outofsteparts:

Ming Doyle changed some of her social media profile images and used part of one of her paintings from last year’s Lazer Lips/Glass Helmets show as one of them. It reminded me what fun it was to design the promotional stuff for that show. I wish I had more time to mess around with that kind of stuff.

Social media image updates! Tumblr, Twitter

neilcicierega:

fororchestra:

Brodyquest For Orchestra

iTunes, Bandcamp, Amazon, G+, More

Purchases support me and composer Neil Cicierega

Brodyquest: Gold Edition

Wow! Wow, wow, wow, WOW.

Working on something pretty out of control.

Working on something pretty out of control.

comicswithtim:

Today at robot6, the kind mingdoyle and rachelandmiles allowed the blog to share a behind-the-scenes glimpse of the new Rachel and Miles X-Plain The X-Men podcast’s quirky and eye-catching pinup.
Loved learning about Doyle’s interest in John Byrne’s iconic work, which served as inspiration for the piece.

comicswithtim:

Today at robot6, the kind mingdoyle and rachelandmiles allowed the blog to share a behind-the-scenes glimpse of the new Rachel and Miles X-Plain The X-Men podcast’s quirky and eye-catching pinup.

Loved learning about Doyle’s interest in John Byrne’s iconic work, which served as inspiration for the piece.

I drew a pinup for Rachel Edidin and Miles Stokes’ X-citing new podcast/blog/compendium, Rachel and Miles X-Plain the X-Men!
(ETA: Based on the famous X-Men #137 cover, of course!)

I drew a pinup for Rachel Edidin and Miles Stokes’ X-citing new podcast/blog/compendium, Rachel and Miles X-Plain the X-Men!

(ETA: Based on the famous X-Men #137 cover, of course!)

Got my new Surface Pro 2 in the mail today! I’ve been on the hunt for the perfect artist’s tech companion for years now, and I decided to upgrade from my super trusty and very practical Lenovo Thinkpad X201t, mainly because I’m tired of lugging a 5 lb brick all over the world.

Let’s see if the Surface Pro 2 can measure up and quit giving me shoulder aches whenever I stow it in my carry-on!

Oh and PS, yes my nails are painted retro red in anticipation of Cap 2. Can’t wait for Friday!!

(All photos from my Instagram, click for more commentary.)

My variant cover for WHAT IF: AGE OF ULTRON #5Tons of tiny Ant-Men! Hup hup hup hup! 

I also did most of the interior of this book, and you’ll be able to pick it up on 4/23. This will be my second time working with radical wordsmith Joe Keatinge, after last month’s Adventures of Superman #46I also had the pleasure of teaming up with super-editor Jon Moisan, who’s got Hawkeye beat on the eagle eyes!

Special thanks to Joe Quinones for brainstorming a bunch of ideas for this cover with me! He’s a wizard of imagination. Here are some more cute/creepy concepts we concocted. :)

neilcicierega:

Gearing up for a new full length Lemon Demon album. In the meantime, I combined various singles from the last few years into a damn Bandcamp EP!!

http://lemondemon.bandcamp.com/album/nature-tapes-ep

7 tracks for $4. now that’s what I call a music

(+)

Remember, girls: Definitely don’t even! Just turn right back around. Zip!

divawitha-d:

Favorite Comic Book Panels: Adventures of Superman #47

That time I drew Lois and Superman for an actual Superman comic. ♥ Colors by Jordie!

divawitha-d:

Favorite Comic Book Panels: Adventures of Superman #47

That time I drew Lois and Superman for an actual Superman comic. ♥ Colors by Jordie!

neilcicierega:

IT’S MAUI, THE HANDSOME CAT

OUR CAT IS THE BEST GOOFY TEDDY BEAR
He’s a paragon of the goofy teddy bear race

neilcicierega:

IT’S MAUI, THE HANDSOME CAT

OUR CAT IS THE BEST GOOFY TEDDY BEAR

He’s a paragon of the goofy teddy bear race

comicsalliance:

JOE KEATINGE ON ‘ADVENTURES OF SUPERMAN’: ‘WHEN AM I EVER GOING TO HAVE THIS CHANCE AGAIN?’ [INTERVIEW]
By Chris Sims
Over the past year, DC’s digital Adventures of Superman anthology has played host to some of the most exciting creative teams working in comics today. With the current story, though, the scale of the whole project has gotten much bigger in both creative team and subject matter. Writer Joe Keatinge has been joined by an incredible roster of talent that includes Ming Doyle, Brent Schoonover, Dave Williams, Tula Lotay and Jason Shawn Alexander to chronicle a three-part epic that spans Superman’s life from 1939 all the way to the end of time, and the end result is one of the best Superman stories I’ve read in a while.

JK: It was a long time coming. In fact, it might’ve been this time last year that I got an email from Alex Antone, the editor of the digital comic. It was just like “Hey, man, I like your stuff.” We’d never talked before or anything, he just said “We’re doing this Adventures of Superman anthology, are you interested?” I said of course, and we got on the horn and ran through the whole concept. It’s an anthology, you can do whatever you want, you can have Superman wear underwear or whatever…

CA: They’re trunks, Joe. They’re not underwear. They’re trunks.


Read More: 

comicsalliance:

JOE KEATINGE ON ‘ADVENTURES OF SUPERMAN’: ‘WHEN AM I EVER GOING TO HAVE THIS CHANCE AGAIN?’ [INTERVIEW]

By Chris Sims

Over the past year, DC’s digital Adventures of Superman anthology has played host to some of the most exciting creative teams working in comics today. With the current story, though, the scale of the whole project has gotten much bigger in both creative team and subject matter. Writer Joe Keatinge has been joined by an incredible roster of talent that includes Ming Doyle, Brent Schoonover, Dave Williams, Tula Lotay and Jason Shawn Alexander to chronicle a three-part epic that spans Superman’s life from 1939 all the way to the end of time, and the end result is one of the best Superman stories I’ve read in a while.

JK: It was a long time coming. In fact, it might’ve been this time last year that I got an email from Alex Antone, the editor of the digital comic. It was just like “Hey, man, I like your stuff.” We’d never talked before or anything, he just said “We’re doing this Adventures of Superman anthology, are you interested?” I said of course, and we got on the horn and ran through the whole concept. It’s an anthology, you can do whatever you want, you can have Superman wear underwear or whatever…

CA: They’re trunks, Joe. They’re not underwear. They’re trunks.

Read More: 

bendiswordsforpictures:

5 WAYS TO AVOID BEING DIMINISHED: By Sean Gordon Murphy 
——————————————————————————
There’s a discussion brewing in comics about artists being more diminished as of late—that readers, reviewers, and publishers are focusing too much on writers rather than the artists who draw the book. I agree it’s happening, but I’m not sure it’s worth sounding an alarm over. I never felt diminished, but maybe I’m part of the exception. Maybe it’s because I’m an artist and a writer.

Either way, I do have a few thoughts on what artists can do to pull themselves out from under the rug.

1. DON’T DRAW LIKE A COG.

If you conform to a “house style”, then you’re at higher risk of being treated like an interchangeable cog in the comics machine. Yes, you’re more likely to get consistent work, but you won’t stand out as much. Therefor you’ll be sought after less by big name writers, you’re less likely to make a lasting impression on reviewers and readers, and you’ll have a harder time getting raises (12 others draw like you and for less money).

I also suggests inking yourself if it helps. Pencils get covered up, so the key to retaining more distinct personality in your art is through inks (unless you publish pencils). If you’re not into that, then work with an inker who will help you BOTH stand out, like JRJR and Klaus Janson.

2. DON’T GET OVERSHADOWED BY BATMAN.

I drew Batman/Scarecrow: Year One in 2005, and then things dried up for a while. You think doing Batman means you’ve made it? Wrong. More than likely, Batman is the star. Not you.

Around the same time I did Batman, I wrote and drew a book called Off Road. My sales were much lower (only made about 4K that year), but my art started getting recognized more. Most of the projects I’ve taken since are books that had no history, no fan-base, and no Batman to overshadow me. Joe the Barbarian, American Vampire: SOTF, Punk Rock Jesus and The Wake. And I have two Image books I’ll be working on in 2014 (one with Mark Millar), and they’re both from scratch. I try and pick stuff where the writer and I are the main event, not the characters.

*I admit I’ve found weird success by taking on creator-owned books more than mainstream stuff. It’s a risky path, for sure. Mathematically, more artists have found success by eventually overcoming the Batmen they’re drawing. But things are shifting to creator-owned, and with digital distribution and Kickstarter, this option should be more tempting than ever before. Think about it.

3. FIND BETTER PARTNERS

Currently, I’m drawing The Wake with Scott Snyder. Scott’s a great partner, but it’s not because he’s a top writer at DC. I work with Scott because he’s talented, a hard worker, he takes his job seriously, he’s available for questions, he asks my opinion on the story, and he writes around stuff that I want to draw. He’s also very considerate toward my schedule, my needs, and never does an interview without mentioning me, Matt Hollingsworth, and the other people who work hard on his books.

Some writers don’t want to share. They lord over their books and keep artists away from interviews, contracts, and other business affairs in order to maintain control. Which is totally within their right to do—I’m not judging writers who run their books this way. But if you’re an artists working for a writer like this, and you’re feeling diminished, then find a new writer. And try to do it amicably.

4. AVOID SPORADIC SCHEDULING

Readers need to know where to find you. Rocking Superman for a single issue and doing a mic-drop isn’t enough to get attention. The minute you leave, readers will be like, “who the hell was that?” unless you’re already a name.

The other thing to avoid is double shipping schedules—where a single title is handled by one writer and multiple artists. That’s like trying to get noticed from inside a crowded, revolving door. Yes, you’ll be well paid for your talents. And people might buzz about your art. But it’s better to be on a title where you’re the only artist on a substantial run.

5. CHECK YOURSELF

Here’s a quick list of complaints that I hear from artists when it comes to feeling diminished, followed by my response. In my opinion, artist who employ these arguments should look again at the reality of the job they signed up for.

"How come we don’t get flown to summit meetings with the writers?"
-Writers plan years ahead with stories. They make blueprints, whereas you’re the architect who’s brought in later. There’s not much point in flying you to a summit meeting so you can sit on your ass for two days going, “Yeah, that would be cool to draw.”

"But I have good ideas on what works in comics. I should be included in summit meetings!"
-You have good ideas? So do they. No offense, but your two-cents isn’t worth the $400 plane ticket, the $60 in food and the $15 of hotel porn.

"It’s a writer’s industry. It’s not fair for artists"
-Artists ran the show in the 90s, and look how that turned out. You want artists in charge? Because I don’t. Somewhere in the middle is best.
-Learn to write. Ever read a comic you thought sucked? Think you can do better? Then do it. Bad books hit the shelves all the time, so there’s no reason why you can’t write one, too. Or work harder and put out a half-decent one.

"How come I don’t do as many interviews?"
-How many books do you draw a month? Just one? And a writer writes 3-4 a month? Then he gets to do 3-4 more times the interviews. Deal with it.

"I don’t sign as many autographs as the writer!" or "How come I don’t get as many questions during panel discussions?"
-Story is in our DNA, art is not. Proof? People can do a great job describing what a movie meant to them—the characters, the plot twists, the surprises, the music, the action, and the ending. Send those same people to an art museum and they get much quieter. Why? Some of them don’t get art. Some of them like it, but don’t know why. Even the ones that loved it can only use limited vocabulary to describe it: neat lines, nice color, good mood, blah blah blah. And that’s totally fine—it took you years to learn about art, so ease up on people that don’t have your education.