This pylon is going to be here for a long time, because I’ve only just started working on my first children’s book. Did you know that? I suppose I should have made some formal kind of announcement.
ANNOUNCEMENT: I’ve written a children’s book that’s going to be published by Christy Ottaviano Books, an imprint of Henry Holt, some time in 2015.
So yeah, that’s out of the way. I’m illustrating it, too, and I couldn’t be more excited to be doing it. It’s been fun working with Christy so far, even though we’re still in the early stages of nailing down the final product (Christy said “cartoonists are usually good with deadlines,” but I’m wondering if that’s an observation that’s not shared by all in the industry). It doesn’t sound like a huge step up – it’s a 32-page picture book – but it’s definitely a major transition from small black-and-white spot drawings to full pages in color. And at the end of the book the reader can’t say “I don’t get it,” like some people do when they read my cartoons… come on, nobody does that, do they?
I don’t want to say what the book is about, but I wanted to show a teaser of the first part of the process: writing, editing, sketching, rough layouts. There’s also a fair amount of coffee built into each step, but you already know what that looks like.
Even within the framework of a standard picture book, there are different layout options that are available, depending on what you want to do with the story. You can’t just add or subtract a few pages at the end. So that’s the first step. click here to see more pics
It’s hard to really tell the difference. #snowday
Valentine’s Day in New Jersey is a straight-up classy affair, as evidenced by this piece of paper which I found in the lobby of my building. This is side A, the writing is on side B.
Get your Gun Show on, Hoboken!
I recently did a short interview with Franki Elliot, who often does sidewalk poetry (meaning while sitting on a public sidewalk, not writing poems about sidewalks) using a typewriter. It’s performance art, in a way, without the safety nets of AutoCorrect and, you know – being able to be at home without strangers staring over your shoulder. The horror! But she’s the real deal. The interview is now up at Curator Magazine. Check it out!
In lieu of separate lists, here is a meta-list of the things I enjoyed the most this year (besides Art Basel, which I just wrote about a few days ago), in no particular order.
1. The skittish, slackerish, stream-of-consciousness Ninetiesish punk of Parquet Courts.
2. The graphic stories of Allie Brosh. She portrays herself as some kind of monster who is a crudely amateurish artist. She is neither.
3. This deliciously eye-popping piece of street art from Tristan Eaton in Little Italy, NYC.
click here to see full list
I submitted this cartoon to the New Yorker in 2007 and it was rejected. It was an almost-but-not-quite kind of idea, but worth revisiting.
I finally got around to revisiting the idea a while ago, and came up with a much simpler and better setup, which appears in this week‘s New Yorker:
So it took six years to come up with a better cartoon for this one simple idea. The process wasn’t so simple, but as I retrace my steps in those six years, I can definitely see the formula for success. My approach was to say “whatever,” move on to the next thing, forget completely that I had ever done this cartoon in the first place, go to sleep, get up the next day and drink coffee, eat and drink as I usually do, work at some stuff, work at some other stuff, get up earlier some days and later some days, do social things every once in a while, try to eat healthy, go on vacation, waste time on the internet, try to lead a normal life, try not to lead a boring life, go to the doctor, return my DVD copy of the Wire Season 3 Episodes 1-2 because it was scratchy, decide to sign up for honors points at hotels in case I ever need to use them but then forget what my password is, have my appendix explode, have a bunch of relationship problems, drink a bunch of Shiner Bock one summer for some reason, go to a baseball game at Wrigley Field for the first time, buy long-sleeved shirts in the springtime when they’re cheaper because stores are trying to clear them out, do a Vine video, Google “Murray Head” because I didn’t know he was the guy who sang “One Night in Bangkok” because who needs to know that information, get rid of a bunch of books I don’t need anymore, upgrade my phone, and then wake up one day and then think “hey – I have a funny idea about warning shots that’s better than the one I had several years ago.”
This process was all pretty intentional, and it worked so well that I’m going to use it for every cartoon I do that gets rejected. But I don’t want to be protective of it. I’m happy to share this process with you for you to use in your work as you see fit.