For the last five years, a sketchbook has been making it’s way around the world passed from one artist’s hand to the next, in the hope that it would one day be auctioned off to benefit people in need somewhere on the planet. Now that it is filled with the work of no less than Hayao Miazaki, Peter de Sève, Carter Goodrich, Rebecca Dautremer, Bill Plympton, Carlos Nine, Enrico Casarosa, Greg Couch, and dozens upon dozens more, it will be sold to the highest bidder at some huge auction house in Brussels on October 17 and all the proceeds will go to Room to Read to help build a children’s library in Laos! My dearest friends Gerald Guerlais and Daisuke Tsutsumi conceived and orchestrated the entire project, and all their insane hard work is about to pay off. In addition to the auction of this one-of-a-kind sketchbook, a limited number of beautiful reproductions of the book will also be sold to benefit the same cause.

Please visit their website to find out more. It’s an amazing book (I was fortunate enough to hold it in my hands on a couple of occasions to gawk at it in person). You can also find information and interviews with several of the artists on their site as well.

Click here to see an animated short about the project. It’s a lot of fun.

This is was contribution to SKETCHTRAVEL…

I am SOOOO excited to announce that next Thursday, September 3rd, Galerie Arludik is opening their exhibit for Out of Picture 2! Many of our artists will be there – myself, David Gordon, Jason Sadler, Vincent Nguyen, Peter Nguyen to name a few! – so if you happen to be in the area PLEASE stop by and say “Bon jour!” Arludik had a show for OOP 1 three years ago, and it was one of the most fun experiences in my artistic career. It felt more like a street party than an art opening, and everyone was so incredibly friendly and receptive.

Comic Con was a total blast. OOP 2 did really well, hung out with a bunch of my west coast pals as well as the bulk of the OOP 2 crew who came out to the Con. Very exciting. All in all, I couldn’t have asked for a better time. Just a better traveling experience.

Then a week ago, the wonderful Sketchtravel documentary crew came from Paris to New York to interview some of us east coast contributors. I can’t wait to see just how large of a dweeb I made of myself. Ah, something to look forward to…

The Totoro Forest Project Auction is coming up in a few weeks. I just bought my plane ticket to San Fransisco and couldn’t be more excited. I really hope this raises some serious money, but if ticket sales to the auction are any indicator (they sold out in two and a half days!), I think it’ll do pretty well. It’s insane how much momentum is gathering behind this project. If you haven’t discovered the site yet, please go check it out now at http://www.totoroforestproject.org. Dice just launched a new blog for it as well.

Do yourself a favor and please check it out. The group of contributing artists is nothing short of staggering. If you can’t afford to bid on any of the art but want to help the cause, there’s information regarding donations on the site.

Hope to back soon with some new artwork! In the meantime, my contribution to the Totoro Project is the giant owl on the hillside below.

It’s going to be a blast, and I can’t wait…

I really think this volume is quite a leap for us as a group of artists. There’s a much stronger emphasis on story, and the diversity of artists (as well as the sheer number) is really amazing. The main thing that struck me about it as I finished laying the book out, was how consistently strong all the stories and artwork are, but also how unique each approach to storytelling and illustrating turned out to be.

Needless to say, I’m a little biased – I know and love everyone in this book, so I hope that if you happen to grab a copy that you enjoy reading it as much as I enjoyed putting the book together. It’s a labor of love in all the best ways, and all the contributors put their hearts and souls into it.

I did A LOT of thumbnails for this story to try to figure out the pacing, staging, action and page layouts. I always start out as loose and rough as possible, sometimes only blocking things out in inch-high thumbnails. This particular page went through quite a few subtle revisions, but I had pretty quickly established that I wanted to start the story with a shot of the destroyed mine’s exterior.

After getting the basic composition, I started doing more fleshed out tonals and began thinking more about the inset panels and page layout.

At this point I had already done a rough layout of my entire story. Each page went through several revisions until I got the pacing and page count right, and then did refined drawings over the layouts. Once I was happy with a page’s layout, I’d transfer the refined line drawing onto bristol board and do the final pencil drawing with a 2B .5mm mechanical pencil.

The last step was scanning the final drawing into Photoshop and adding simple color and pushing the value range until I achieved the look and feel I was aiming for. The last step was adding type and word balloons (which I decided to keep to a minimum).

I still haven’t, really. The story I’m telling in OOP 2 is just a small standalone episode that introduces some of the ideas of the larger narrative.

I had such a fun experience working on Out of Picture 1 that I couldn’t wait to work on another story for the second book. OOP 1 was the first time I’d really sat down and tried to construct any kind of “complete” story, and even though it was short (10 pages), it was an incredibly difficult learning experience. I boarded it out quickly enough, but I must have re-laid out each spread a dozen times. I really wanted to push myself story-wise on this one, so I took a bigger chunk of pages (18 this time) and tried to come up with something.

The story I really wanted to do was too complicated to fit into a short format, so I came up with a sort of adjacent episode which tells a smaller story set in the world of the larger one. Anyone who went to school with me at Ringling might recognize some of the characters in this story (but not in these particular images) as it’s based on a concept I started to develop while still in school. It’s called Under Pressure: A Breakerboy Chronicle.

Here are a few panels…

I wound up using a very different technique this time around. Since I was doing a longer story, I thought I’d save time by doing more pencil work and keep a limited palette. Well, that worked partially… I kept a limited palette and did a ton more pencil work, but I swear it took just as long to get it done.

Live and learn, I guess. The story takes place mostly underground, so I will say that this technique did fit the mood a lot better than doing full-on paintings would have. Feels grittier, I think.

There are more previews of OOP 2 at our website here.