- In Pieces by Marion Fayolle
- Neufundland anthology
- Rubber Necker 5 by Nick Bertozzi
- Simple, Still, Chickadee, and Same New Year by Briana Miller
- Please, Don’t Give Up by Thien Pham
- The Giant’s Heart written by George MacDonald and illustrated by Lark Pien
- Nervenkrank no. 1 by Katherine K. Wirick
- Hagelbarger and That Nightmare Goat by Renee Franch
- Sudsy McClean and Wind & Tree by Konstantin Steshenko
I’ll write more about the ones that stick out to me later. Right now I have a stack of essay drafts on which to make comments. Life goes on…
Day 2 was a drag. I only made a few sales and so there were long hours of just sitting/standing behind my table. The floor got busy, but most people just zoomed by. I did talk to some people and that was nice, but this con stuff… It just doesn’t seem to be the most effective way to find readers. So how do I most effectively find readers for my work? Standing behind a table for two days straight seems more and more like a misuse of time and effort. I need to do something new. I just have to figure out what that is.
I drove back home tonight, so I’m posting a mid-con report.
The APE opened its doors at 11 and closed them at 7. Yet the floor didn’t really start moving until 1 and it devolved into groups of art students hanging out and talking at around 5. That means that there was only really four hours of sales. Still, I’ve already made more on this first day of APE than I did the entire weekend last year. I’m out of Carnivale book 1 and the three copies of Defrost I had left. And yet again the mini business cards prove to be popular.
Overall, the APE is less of a comics show than the SPX. The APE has really become more of a San Francisco art student show. I get to see a lot of cool stuff, but I also yearn for a more comics specific venue.
I’ll be at the APE this weekend. If you’ll be there, drop by table 813 and say hi.
On the left are all the original pages of Carnivale: thumbnails, pencils, and inks (I wrote about my process for Carnivale back in 2007, and it was fairly consistent throughout). You can see where I switched from newsprint for the penciled pages. All the pages hardly fit into the box. On the right is a binder I used to hold the printouts I created after each page was completed to see how it looked. The binder is barely holding together now.
Pages 186 and 187 are designed for print, not the web. And two more pages till the very end.
So I’ve been using Speedball Super Black ink for some time and am getting to the bottom of my pint bottle. At my local store, I saw the above bottle of Yasutomo Traditional Chinese Ink Ultra Black. I like Yasumtomo’s Sumi ink, so I decided to give this one a try. What I used to like about the Super Black was that it flowed nicely and was intensely black. Yet it was finicky. Super Black worked only on certain papers, feathering on papers it didn’t like. My experience with the Yasutomo Sumi ink was that it was a little less fluid, but worked on almost any paper. As it turns out, the same is true with the Ultra Black. Even on rag paper, it hardly feathers at all. And it is deeply black. It doesn’t flow quite as nicely as the Super Black, but I found that a few drops of water in my ink well helped with that a bit.
It’s a nice ink and will probably be the one I’ll be using from now on.
So here’s the start of the epilogue…
Yes, Kit has a new do.
I’m getting ready for the APE in October and I had this little book printed up through HP MagCloud. It’s called Marked and it’s a little collection of odds and ends. Basically, if you’ve seen stuff on this site then you’ve seen what’s in this book. Still, at cons art is the thing that attracts, so I wanted something more art oriented. Also, I was curious to see how the images would print since many of them are color experiments. Most of them came out very nice, though some are a tad greener than they should be. Anyway, after the APE I’ll make this book and Carnivale book 8 available for sale through this site.