thus no funds to cover his ballooning medical expenses. The broader Maverix community came together to generate money in the only way we knew how; by making and selling artwork. Organised in a matter of weeks, this first auction raised a significant amount of money, even though many of us were out of work ourselves at the time. It became the first charity fundraiser of many, and such auctions became regular events at the studio. People from Pixar, PDI, ILM, Wild Brain, Ghostbot, and other studios in the Bay Area all assembled for good times and good causes.

This was my first experience of artists doing what they do to raise money for charities without any goal of self-promotion. I have seen similar things since, but for me the Maverix auctions were always the best. They may not have raised the cash of bigger art auctions that came later, but they were always all-inclusive and immensely rewarding to be part of. Lately, I’ve had a visceral sense of what such fundraising activities can do for a person who’s been medically devastated, when I was a beneficiary myself (in 2013). Though the money is very welcome, I found the support from the community to be the real force for good.

I’d recommend any freelance artists who work at home to find like-minded friends to share a workspace with, at least once in your career. In my opinion, an essential ingredient to make the whole thing work is a sort of rulebook (or ‘manifesto’ if you prefer) to ensure that the day to day nitty-gritty of bill paying and trash removal happens smoothly, and it it’s clear in everybody’s mind’s to what extent the studio is a workspace, and to what extent it is a fun space. If you can get those things mutually understood, this is one the most satisfying ways to work as a commercial artist.

When I first fell in love with San Francisco in the early 1990s, the Bay Area had a healthy cross-section of big studios, medium-sized studios, and small studios. Over 25 years later, the middle of that ecosystem has died. There are still a few big places (impenetrable fortresses like Pixar, and ILM) and a few tiny studios too, but the mid-size studios are gone (perhaps because animated commercials are neither so common nor lucrative as they once were). Mid-sized studios were my favourite places to work, providing the bulk of the freelance jobs for people doing what I do, while taking more chances on younger talent than bigger studios. I miss these mid-sized studios a great deal. A lot of innovation is happening in the South Bay in GAMES, but my focus has always been on animation for broadcast or film, and in that respect San Francisco is not the vital town that it once was, sadly.

In 2011, MAVERIX STUDIOS finally closed its doors, marking the end for this fantastic collective of independent, Bay Area animation artists, though ex-members have gone on to work on many high-profile projects in a wide variety of media, from comics & games to film & TV. All members look back on the studio with fondness, despite some setbacks here and there. It was quite an achievement that such an unwieldy group of screwballs could operate so well for so long, during some very difficult years in the Bay Area media community, when many studios with ‘business plans’ and MBAs all went kaput. For many years I’d toyed with the idea of making some projects of my own, but it wasn’t until Maverix that I actually did it, and interestingly, it made me a more professional worker for others, when I had an outlet to do my own thing. Becoming a self publisher led to exhibiting at comics conventions, which I did for about 10 years and got a lot of satisfaction from. Being a member of Maverix Studios remains one of the most fruitful periods of my career.

Founders of the Maverick commercial animation studio: Robert Valley Jeanne Reynolds.

Initial members of the Maverix Studios collective: Robert Valley, John Valley, James Baker, Steward Lee, Bosco Ng, Sho Murase, Vaughn Ross, Derek Thompson.

The 3rd wave: Tom Rubalcava, Osamu Tsuruyama, Tony Stacchi, Sergio Paez, Ted Mathot, Chris Petrocchi, Garett Sheldrew, Ed Bell.

Other friends who collaborated, or hung out: Patrick Awa, Mike Murnane, Gennie Rim, Granger Davis, Lyla Warren, Charlie Canfield, Dan McHale, Chris Carter, Charlene Kelley, Victor Gascon, Sam Hood, Dedan Anderson, Joel Hornsby, Jamal Narcisse, Lance Hughes, Ken Kaiser (and many more!)

Aug 302012
lots of books!

This coming weekend I will be exhibiting at the SF ZINE FEST in Golden Gate Park. It is a nice little show and unlike other book conventions, it is FREE to get in.

The ZINE FEST takes place on the south side of the park, near the 9th & Irving neighborhood. The first building you come to, after 9th avenue enters Golden gate Park, is the S.F. County Fair Building (A.K.A. the Hall of Flowers). If you’re in the Golden Gate Park area this holiday weekend, please come by and say hello.

Even though it is a 3-day weekend, the SF ZINE FEST is only on TWO of those days; Saturday and Sunday from 11AM-6PM. I hope to see you there!

Oct 222011

I am only just now going through the incredible array of books I bought, traded or was given, at APE last month. The very next day after the show, I went to PORTLAND for two weeks, where I was given another great book by Graham Annable. SCORE!

The totality of my reading stash of graphic wonders now includes the following:

“THE NUN WITH TWO GUNS” by John Hoffman
“LA LA LAND” and “LE MENAGERIE” by Bernyce Talley
“ICE BEAR JUDGES YOU” by Daniel Chong
“HIDDEN” by Graham Annable.

Sep 272011

Once again, it’s time to GO APE. My favourite San Francisco comics-show will be held this coming weekend at the CONCOURSE EXHIBITION CENTER. I will be exhibiting there, at table #108, flanked by friends on either side; John Hoffman will be at #107 (with his crew; Kris Pearn and Craig Berry) while Michael Aushenker and Javier Hernandez will be at #109. Not to mention the fact that TONS of other friends will be exhibiting at the show too.

Now that Wondercon will be moving to Anaheim in 2012, not only is APE San Francisco’s coolest comics show, it’s the ONLY comics-show left in town, at least until 2013 when Wondercon may return. In the meantime, I hope to see you this weekend!

Aug 302011

This coming weekend I’ll be exhibiting for the first time at the SAN FRANCISCO ZINE FEST. In addition to my books, I’ll have a few original little paintings for sale as well.

I’ve attended myself a few times before, most recently LAST year, when I enjoyed it so much that I had to try being on the OTHER side of the table this time. It is a very small show; you could take in the whole thing in an hour or two. It has a low-key, indie atmosphere focused very much on books. Not just comics, but self-published poetry and magazines. Best of all, unlike many such shows, it is FREE TO GET IN!

The ZINE FEST takes place near the 9th & Irving neighborhood. The first building you come to, just inside Golden gate Park, is the S.F. County Fair Building (A.K.A. the Hall of Flowers).

If you’re in the Golden Gate Park area this holiday weekend, please come by and say hello. The ZINE FEST goes from 11AM-6PM on both Saturday and Sunday.

Aug 022011

San Diego, July 2011:

This year, TWO comics related events went toe-to-toe in San Diego; COMIC CON, THE undisputed heavyweight comic book show** and, across the street-car tracks, TR!CKSTER, a scrappy little newcomer that punched way above its weight class.

I was involved in BOTH! Which qualifies me (somewhat) to REFEREE the showdown:

In the left corner: THE REIGNING CHAMP, COMIC CON!

Rhode and I had realised long ago that there would be no time to do one of our Kooky “Booth-Themes” this time around. Even a silly idea (like last year’s YARD SALE) takes a few days of preparation but we live on opposite coasts now. We drove down to the show together on the Tuesday morning before Preview Night, having met each-other for the first time in months that very SAME morning.

Prep-time being nil THIS year, we decided to actually display our stuff instead, which is a novel concept for us! Here’s the thing; sometimes those booth displays actually distract from the artwork. When you have a giant tin-foil robot towering over your booth there isn’t much room left to display prints and books! Despite last minute mini-drama, when we discovered that our trusty back-drape and table cloths had vanished from storage, a hasty trip to the fabric store saved the day, and I think we did a pretty good job of displaying our stuff, perhaps even the best we’ve ever done so far.

Rhode’s sales were his best ever! Despite high hopes, I sold only 1/3 what I sold last year. Having no new books may explain the downturn in BOOK sales but new PRINTS (and the best displayed range of designs ever) sold poorly too. Hard to explain why. We spend a lot of time behind the booth discussing such mysteries… Why does a slow-selling print suddenly sell out the next year? Why does a hot T-Shirt design go cold and then heat up again? Is it placement? Timing? Who knows? I guess the key is to always try new things and see what sticks, without getting so tangled in the SALES treadmill that you stop enjoying making the stuff in the first place.

Something new for me this year was selling little original framed paintings. Some came from my archives or sketchbooks, and others were painted while sitting at my booth.

What we took away from this particular COMIC CON is that we BOTH need to generate new material. New books, new designs and so on. Each of us definitely enjoys a show the best when we have a new book, even though the sales from those years aren’t necessarily the best. The satisfaction of having MADE something we are proud of always trumps sales. The other thing we talked about on the drive home from the show was the fact that we often decorate the booth but we have never done so to support any of our IDEAS. We have dressed as Car Salesmen or Robot men from the future but we have never decorated the entire booth in support of SKELETOWN or SEPHILINA and I think THAT is what we need to do next. Take it to the NEXT level.

**Funnily enough, even the vastness of Comic Con is but 1/3 the size of Japan’s COMIKET INDIE comic book show (IE; their version of APE!) which happens TWICE each year!!


Comic Con is, of course, THE definition of a comics convention, but Tr!ckster is a little harder to categorise. That is where the TR!CKY part comes in. (UN-conventional, you might say…) Tr!ckster is a bookstore/gallery/seminar, with a full bar on the side, but there are no booths and so forth. At least, that is what it looked like THIS this year. Who knows what size and shape it will take next time? Because part of the Tr!ckster concept is that it is a POP-UP event and will adapt to whatever space makes itself available. Sort of an indie-comics Halloween Super Store. With booze. Yeah.

Even though I was already locked into Comic Con 2011, having paid for my booth space a year before, I was very interested in the Tr!ckster project right from its inception. Namely, some anxious conversations several years ago about the NEW direction of Comic Con, which appeared to be moving away from its roots as a book show and steering in the direction of Hollywood (or perhaps E3).

And so, the conversations about an alternative began. “CREATOR CON!” became The rallying phrase for that growing community of people looking for something focused more strongly on the artists and writers who MAKE the stuff we all love. And now, a few years later, TR!CKSTER has grown out of that conversation. But what I think is significant about Tr!ckster is that it is only the beginning. Tr!ckster demonstrated last month that there was more than enough room in San Diego to have not only Comic Con but something ELSE as well.

My Time at Tr!ckster itself was sadly limited by the fact that I was committed to a booth in the nut-house across the road. But, during daylight hours, I was represented in Tr!ckster by my contribution to the Anthology book and my books & prints in the Tr!ckster store. In the evenings, Julia and I would go over there to hang out and, right from the get-go, I loved the feeling of the place. Personally, I liked it best when the mix of creativity, mingling and shopping was just-so. A Life drawing session jumping in one area, while other people hung-out in the bar to chat and then wander through the bookstore with a drink while meeting new friends. For me, that blend of people making art and buying it and/or networking was absolutely perfect.

A few nights later, when there was a rock band on site blazing away in full effect, I personally found it a bit too crowded and noisy… but of course I had just spent a wearying Saturday at Comic Con and had been looking forward to the mellow side of Tr!ckster that I’d enjoyed a few nights prior, so my opinion may not be typical of the majority. Everyone else certainly seemed to be enjoying themselves!

Being one of the few who exhibited at BOTH shows, There is an interesting comparison to be made between COMIC CON and TR!CKSTER in terms of sales, and it is not what you might expect. ALL my books sold better at Tr!ckster, where I paid no booth fees. That is a very sobering fact. When even my presence at Comic Con helps my books sell no better than at a store where I was not even around most of the time, it really highlights the notion that people at Comic Con are not there for books at all.

And the WINNER of the event IS… EVERYBODY!!

It was fun starting this post by casting Tr!ckster as an opponent to the huge Convention across the road, but it didn’t feel that way at the time. They are related but separate things. One is about spectacle and promotion, the other about creating and connecting. Julia said it best when she noted that Tr!ckster actually ADDED to the Comic Con experience, taking the comics-themed fun into the evening and giving us all one MORE reason to be in San Diego that week. In fact, I can see a time when San Diego in July might become a FESTIVAL rather than merely a convention, with events happening all over the city that week (or even that entire month?) There could be COMIC CON, TR!CKSTER and a multitude of other small pop-up events. I like that idea.

At the beginning of the CREATOR CON discussion, some envisioned a getting back to basics CONVENTION; a booth-based show that focused on artists the way Comic Con used to, 30 years ago. But the Tr!ckster guys decided to do something that would NOT be modeled on the classic convention format. Tr!ckster is very much artist driven but is something like an art SALON or gallery. Meaning that there is still room for more re-imaginings from other people if they want to do the leg-work. The Tr!ckster crew has shown the way; You don’t need to wait for permission to make the thing happen that you want to see happen! There will be room for other shows, possibly also happening concurrently with Comic con. I love it.

thanks to Julia Lundman, Tony Preciado and the INTERNET for the photos!

May 162011

Here is my contribution to the first TR!CKSTER BOOK being published as a companion piece to the TR!CKSTER conference, happening CON-currently with COMIC CON in San Diego from July 19-24 this year:

For a harrowing morning it appeared that my contribution was not to be included, as it been overlooked in the shuffle when the book was being assembled. Which would have been a heart-breaker as I was very much looking forward to being a part of this show and ESPECIALLY the hard cover book, which promises to be a beauty, with contributions from the likes of Mike Mignola and other heavy punching artists (full list is HERE). Thankfully, that error was caught before the book went to print so my current understanding is that my drawing will be in the collection.

Fingers crossed!

It is a little hard to visualise what TR!CKSTER will feel like, because it is the very first show, but my hope is that it will be a combination of the best aspects of CTN EXPO (which, for me, was the panels) an indie small press show like APE, an art gallery and a wine bar; places where the focus is maybe smaller and more personal but centred on the ARTISTS, WRITERS and CREATORS, who actually MAKE the stuff rather than company PR, celebrity appearances and media hoopla.

As you might expect from such a break-away event, there will be many indie powerhouses participating; the likes of Scott Morse, Ted Mathot (the founders) Scott C. and Dave Crossland, but many from the royal court of mainstream comics, such as Dave Gibbons, Paul Pope, Bill Sienkiewicz, Mike Allred, and Bernie Wrightson will be involved in TR!CKSTER as well (full list is HERE).

I have been looking forward to this show ever since the very first discussions began about it a few years ago (back then jokingly referred to as CREATOR CON) when artists noticed that the trend in the bigger comic book conventions has recently been moving away from the material and the people who make it.

All in all there will be something for everyone during the CON season in San Diego this year. For more information about the TALKS, BOOK, EVENTS and participating ARTISTS and MORE go to the TR!CKSTER official WEBSITE, TWITTER FEED and FACEBOOK PAGE.

I hope to see you at the show!

Apr 082011

Last weekend was busy. I somehow managed to exhibit at both the HITOTSU charity auction for Japan and that annual benefit for charity-cases: WONDERCON.

I’d planned a SOLO, full-booth display extravaganza but, at the 11th hour, I recieved a distress call from old con-buddy RAFAEL NAVARRO, who was left high and dry without an exhibit space. So we decided to share. It was a very busy show and for a great sense of what it was like please look at the Fantastic Sketches of Wondercon folks by gesture-drawers extraordinaire,MATT JONES and TERRY SONG, not to mention the lovely COSPLAY VIDEO someone has put on Youtube.

As if a busy comic convention isn’t enough stuff for one weekend, Saturday night saw the showdown of showdowns; yet another MAVERIX AUCTION! This one, named HITOTSU, was a fund-raiser for JAPAN and collected a staggering $30,605! Not bad, considering that the tiny gallery could only hold 50 pieces and that the entire thing was put together in a matter of weeks by some lovely folks at Maverix Studios, Pixar and Superfrog gallery.

Once again a piece by super artist PATRICK AWA went for the highest bid, this time at around $4600. Patrick is the undisputed heavy weight champion of our auctions! Thanks to all who made art, volunteered or brought their wallets and bought our pieces (a personal THANK YOU to whoever it was who bought mine!)