Thursday, November 29, 2012

7" Kara Cover Process

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When completing the cover for 7" Kara , I knew I wanted to do the comic in watercolor, but I also wanted to test out a couple different style treatments, in case one really suited the comic better.  I've done a lot of work with Copics in the past, but never a comic (or even a comic cover), I knew that it would be a lot more challenging to keep colors harmonious through out an entire page than it is for a spot illustration.  I also wanted to do a black and white style test, as I know that a lot of publishers are hesitant to publish a color comic from a first time artist, particularly if it's in a medium as difficult to reproduce as watercolors are.

I don't have entire process documentation for any of these pages, but I thought it'd be nice to share what I do have, and explain my methods.  I believe I've done Copic process posts in the past, very little has changed since that, and I plan on doing several watercolor process posts in the future.  If I'm unclear about anything, just send me a comment or an email and I can do a mini tutorial to clarify what I've done.

BLACK AND WHITE:
I tightened up my bluelines, pulling in additional detail when necessary.

I've masked off the napkin, so I could easily ink in the grass without having to make corrections after.

Because I masked off the napkin, I didn't have to go back and make corrections after and the grass doesn't look like it stops right at the napkin.

Inked in the far background (behind the shed door).


A dry brush texture was applied to the concrete.

Page was masked off so I could apply a spatter to the pavement.

Finished piece, with blue tape removed.  The blue tape acts as a mask to keep my edges clean, but has a tendency to pull up the paper and cause damages.
COPIC:

Although you can marker straight over bluelines, I felt like it would be easier, and more attractive, to create a lineart for the piece first.  I did leave areas of less focus, like the dollhouse behind the shed door, unlined, to give it a softer feel.

From using watercolors, I've learned the importance of an all over wash for harmonizing color.  I've never tried to create a wash with Copic markers before, and have had trouble in the past keeping my color palette in check.  This time, I decided to attempt a 'wash', using a Copic Wide marker.  This was my first time using Copic Wide, and I found the color range to be frustratingly limited.  I ended up using a darker blue than I would have liked.  I also had a lot of trouble with streaking.  To remedy this, I applied many, MANY layers of Copic colorless blender (in both wide and using the Super Brush Tip) to smooth out the color.

As you can see, the wash tones any color above it (for example, the grey of the pavement).  While selecting colors, I took a lot of care to ensure that they were harmonious, even though I was also relying on a wash to tie everything together.
Here's a quick (and ugly) snapshot of my swatches for the cover.  As you can see, all of the tones run rather blue and relatively desaturated, even the reds.
The finished render.  
While completing the Copic version of the cover, I became acutely aware of how much ink a full page illustration would consume.  Although I love working with markers, I knew it would be more cost efficient to use watercolors instead, although color coordination would become more difficult.

Although this piece looks mostly finished, it's poorly pulled together, color wise.  I ended up spending a lot of time correcting the colors using additional washes and pencil colors.


Here's a side by side comparison of all three covers.


And here are the finished, color corrected final pieces.  As it stands, the marker piece is still the best pulled together, but I learned a lot doing all three pieces, and I feel like my experience with all three really helped shaped the resulting pages.


Wordcount: 703 Words

Tuesday, November 27, 2012

It's Perfectly Ok to Steal (if You're An Artist)

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There's an underappreciated expression- "Steal like an artist" that was first coined by Picasso, I believe.  He said "Good artists borrow, great artists steal", and I get the distinct impression that younger artists see this as a bad thing.

For clarification, by stealing, I do not mean the theft of intellectual properties, programs, music, or video.  I do not condone that.  Nor do I condone the theft of supplies, nor the theft of money to procur said supplies.  I do not mean stealing other people's artwork to pass off as your own, nor tracing and slight alteration of other's work to pass off as your own, nor any variation of the two.  What I mean by stealing is studying the style of work that appeals to you, analyzing this appeal, and using those elements in your own work, with your own variation on this.

For some reason, on confession sites like ArtistConfessions.tumblr, I see a lot of aspiring artists worrying about stealing elements from styles they like, and working hard to prevent that from happening.  I feel like the intense hatred for anime and manga styles on sites such as that are based on the distaste for  people who borrow tropes and symbols from manga and anime without fully understanding what these represent.  This comes from an artist who has learned how to draw solely from looking at the works of others, and has no understanding of the basic structure.  I feel like, if you develope an understanding of the basic human structure, as well as an understanding of how the visual world around you is made up of basic shapes, you'll avoid this problem for the most part.

These aspiring artists talk about how the artist they admire have worked so hard to develop their visual style and that they would hate to steal it.  First off, no 'style' is created in a vacuum.  Artists do indeed borrow stylistic elements from one another, this is standard practice.  Secondly, 'style' is simply a shorthand for how you represent the world on paper or screen.  If you combine inspiration with lifedrawing, you will eventually end up with a 'style'.  The more inspiration you absorb, the less your 'style' will look like it was borrowed from one source.

Whatever style you choose to work in does not make you less of a person or less of an artist.  What determines your work as an artist is how dedicated you are to your craft.  If you are making art, you are an artist.  If you're talking about making art, but not making art, you aren't an artist.  It's pretty much that cut and dry.

Not everything you do should be posted to sites like DeviantArt.  Your entire sketchbook shouldn't be online for everyone to see.  There are going to be ugly drawings, and that's ok.  You don't have to share those, you don't have to ask for critique on them if you don't want to.  If you do style tests (which I strongly encourage, and that's when you draw in someone else's style) you don't have to post those, maybe you SHOULDN'T post those.  You don't have to share your growth period with anyone, unless YOU want to, hobby artist or professional.  If you want to keep things under wraps while you're figuring out your work and style, that's perfectly ok.

Don't let others make you feel like less if you draw in a particular style.  Don't let strangers on the internet make you feel less capable, no matter what.  You may not be as popular as you think you should be, you may not sell as many commissions as you'd like, you may not be ready for publication, and all of those are ok.  Feel inspired by the work of others, not intimidated.

At SCAD, we've been encouraged to borrow a bit from the artists we love, as well as develope our lifedrawing skills.  There's a lot of Hayao Miyazaki, Kiyohiko Azuma, and Glen Keane in my work, as well as Raina Telgemeier, Becky Cloonan, and Chica Umino.  And those are just the major style influences.  Every day, every time I look at someone's art, or their color choices, or their layout, I'm inspired to take my art in different directions.  I try not to worry too much about what the end result will be, as long as it's aesthetically pleasing.

So don't worry if your style looks a bit like whoever is influencing you most at the moment.  It'll work out, as long as you take influence from a variety of sources, continue to practice, and draw from life as much as possible.

So let's end on a high note.  Let's end with Austin Kleon's take on stealing like an artist.

Austin Kleon, source

Wordcount: 793 Words

Sunday, November 25, 2012

Beating the End of Semester Funk

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For many of us, the semester has either just ended, or is rapidly coming to a close, and I know that many (myself included) face the very real threat of creative burnout.  While it's possible to force yourself to continue working at a breakneck pace, it may be very difficult to produce creatively viable artwork under such conditions.  The internet is rife with suggestions on how to handle such burnout during the actual homestretch, but how can you regain your creativity afterwards?

A major suggestion I hear time and again is "force yourself to take a break".  During the semester, we may not have the time to go see movies, play videogames, read books, or generally enjoy ourselves, and we may be so stuck in our comics-making groove that we forget that we have time during the winter break.  Not only do we have time, but we should make it a priority to make time to reward ourselves for a semester of hard work.  For many of us, taking a break from art in its strictest sense (i.e. not creating anything new at all, nor working on existing projects) is extremely unfulfilling and can be downright depressing.  I believe that forcing yourself away from something you love may be more a punishment than a prize, and may not restore the creative juices exactly as planned.  Instead, I have several suggestions that may just inspire you to (joyfully) work all through your break!

1. Work on a project that's taken second stage all semester, particularly if it's an idea you've been excited about.

I know for certain that in my Studio Classes, I may be actively drawing one project, but I'm usually doing concept for another.  During Studio III, when I was working on When I Was 13: I Rediscovered Cartoons, I was also working on 7" Kara concept.  While working on 7" Kara Chapter one this semester, my relaxation project was to go through my reference folder and draw Kara in different outfits.  My intention wasn't to have two projects going on at one time, but to do something fulfilling that kept me sane.  Now that the semester has ended, I can make revisions to Chapter 1 and get started on Chapter 2 in serious.


2. Work on an older project as practice honing skills you may feel need leveling up.

Most of us have a project we started in high school and abandoned somewhere along the way.  Maybe the story is cringeworthy-ly anime and cliche, maybe the characters are all gothic and your outlook on life is now decidedly sunny, maybe you just outgrew the project entirely.  If you're looking for a project to noodle around with during your break with no strings attached, these projects are perfect.  You've done a lot of the leg work (it's often easier to rewrite than it is to write, easier to correct than to create) and you've got enough of a challenge ahead to keep things exciting.  It's up to you how finished the project will be- maybe you'll just redesign characters, maybe you'll rewrite the script to 10 pages, instead of the original sprawling epic, maybe you'll finish the entire comic and put it online.  Working on a side project is a great way to gain some perspective and some experience!


3. Work on something not comics related at all.

Going to classes with comics people, running in social circles that are almost entirely comics people, consuming mainly comics and comics related accessories, seeking the approval of comic people...it's pretty tiring.  Every now and then, it's nice to work on something that isn't as time consuming, nor gratification-delayed as comics.  Sometimes it's nice just to sketch for the love of sketching.  Sometimes it's nice to get feedback on something that I enjoy that isn't so serious business.  And sometimes it's nice to work on a project that's just for me.

During the last semester, this blog was sadly neglected.  I've always enjoyed writing for it in the past, chronicling my journey through photos, sketches, finished pieces, reviews, and tutorials.  It was a source of fulfillment for me, and gave me a sense of satisfaction, so it was really hard to watch it go down the tubes due to neglect.  Unfortunately for me, this blog is still a hobby, I make no money from writing from it and recieve no sponsorships, so when it comes down to classwork, conventions, freelance, or blogging, blogging is going to have to take a hit.  I swore all semester that as soon as classes ended, I'd get this blog back on it's feet, and even took a NaNoWriMo-esque pledge to write 25,000 words in a month and a half.  Working on this blog is both a way for me to gain exposure and credibility with other artists, and it's an outlet for me to express myself.


4. Work on a hobby that's become neglected, particularly if it's inspiring or creative.

Ahh, hobbies.  How I've missed them.  I used to sew.  I used to craft.  I used to ride the unicycle, play harmonica, clarinet, and piano, and write poetry.  Hobbies are great- they're creative outlets, and as long as they are just hobbies, you don't have to open yourself up to criticism.  You don't have to be gracious about accepting unsolicited criticism about these hobbies either.  Who cares if you're awful at tennis?  It's not going to pay your bills.  You don't have to be good at it.  If you don't have a hobby, pick one up.  It's good to have self worth that isn't entirely reliant on your all consuming career.

I've always enjoyed crafting.  As a kid, I crochetted a lot.  As a teenager, I had several cottage businesses, ranging from friendship bracelet style chokers to hand sewn kanzashi to custom DS cases.  I've cosplayed and sewn clothes for myself, made wreaths and doll clothes.  Occasionally (such as with my cottage industries) I've made things for others, but most of my crafting was done for myself or for family, with the intention of pleasing only myself.  This is a creative outlet that is far removed from comics, but is still inspiring and stimulating (especially since I'm working on 7" Kara now, which only encourages my crafting on a miniature scale).

By having hobbies outside of comics, I'm able to socialize with people outside my usual sphere, garnering new ideas and inspiration.  I don't have to pin all my self worth on the popularity of my comic pages, and it's nice having new ways of expressing myself.


5. Go on a roadtrip to somewhere you've never been before.

As a kid, my family very rarely traveled, and when we did, it was to visit family, usually by car.  During those trips I would read and write fiction, explore the woods behind my grandparents house, and do a lot of daydreaming.  These days, I do a lot of travelling for conventions and family holidays, and when I have the opportunity, I try to get a lot of sketching in.  While in Japan, I filled up two sketchbooks worth of sketches, few of them finished and most extremely gestural.  At the time, I thought I'd regress, but I was very pleasantly surprised to find that even this loose sketching helped me improve.  While travelling, new scenery can inspire new ideas, and a travel journal is a great excuse to sketch the world around you.


6. Take time to visit museums

Be it art or science, museums are a fantastic resource for the artist.  If you're stranded in Savannah for Winter Break, considering visiting the Ships of the Sea Museum for some fantastic naval reference.  There's also SCADMoA, with exhibits that change quarterly, and several galleries that are free to visit.  Zoos and aquariums should also be on your priority list.


7.  Make friends with people outside of comics

I love my artist friends, and I hope they enjoy my company as much as I enjoy theirs, but sometimes it's good to get away.  I've mentioned expanding your world beyond the world of art several times in this list, and this is yet another instance where some new perspective can be very insightful.

Hanging out with non-artist friends has a benefit beyond new insight, one that may go overlooked in your selfless search for improvement.  When you're hanging out with a gaggle of other artists, your skills and talents may be overlooked and outshown.  When you're hanging out with non-artist friends, you can return to being the special and unique snowflake with special and unique talents.


8. Rededicate yourself to the craft you love

Sometimes the reason I'm so tired after a semester of hard work has nothing to do with how hard I've worked, but with my constant disappointment in my inability to meet my own expectations.  I combat this by isolating several weaknesses I'd like to work on, and focusing on those during the break.  Not only am I using my free time wisely, but I'm also assuaging my ego.

I hope these suggestions will inspire you to come up with your own solutions to beating the end of the semester art funk!  If you have any I've missed, please comment and let me in on your secrets.

Wordcount: 1541 Words

Friday, November 23, 2012

Guest Post, Eric Lide: Small Press Expo 2012 Review

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Eric Lide, the awesome artist behind comics such as Station Square and Monster Country, made the arduous journey to SPX (Small Press Expo, an indie comic convention) this year, to debut a perfect bound copy of his tremendous webcomic.  He was kind enough to write up a review for me to post here and share with you guys!
Hey all, this is Eric Lide, droppin' by to talk about my experience at SPX! This was my second time both attending and exhibiting the con, and I'd say that overall I had a much better experience than the first.
This year I exhibited with Jonathan Griffiths, Tim Sparveno and Jonathan Gray. We had a pretty diverse lineup of books which attracted all sorts of people to the table. It was interesting because in many cases you could tell who'd be into each of our stuff just by looking at them.
This was an important show for me because I was debuting my first actual book, Station Square Volume 1. Before this I had only been selling self-made minicomics at conventions. One thing I picked up on was that it was definitely easier to move books than minis. I can understand it, I tend to gravitate toward books myself over minis because they seem less disposable.
The actual con itself seemed to have a much better atmosphere than last year. This year it seemed like people were in a much better mood, more approachable and fun to talk to (although it could be that I've become more outgoing myself).
My favorite part of SPX is the fact that it is within a hotel, so after the show is over the cartoonists all congregate in the halls and hotel rooms. It can be kind of intimidating for me to try to talk to new people, so I found myself sticking within my own circle of friends. Quite honestly though, the hotel aspect of SPX is what makes it my new favorite con, and also makes me wish it was a little longer because it goes by so quick.
Overall SPX was definitely a step up from last year both in attendance and sales for me, and I look forward to next year's show!

Tuesday, November 20, 2012

Knowing When to Throw In the Towel

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Don't worry, I don't mean comics.


Cancelling Conventions

Last weekend (November 16th through 18th) was Sugoicon, an anime convention held in Cincinnatti.  This convention coincided with the first weekend after finals, the weekend before Thanksgiving.  My family was scheduled to arrive in Savannah that Monday, making Sugoicon a tight squeeze into our already packed schedule.  Heidi and I were slated to have Artist Alley tables there, but decided rather late in the game to back out.  This is my first time cancelling on a convention, and honestly, I have no regrets.

No Rash Decision

Our decision to bail on Sugoicon was not an easy one.  Heidi and I did several conventions this semester- Mechacon, Interventioncon, Anime Weekend Atlanta, New York Comic Con.  Each of these was expensive in its own right- table costs, transportation costs, hotel rooms, food, new supplies, and for many (ourselves included) the chances of making all these costs back at an artist alley table are low.  Preparing for each convention is stressful- inventory is taken before, during, and after each cons, reprints must be made, bags must be packed.  Conventions are time and labor intensive- preparing new material makes time and often does not coincide with class assignments, time spent at the convention itself is usually occupied with filling commissions, talking to potential customers, and leading panels, leaving very little time to fulfill freelance commitments or class obligations, and we usually have to miss at least one class during transportation.  By midterms, I was juggling attending a series of doctors appointments that caused me to miss classes, as well as conventions, class obligations, and trying to catch up, and spent the remainder of the semester at a constant run.  When it came time for us to book our transportation and lodgings, I don't think our hearts were really in Sugoicon anymore, and when Heidi didn't win the free night's stay at the Doubletree in Sugoicon's art contest, we decided to take that as a sign.  We'd had some trouble communicating with the staff in the weeks before, but still wrote individual letters of apology letting them know we were relinquishing our respective tables.  We still haven't heard back.

I'm satisfied with this decision to cancel.  Cancelling Sugoicon allowed me to focus on finishing my pages for Chapter 1, prepare for the Ink Jam gallery show, put a focus on freelance work, and generally stay sane while finishing finals.  I know that I've done a lot of conventions this semester, so of which paid off more than others, but my overall feeling for this batch of conventions is that they were not as productive as I would have liked.  I feel attending Sugoicon would have cost a lot of time, energy, stress, and money that would be hard to recoup.

An Under-Rated Skill

I think this brings up an important skill that many artists may have trouble with- knowing when to call it quits.  I'm not advocating taking the easy road in becoming a professional artists, but I believe that being able to successfully access the effort to value ratio of an undertaking is important and possibly undersold.

For many kids in Sequential Arts at SCAD, there's a underlying encouragement that we should be constantly pushing ourselves to produce more work, to attend cons, to talk to more editors, and to take on more freelance.  Although it's said that we should take breaks, that can come across as lip service.  I'd started making wishful-thinking plans for the break as soon as the semester started to really heat up- I'd wanted to improve my watercolor technique, wanted to accomplish more sketching, wanted to script out Chapter 2 and start thumbnailing it, wanted to do more freelance, wanted to open up commissions again, wanted to get back to blogging on a regular basis.  Unfortunately, to do these things that I wanted to do (and can possibly benefit my career, if not directly benefit my career), I needed time to do these things.  Juggling another convention followed by a weeklong visit from family would make for a rocky start.  By cancelling Sugoicon, I freed up some valuable organization and planning time that I was able to put to good use.

Sometimes to do your best, you need to create the time to actually create your best work.  And sometimes attending every convention that comes along isn't the best way to grow your career.  For me, now might be a better time to focus on becoming a better artist than trying to grow a fan base, especially since I'm still developing the comic I plan to launch as a web comic, and I'm not ready to promote it yet, and especially since the product I usually promote (this blog) has taken a back seat.  Rather than push through with sadly limited stock, and risk botching the remainder of my semester trying to accomplish too many things, I'm happy that I decided to focus my energies.

Do I Stay or Do I Go?

So how do you know when to throw in the towel?  How do you know when an opportunity may not be worth the sacrifice, especially when you lack experience?  For me, I've attended plenty of anime conventions, so I know a few things about me, anime conventions, and how my work is received.

In general, I know that:


  • Minicomics don't sell
  • Black and white prints don't sell, even on nice cardstock
  • Paperdolls (at least mine) don't sell

  • Charms sell well
  • Buttons sell very well
  • Sketch commissions sell, if I can figure out what the hot item is for that year

  • For things to sell on a regular basis, they have to be very low priced.  Sketch commissions don't sell if they're over $5 each.
  • If I'm charging $5 per commission, even if I'm busy the entire con drawing, I won't make more than $200 (selling commissions alone)
  • The amount of time spent talking to potential customers is not worth the possible money I may make, as there are A LOT of people willing to talk your ear off and buy nothing.
  • My stats for the blog don't really spike after an anime convention, even when handing out promotional postcards.
  • I don't see an increase in more expensive color or ink commissions after anime conventions
With that in mind, I made a list of pros and cons for Sugoicon, and discussed my list with Heidi.  We went back and forth but eventually agreed that cancelling would be best for us at this time.  So I suggest, when you are trying to decide whether to back out of a con you've already signed up for (and paid money for), you consider your options very carefully.

Keep in Mind:

Why are you considering backing out?
Cold feet isn't an adequate excuse for backing out of a convention, especially if it's your first.  And fear of failure, especially if you have little information to go by, is not a good reason to cancel a convention either.  Are you backing out because all your stock is old stock that the audience has already seen, or because you don't have any stock prepared at all?  Are you backing out because everyone else in your group backed out and you can't afford to attend anymore?  You need to decide what your time is worth, and how it's best spent.
When are you considering backing out?
Are you backing out months before, and have only booked the table?  Or is it the weekend before, and you've already paid for your transportation?  Though you lose little money backing out months in advance, you may not be giving the convention a fair shot.  A lot can be done in two weeks- new illustrations can be completed for prints and bookmarks, if you know someone with a button machine, buttons can be cranked out fairly quickly, you may even have time to create and print a new mini comic.   However, if you are tired, stressed out, and pressed for time, reconsidering a convention may be a wise course of action.
How much money are you losing?  Is this a $30 artist alley table at a first year anime convention, or a $300 table at a major super hero con?  Have you already booked your plane tickets, or were you planning on driving?  If you've already sunk a lot of money into the convention, and you can spare the time, it may be worth attending just to gain some exposure.
How does your backing out affect others?  On the flip side, does your backing out of a convention mean that your hotelmates can't afford the hotel rate?  Will it affect the transportation of others?  Did you promise to lead panels, or did you agree to a book signing?  If you backing out of a convention negatively affects a great number of people, maybe you should consider (if possible) sucking it up and attending, for the good of your reputation.

Wordcount: 1,488 Words

Sunday, November 18, 2012

October and November Sketch Dump

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It's been awhile since I've done a sketch dump, and I wish I could say it's been productive, sketch-wise.  Gone for now are the days when I'd upload forty or fifty image sketchdumps, the past few have been a scant twenty if I'm lucky.  I've been so busy completing comic pages this semester that I haven't had a lot of time to relax and sketch.  Hopefully I can remedy that during the semester break, ideally with some watercolor sketches for practice.

I have some 7" Kara concept art in my art history notebook that I'll scan shortly, but for now, here's what's been lurking in my sketchbook during the past couple months.

I'd decided that when I'd run out of business cards, I'd come up with a new design.  The end is in sight, so I guess I'd better get cracking.  Here's the sketch for it.

Some sketches done while chilling out in the artist alley of New York Comic Con.




Gesture studies.  Wish I had time to do more of these.

While doing Kara pages, I decided to work through some of my clothing reference photos and draw her in different outfits as a cool down and to keep me sketching.








Refining Kara's father's face. 

Went to see Wreck-It Ralph day before yesterday, so I drew myself and Heidi as Sugar Rush Racers.  The names are Chocolatte and Vanillabeam Crueller, and they tag team race as a special.

Welp, that brings me up to current with sketches.  I hope to have more to show shortly.

Wordcount: 256 Words

Friday, November 16, 2012

Ink Jam- A Sequential Art Showcase

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Yesterday was quite a busy day- not only was it the last day of the Fall Semester (making today the first day of Winter Break), but it was also the day of Ink Jam, a Sequential Art showcase coordinated by Justine Ives, and participated in by the graduating graduate students, as well as the students in Studios I, II, III, and IV.  It has been quite a rush to get everything finished before finals, so it was a challenge to get my four pieces matted and framed for Ink Jam, but somehow I, and everyone else participating, managed.

Comic art gallery shows are a bit rare, as many don't consider comics to be a 'fine art'.  This was a great opportunity for us to show our work in a new context and to appreciate our pages as pieces of art in and of themselves.  This show was open to the public, and had a really impressive turnout.  The basement of Moon River is surprisingly nice and spaceous, the DJ was pretty good, and there were nibbles out.  For those interested, there was a bar open as well.  Each student contributed about four pieces of framed art, with many of us hitting up Dick Blick at some point for easy framing options.

To be honest, there are two situations I'm particularly uncomfortable with- the awards ceremony and the gallery show.  While I was grateful for the opportunity to show my work to a new crowd in a new setting, I didn't really know what to do with myself during the show.  I didn't want to lurk around my own work, and I didn't want to block the work of others.  The solution, as devised by myself, Heidi Black, Sarah Benkin, and Pan Wen, was to go upstairs and get some dinner.  I think we all figured we'd be back in time to collect our art, but unfortunately, the show ended at 10:30, and we didn't finish until 10:45.

While at the show, Joseph went around taking photos of the artists and their work.  Unfortunately, we missed a few, but we do have photos of all the work there.

Note:  Links were grabbed from Facebook, when possible (and in doubt), I included more than one.  I apologize that some of these photos are blurry, I've switched away from using my old point and shoot to my camera phone until I learn how to use my DSLR.

David Stoll:


Nicky Soh:

Morgan Beem:

 Pan Pan Wen:

Sorry for the blurry.

 Phil Jacobson:

Jerald Lewis, being intentionally dorky. (link)

 Jen Hickman:



 But Chi:



 Laura Neubert:


Jorge Corona:


Dave Valeza:

Lee Harris:



Becca Hillburn

Jeeyon Kim:




Justine Ives:


 Heidi Black:


 Dan Glasl (what is with this cropping?)



Ariela Kristantina:


Wordcount: 545 Words
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