Thursday, October 27, 2016

The Zaturnnah "Cover Girl" Print: How To Order

Thanks for dropping by! If you're interested in getting your own giclée print of the Zaturnnah artwork that appears on one of the October covers of Esquire Philippines, please read the information provided below.
A giclée print (zhee-clay) is a fancy term for an image printed on archival paper using one of those huge top-of-the-line inkjet printers that most of us can't afford. Those who specialize in making these prints will tell you that the color quality is supposed to last for decades. Professional artists and photographers turn to making giclée prints to sell and share their work.

The "Zsazsa Zaturnnah: Cover Girl" print will be exclusively produced by Giclee Manila.





For the Zaturnnah "Cover Girl" print, there will be four sizes.

Size A: 18.5" x 27"  Price: Php 3,000
Size B: 15" x 22"  Price: Php 2,250
Size C: 12.5" x 18.5"  Price: Php 1,800
Size D: 10" x 15"  Price Php 1,450

DETAILS:
  • These prints will only be available for order until February 28, 2017.
  • Print deliveries primarily cover the Philippines only. As much a we'd like to cater to buyers outside the Philippines, the shipping and packaging costs would end up lot higher than the print itself.  (Note: If you are outside the Philippines and would really like to order, please email sales@gicleemanila.com and ask for a shipping and packaging estimate.)
  • Packaging and shipping for Philippine orders is an additional Php500. If you want to save on shipping and packaging, you may bring your own container and pick up your order at the Giclée Manila office instead. It is located at 6 Fatima Street, Barangay Plainview, Mandaluyong City.

  • All sizes include a 0.5" white border on the top and sides, with a slightly wider border at the bottom, which contains the title.
  • I will be signing all ordered prints. This is an open-edition print. No certificates of authenticity will be issued, nor will they be numbered. (If I made this a limited edition print, then the price would be a lot higher.)
  • We will be using semi-glossy FPI Satine stock, at 245gsm. It is acid-free, so it isn't prone to yellowing. Giclée Manila will ensure that this paper stock is always available.
THREE WAYS TO ORDER:
  • Visit the Giclee Manila office on weekdays between 10am and 5pm.
  • Give them a call through 633-8559 or 239-9607 on weekdays between 10am and 5pm. 
  • Email them through sales@gicleemanila.com. In your email message, specify the size and quantity that you want to order, and give your full name, delivery address and contact number.
PAYMENT AND DELIVERY:
  • After you've placed your order, you will be asked to pay a 50% downpayment. Once the print is ready, Giclee Manila will contact you for the 50% balance. They will send the print to you once the payment of the balance has been verified. If you plan to pick up your print, however, you may settle the balance at the Giclee Manila office.
  • If you're not settling payments at their office, you may do so through bank deposit. You will be given bank information after you've placed your order. (Paypal is another option, but Giclee Manila will charge an extra transaction fee depending on the price of your order/s.)
  • Allow up to two weeks for delivery after verification of payment. If you've paid through bank deposit, email Giclee Manila a photo of the deposit slip.
RETURNS POLICY:
  • Giclée Manila ensures that all prints go through stringent quality control. In case you're not satisfied, however, Giclée Manila has a money-back guarantee of up to seven (7) days upon delivery. Within this period, you can get a full refund of the price of the print once you present your receipt  and provide proof that you have destroyed the print. (My suggestion here is to email them a short low-resolution video clip of you showing the entire print, then writing your name with a black marker on Zaturnnah's face. Harsh, yes.)
Important: if you have any questions about the above, please get in touch with the staff of Giclée Manila for clarification. All information presented here was provided and verified by them, so they would be the best people to ask.

Thank you in advance!


Saturday, October 01, 2016

Zsazsa Zaturnnah: Cover Girl


So this happened. How often does a superhero make the cover of a men's lifestyle magazine?

The October 2016 issue of Esquire Philippines is also their anniversary issue. It will be all-illustrated, and will have five covers. Four of them will feature the works of some of our finest artists, namely Annie Cabigting (painting), Blic (street art), Gary-Ross Pastrana (sculpture), and Derek Tumala (video, available as a special e-mag cover).

I was also fortunate to have been asked to illustrate the fashion section, too. All 12 pages of it. There, I managed to sneak in Zaturnnah, Ada, Dodong, and Gwyneth among the "models," wearing clothes from high-end brands like Valentino, Lanvin, and Bottega. As far as I know, they won't be named, but here are their headshots.


When I was first approached by Esquire to do this, I told them that I wanted a project that would "feed my soul." It sure did, despite the tight schedule.

For the cover, I took a cue from Esquire's "brand," requiring a different take compared to what I had done for FHM. (Zaturnnah had already appeared twice in that magazine). Something with a good amount of sex appeal, but less of the sex. I was going for a look that could be iconic, taking inspiration from 1960s lifestyle illustrations.

Now I'm thinking, should I sell prints of the cover?

- - - - - - - - -

A belated thank you to everyone who grabbed a copy of Zaturnnah sa Maynila Part Two. It landed in the bestseller list of both National Bookstore (#10 for May) and Fully Booked (#6 for April-May)! Yay!






Tuesday, September 27, 2016

Writing My First Commercial Screenplay

I never thought the day would come.

Yesterday, I submitted a sequence treatment to a film company. This is my first commercial screenplay project. I don't consider the Zaturnnah movie as the first as I'm only credited for "story," and I've only gone as far as making dialogue suggestions for that. A few years ago, I did write a full-length screenplay for an animation company, but they didn't intend for it to be released.

How did I get this new project? Back in 2013, when my one-act play "Kung Paano Ako Naging Leading Lady" was being staged at the Virgin Labfest, I'd be chatting with director Chris Martinez about the possibility of writing for film. It was one of those it-would-be-nice-but-I'm-not-sure kind of things, but Chris was very encouraging. I even got a call some time later if I was seriously interested, but I had to turn it down. I was busy, but I was also iffy.

Writing the Leading Lady musical script in 2014 gave me the experience of writing a full-length script for a commercial production. Though it was not in screenplay format, it provided good training. I had to take into consideration factors that I would never consider when I'd write a story for comics. The producer, the director, and other members of the creative team would have input, and it became a matter of incorporating those ideas without me sacrificing my own vision for the story.

Soon after this year's Labfest wrapped-up, Chris messaged me. He wanted me to write a screenplay based on a book. The story, he said, was up my alley. I had to download and read the book to see for myself. I could see why Chris asked me to handle this.

I'm not at liberty to divulge anything yet, but I think I can say that the story is from a Wattpad book.

Yes. Think "Diary ng Panget."

I am aware that there are members of the literary community who scoff at the way these Wattpad stories are written, particularly in their original online form. I don't want to say that these poorly-written stories are representative of all Pinoy Wattpad novels--I'd like to believe that there are gems in there--but I've tried to read a couple and, yes, they gave me headaches. The story I'm adapting has already been published in book form. I don't know what the original looks like.

But it's an interesting exercise, and the story is amusing as far as these commercial stories go. I started studying how to make stories about a decade ago, and a lot of my references have been screenwriting books. Some of my favorites are Bob McKee's "Story" (for its insight) and Blake Snyder's "Save the Cat" (for its straightforward by-the-numbers approach). Another favorite is Will Dunne's "The Dramatic Writer's Companion," which covers dramatic storytelling in general.

Normally, when I'd write my own stories, I'd start with a theme, premise, or situation. But since the story has already been laid out in this adaptation project, and I'm sure the author had a personal reason for writing the story the way he did, I found myself spending a lot of time contemplating my "place" in it. I didn't want to just transfer every plot point from prose to script. I felt I needed to uncover themes from it that resonated with me. Because, if I couldn't, then I won't be able to invest myself artistically in it.

Plus, I would like to think that people know my "brand" of storytelling. As Chris had told me in a message, "Own it."

So, I did. In my sequence treatment, I was faithful to almost everything that happened in the book, but I spun it just a bit to conform to my artistic sensibility. I hope they like what I wrote.

In any case, I'm excited to get to the draft phase. The film company wants to start shooting soon. I wonder if I can be Passerby #26.

Hee hee.

Sunday, September 25, 2016

Why telling GMA-7 to check out local komiks is a wrong approach

GMA-7 recently premiered Alyas Robin Hood, a Filipino superhero drama series which raised the hackles of a number of Filipino comics fans because of the teasers' resemblance to the American show Arrow. Admittedly, I was one of those who objected to the idea, wondering why they couldn't use any of our local martial arts or weaponry. Some netizens went even as far as engaging in online arguments with the show's head creative.

In a recent episode of the series, another round of objections occurred because of one villain. Never mind the poorly-executed special effects or fight choreography/cinematography. The main beef with this villain is the fact that he wielded a flame-throwing toy gun, and people cried foul over the reference to Heatwave of CW's Legends of Tomorrow (apart from the silliness of the toy gun).

Overall, we (yes, I include myself) in the comics community wondered why the television executives haven't tapped the creativity of the new comics creators in coming up with fresh concepts for superhero adventure shows. (Note, however, that they've probably visited Komikon and we didn't know.)

After thinking about this for a while, however, I feel that faulting a television network for lack of creativity is a wrong approach. I mean, I still wish they did something fresh and I will agree to questioning their creative choices, but to champion the comics creator as the go-to person to correct is, to put it lightly, idealistic. The reason behind this takes me back to a previous blog post as well as the few things I've learned along the way. What I'm about to say might not go down well for some people, but I'm still going to say it anyway. These are my own insights based on the conversations I've had with a few people in the motion picture industry.

1) Ideas are not enough.

Ideas can get producers interested. But if an idea does interest them, then they would need to know the whole story, which leads to...

2) The work is incomplete.

If a comics creator has an incomplete series, why would a producer bank on something that's not done? And if a producer does express interest in the incomplete series, is the comics creator willing to work within the system? That is, is the comics creator willing to share the whole story, assuming that the whole story is fully-formed? If it's not fully-formed, is the creator willing to let others fill in the blanks, or accept adjustments to accommodate budgetary limitations, casting considerations, etc? Unless the world of the story is adequately articulated and all the character arcs and themes have been mapped out, then how can the comics creator defend his vision in front of a producer or director?

2) There are tons of creatives out there, and you're unknown.

The comics community isn't the only reservoir of great ideas. And, for the most part, it is very insular (meaning, segregated, as opposed to short-sighted). Conversely, we have practicing playwrights, screenwriters, screenwriter-directors, and book authors, who have equally valid ideas, who have won prestigious awards, and have worked in the film and television industries. Many people dream of having their stories produced. A number of them might already have great ideas for superhero stories, but they know how these things get made, the hurdles they have to go through, and how the system is set up. Why their stories don't get produced is a big question, but to assume that the comics creators have better ideas than them is baseless. Just like in Hollywood, stories go through alterations from initial concept to finished product. Plus, people would rather work with those they know or are known, which leads to...

3) Your comics aren't popular enough.

Unless the comics creator is popular--that is, having a very large audience--expect to stay under the radar. The Wattpad novels enjoyed hundreds of thousands of views online, spawning lots of copycats and, eventually, film and television adaptations. Bob Ong's Facebook page has over 1.2 million likes. Marcelo Santos III's page has over 9.5 million likes. They have a large built-in audience that can be easily marketed to. Since there are very few published sales numbers for books, if any at all, the only data that can be relied on are those provided by social media accounts. If you want to get your comics noticed, get the numbers to back it up.

4) Your great story might have a different audience.

The television audience covers specific demographics and psychographics, and there are cultural considerations as well. Same with the commercial film. A unique story might be good for the audience of independent film, but the comics creator would still need to get the work into the hands of a director or producer who will love the work enough to move mountains to get it made.

So, what am I saying? We cannot demand attention from producers and convince them to go to Komikon. (In fact, one already did years ago. He apparently didn't find much.) And if they do, what do we have to show? Incomplete works? Ideas? If we want producers to see our comics as the goldmine of great stories, then the comics creators have to do their part.

1) Make complete, well-rounded, and appealing stories that feature conflicted three-dimensional characters. Learn storycraft--character arcs, story structure, theme, writing.

2) Get connected with the film or television industries in some way, and be aware of the hurdles of production and the limits of the market. Learn, or take part in, the system.

3) Build your fanbase. Large numbers show huge potential.

Ultimately, luck, timing and patience also play a big part. There are good stories that get made, but there are a lot of others that don't. How many or us are willing to persevere?

Wednesday, July 20, 2016

Virgin Labfest 12: Binyag

Apart from continuing my drawing chores for Zaturnnah sa Maynila, I spent some time at the Cultural Center of the Philippines over the last few weeks to take part in the Virgin Labfest proceedings.

The distance that I needed to cover to get to the CCP has always been daunting, making me unable to watch all the featured plays. My normal commute would be to take the LRT-2 from Santolan to Pureza, then hail a cab to take me to Pasay. Going home was a greater--and at times, more expensive--challenge, especially during Friday and payday nights.

Apart from my set, I was only able to catch Set D, which featured Eliza Victoria's "Marte" (directed by George de Jesus), Dingdong Novenario's "Daddy's Girl" (dir. Nick Pichay), and Rick Patriarca's "Hapagkainan" (dir. Chris Martinez). It was the last day of the festival, and both sets C and D were closing on that day.

As was expected, the theatre was packed for the final show of the festival, and I stood in the crowded theatre for over two hours. My knees and feet were beginning to ache, so much so that I had to rush outside the theatre to get myself walking. I missed the marriage proposal.

I won't lie. I was really hoping that our play would get selected to be restaged, but I had heard that the line-up was particularly good this year. Among the favorites were"Daddy's Girl," "Hapagkainan,"  Maki dela Rosa's "Ang Mga Bisita ni Jean," and Guelan Luarca's "Bait,"  I was outside the CCP when I got the news that, indeed, we got in. Despite the fulfillment of my hope, the effect was surreal. It would be my second time to be revisited.

So apart from "Mula sa Kulimliman," the other two revisited plays are "Ang Sugilanon ng Kabiguan ni Epefania," written by Alexandra May Cardoso (dir. Charles Yee) and Dominique La Victoria's "Ang Bata sa Drum" (dir. Dudz Teraña). I feel flattered to be with these two.



Thanks so much, Virgin Labfest!

Saturday, June 18, 2016

My New Play: "Mula sa Kulimliman"

Writing for the theatre isn't something one would expect from a comics creator, but since I had my little stint as a professional stage actor for a few productions, I guess playwriting would eventually sneak in there. So far, I've written four, three of which have been staged, with the fourth one going through rehearsals for this year's Virgin Labfest.



The play is called, "Mula sa Kulimliman," (From Kulimliman) and it tells of a housewife Lilia (played by Mayen Estañero) who has been questioning the truths she's had about her husband Gorio (Jonathan Tadioan). Gorio has been mostly absent, leaving Lilia to run the household with whatever meager means she has while taking care of their son Jerome (Timothy Castillo). There are elements of fantasy in there, and comedy, and drama, pretty much what one might expect in my stories.

The play is being directed by Hazel Gutierrez, with set design by Toym Imao, sound design by TJ Ramos, music design by Toni Muñoz, and featuring the talents of Karilyo and the Anino Shadowplay Collective.

I saw a run-through of the play last week, and though it's still pretty raw, it's definitely shaping up to be something special. The stuff that everyone brought to the table meshes really well. (But don't take my word for it--you have to see it.)

I will admit that at this point, one of the main reasons why I'm writing for theatre now is because of the Labfest, specifically the prospect of the material being staged. Even if I don't make it to the "magic 12," the possibility of it coming to life is enough to encourage me to see the writing through. In fact, I already have two possible submissions for next year. The first is "Hula Hoop," which was not accepted this year but can be resubmitted (after I do a lot of revising.) The second will most probably be a Josephine Bracken story.


I originally did this piece just for fun, placing Jose Rizal's wife front and center in her own fantasy adventure, without really being serious about creating an actual story. But then story fragments started to form in my brain, specifically character points for Ms. Bracken. As such, it won't be accurate historically, but I will definitely weave in details from the history books. I had started writing dialogue down, a conversation between her and a babaylan. We'll see what happens. 

If you want to watch "Mula sa Kulimliman," it will be part of Set C of this year's Virgin Labfest XII: Binyag. Set C will also include Maki dela Rosa's "Ang Mga Bisita ni Jean," (directed by Ariel Yonzon) and Guelan Luarca's "Bait" (directed by Mara Marasigan). Venue is the Tanghalang Huseng Batute of the CCP.

Schedule: July 1 - 3 and 8pm, July 6 - 8pm, July 7 - 3pm, July 16 -8pm, July 17 - 3pm

Tickets are available at Ticketworld outlets and online, and the CCP Box Office.

Wednesday, April 20, 2016

Want To Learn How To Make Comics? Here's a Self-Learning Path

A question came up on an online forum, asking how can one begin to learn how to make comics, given very little knowledge in both writing and art. I decided to write my answer as a blog post.

I've been drawing comics on and off for more than 20 years, but I've been drawing far longer than that. I'm primarily self-taught, and had regarded drawing purely as a hobby. As far as the writing goes, I started writing professionally by working in corporate public relations.

Even though I've been writing and drawing for a very long time, I was only able to make my first comic book as both writer and artist at 31 years old. Now that I've gained success as a comics creator, I would sometimes wonder how I should have done things differently.

Is there a method, a "curriculum," that one could follow to learn how to make comics?

Sure, there are tons of books out there about how to make comics, and they cover a lot of topics. However, a lot of them don't look at progression, or the step-by-step way of learning for someone who's starting from scratch.

So I tried to think of something on my own.

With all the things I know now, this is what I would tell my younger self. These are the subjects to learn over six year-period--the first four will be mostly about education, the next two will be mostly about application. Though I don't give much detail, it gives specific areas of focus. For most of these subjects, there are a lot of free and for-pay books and online tutorials available.

Year One

Form Drawing: Building, Slicing, Contouring
Light and Shadow
Materials Drawing (fabrics, stone, metal, etc.)
Inking

For Writing: Journaling
For Marketing: Establish relationships online and offline

At the end of Year One, you should be able to draw a variety of forms and materials with confidence, as well as render them in inks.


Being able to do this quickly and confidently sets you up for greatness. :-)

Now, you might ask, "Isn't one year too long?" It's only as long or as short as how much work and practice you put into it. This is foundational--your ability to draw and ink simple and complex forms with speed and confidence will make the rest of the journey easier. Plus, form drawing is crucial in learning to draw everything else.

A very quick drawing. By combining and contouring basic forms, you can already draw a lot.


Year Two

Perspective Drawing: one-point, two-point, three-point
Landscape / Nature Drawing
Art and Comics Composition

For Writing: Journaling
For Marketing: Build relationships

You've spent a year drawing all sorts of forms in different configurations, so you're now ready to tackle placing those forms in perspective. Not only that, you'll also be moving towards drawing locations in perspective--interiors, exteriors, and landscapes. You'll also dig into the topic of artistic composition, or how to arrange elements that results in an aesthetically pleasing drawing.

At the end of Year Two, you should be able to draw a variety of locations confidently using different perspective views. You should also be able to create artwork/comics that follow sound composition principles.

Year Three

Cartooning: Character Design and Expression
Color Theory and Basic Digital Coloring

For Writing: Storycraft: the Principles of Story
For Marketing: Build Relationships

At the end of Year Three, you should be able to create your own unique and expressive cartoon characters. You should also be able to do basic digital coloring based on your knowledge of color theory.

Year Four

Human Anatomy
Online Marketing / Content Marketing
Print and Web Production

For Writing: Scene Writing
For Marketing: Build Relationships

At the end of Year Four, you should be able to create unique and expressive characters that follow human proportions. You should also have gained working knowledge of online marketing principles and techniques, as well as how to create artwork for print and online.

Years Five through Six

Consolidation / Styling / Fine-Tuning of Drawing Knowledge through single plates and short comics (three to six finished plates a month)

For Writing: Writing complete stories + script for your first graphic novel
For Marketing: Create "official" online channels for your work

Years Seven

Make your first graphic novel.



Saturday, February 13, 2016

Zsazsa Zaturnnah sa Kalakhang Maynila Part 2: An Update

So.... as of this writing, I have two and a half pages left to draw, and I've given roughly 75% of the draft to my publisher Visprint for preliminary editing. Another piece of good news, at least for me, is that the most difficult panels are done.

Wow.

This means I should be finished with all comics pages by next week. I would then have to work on the other editorial pages, plus the back cover. I still don't know what to put in the back cover.

But, Hallelujah! I'm almost done. Thank you, Universe!!

Of course, on a professional level, three years isn't the most appealing amount of time to wait for part two of a story. Still, I'm moving forward with it. While, at this point, I shudder at the thought of announcing when the third part is going to come out, I will declare right now that I'm committed to churning out pages on a more regular basis. Part Three will be more or less 88 pages, bringing the total page count of this graphic novel to 262.

Wow.

I swear. I'll never make another one as long as that. Unless, perhaps, I become ridiculously rich.

Part Two is supposed to be released by Komikon this mid-April, or it may not, depending on the production schedule on Visprint's end. What's important to me, however, is that I submit everything--final files and all--to them before the end of February.

Recently, I posted a tweet expressing my sentiment about this whole graphic novel making thing, akin to a sado-masochistic relationship. Surprisingly, that post got retweeted 40 times by other comics creators. The one thing that many people don't realize about making comics is how difficult it actually is, especially if you're a one-man show. In fact, there have been blog posts and videos from other comics creators expressing that side of comics very few speak of. Stuff like, "it's depressing," or "it's lonely." And many creators have given up, for practical or emotional reasons, or both. Sure, anyone can make comics. But not everyone can make good comics independently over a long period (unless, maybe, you make comics strips and get paid by the piece), simply because the cost in both time and money is tremendous. So much effort for so little.

Anyway, I still love what I do, despite the episodes. It's all par for the course.

So, once the book comes out, I do hope you get a copy. I hope you'll like what you'll see and read, despite the oh-so-many teaser images I've posted these past years on Facebook.

Here's the cover.


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