No High-Fructose Corn Syrup Necessary...

You'll Get The Sweetness From The Art Alone (& a certain part of me wants to croon the Jim Adkins "Wo-o-o-o-o-ooo..." after that)...

But seriously, I do want to give the good folks at Franz Breads their due for saying "No" to the over-subsidized, ethically insolvent, obesity-proliferating corn industry...



I've been against the overgrowth for awhile, but "King Corn" crystallized my opinion. The documentary isn't "on message" most of the time and is more of a buddy movie about 2 midwestern guys trying to accomplish the modest goal of raising an acre of corn that results in an entertaining and informative critique on the American corn industry...
kingcorn.net

Moving on, I've been pretty wrapped up in Naoki Urasawa's modern reinterpretation of the classic Astro Boy storyline "The Greatest Robot On Earth" titled "Pluto" as well Urasawa's other series currently being translated in the states, "20th Century Boys".  I got the first four volumes of each from the library ("Pluto" goes 8 volumes and "20CB" goes 22) and although I'm not always hot on his art (he goes a little too standard big-eyed in the 1960s scenes, but it's only to emphasize that the cast is kids), his plotting, pacing, and overall storytelling ability is masterful.

So, this Urasawa overload combined with my already enormous respect and admiration for Manga God and Astro Boy creator Osamu Tezuka and a fleeting interest in the since failed Astro Boy movie (the animation was fine, but the script and voice acting was unbearable) led to my desire to recreate this classic match-up of robot heavyweights.  Here's a black & white scan, a solo shot of Atom pulled from the piece, & a color infused scan for your enjoyment as well as a comparison between Tezuka and Urasawa's incarnations of the cast of "The Greatest Robot On Earth".









This next one is just me trying to boil down Daredevil  to a simple iconic form in preparation for a more highly-cultivated background.  Here's the line art, a filter test, and the materials it took to get to the icon.





I was trying to channel a bit of Mazzucchelli's classic "Born Again" cover in this one above...

I actually prefer Denny O'Neil and Mazzucchelli's run on the title to the Frank Miller run it followed.  The art was wildy experimental while still fitting into Marvel's "House Style" of the mid-80s and O'Neil, who went on to write the seminal Question series for DC in the late 80s provides a subtle yet groundbreakingly streetwise take on the urban superhero.



Getting the logo to look right was by far the hardest part...



This next one is inspired by the legendary "Sword-Saint" of the Edo period, Miyamoto Musashi.  Now, I've known about Musashi for a long time because of Stan Sakai's anthropomorphic biography "Usagi Yojimbo", but I had never touched Takehiko Inoue's 30 volume manga biography "Vagabond".  I think I can safely say that outside Tezuka's 8 volume "Buddha" biography Inoue is a true visionary of the art form operating at the height of his skill and the work stands without a modern peer as the finest piece of historical fiction in the medium with an artistry yet to be matched by any cartoonist in his generation.  So, I've been pretty immersed in that as well as Musashi's  strategic philosophy tome, The Book Of 5 Rings...  



Above is a B&W photoscan and below is a marker comp...



As well as the sketchbook piece that got the ball rolling (displayed at Seattle's own Bleu Bistro)...



This one below is a sumi ink painting of The Maxx I did at the 2004 Chicago Comic Convention with a diffused glow coloring from Photoshop...



This one's just me splashing around with Sumi ink and markers, resulting in a familiar face...



These 2 below are pretty recent, both done just before sundown at Golden Gardens this past summer.  On the left is obviously Wolverine and on the right is classic Thor foe, Loki.



This one's from a long time ago, maybe even 2003.  I was drawing this tagger guy for a stretch in the early 00s...



These below are pretty recent, all from the past month on small legal pad...



This one is most definitely me trying to get a sloppy Frank Miller "DK2" style Flash...



And I did a pretty decent job on a character who without a doubt has to be the worst creation of the pre-Image boom in the early 90s, Cable (even though the 2001-2002 David Tischman revamp was an exemplar of post "X-Files" sci-fi mystery)...



These here below are the last finished drawings I did of the "Nocturno" characters I prepared as the front and back covers and inlay material for the delusional days when I thought the series could score a publishing agreement in trade paperback format.  Geez, I wasn't afraid to lay down too much ink in those days...







As an added bonus, here is a front cover gallery of all the comics I toured for from 2001 til 2004.  The top three are the 32 page "Nocturno" singles, the bottom left is a silent comic entitled "The Day" that is way too misguided aesthetically to carry any narrative (look, I just sucked for awhile...) and the 30 illustration endevour to imply motion with multiple triangles, "@" (1st & 2nd printings)...



Before I wrap this one up, I have to spout off about 2 formative milestones taking place almost in unison and exuding cool of which I never thought was possible.

First of all, Grant Morrison's "Batman & Robin" is shaping up to be the heir apparent to Chris Nolan's "The Dark Knight" as the greatest Batman story ever told.  The premise has Bruce Wayne missing, original Robin Dick Grayson under the cowl, Bruce's son Damian as the new Robin, an array of new villains laying claim to Gotham's underworld, but most importantly, a rival crimefighting duo branding themselves as the "Smarter, Faster, Stronger" war on crime in former Robin Jason Todd as the new Red Hood and his mysterious sidekick, Scarlet...

This is the culmination of over 2 decades of Batman continuity (starting with Todd's death in 1988's "A Death In The Family" ) coming to a head and expanding and enriching the bat-mythos in the most honorable way possible and with only the most capable talent at the helm.  It's the first "in continuity" Batman book I've ever read that doesn't seem to be going through the motions.  There are risks, there are losses, there are doubts, and there is exemplary art carrying the story the whole time. This is the lean and efficient iconic storytelling rhythm that decompression in superhero comics has been working toward since the late 80s...

Frank Quitely began the art chores of the series and his synergy with Morrison's loose scripting is more cinematic and restrained than the sprawling inventive splashs of him and Morrison's "All-Star Superman".  Yet surprising, the series actually gets richer and more meta as the art chores shift to Philip Tan with issue 4.

Now, Quitely is not an act anyone WANTS to follow and Tan is bringing the best work of his career as well as keeping the established cinematic tone in check.  It should be interesting as this series goes on to see what A list talent follows Quitely and Tan.  Cameron Stewart (Brubaker's Catwoman) is scheduled for issues 7-9 and before Quitely returns Frazier Irving (Iron Man : The Inevitable) is supposed to have an arc....

Below : Frank Quietly (Left) Philip Tan (Right)



I'll leave you with this...

Anyone who's gotten to know me even a little bit knows I'm a TMNT purist.  That said, the 1987 cartoon, although great financially for Eastman & Laird still marks an enormously embarrassing period for the green guys in my honest opinion (rivaled only by the 1960s Batman TV series).

That's why I was thrilled to see that as The CW was going to send the boys out in style with a feature length TV movie where the the 1987 cartoon TMNT meet the cartoon turtles of today (launched in 2003).  Eventually the film gives me and the rest of us Mirage era comics fans our first and only look at an animated 1984 black & white comic TMNT.

The film's pretty funny and entertaining for any fan.  Nothing is spared from ridicule, from the Turtle Blimp, to how incompetent the 1987 Shredder is, to the "Cowabunga!" & "Turtle Power", to the initials on the belts. It was interesting and reassuring to watch how different from the 1987 TMNT and similar to their comic counterparts the 2K3 guys are.

All in all, it's the best of any of the Turtles films, even though I loved Imagi's TMNT. This one is really made with the fans in mind.




"Turtles Forever" Streaming

The final shot is even of the guys (The "Mirage" turtles) in their iconic 1st issue pose...



Until next time, have a great holidays!

"Cinema Tengu" & "A Miracle For Creator Rights"

From time to time I'm asked whether I use a computer to create my images. To this question I always answer with a firm "No, unless a Xerox machine counts..." and explain that I DO use a computer to scan and conduct digital clean-up for online presentation, but at the end of the day I'm an ink-stud, not a mouse technician. Personally, I'd be overjoyed if my responsibility with a piece ended once the ink is dry and the last shard of zip-a-tone is cut, but the fact that I don't do this professionally nor do I have art curators or comics publishers beating down my door leaves me with no other option than to make this "art" accessible and enjoyable for the online community.

I pretty much draw for myself out of the love of solving spatial problems, trying to maintain complexity while staying as iconic as possible within a singular image, and illustrating subjects I find compelling or engrossing based on my influence from the world at large (okay, mostly comics...) but I put it up here for all of you readers 1) because you might get a kick out of it and 2) well, I think it's the only thing that separates me from every other working stiff who's gonna work til they're 65 and die someday.

So anyway, without any further self-centered lamentation on my part I present my latest piece, "Cinema Tengu" (which is a bit of a callback to a piece I drew last summer - Tengu).



So, here's the final grayscale and primary color infused scans of this 3-piece composition, lightly cleaned in Photoshop. This however, is the end digital product of my efforts and I'll be showing you through the originals as well...





Here are the matted originals of the final zip-a-tone treatment...



And here is the matted originals of the initial concept line art and the 1st generation zip-a-tone of the original drawing...



For the second part of this post you'll need to go back to that glorious moment on July 24th when Marvel Editor-In-Chief and continually dynamic artist Joe Quesada revealed that Marvel had secured the rights to the most disputed superhero of all time, Miracleman. Now, needless to say I was extremely jazzed by this news both because (most likely) we'll finally see Alan Moore's run on the title collected and because Joe Q made it very clear that Mick Anglo (original creator of "Marvelman" in the UK) signed off on this deal, which however roundabout, is a creator rights victory...

So, presented here is the tribute piece I wrote in the heat of the moment and the ensuing tribute drawing to mark the occasion. Both are followed by the Quesada color-study of the character directly below...

"A Miracle For Creator Rights" By Joshua Nelson

If someone would have asked me yesterday which was more likely to happen before I died, the Miracleman legal battle ending or the Crazy Horse Memorial being finished I would have gone with Crazy Horse, hands down. The character and reprint rights for "Miracleman/Marvelman" have been mired in a legal swamp since the mid-90s and I was shocked to see that Marvel had acquired both of these today...

This is an astounding development and an unexpectedly ironic victory for creator rights. First, Todd McFarlane, creator of "Spawn" who in the 80s and early 90s was one of mainstream comics' more staunch creator rights advocates lost his long & overtly hypocritical battle to remain a contending "owner" of this character's rights, and in effect freed the character from publishing limbo. Secondly, thanks to Neil Gaiman's legal organization "Marvels & Miracles", the reprint rights (at least for the material released by Eclipse Comics) to the character have been sold to Marvel.



It's a complete inversion of last year's Superman case, in which Jerry Siegel's Estate was actually able to retain the copyright for him and Joe Shuster's original "Action Comics" Superman run and sold the rights to indie comics house Oni Press 2 days after the ruling... Even taking into account how hilariously Sara Palin-ish Mcfarlane and his legal team have been in past court legal matters ((wikipedia.org/wiki/Tony_twist#Lawsuit_against_Todd_McFarlane) <- In another ironic yet inconsequential twist, McFarlane was once a part owner of the NHL's Edmonton Oilers), it's still embarrassing that he couldn't even preserve the status quo of limbo... And who would have thought that in the end, the character's rights would end up at America's premiere mainsteam comics publisher (via "Marvel & Miracles") rather than being sold as what would probably have easily been the most successful independent comic since the black & white explosion of the early 80s??? I have a feeling Alan Moore ("Watchmen", "V For Vendetta") and his future "Swamp Thing" collaborator John Totleben's run is probably the gold everyone was after, but it's a pretty impressive roster of creators who worked on this character and I'm sure Neil Gaiman ("Sandman" "Coraline") & Mark Buckingham's run has its own merits. Anyway, I can't wait until this stuff is out there and us fans can finally see what all the fuss was about.

I guess, at the very least, now we can say that the "Comic" aspect of "Comic Con International" hasn't completely been eroded by Hollywood and the video game industry...

Major props to Joe Quesada, Dan Buckley, The Marvel Legal Team, Neil Gaiman, and Mick Anglo on getting this done. Lastly, there's still an act left in this play and I wonder what Alan Moore thinks of these developments, given his tenuous history with Marvel over Captain Britain and the obvious supposition that they're going to make his name HUGE on the cover of this to cash in on the bookstore market...

And hey, if you read this far, thanks for the ego-stroke... I know this is confusing and inconsequential to normal folk, but I've been watching this play out for a long time and had to submit my humble opinion to the public...

Peace!

The Final Word On "Motion Comics"

Welcome,
I bet all of you who actually check the site didn't expect me to return after almost 4 months with an informal essay, but it's my website and I'm way behind on scanning artwork. Rest assured, there is new artistic content en route. But for now, enjoy my final word on "Motion Comics"...

To begin, last year Warner Brothers (owner of DC Comics) started their "motion comics" initiative. The content of these products is essentially "animated" comic panels via zooms, pans, and narration/sound effects. The most well-known of these is the 12 episode presentation of Alan Moore & Dave Gibbon's "Watchmen" which was released in Itunes and DVD format to coincide to with the release of the recent film. Warner/DC has led the charge thus far, with "Watchmen", various Batman and Superman shorts, and an upcoming batch "Peanuts" shorts, but now Marvel has put their offering on the table with last week's release of the first episode "Spider-Woman" on Itunes and an announcement that Joss Whedon & John Cassaday's "Astonishing X-Men" run will get the "motion comics" treatment.

So now that the big 2 have flexed their game and entered the arena, I'm compelled to take a definitive stand on this new advent of the industry. Before I begin, it's at least worth noting that these methods for animation were routinely utilized, albeit in analog form, to create many of the Marvel cartoons of the 60s and 70s and the genesis of what we're seeing in today's "motion comics" is right there in the MTV animated adaptation of Sam Kieth's "The Maxx" only 15 years ago. However, "Maxx" did cross the line by having genuinely animated scenes, and by this I mean "real movement" of characters, objects, interspersed with what we're seeing in "motion comics" today.



My opinion is that to their credit, these "motion comics" are basically a clever way for comics publishers to sell their printed content to people who are one of 2 ways...

A) People who are too passive or unimaginative to read the stories as they're meant to be read. The atrocious voice acting for "Spider-Woman" make it all too apparent how much Bendis (series writer) has lost a step in the dialogue department and should just be an editor. But there ARE instances where this does work, at least when infused with familiarity, like with Kevin Conroy (voice of Bats from the 90s "Batman:The Animated Series") voicing some of the Batman B&W shorts. Some people just plain hate to read, some people view the comics page as some kind of puzzle, and others just like to sit and watch with no cognitive dissonance crowding up their head...

B) I understand Group B a little better as a guy who's into comics, knows a bit about their history in America, and tries to almost no avail to make sure folks know that not everything in this medium is Archie and Superheroes. Group B is comprised of mostly people who are afraid of the stigma that STILL exists with respect to printed comics and their acquisition. How many "casual readers" do you really think frequent a direct market comic shop? Uh, not many... Publishers might bag a few of these folks a week at Barnes & Noble, but it's the exception to the bookstore demographic (at least until those "Twilight" comics hit) and a lucky break for the comics industry.



Let's just be no-nonsense about this, most lowest common denominators and even a significant chunk of more culturally-enlightened Americans 25 years and older would think comics were a completely valid form of entertainment in the same league as books, film, television if the print medium of comics, its entire history, and most importantly its association with their childhood were somehow erased and these "motion comics" OR their printed source were to appear out of the ether as some bold new storytelling medium. Of course, we all know this is impossible but think about it the next time you see someone checking out content on their Kindle or Iphone that isn't completely text based.

To conclude, my problem with "motion comics" lies more with terminology and the erosion of its source art form's perception than it does with with the sanctity of the printed work . Heck, I think it's great that publishers are taking this low-cost chance to rake in new fans. I only hope that they have the same mindset that I do in that I believe purity of expression will prevail when these folks, should they have the opportunity, compare the analog oasis to its digital mirage.



These products are not comics, they are animation made on-the-cheap specifically for view on mobile devices. Comics, on the other hand, is a unique and complex storytelling language that demands equal participation on the creator's part in producing the work and the reader's part in being fully engaged in what is a highly stimulating and interactive reading experience should they desire one.

In essence, unless we plan on calling all regular comics "still films" or something equally absurd and disrespectful to its source medium this conversation (at least for awhile) is over.

Martian Highway Self-Discovery Song...

Well, as much as it pains me to see you suffering on the other end of that computer, waiting for a fresh post, I regret to inform you that I've continued to slack on the scanning and digital cleanup of my artwork. But this post's pretty big, and I can say with at least some certainty that below is one of my personal best finished drawings.

It's nothing too special to look at if you've seen my other work, but for me it marks a moment in my development where I've officially joined the dying breed of cartoonists who are well-versed and at least slightly skilled with zip-a-tone shading film. I'm not saying this is some startling achievement, nor am I making some kind of statement against technology. But original artwork does mean a lot to me. I cringe at these folks who scratch down some rough pencils (if that, they usually work on a Wacom tablet), bump up the contrast or do whatever filter "trick of the day" they happen to be into, paint bucket whatever needs it, and call it good. I guess it really comes down to pride. I just look and that process and think unless you're being paid to draw that way, why would you? Where's the magic in that? Where's the chance for a mistake that could push everything forward? At what point does one become a technician when this is their process? I know it takes a lot of extra time to ink and tone and I've lost plenty of hours doing this to plenty of undeserving pieces, but I know that had I been born in a different time I'd have plenty to talk about with Osamu Tezuka, Jack Kirby, Steve Ditko, Wally Wood, and countless other visionaries (that is, if I ever had the honor of meeting them)... I admire those old masters as well as contemporaries like Paul Pope & Dan Clowes and have learned so much from them. I owe it to them not to shirk these cartooning secrets I've been given through their work. In the end, I guess it just feels good to keep a tradition alive...


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And remember that "mistake that could push everything forward"? Taking in the chin on the left's face was just that.

(1) Partial Pencils & Inks
I drew this and realized I didn't need another romance drawing and that this guy I had drawn had no neck. Chaos ensued from there...

(2)Full Inks / No Tone
And this is what you get after a couple hours of reworking and spacial problem solving...

(3)Full Inks / Full Tones
The midtones didn't scan very well and were whited-out for the final scanning (above), but I hope the far right gives at least a slight inkling at what the fully toned piece looks like...


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Not much to this one, other than me having some coffee in my Spidey tights looking out on the beautiful city of Seattle. And as simple as it is, this window layout is based on my patio view of my first apartment in Seattle. Skyline and The Needle with a backdrop of the Olympics... Man, I miss that place! Below is a black and white (much-preferred) and a color version of this illustration...


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This is one of the few times color has really come through for me. I originally did the drawing for a buddy who is huge fan of the "Doctor Who" mythos, but felt oddly compelled to do something more because of my uncanny resemblance to the last person to play The Doctor, David Tennant (so I'm told)... I don't know, see if you agree...

http://www.imdb.com/name/nm0855039/


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These new generation Daleks where used as a reference for this piece...


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Well, you've probably seen this one before, but I felt the need to post it in hi-res because 1) It's one of my best quick drawings and 2) It gives me a chance to wax about how great this title was with Ed Brubaker & Matt Fraction writing and David Aja (along with a host of brilliant smaller contributors) on the art chores. I've never seen a story span so many genres with so little clunkiness. This run of the adventures of Danny Rand fuses elements of international espionage, crime, kung-fu, family drama, and even western into a cohesive brew of comics fun of which the likes you'll never forget. My only beef or negative with this book is that I read it in single issues, sold those, got the 2 paperback volumes, and had to see this on Amazon...

http://www.amazon.com/Immortal-Fraction-Brubaker-David-Omnibus/dp/0785138196/ref=pd_bbs_sr_6?ie=UTF8&s=books&qid=1239002608&sr=8-6


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Back With A Lot Of Art...

Welcome back! I know I say this every time I post, but all apologies for the delay... This time it wasn't all my fault either. A late night milk/cereal/keyboard fiasco and subsequent laziness left me without a spacebar for about a month. In that time and really as always, I was super-productive with the enjoyable part of my work (ink & tone to the paper) and lagging on the more mundane tasks (scanning & digital cleanup)... So here's all that's accumulated in that time with a massive post of unscanned material waiting in the wings...

I guess you could call this one me at my most comfortable and escapist. If you didn't know, this is how I've drawn myself for about 7 years. Sure, the clothes and hair change as the years go by and my skills have definitely become a bit more refined, but at the matter's heart it all comes down to me wishing I lived in a world that needed a hero and me being able to fill that role handily. Now honestly, I'm a Spidey guy and if his costume were easily alterable without shirking its essence and not such a royal pain to draw in general you'd see me in webbed tights here. But as it stands, I already did a drawing of myself as Bats (http://www.joshualincolnnelson.com/2008/06/in-anticipation-of-dark-knight.html) and thought I'd explore that again when I was hopped up on coffee and indecisive on subject matter...


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This one stresses me out every time I see it. Now, I've done an 100 page graphic novel and a couple 30 page one-shots so I'm really no stranger to longer term projects, but this children's book I'm collaborating with my Dad on is driving me mad with false starts. After 3 months of doodling concepts, I finally got this and feel pretty satisfied with moving forward. Now it's just a matter of drawing about 24 more of these in different poses. Maybe I'll finish it before my Dad hits retirement...


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Not much to say about this one. I started drawing myself, didn't pencil anything around me, and freestyled the background with ink and tone...


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This is a throwback to a drawing I did of Steve Ditko's "The Question" (http://www.joshualincolnnelson.com/2008/08/green-lantern-question-cole-cash.html). Now after further research, I learned that Rorschach from "Watchmen" actually owes more to Ditko's later creation "Mister A" than "The Question". This was in the late 60s, when he really got submerged into Objectivism, Ayn Rand, and solidified himself as the JD Salinger of comics. Getting to the point, the "Watchmen" film was really about as good as it could get, given the limitations of film, the conflicting interests involved in its production, and Zach Snyder's semi-immaturity and fixation on blood splattering all over the place no matter what the violent act is... So anyway, I thought this movie was fine. I'd never recommend it to someone who hasn't read the book and I think its underlying themes get a little lost amid its action, but it looks great and DOES display an adequate understanding and adoration of its source material... Here's Rorschach in "Watchmen" yellow...

http://en.wikipedia.org/wiki/Rorschach_(comics)
http://en.wikipedia.org/wiki/Question_(comics)
http://en.wikipedia.org/wiki/Mr._A
http://en.wikipedia.org/wiki/Objectivism_(Ayn_Rand)


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And lastly, here's easily my greatest quick sketch ever. The color's pretty shabby as I did it with marker, but I think it stands as a good example of what I can throw together in an hour and half at a coffee shop...


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Mr. Sensitive, Judge Dredd, & A Belated Holiday Piece...

Hey Everybody,
Sorry it's been so long since I posted but I got a promotion at my day job and have been more concerned with drawing than scanning, digital cleanup, and posting... I've really let things pile up, but I'll probably have another 3 piece post up within the week...

So, first we have a piece that I believe may be my best work with no image reference. I've been consciously trying to draw with no image reference the last couple months. Not on long-term larger drawings, but the amount of size and detail that I can mash out in a few hours of drawing and toning... I just think it's time to start forcing myself to imagine interesting poses and framing rather than relying on the distortion of existing imagery in any media. It's a necessity if that great idea for an original graphic novel or one-shot ever hits me again...

The character is Guy Smith aka Mr. Sensitive aka The Orphan, The Leader of X-Statix. I have altered his hair color, but as many people have told me, all of my characters (except my more recent girls) end up looking like me anyway... If you want to read a hilarious pop culture and celebrity commentary book, X-Force (and eventually X-Statix) is an astounding run that spans 7 Volumes with an ever-so-slight hint that we may see some of these characters again. The writing (Peter Milligan) and art (Mostly Michael Allred, but guests include Paul Pope & Darwyn Cooke) were daring and subversive for their time and look even more so such when compared with the present state of Marvel Central ("The Jemas-Quesada days at Marvel were so grand and transformative..." should be my mantra). Here is the color image, the black & white, and a page from Milligan & Allred's modern classic...

http://en.wikipedia.org/wiki/Mister_Sensitive


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And next we have 2000 AD's own Judge Dredd... Although, wildly popular in the UK (I'd say on the level of Bats here in the states) most people tend to think of the awful 1995 Stallone movie. I was one of these people, but upon my re-submergence into comics back in 1999 I developed an understanding of the entire picture. See, I know the pain those Dredd fans felt and still feel. I saw "Daredevil" (pretty much my favorite superhero) and have to guess that's pretty close on the pain-scale. Recently, I've been reading the reprints of the late 70s run of the character and thought I'd give drawing him a try. Below my image is a shot of Jock ("The Losers" & "Green Arrow : Year One") drawing Dredd...

http://en.wikipedia.org/wiki/Judge_Dredd


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There isn't too much to this one. I actually gave it to a friend of mine for Christmas. Think of your favorite memory this past Christmas when you see it at full size, it makes it waaay better...


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