I draw comics all day every day.

It's all I do.

I'm a comic robot.

This tumblr is mostly reposts of the blog from my website. On said website I post all the comics I draw. READ THEM HERE

I never really know what to write/post on tumblr. I am more active on my twitter. So unless it's a post forwarded from my main site, I'll probably just reblog art I like. I'm super down for answering questions.

I like to talk about art and writing. I consume a lot of Urban Fantasy books and media. Right now I'm digging Teen Wolf and Dresden Files the most. Buffy was my first supernatural favorite.

Could be worse; could be raining.

Reblogged from priscellie  88,364 notes

Ask Me About My Draculas Ep8: Harry Dresden Secret Wizard

New Post has been published on http://www.sorcery101.net/news/ask-me-about-my-draculas-ep8-harry-dresden-secret-wizard/

Ask Me About My Draculas Ep8: Harry Dresden Secret Wizard

New Episode of Ask Me About My Draculas. This time our guest is Tyler Crook artist on BPRD and Petrograd. Him and I explain to Kara one of my favorite book series, the Dresden Files.

Misfits of Avalon 127 and Sorcery 101 1200 is up!

New Post has been published on http://www.sorcery101.net/news/misfits-of-avalon-127-and-sorcery-101-1200-is-up/

Misfits of Avalon 127 and Sorcery 101 1200 is up!


New Misfits of Avalon and New Sorcery 101 is up.

Also if you are enjoying Misfits of Avalon you can now preorder it on Amazon
Kel has a Patreon! If you’d like to see sketches extra click here!

And here is my to do list.

  • Draw Come Undone (inks 16/22 – colors 16/22)
  • Draw Past Whispers (pencils 0/31 – inks – colors)
  • Draw Broken (letters 0/30 – pencils – inks – colors)
  • Draw Taken (thumbs 15/32 – letters – pencils – inks – colors)
  • Draw Nightmares (thumbs 0/31 – letters – pencils – inks – colors)
  • Draw What You Know… (thumbs 0/30 – letters – pencils – inks – colors)
  • Draw Fall (thumbs 0/51 – letters – pencils – inks – colors)
Reblogged from ananthymous  1,103 notes

Story /= storytelling


In comics, the “story” isn’t the words in the balloon, and the storyteller isn’t just the person deciding on plot elements. Storytelling comes from the artist/s of the comic as well as the writer/s of the comic.

The best way to explain storytelling to comics readers is to instruct the student to read “NEW X MEN,” sometimes erroneously called “Grant Morrison’s X-Men.”

The comic had one writer and several artists. The comic’s clarity and stability corresponds heavily with which of these artists has joined up for whichever storyline is going on. Grant Morrison, for all of his talent, isn’t in control of the storytelling as much as some people give him credit for. The issues that people like are the issues that Frank Quitely drew. The common denominator is Frank Quitely’s ability to convey what is needed, not Grant Morrison having a good or bad streak.

In this way, the person drawing the story is controlling the story in ways that the writing collaborator doesn’t control the story.

I FIND IT ODD that in comics, where visual style is so identifiable and individual, the artists are considered a lesser element of authorship than the writers. In film, a director exerts far less proportionate control over a project’s outcome and yet enjoys (or suffers) the overwhelming percentage of the credit (or blame).


Reblogged from katedrawscomics  33 notes

Make your story fit your format



New Post has been published on http://www.sorcery101.net/news/make-your-story-fit-your-format/

Make your story fit your format

Hey any starting out comic creators,

I wanted to talk about designing your story to the format it will be read it. So I’m mostly posting this because of two things: 1. I got a nice question on tumblr recently. 2. I’ve been reading The Wicked and The Divine on comixology. The Wicked and The Divine is a pretty fantastic comic so far. It’s about gods who have possed teenagers in exchange for becoming super famous rock, pop, and rap stars. Downside is they’ll die young. The writing sharp and the art is lovely.


I recommend you check it out AFTER It’s collected as a trade. Why wait?

Well, because The Wicked and The Divine is very frustrating to read in 20 page chunks. And this isn’t just an “I’m impatient and want the rest of the story now” thing. I reread the issues I have and the interruption of the story flow where I need to stop and then pull up the next issue is I think hurting the emersion/flow of the story being told. It is basically making me resent the floppy format. (floppy being monthly released issues) Cause it’s like watching 10 movie and every ten minutes you have to stop for a moment.

But then I’ve also been reading some old issues of Xmen lent to me by my pal Rachel Edidincause I want to basically follow along with her new podcast Rachel and Miles Xplain the X-men. And those older books work really well in floppy form. There is so much more story.

So is this just modern comics have gotten decompressed? I don’t think that is exactly it, because modern superhero big two books generally still seem to have a sense of completion or movement to each floppy. And manga chapters that appear in monthly magazines originally also seem to make sure you feel progress is happening in each bit.

It’s cause those books were designed to fit though formats. Those old Claremont books where written using a thing called the “Marvel Method.” Basically, Claremont would write like in this issue Jean is being sent visions of a fake past life in colonial times by mastermind where she and him are together, while the xmen look for a new mutant in a disco. Then the artist draws that, wrapping the whole story up in 20 pages. Claremont then goes back and adds captions and dialogue. The whole story or large chunk of the story is made to fit into the floppy.


Even more decompressed modern Superhero stories generally finish up in a year, so a larger precent of the arch/story is told in those 20 pages, than 20 pages of an over ten trade book like Fables or Saga. So of coarse it feels like more progress is made.

So designing your story to fit out it is coming it out is something you should think about. It’s not surprise that the earliest webcomics where mostly following the newspaper gagstrip structure. When you get just a page at a time a strong end cap to each page will really help strengthen the comic overall.

And I’ll say on this design for how you are releasing the comic, I love Kate Ashwin’s Widdershins and how each book stands on it’s own as a story. So even if you haven’t read book 1-3 you can still grab book 4


The tumblr ask I got was about how I felt about working horizontal comics verse vertical. You can read my answer in the link up top. Cliff notes version is I made that choice for Sorcery 101 without really thinking about it. I ended up finding creative panel layouts harder. So I probably won’t go back to Horizontal pages unless I have a story that I think needs a lot of long shots of background or something. Also it makes the books more expensive to print fyi that’s one of many reasons there hasn’t been a new Sorcery 101 book in awhile.

So think about not just yout plot and characters but how you are giving all that to your audience? Is it gonna be all at once? Is is going to be in chunks? How accessible do you want it to be mid story?

I was gonna reblog this anyway, then I saw the nice words about Widdershins and now I’m sad I can’t reblog it harder.

I’m a sucker for trades, too, the only book I got in floppies was Nextwave, which I regretted a little because the issues are dinged up as heckers now, so I bought the collection anyway! Interesting to see why it’s an industry standard, I didn’t realise that was the reason!

Well, the Marvel Method isn’t why we got floppies to begin with. Floppies started when comics were stand alone stories in each issue and where competing with magazines. The Marvel Method is just how Marvel in particular designed their stories to work in that format.