My little space on the web where I blog about comics and comic books, drawing and illustration, graphic design, writing stories, and a few tips and tutorials from time to time about them. I'll also share bits about movies, theater, music, (maybe even cooking!) and whatever strikes my fancy.
I'm opening up my schedule to accept art and design commissions! This is to ensure that I don't end up as a starving artist. Har har. :-)
While I prefer to draw feminine forms and poses, I'm also open to drawing male characters. However, I won't be able to accommodate highly detailed characters (like Swamp Thing, or Michael Bay's Transformers designs). The images above show my default art style. It's similar to the styles of Frank Cho, Adam Hughes, and Terry Dodson.
I don't accept caricatures or portraits. I can't guarantee that I'll be able to copy accurately.
Below are the details for art commissions. These are rates for non-commercial artwork.
(If you want me to illustrate something for commercial use, please fill up this design inquiry form instead.) TRADITIONAL MEDIUM (for Philippine Residents only) Format 16cm x 25 cm Uncolored (black inks and grey) Canson watercolor paper or Bristol Board (depending on availability)
There are a lot of people who want to make comics, or have tried to make comics but end up frustrated. I certainly struggled some when I started out, and it's no secret that there have been bumps on the road now and then.
I'm just curious to find out from you: What aspects of making stories and comics do you find yourself struggling with?
If you write your questions in the comments section, I'll see if I could answer it.
It's been more than six months since I posted. I blame the time-sucking black hole that is social media. :-)
Here are some of the highlights from last year:
1) "I Heart Davao," the 40-episode television series aired on GMA 7. I was given the opportunity to write a number of episodes for that show, but I insisted that I could only do ten. My primary reason was that I had never written for television before, so I didn't want to dive headfirst into unfamiliar territory. Our headwriter was Chris Martinez, and the writing team had me, Dwein Baltazar, and Eljay Castro Deldoc. Our director was Marlon Rivera.
I wouldn't consider my experience as representative of what really goes on in television writing in the Philippines, but it was an eye-opener. I never imagined that I'd be able to write more than two hours worth of script (five episodes) in two weeks. It was thrilling, to say the least, seeing how the script was brought to life in the finished product.