I started writing a list of things I’ve learned in the past year but then scrapped it as I recalled I don’t have any idea what I’m doing.
Paraphrasing William Goldman, “Nobody knows anything…” and, as a nobody, I can confirm that.
Well, I know one thing and the past twelve months made it even clearer: my friends are the best.
I’ve started many comic projects. Some of them blew up on the launch pad. Some gained a little altitude only fall apart in the air. Some were announced with great fanfare but never left the drawing board. Objectively, when it comes to comics projects, my track record indicates that I’m anything but a sure bet.
Now, here I was I starting yet another comic – this one starring an oddly named character with a weirdly shaped head and who seemed to die on page one. And it was a fantasy webcomic – like the Internet isn’t already saturated with those.
But what did my friends do? They jumped on board and supported it immediately. Like I said, they are the best.
They made this comic strip possible and I’ll work every single day to be worthy of that friendship.
Heartfelt thanks must go to Dustin, Tracy, James, Robert, Brad, Karen, French, Greg, Shelly, Pookie, Mike, Neil, Robert, Nate, Tyler, Matthew, Vanessa, Simon, Gareth, Rich, Mike, John, Joe, Macthe, Lee and David! They support me on Patreon and they make The Middle Age possible.
Or more specifically… how I draw chain mail in my webcomic The Middle Age.
I get a lot of comments and questions asking how I create the chain mail texture in The Middle Age. The hero of the story, Sir Quimp, wears armor that looks sort of like chain mail or banded mail armor. Artist friends have presumed it’s a special brush or a texture map or something computery.
But it’s all drawn by hand, one link at a time. And it might look complicated but it’s not.
Now, I work on an iPad Pro using the Procreate App but this approach works with any software and even works with traditional pen-and-ink tools.
Step 1: Start by drawing a grid on the form which will act as a guide for your texture. Keep in mind the shape, perspective, folds and bends. It should look 3-D. If it looks like graph-paper, the pattern will look flat. But it doesn’t need to be perfect. We’re just using it as reference and we’ll erase it when we’re done. In the example, you can see mine in light blue. Extra tip: I draw my guides on a separate layer to make them easy to hide and delete.
Step 2: Now let’s start the pattern. Somewhere around the two-thirds point on the side where light is coming from (not down the middle), draw small, single, evenly-spaced tick marks. Again, they don’t need to be perfectly spaced or identical. Do your best and that’ll be fine. Remember that this is armor wrapping a living figure, not a robot, and we expect variations. Those variations make the figure feel more alive. Extra tip: I make the texture extend a little bit beyond the shape – you can see it overlapping the cape – this helps me keep the pattern and spacing consistent. I erase the overlapping bits when I’m done.
Step 3: Between each one of those tick marks, draw two tick marks next to each other. Extra tip: The longer each tick mark, the wider each chain segment will seem later.
Step 4: Between each of the double-tick marks, draw three tick marks next to each other. You can see where I’m going with this.
Step 5: Between each of the triple-tick marks, draw four ticks marks next to each other.
And so on… until you run out of room. Always increase the number of tick marks per row and you’ll get the proper effect. Then do the same thing in the other direction. Extra tip: don’t draw all the way to the shape’s outline on one side to give a hint of really-bright side lighting.
If you want to see how other cartoonists handled drawing armor textures, I recommend checking out the work of Hal Foster, Wally Wood, Russ Manning, and David Petersen.
This means Sir Quimp, Maledicta and Waddlebottom will be appearing alongside Snoopy, Calvin, Garfield, Opus, Petey Otterloop and my other favorite characters. I’m super excited to reach a whole new audience of comic strip fans and I’m honored to be in such excellent company.
The image above shows Sir Quimp joining the party and it gave me a chance to draw some of my favorite GoComics characters (okay, I pretty much traced most of them as there’s just no way to touch the originals IMO).
This won’t affect the schedule of The Middle Age and you’ll still be able to read The Middle Age here (and your RSS links will still work!) But now there will be a new place to see the strip alongside many other favorites. This move will also let me present the strip in its horizontal newspaper-style format which I’m excited about.
Thanks to the folks at GoComics including Shena Wolf. And thanks, as always, to my supporters on Patreon who make The Middle Age possible.
As a reminder, The Middle Age is nominated for a 2017 Eisner Award in the Best Webcomic category. If you’re a webcomics creator or other comics professional, you can vote until June 16th here: eisnervote.com
The Eisner Awards are often called the Academy Awards of comics. There’s a part of me which wants be cool and say it’s not a big deal but I can’t kid myself. A big part of why it matters so much to me is my personal history with the awards and the Webcomic category in particular.
My first experience with the awards goes back to 1999 when I was nominated in the Talent Deserving Wider Recognition category. The award that year went to writer Brian Bendis and he was absolutely the right winner. Not only was his acceptance speech gracious and pitch-perfect, it was particularly kind to the then-struggling independent wing of Image Comics. Today, that wing is the biggest and best part of Image Comics and consistently publishes great work. And I can say, looking back on my own work in 1999, while it was nice to be nominated, my work was not deserving of any more attention.
Cut to 2005. I was asked by Eisner Awards administrator Jackie Estrada to serve as one of the judges for that year’s awards. I happily took part but lamented that there wasn’t yet a webcomics category. In the years leading up to this point, webcomics had been gaining stature and each year – when they weren’t included on the ballot – the message boards and online forums would erupt. I found that the only reason webcomics weren’t on the ballot was because nobody had ever written a proposal to include them. So I wrote one. (Okay, it wasn’t as easy as that because awards have weird rules for often very good reasons and adding a category which broke some of those rules needed finessing.) My fellow judges approved the proposal and webcomics were sharing the stage with printed comic books for the first time.
Now, twelve years later, my own comic has been nominated in that category and my work shares the ballot with some of the best creators in comics today.
I’m still not sure if my work is deserving of wider recognition, but I’m honored and humbled by the nomination and can’t thank the judges enough.
The award ceremony will take place Friday, July 21. Fingers crossed!
This looks back a some of the retro images I created in 2013 as part of the BLOOP webcomic. These were created as set decorations for the villain’s office – which I wanted to make as depressing as possible.
I can’t say enough good things about working with Boom! Studios and the Cartoon Network on this Adventure Time With Fionna and Cake cover. They were great to work with and very open the weird proposal for this cover.