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Weird Night at the Fair

September 2nd, 2010


Me and “Weird” Al Yankovic

Some time back the lovely and extremely talented Sandra Boynton commissioned me into doing a caricature of “Weird” Al Yankovic for his 50th birthday. I was deleighted to do it because

1. Sandra is one of my favorite cartoonists and a wonderful person, and I was flattered to be asked.

and

2. “Weird” Al is to music what MAD Magazine is to comics, and I’m a longtime admirer of his.

Here’s the complete story if you want more details.

Shortly after Al received the artwork I received an email from him saying how much he loved it and how he was going to frame it for his home. He also said to let him know if I ever was in an area where he was having a show, and he’d get us some tickets and backstage passes.


Gabrielle, Anna and Tom show off their aftershow passes

Last night he played at the Minnesota State Fair, and I took him up on his offer. The Lovely Anna, daughter Gabrielle, son Thomas and I went to the show and met Al afterward.

The show was fantastic and he was a terrific guy, signing autographs for us and posing for some pictures in his trailer. I brought along some prints of a scan of the final artwork I did for him. The following will be framed and hung in the studio somewhere:

His show really was terrific, and I highly recommend seeing him live someday if you get the chance. It’s an evening of belly laughs and great parody with a lot of fantastic music snuck in there… Al is a highly respected musician even if he is better known for his humor. A great showman! Thanks, “Weird” Al!

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Sketch o’the Week

September 1st, 2010

This week’s sketch is one for a quick job I’m doing of Nevada senator Harry Reid. Click the image for a closer look…

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Don’t Mess with Sergio

August 30th, 2010

MAD writer extraordinaire Desmond Devlin sent me this link to a highly interesting article about a lively exchange between comic book writer Mark Waid and Sergio Aragonés at last night’s Harvey Awards. Mark gave a keynote speech about copyrights, public domain and the dawning new era of electronic publishing where he took the viewpoint that, with regard to rampant piracy on the internet, the “genie is out of the bottle” and that energy expended in efforts to protect ownership would be better served being used to figure out how to profit from one’s intellectual property. Sergio strongly disagreed and a heated discussion ensued.

I wonder if Mark knows Sergio used to be the Mexican equivalent of a Navy Seal?

It’s my opinion that, while the creator of a piece of intellectual property still draws breath, that creation is theirs to do with as they will and to receive any and all profits generated by said intellectual property until they either relinquish the rights to it or they die. It’s that simple. Why should a creator’s idea, concept, cartoon or character be any different than some inventor who patents their invention and profits by any use of it? Because one is done with formulas or software code and another with words or a pen and brush?

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Sunday Mailbag

August 29th, 2010

Q: So I really want to pursue my passion for caricature and cartooning. I want to give it a go but Sunday is my only day off so live gigs are hard to come by. I look on E Lance and Solo Gig but seems like a lot of professionals are on there. So my questions are, should I capture what is going on in local news and submit my work to the A.D. Of the local papers, without contacting them first? Undercut everyone on E Lance? And last, I need to create a portfolio and needed to know what to include. Should it be online, on disc or hard copy?

A: I’m not very familiar specifically with E Lance and Solo Gig, but in general online resources for finding freelance work and workers like that are still fledgling and are not very productive. Most of the stories I’ve heard from those who have gotten some work from these sources is that the clients they are put in touch with are looking for work done very cheap or for nothing. Those who go to these sites looking for freelance work are often new to hiring freelancers or, more often, one of those “I’ve got a million dollar idea and only need an artist/writer/programmer to do it” types that want to pay by splitting the phantom profits with the freelancer or, worse yet, working for “exposure”. Maybe these types of resources will eventually become a great resource for the working professional, but right now they aren’t quite there.

That said, for someone trying to break into the business it might be a good place to start. You can always say “no” to someone looking for your skills to do a job if you don’t feel the time and effort is worth the rewards. However I would not pay a single dime for any of these services… you’ll get better results by doing a little leg work on your own.

As far as doing live gigs, by which I assume you mean live caricature, being only available Sundays is a major problem. Do you work evenings every day?? Because most events and parties that look for caricatures as entertainment happen in the evenings. It would be inexpensive to print a single page flyer and send it out to all the members of your local Chamber of Commerce advertising your services for company parties and events.

You mentioned sending your work “cold” to the art directors of local papers… by that I assume you mean editorial cartoons based on local politics and news. Certainly you should do that if you have the inclination… editorial cartoons targeting local topics are something newspapers SHOULD be desperate to get their hands on, but their budgets for that kind of thing are pretty small. Don’t expect to get paid a lot if your cartoons are picked up by a single paper (it’s getting syndicated that makes you the money) but appearing in your local paper, even the suburban type small community papers, can get your name out there and net you work in other areas locally. In fact, suburban newspapers are a relatively untapped source of publication for an ambitious cartoonist with local ties. Most suburban papers are printed by a single company that does a dozen or more different local editions. Doing cartoons that are about local city topics can get you in several of them at a pop… grab a copy of your local small paper and look up the publisher.

Finally, I’d concentrate on a digital, online portfolio. The days of schlepping around a leather bound portfolio are long over. It’s easy, cheap and quick to put together a simple portfolio online where you can change the content 24/7 within seconds at your leisure. Your business card with the URL of your online portfolio becomes your portfolio itself, and anyone can see your work at any time.

Check out these past posts for more info on portfolios and breaking into the freelance cartooning/illustration business:

Getting started doing freelance illustration

Modern Portfolios

Marketing yourself as a freelancer

Thanks to Billy Melago for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

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One Fine Cartoon Exhibit

August 26th, 2010

I think John Read needs to get a hobby.

You’d think he’d have enough to do writing, editing and producing the excellent cartooning industry magazine Stay Tooned!, but apparently he has a lot of time on his hands. Instead of doing puzzles or collecting rozzers or veeblefetzers he’s put together a traveling exhibit of original cartoon strip artwork called “One Fine Sunday in the Funny Pages” which features 140 comic strip and panel originals… all published in American newspapers on the same Sunday, April the 11th.

Here is the show where it is currently hanging in a former jewelry store space in Northpark Mall, the busiest mall in Jackson, Mississippi:

Managing to get a Sunday original strip or panel from 140 different syndicated cartoonists is an amazing feat in and of itself, but to be able to get every single one that was published on the same day is sort of mind boggling.

From here the show will go to the Walt Disney Hometown Toonfest in Marceline, MO in September, and then will hang at the Bemis Center for Contemporary Arts in Omaha, NE starting at the beginning of October. I will be seeing it in Omaha as the show coincides with our fall National Cartoonists Society chapter meeting on Oct. 1st and 2nd. Looking forward to it!

The comics in the exhibit include (list courtesy of The Daily Cartoonist):

  • ADAM@HOME by Rob Harrell & Brian Bassett
  • AGNES by Tony Cochran
  • ALLEY OOP by Jack & Carole Bender
  • ANDY CAPP by Rogers Mahoney & Kettle
  • AMAZING SPIDER-MAN by Stan Lee & Alex Saviuk
  • ANIMAL CRACKERS by Fred Wagner
  • ANNIE by Ted Slampyak & Jay Maeder
  • APARTMENT 3-G by Frank Bolle & Sandra Moy
  • ARCHIE by Fernando Ruiz & Craig Boldman
  • ARCTIC CIRCLE by Alex Hallett
  • ARGYLE SWEATER by Scott Hilburn
  • ARLO & JANIS by Jimmy Johnson
  • ASK SHAGG by Peter Guren
  • B.C. by the John Hart Studio
  • BABY BLUES by Rick Kirkman & Jerry Scott
  • BALDO by Carlos Castellanos & Hector Cantu
  • BALLARD STREET by Jerry Van Amerongen
  • BARN, THE by Ralph Hagen
  • BEETLE BAILEY by Mort & Greg Walker
  • BETWEEN FRIENDS by Sandra Bell-Lundy
  • BIG NATE by Lincoln Peirce
  • BIZARRO by Dan Piraro
  • BLONDIE by John Marshall & Dean Young
  • BORN LOSER, THE by Chip Sansom
  • BOUND & GAGGED by Dana Summers
  • BREWSTER ROCKIT by Tim Rickard
  • BRILLIANT…EDISON LEE by John Hambrock
  • BROOM-HILDA by Russell Myers
  • BUCKETS, THE by Greg Cravens
  • BUCKLES by David Gilbert
  • CATHY by Cathy Guisewite
  • CLEATS by Bill Hinds
  • CORNERED by Mike Baldwin
  • CRANKSHAFT by Tom Batiuk & Chuck Ayers
  • CROCK by Bill Rechin & Don Wilder
  • CUL DE SAC by Richard Thompson
  • CURTIS by Ray Billingsley
  • DADDY’S HOME by Tony Rubino & Gary Markstein
  • DEFLOCKED by Jeff Corriveau
  • DENNIS THE MENACE by Ron Ferdinand
  • DIAMOND LIL by Brett Koth
  • DICK TRACY by Dick Locher & Jim Brozman
  • DOG EAT DOUG by Brian Anderson
  • DOONESBURY by Garry Trudeau
  • DRABBLE by Kevin Fagan
  • DUPLEX by Glenn McCoy
  • DUSTIN by Jeffry Parker & Steve Kelley
  • EDGE CITY by Terry & Patty LaBan
  • FAMILY CIRCUS, THE by Jeff Keane
  • FLASH GORDON by Jim Keefe
  • FLO AND FRIENDS by Jenny Campbell
  • FOR BETTER OR FOR WORSE by Lynn Johnston
  • FORT KNOX by Paul Jon
  • FOXTROT by Bill Amend
  • FRANK & ERNEST by Tom Thaves & Co.
  • FRAZZ by Jef Mallett
  • FREE RANGE by Bill Whitehead
  • FUNKY WINKERBEAN by Tom Batiuk
  • FUSCO BROTHERS, THE by J.C. Duffy
  • GARFIELD by Jim Davis
  • GASOLINE ALLEY by Jim Scancarelli
  • GINGER MEGGS by Jason Chatfield
  • GRIN AND BEAR IT by Fred Wagner & R. Dunagin
  • HAGAR THE HORRIBLE by Chris Browne
  • HEART OF THE CITY by Mark Tatulli
  • HEATHCLIFF by Peter Gallagher
  • HI & LOIS by Chance Browne & B. Walker
  • JUDGE MORGAN by M. Manley & W. Wilson
  • KATZENJAMMER KIDS, THE by Hy Eisman
  • KNIGHT LIFE, THE by Keith Knight
  • LIO by Mark Tatulli
  • LITTLE DOG LOST by Steve Boreman
  • LOCKHORNS, THE by John Reiner & Bunny Hoest
  • LOLA by Todd Clark
  • LUANN by Greg Evans
  • MARMADUKE by Brad & Paul Anderson
  • MARVIN by Tom Armstrong
  • MARY WORTH by Joe Giella & Karen Moy
  • MIDDLETONS by Ralph Dunagin & Dana Summers
  • MOMMA by Mell Lazarus
  • MONTY by Jim Meddick
  • MOOSE AND MOLLY by Bob Weber
  • MOTHER GOOSE & GRIMM by Mike Peters
  • MUTTS by Patrick McDonnell
  • NANCY by Guy Gilchrist
  • NON SEQUITUR by Wiley Miller
  • OFF THE MARK by Mark Parisi
  • OLLIE AND QUENTIN by Piers Baker
  • ON A CLAIRE DAY by C. Ventresca & H. Beckett
  • ON THE FASTRACK by Bill Holbrook
  • ONE BIG HAPPY by Rick Detorie
  • OTHER COAST, THE by Adrian Raeside
  • OVER THE HEDGE by Michael Fry & T Lewis
  • PAJAMA DIARIES by Terri Libenson
  • PC & PIXEL by Tak Bui
  • PEARLS BEFORE SWINE by Stephan Pastis
  • PHANTOM, THE by Paul Ryan & Tony DePaul
  • PICKLES by Brian Crane
  • PIRANHA CLUB, THE by Bud Grace
  • PLUGGERS by Gary Brookins
  • POOCH CAF’E by Paul Gilligan
  • POPEYE by Hy Eisman
  • PRICKLY CITY by Scott Stantis
  • PRINCE VALIANT by Gary Gianni & Mark Schultz
  • PROS & CONS by Kieran Meehan
  • REALITY CHECK by Dave Whamond
  • RED AND ROVER by Brian Basset
  • PIRANHA CLUB by Bud Grace
  • RETAIL by Norm Feuti
  • REX MORGAN, M.D. by G. Nolan & W. Wilson
  • RHYMES WITH ORANGE by Hilary Price
  • RIPLEY’S BELIEVE IT OR NOT by John Graziano
  • ROSE IS ROSE by Don Wimmer
  • RUBES by Leigh Rubin
  • SCARY GARY by Mark Buford
  • SHERMAN’S LAGOON by Jim Toomey
  • SHOE by Chris Cassatt & Gary Brookins
  • SIX CHIX by Margaret Shulock
  • SLYLOCK FOX by Bob Weber Jr.
  • SNUFFY SMITH by John Rose
  • SOUP TO NUTZ by Rick Stromoski
  • SPEED BUMP by Dave Coverly
  • STRANGE BREW by John Deering
  • STONE SOUP by Jan Eliot
  • TANK McNAMARA by Bill Hinds & Jeff Millar
  • TINA’S GROOVE by Rina Piccolo
  • TUNDRA by Chad Carpenter
  • W.T. DUCK by Aaron Johnson
  • WATCH YOUR HEAD by Cory Thomas
  • WEE PALS by Morrie Turner
  • WIZARD OF ID, THE by Jeff Parker
  • ZACK HILL by John Deering & J. Newcombe
  • ZIGGY by Tom Wilson
  • ZIPPY THE PINHEAD by Bill Griffith
  • ZITS by Jim Borgman & Jerry Scott
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Dreaded Deadline Demon

August 25th, 2010

Currently have four projects going at once and all of them demanding roughs, final pencils or finishes in short order. No time for blogging or sketching.

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