Ed Kearsley (00:43):
Hello. Welcome to another episode of Let’s Make a Comic book where we will be making a comic book with a different artist for every single panel. And we’ve got Adam and Jonathan here tonight to help us. And we’ve got

(01:03)
S is muted because he’s sick and can’t talk properly. So we will be minus the classic scissors tonight. But let’s get on with it and have a look at last week’s page where we had Alex major doing another one panel romance with the octopus called whale saying, your eyes and bitsy saying, my bits a bitsy and the spacesuit, the robot bodies got a little heartbroken thing. And then Dr. Yarn had the earth shattering kaboom with the wow, that’s what I call fireworks. And then Zach George with the bitsy floating in space and the tentacles and then no, and there’s some Broman comics in the background and a little engagement ring floating out in space too. So that’s where these guys will be carrying on from. And to do that, we have to do the wheel of layouts. So I’m going to click it now and we’ll see which one we get. Yay. So that’s a nice and easy one, and I will put that into the thing in the jig so they can download it. Just hold on copy link and into the private chat paste. So that’s there for you guys. And I’ll just have a look at the comments while they download the things.

(03:01)
And we’ve got David sch. Hey guys, feel better soon. Siz Andrew Law with the woo-hoo and the No Feel Better, siz from Shawnee. Okay, so now it’s time for the hand of choosing to choose who goes first and we’ll get Adam to choose a number between one and four.

Adam Gillespie (03:33):
Let’s get four.

Ed Kearsley (03:35):
Four is number one. So you go first. Awesome. Did you get the thing

Adam Gillespie (03:49):
I did. I’m doing it by hand though, so I just double check the dimensions. 11.4 by 15.3.

Ed Kearsley (04:02):
Yes. Sweet. So while Adam starts working out his layout, we’ll have a talk with Jonathan and tell us about the True tales of the Wild North.

Jonathan Saunders (04:25):
Yeah, so it was a bit of early comic book, but me and Timothy Parrish are going to be working on, as some of you may or may not know, I’m one of the co-creators of Wild North Comics, a Darwin based independent comic publisher here in the Northern Territory. And I did, I’m also the creator of Zero Points, zero point Origins, so you can buy all four issues of that available on wild off comics.com. But yeah, so newest project me and Tim are working on is tentatively titled True Tales of Wild North. And yeah, it’s a history comic about the wild tales that happened here in the Northern Territory. So the aim is to have it be a kind of an educational comic, but not in a boring sense. So we’re working with very well-known territory historian Don Christofferson, to giving us great research and amazing stories up here. And yeah, we’re hoping it will be a really fun, exciting read and it’ll give also you locked down south an idea of just how wild the territory can be or how it was back in the day and maybe hopefully in the future as well.

Ed Kearsley (06:00):
So is that true crime or

Jonathan Saunders (06:05):
Yeah, I mean it’s kind of like true crime where it’s taking real historical events and obviously retelling them with flair and obviously with a comic twist into it. Yeah, I think it’s just really, I feel that I guess comics are a great vehicle for not only storytelling, but also I feel for talking about history in real life events because you get, one of the advantages is that you can show pictures like actual maps and diagrams and photos of what happened as well as illustrating the story that’s happening. Yeah, and I know that again, just from my own personal comic book reading experience with things like seeing what Darwin Cook did with DC’s New Frontier and Weaving real history with the fantasy elements of the superhero genre was really exciting though with True Tales, it’s going to be all real stuff. So as I said, literally just starting on that, so I’m waking out the stories in which the hardest part is actually going to figure out selecting whats, what stories are going to tell so much history here. Yeah. And if it does well, then hopefully maybe that’s something we can continue on as well.

Ed Kearsley (07:37):
That sounds cool. So what was the inspiration behind doing a book like that?

Jonathan Saunders (07:48):
I guess it was just trying to think back what the inspiration would be. I think it was just more of just looking at, just realising that, I guess, I think we were talking to Don about another project and obviously we brought up that we make comics, and I think it was just brought up that kids, kids are going to be more receptive of reading comics and obviously, especially probably kids probably read more manga now than comics, but still it’s a visual medium and easy to pick up and it’s a way to make history seem exciting and fun. I know it can be a bit boring to looking at textbooks, so adding some exciting imagery will help with that. And yeah, and I guess maybe for me as well, I grew up reading The Phantom and a lot of Australians and a lot of those books had a very pretty much would take real historical events and then just put the Phantom in there somewhere that is running out behind the scenes of one of his ancestors were I should say.

(09:09)
So yeah, I think that there’s a very clear, especially with comics that history and comics and mixing material has always been very, it’s always been something that’s been done and as I said, yeah, just one of the things of True Tales is that we’re looking at history that hasn’t really been told. So again, it’ll be something, it’s not going to be the same stories and things that you’d see in a lot of the history books up here. It would be like new stories. Don’t ask me to say which stories it is with Google selecting it, but also on that as a surprise when the book comes out. But yeah. Yes, I think that’s going to be a really great project. Sorry Adam. I was going to say, which panel did you choose again? The top or the bottom?

Ed Kearsley (10:06):
Top one.

Jonathan Saunders (10:07):
One. Alright, I’ll go to the bottom.

Ed Kearsley (10:13):
How’s your drawing going? Adam? Have you got anything so far? It’s

Adam Gillespie (10:19):
Just pencil. I’m not sure if you’ll be able to see it. Let

Ed Kearsley (10:22):
Me bring it up full screen.

Adam Gillespie (10:24):
See? See if I can see if can get an angle on there. It’s a bit faint, but you got bitsy reaching out and grabbing a blown off piece of tentacle.

Jonathan Saunders (10:39):
Ah, nice.

Ed Kearsley (10:44):
Is Bitsy going to say anything or

Adam Gillespie (10:50):
Undecided? Give me a few seconds.

Jonathan Saunders (10:58):
Yeah, now I’ve got to try and think of something. Now you’ve got

Ed Kearsley (11:03):
18. Draw some legs. We’ve got a leg request from Nick, me, one of the designers of Bitsy who did the nice and simple to draw robot legs, which everyone loves drawing.

Jonathan Saunders (11:21):
That’s it. So sorry, Adam, is bitsy in your panel in their robot suits or still just floating? Oh yeah,

Ed Kearsley (11:37):
Because she’s in space, so

Adam Gillespie (11:38):
I think in the last panel she was floating freely, so I have her out of her suit.

Ed Kearsley (11:47):
I can put it up again.

Adam Gillespie (11:53):
I also have a leg just for Nick.

Ed Kearsley (11:56):
Yay. Okay.

Adam Gillespie (11:58):
Blown off the rest of

Jonathan Saunders (12:00):
The body. Yeah, the body that’s there.

Ed Kearsley (12:02):
Oh goodness.

Jonathan Saunders (12:03):
Yeah.

Ed Kearsley (12:10):
Okay. So are you

Adam Gillespie (12:11):
Doing speech bubbles or a speech bubbles? Taboo. Sorry, thought bubbles.

Jonathan Saunders (12:17):
You can do whatever you want. Yeah, that’s it. The Garfield principle.

Adam Gillespie (12:23):
I’m got to do a thought bubble for bitsy thinking that she has to reach her leg.

Ed Kearsley (12:30):
You’ve got to a Uroc for Adam from Nick Me for putting in some legs or one leg. So Adam, tell us about Sobeck Lives. What is it? Explain yourself.

Adam Gillespie (12:53):
It is a comic that I’ve been working on for the past few months about the Egyptian God Sobeck, who’s the God of crocodiles, who decides he doesn’t want to be in heaven anymore, he wants to live on Earth and he gets a job at a secondhand bookstore. So it’s coming along nicely. I’ve done the, that’s the cover so far. Oh

Jonathan Saunders (13:26):
Nice.

Ed Kearsley (13:28):
Oh, that’s cool.

Adam Gillespie (13:31):
So it’s coming along nicely. I just need to do some digital corrections on the art there and the lettering and colour the cover obviously. But yeah, so I’ve been working on that since before Paper Cuts Comic Festival last year, so probably going on over a year now since I’ve started working on it. So comics takes

Ed Kearsley (14:02):
Time. Sure does. So again, I’ll ask what was the inspiration to have soic in doing

Adam Gillespie (14:19):
Stuff? I was doing some digging through some old art and I found an old, there’s an old D six role playing game called Champions that I used to play a lot when I was a teenager. And one of my superhero characters was like a anthropomorphic crocodile who was part crocodile park cockroach called Cockroach.

Ed Kearsley (14:44):
That’s great.

Adam Gillespie (14:45):
And I found some art of Cockroach and I was going to do a cockroach comic and I was ing and ing and toing and froing. And then as these things do, other crocodile stories sort of kept creeping into my head and I got this idea for Sobeck just sort of crept in. So cockroach got put to the side, Sobeck got work done. Awesome. Yeah, that’s where the original idea came from, trying to do a comic with a different crocodile character.

Ed Kearsley (15:25):
Did you ever do any pages or anything for the roach character or work on a story?

Adam Gillespie (15:32):
I didn’t do any pages. I worked on some different plots trying to figure out what sort of story I wanted to tell, or even if I wanted to sort of stick close to the character as it was when I played the character in the game, which I found very quickly I wasn’t really interested in, so I tried to redesign the character, so I did a redesign on the character, which I thought was pretty cool. But then I think that’s as far as my interest went, and I was already thinking of doing Sobeck at that point, and so he just took precedence. This was the redesign that I did on Cockroach.

Ed Kearsley (16:27):
Oh, that’s awesome.

Adam Gillespie (16:31):
Which is a really cool sort of thing, even sort of out about having him be the size of a cockroach. But nothing that I could think of would’ve been much more than just a few pages of silly fun. But the Sobeck story sort of just started niggling away and it slowly built up from there. Actually I had the bookshop setting from years ago when I was trying to do a Slice of life comic setting, the bookshop, and they kind of just, it didn’t really go anywhere. Cockroach didn’t really go anywhere, but crocodile in a bookshop piqued my interest, so

Ed Kearsley (17:29):
Got me the drawing. Gods speak with you all from Rob.

Jonathan Saunders (17:36):
That’s it. Definitely me film them.

Ed Kearsley (17:40):
Hope Cockroach makes a comeback in the future from Nick may.

Adam Gillespie (17:44):
Excuse me. I hope so too.

Ed Kearsley (17:46):
Yeah, that’s a great design. I

Adam Gillespie (17:51):
Thank you. Super fun. I had a lot of fun drawing it. I think my daughter and I sat down and we were playing with the alcohol markers and the original cockroach design was a much more nineties comic book. He was this mean looking crocodile and he had the black ness armour on his chest and arms, but I did the outside of the black armour. There was nothing really cockroach about him, so I thought I’ll make that the redesign. Tried to make him more crocodile crossed with a cockroach as opposed to just anthropomorphic crocodile in armour.

Ed Kearsley (18:43):
Nice. S do you want to bring up Jonathan’s screen so we can Oh yeah. See what he’s been drawing. Oh, I’ve got some perspective grids.

Jonathan Saunders (18:58):
Yeah. Yeah, that’s it. I figured. Add some more drama to the scene by having a, oh, I’ve got to try and design a cool looking alien spaceship.

Ed Kearsley (19:12):
Ah, it’s like the start of Star Wars when it goes over the top. Yeah. Yeah, that’s it. That’s very cool. And we’ve got a leg there for Nick.

Jonathan Saunders (19:34):
Yeah, that’s that. I thought it would be fun to kick that show. The show bits of the suits all smashed up,

Ed Kearsley (20:01):
Some nice battle damage on the robot.

Jonathan Saunders (20:08):
That’s it.

Ed Kearsley (20:18):
So Jonathan, you were saying you had some more zero point stuff coming

Jonathan Saunders (20:26):
Yeah, down the pike. Yeah, down the pipe, yes. I’m just starting to write the next series that follows after Season Zero, which will be a bit of a retelling of what you’d seen in the animated web series, but obviously one of good things about comics is that you don’t have to worry about budgets, so I don’t have to. Yeah, I loved working on Season Zero, but the thing is that we only had a small budget to do a 26, 4, 6 minute episodes or 26 minutes or whatever it was. And yeah, it just meant that you’re constrained by money and time and one of the good things about comics is you don’t have to worry about that as much. It’s probably really more the greatest cost if you’re doing comics yourself is just time. So yeah, continuing that story and yeah, one of the good things as well is that I can then go past that point and Season Zero and continue the story on from there, zero point finding out more about the conspiracy and what happened to his father and all that. But I’m just writing the outlines for that now. And yeah, as I said, probably won’t see the comic until next year, but I’m working on a short anime, like a short animation film as well. Yeah. And of course True Tales of Wild North.

Ed Kearsley (22:12):
Nice. Got a wave from Jonas Olson in the chat. Judi, what else is good? So Adam, have you read any good comics recently?

Adam Gillespie (22:40):
I have actually. I read Penn State by Dur back dur.

Ed Kearsley (22:49):
Oh cool.

Adam Gillespie (22:50):
Which was a phenomenal read, hard to read. It’s pretty tough subject matter, but I was reading it, I just didn’t really know the history of the whole Kent State shootings, but I was reading it and just getting this rising anger when I was reading it. It was just like, how could it get to that point? And then you turn on the news and you go, oh yeah, that’s the world. And it’s been the world forever, but excellent, excellent nonfiction comic book, really, really good.

Ed Kearsley (23:39):
And did my friend Dharma book, people might know,

Adam Gillespie (23:46):
I read that one recently as well. Also very good.

Ed Kearsley (23:53):
Also a story of how did it get this far, why didn’t anyone help that kid?

Adam Gillespie (24:04):
Yeah, that one’s almost a little bit heartbreaking too, because they only really friends with him because he amuses them. No, not even his parents seemed to really take any care for his wellbeing or anything.

Ed Kearsley (24:30):
Yeah, there’s a lot of points in Dharma’s life where someone could have stepped in and put him in therapy or something.

Ed Kearsley (24:42):
Yeah,

Adam Gillespie (24:50):
I first read his book Trashed, which I really loved. It was recommended to me by Ross, who owns the local comic shop here in Adelaide one of, and it just got me on the DF back df train. I picked up all his stuff and yeah, really cool stuff.

Ed Kearsley (25:18):
Nice. And what about you, Jonathan? Have you had time to read anything?

Jonathan Saunders (25:26):
Yeah, I finished recently. I finished the, what was it called, the Men Who Created Superman. I’ll just see if it’s on my shelf, but it’s the Biblio comic about Joe Schuster and Jerry Siegel and how they created Superman and unfortunately how national comics, which would then become DC comics, screwed them over. And I always knew that they were trying to really chipped hard. They’d been effed over by DC regarding the rights for Superman, but I didn’t realise just how bad it was and that it was really thanks to the efforts and the fan publications and magazines in the seventies when the first Superman movie came out that they actually got public recognition and got the byline credit in the first Superman movie. It’s really harrowing read to see these two guys from Cleveland who created entire genre and a character that’s going to be around long after we’re gone, just get completely shafted. But I guess unfortunately that happened a lot in the comic book industry in the golden Age, silver Age, and I think, yeah, obviously there’s still stories of that happening in the bronze and modern age as well. It’s like Jack Kby said, comics will Break your hearts. Yeah, and also, I haven’t read it yet, but I was going to read the next chapter of Chainsaw Man, I’ve been keeping up with that. That’s been a wild ride.

Ed Kearsley (27:37):
I like the way the Chainsaw Man artist draws their figures emotion and stuff. They look really cool.

Jonathan Saunders (27:45):
Yeah, yeah, no, yeah. I also want to try and finish Fujimoto’s other work Fire Punch, which is kind of, people say it’s more wild and out there than Chainsaw Man in terms of its concept and the world he builds. I really loved his, he did another short story that’s left, just animated now. Is it, what is it? Get Back or something where it’s about two girls friends in high school that go on different paths to become mango artists and without spoiling too much tragedy, strucks. And then, yeah, it’s about dealing with that and yeah, really great, really great story. I think you can read that for free on the She and Jump website.

Ed Kearsley (28:41):
Cool. We’ve got the hands of a covered S up for these. There you go from Lee Chaka. How’s your drawing going, Adam? You got any more progress to show us?

Ed Kearsley (29:01):
I do.

Ed Kearsley (29:05):
Oh, here we go. Oh, ah, nice. That’s very cool. I like the spanner

Adam Gillespie (29:22):
Needs to be a spanner. I don’t have as much floaty debris. There’s this

Ed Kearsley (29:35):
One’s cool. It’s good because your one’s a tight shot and then it draws back for Jonathan’s and you can see all the extra stuff.

Jonathan Saunders (29:44):
Yeah, no, I’m just going to take another crack at the, since we already got kind of a nice retro look for the robot body, maybe I do something classic flying saucer type shape.

Ed Kearsley (30:01):
Oh cool. You got haha. The leg is the feature. I’m Shawn,

Shane ‘Sizzle’ Syddall (30:11):
I’ll just quickly add in there with my crooky voice. You don’t have to finish it during the show, so do you need to rush?

Jonathan Saunders (30:21):
Good to know.

Ed Kearsley (30:25):
Thanks sis. Is there any questions from the chat that anyone wants to ask our awesome artist tonight? That Circle tool is such a pain when the

Jonathan Saunders (31:00):
Yeah, that’s it. I’m just wondering if, I’ve never used it with the perspective ruler.

Ed Kearsley (31:07):
I always turn the perspective ruler off and then eyeball it.

Jonathan Saunders (31:12):
Oh, okay. Yeah, I was just wondering if it might, because I know that I was hoping it would stick to the perspective ruler and it’ll just be a nice easy inci perspective. But yeah, I’ll have to,

Ed Kearsley (31:29):
If you get it like how it was, and then you can shrink it down to the size. That’s the one thing with the clip studio that’s really hard to do is the stuff like that. If you’ve got a circle template and you’re drawing on paper, it’s so much easier to Oh yeah,

Jonathan Saunders (31:49):
It’s so much. Yeah, exactly. Yeah, no, I don’t think, obviously as nice as these tools are sometimes the old way is the best.

Ed Kearsley (32:04):
You’ve got to suck guys from Nathan and so much pressure from

Ed Kearsley (32:09):
Nicotine.

Ed Kearsley (32:18):
Is your panel going to have any words in it, Jonathan?

Jonathan Saunders (32:26):
Probably not. Just because I don’t know, I kind, I mean I could add something. So can what was it the Just see. Oh yeah, I was going to say blitzing could speak, I thought I wasn’t sure if it was like Garfield Rules or not. Where they speak by, well it speaks by thinking

Ed Kearsley (32:56):
No, bitsy can definitely talk.

Jonathan Saunders (32:59):
Oh yeah. So yeah, maybe I can, I’ll add something if not even a thought. Bubbles are kind of nice.

Ed Kearsley (33:21):
What kind of heathen are you? Like mode, dear God. Then we’ve got a ha ha and Andrew likes darkness like me. We got the tractor beam in.

Jonathan Saunders (33:49):
That’s it. Yeah, no you can’t. It’s that classic imagery. Got to have the tractor in

Shane ‘Sizzle’ Syddall (34:02):
Loving where this is going guys.

Ed Kearsley (34:07):
Thanks Seas. So we’ve got Drink and Draw is on tomorrow and it’s the Fantastic four. So anyone who wants to send in a drawing, there’s a fan art link thing that Scissor is going to put up on the screen in a second.

Jonathan Saunders (34:38):
I’ve already, I kind of preed my Fantastic four. I dunno if we call it fan art, but the thing when I did the plastic man drawing,

Ed Kearsley (34:51):
You could just change the costume.

Jonathan Saunders (34:53):
That’s it. Oh no. Yeah, I did that other one where the classic meme of the Chad and the crying mo jack, but obviously put, see if I can find it.

Ed Kearsley (35:13):
Just why you’re looking for that. It’s comic show slash art for sending in your art to go on for drink and draw and if you’ve got some bitsy fan up that you want to send in, it’s always welcome for the two.

Jonathan Saunders (35:31):
That’s the one I did for the last drink and draw.

Ed Kearsley (35:34):
Oh yeah,

Jonathan Saunders (35:35):
For the plastic man one.

Ed Kearsley (35:38):
That’s great. That looks like very Kirby, the Read

Jonathan Saunders (35:43):
Richards. Yeah, yeah. No, I tried to make Richard look Kirby esque while still keeping it in that style of that word Jack and then yeah, tried to keep that kind of, that very bold style of that cold did when he did Plastic Man.

Ed Kearsley (36:03):
Nice. Got a comment from Andrew Law. It’s the local space fish and chip shop looking for calamari.

Jonathan Saunders (36:13):
That’s,

Ed Kearsley (36:14):
That’s a good twist. We got Dave Di. Good evening. Good evening, Dave.

Ed Kearsley (36:20):
Hi Dave.

Ed Kearsley (36:32):
I went there after drink and draw on Monday. There’s the recent reads where we’ll be talking about comics that we’ve recently read to make sure you tune in and yeah, if you want to be on recent reads or on let’s make a comic book and any of the other shows, there’s a comics show slash interest and there’s a little questionnaire thing that you can fill out and we’ll get you on whatever show you want to get on.

Ed Kearsley (37:34):
You are hitting the inks.

Jonathan Saunders (37:37):
Oh pencils. I mean, I could be followed and do decent inks.

Shane ‘Sizzle’ Syddall (37:52):
So many ways I want to tell this story to go, but good thing I’m on mute.

Ed Kearsley (37:58):
You’re doing great at being muted, Susan. Now’s the point of the show where we just watch people draw and don’t talk. There is something really magic about watching someone else draw.

Jonathan Saunders (38:45):
Yeah, no, I don’t feel magical having the, I always feel self-conscious drawing in front of an audience.

Ed Kearsley (38:59):
Yeah, I love the silence. Keep talking. And we’ve got Robbie with hail. What’s everybody reading? Being reading lately? We’ve already gone through that one, but thanks for, oh, we’ve got that, the Hive of the Albino Grub. I’ve got my one two. I haven’t read it yet though. Oh, with some bland, have you read those s or are you just collecting them? I

Shane ‘Sizzle’ Syddall (39:50):
Thanks S I’ll be reading over the weekend or Monday.

Adam Gillespie (40:05):
I’ve made some really good Australian comics recently as well. I read eventually Everything Connects by Sarah Firth, which is a really good series of essays. Fantastic art, fantastic art, and really, really thought provoking stuff. And Mandy Odds Most Recent Collection Bulk Nuts. Yeah, that’s such a good book. That one I really enjoyed that Bulk Nuts was great too. Mandy’s one of my favourite artists. I love her Inky Black, inky style, it’s really great. And I read in Utero by Chris Gooch, which was great. Great sort of, it’s existential sci-fi horror. It’s really, really good. Really good. Published by top shelf and a bigger profile than his previous books published by them. So the art, it’s really big. It’s really great.

Shane ‘Sizzle’ Syddall (41:14):
Cool.

Adam Gillespie (41:15):
Really enjoyed all of those. Would recommend all three of those books.

Ed Kearsley (41:22):
There you go. Is anyone in the chat? I was, oh sorry. Go on. Does anyone in the chat read anything they want to recommend real quick while we’re doing stuff? Yeah, go ahead.

Adam Gillespie (41:52):
I was just going to say I was lucky enough, Chris Gooch provided the pull quote for the back of Coy, which was really a really lovely quote that he provided. And then Jeff Flir, who was one of my favourite cartoonists, did the pull quote for in utero. So I like now I’m basically best friends with Jeff LaMere. It’s just how it works.

Ed Kearsley (42:20):
It’s true. We got a Thanks Adam from Robbie. He will from now on, be known as Adams Andrew Law, which Blade issued too was a good read. Oh yeah, there’s a new witch blade. Well, it’s good that it’s good. Can we get a look at how Adam’s drawings going? Nice. You’re going to add a background in on the computer?

Adam Gillespie (43:18):
Yeah, my big, I would normally do a combination of big fat, black texture and white marker for space scenes, which is how I did koi. But my big fat black marker has run out of ink. So I’ll do it, I’ll do it digitally. I’ll fill it with the bucket tool, my favourite tool. It’s the

Ed Kearsley (43:48):
Best

Jonathan Saunders (43:49):
When it works.

Adam Gillespie (43:50):
And add some stars in there. Yeah,

Jonathan Saunders (43:53):
Yeah. Just realise, yeah, it’s some space. So that’s going to be fun to get that contrast. Not lose the details, but still have it look spacey and black.

Shane ‘Sizzle’ Syddall (44:12):
Yeah. Plus the bucket tool is the bomb.

Ed Kearsley (44:22):
We got Dave dies. I just finished mycelium Complex three. Very nice. I need to get that one. How long have you been drawing comics for Adam? I

Adam Gillespie (45:11):
Recently, since about 20 17, 20 16. Prior to that, since before I can remember, I took a very long break. Someone that I’m sure cared for me very deeply once said to me, I’m paraphrasing because I can’t remember his exact words, but you’re never going to make a living as an artist, so you should just give it up because you’re not very good and you’re not going to make a living and you should go and do something that you actually, and this is a conversation that so many creative people have had with parents. And

Ed Kearsley (46:01):
I was going to say, was my dad talking to you?

Adam Gillespie (46:06):
But silly me, I really took it to heart and I just sort of gave up and didn’t draw for years. I dropped out of art school that was in 2000 and outside of the Odd Doodle didn’t really do anything until 2016 when I illustrated a role playing game for a friend who talked me into it. So that sort of got me back on the drawing train. And then I found out there was a drawing, like a social comic book club here in Adelaide called Comics with Friends and Strangers. And I just sort of went along to my first meeting, met a whole bunch of fantastic people who I count amongst my friends now, including Shaden. And yeah, when you’re amongst so many other people who have got the bug for drawing comics, that’s infectious. Especially when you already loved it when you were younger and still love it. So yeah, I started seriously filling my spare time with just comic drawing in around 2017 and have done heaps of zines and a few published comics since then. So

Ed Kearsley (47:41):
That’s awesome.

Ed Kearsley (47:42):
Yeah, I,

Ed Kearsley (47:44):
We’ve got some more comments here. Nick May’s Red, some Dave Dial, Chaka, Stu Thornton and Anna Blyton. I’d be interested to see Ena Blyton’s new comic and Nick May again, whether I love that advice, gave it to myself and Andrew Law, you’re never going to make living from making art, so you might as well make comics then.

Ed Kearsley (48:11):
That’s it.

Ed Kearsley (48:12):
Yeah. They’re guaranteed to never make any money if you start making comics. Your panel’s looking really good there, Jonathan.

Jonathan Saunders (48:36):
Oh, thank you. Yeah, I always feel,

(48:40)
As I said, it’s always a rush, a rush to get something out fast looking good, but I think that’s really good exercise as well, because I think one of the bad things about digital art is that unlike physical media, you can do this and get really into the details. Then once you finish zoom out, it’s like, oh, okay, I just wasted all that time for something that you’re not really going to see and of the fact that’s going to make things messy. So doing things quick and fast and just on the seat of your pants is always, I think, a good exercise. Any aspiring comic creator should give that a go and don’t be afraid of making everything look perfect, even though the first zero point comic is issue zero that we call now is still sells a lot. I personally can’t stand to look at it because to me the art looks like garbage, but other people like it. And ironically, I love seeing my favourite artists where they started out in their art journey. So yeah, as I said, don’t be afraid of falling into the trap of saying, oh, I want to make a comic or animation, but I’m not ready or My skills aren’t good enough. You get good skills by doing it.

Ed Kearsley (50:26):
Everything just said is true. Loving getting the spanner. Yeah,

Jonathan Saunders (50:34):
Yeah, because I saw that in Adam’s work and I just like, oh, that’ll be a nice bit of continuity there.

Ed Kearsley (50:45):
Got Jeffrey Gday legends. I’ll watch the repeat tomorrow. Thanks for dropping in. When I first started using Clip Studio to draw actual comic books, the amount of times they zoomed right into something to get all this detail in and then when you see it printed and it’s just gone, it’s just turned into grey. Yeah. Yeah. That’s it. All the little stuff. So you spend days and days during this one thing and then no one ever sees it.

Jonathan Saunders (51:30):
Yeah, yeah, no, I remember falling into that trap when I first got Click Studio. As I said, it’s still a great programme and yeah, it’s probably, I think I’m using it more for animation as well, just because I’m so used to drawing of it, doing comics and things that, yeah, just carrying it over to animation to me seems like the next best step do that.

Ed Kearsley (52:09):
Got a comment from Shawnee. So yeah, I’m trying to work on not worrying about how much skill I like and do the work and starting to have fun again. Well that’s

Jonathan Saunders (52:21):
Good. That’s it. That’s the main thing. As long as you’re having fun,

Ed Kearsley (52:26):
And I’ll just show you this again because it’s our favourite thing that Shay made. Just to show you. Shay doesn’t like skill.

Jonathan Saunders (52:34):
Oh, nice.

Adam Gillespie (52:38):
That’s fantastic.

Ed Kearsley (52:40):
That’s awesome. It’s the best. Let it play through once more.

Adam Gillespie (53:00):
I could totally hear an eight bit soundtrack in my head watching that.

Ed Kearsley (53:20):
Oh, here

Jonathan Saunders (53:25):
Now. Trying to find a sheet to do the stars. I’m just trying to think. Oh, here, we go’s free. You can do sheets like

Ed Kearsley (53:50):
This. Yeah, that’s how I did it. I got a blushing face emoji from Shawnee. So we’re getting to that time of the show where you guys sending your work in progress to cs, and then I’ll mock up the page and we’ll get a look at what it’s going to look like when you guys have done all the fine details in later.

Shane ‘Sizzle’ Syddall (54:55):
If it’s easier, just send it to my Messenger.

Ed Kearsley (55:04):
And while you guys do that, I’ll get the comics shop thing open and then we can have a look. We’ll go present, share screen, and then we go, there’s some new stuff, some bristle mouth. There’s says Super Humanity thats looked at on the last episode of

Jonathan Saunders (55:43):
Oh yes, yeah, yeah. I did the story for, I forgot the same now. Yeah, because I was a writer on the Super Australians book. I’ve forgotten the hero I wrote

Ed Kearsley (56:06):
It gets,

Jonathan Saunders (56:07):
Yeah, yeah. The guy, the parasite powers.

Ed Kearsley (56:23):
So if you want to support the comics shows and all the artists and stuff that are on Drink and draw and let’s make a comic book, this is a great place to go and it helps support the cost of actually putting these shoes on and hosting the websites and all that other stuff. You got the new poo.

Adam Gillespie (57:00):
This is so cool. I remember going into the news agent when I was a kid and there being four Australian comics on offer and now so many cool comics by so many cool creators.

Ed Kearsley (57:18):
That’s a good time.

Shane ‘Sizzle’ Syddall (57:24):
Just over 130 titles to be exact. Wow.

Ed Kearsley (57:28):
So yeah, just nuts.

Shane ‘Sizzle’ Syddall (57:57):
Are we okay Jonathan?

Jonathan Saunders (57:59):
Yep. Just yeah, just putting the final touches, so I’ll just send that now. Okay, cool. Thanks. Just that I checked. Yeah, yeah. Now I was just trying to remember how to do this kind of technique I saw. Yeah, I’ll just send it now, just turn my screen off so that way people don’t see my file structure. And also that’s it. And I did this all, as I say at Raw dogging, I didn’t save or have the saved at all, so good thing my clip studio A didn’t crash.

Ed Kearsley (58:47):
Well that one looks cool.

Ed Kearsley (59:01):
There’s Jonathan’s name,

Jonathan Saunders (59:03):
That’s it. Yeah, so that was great fun. As I said, Chris reached out to me years ago and had a lot of fun. Yeah. So the character I did is the guy on the right hand. Right. Wait, it be out left, it’ll be my right. And the character’s left, but it’s got the big giant hands on the shoulder. But yeah, that was a lot of fun doing that with the blue jacket. That’s it. Alright, so just give me a moment and I’ll send through that

Ed Kearsley (01:00:07):
Just says, is it true that you’ve read every single issue that’s in the comic store?

Shane ‘Sizzle’ Syddall (01:00:15):
Does skim count as reading?

Ed Kearsley (01:00:18):
No.

Shane ‘Sizzle’ Syddall (01:00:20):
No. Well, in that case, no.

Ed Kearsley (01:00:32):
Did we get S General

Jonathan Saunders (01:00:33):
Yet? Yeah, I just sent it now.

Ed Kearsley (01:00:36):
Yeah, just got it in. Yeah. Detective Bgy is great. So I’ll stop sharing my screen and wreck everything. Nope, there you go. And I will turn this off. So I’m going to build the page. Well Ssars muted so you guys will have to talk about something. Oh, SS is going to show you some stuff. There you go. So there’s Adam’s Instagram. Tell us about all the stuff we’re seeing there. Adam,

Adam Gillespie (01:01:23):
I don’t post very often these days, so some of that has been a while ago. Some fan art, Superman fan art. There’s some drink and draws in there and sometimes I just share old stuff if I come across it in my phone like that, Dick Tracy, I think I shared it when Dick Tracy was on the drink and draw. But I did that as part of a June tune challenge years ago, modelled after the sixties cartoon. So a lot of, a few pages from CIC lives and some re-shares from older Art rock and roll fairies. That was a fun book. This one. That one you were just circling. Those two guys sitting on the park bench, they their comic characters that my mate Colin and I created in maths class in year nine. Instead of doing maths, I want to say loosely based on Tank Girl, but pretty much wholesale ripped off of Tank Girl, it’s Scooter Boy and his mate Duck Boy. And this was an updated middle aged version of them and some paintings been getting back into painting, hadn’t painted for a few years, so it was just sort of trying to have some fun with it, play around with the canvas and the paints. My daughter and I like to have Painting Day where we set ourselves up in a room and just paint whatever takes our fancy, whether it be a landscape or James L. Jones, something like that.

Shane ‘Sizzle’ Syddall (01:03:47):
That’s cool. We’ll jump over to Jonathan’s now.

Jonathan Saunders (01:03:51):
That’s it. Oh, awesome. Yeah, so lately I’ve been, one of the things I miss about when I’m working in a comic, just focus on the comic. And one thing I like doing is doing studies and just brushing up on my anatomy. So a lot of these, if you click them, they’re videos of the animation. Animation short I’m working on, it’s not going to trigger any copyright thing. I think I like, what’s that artist called? He does like that famous, you’re a Strange Girl song that’s used in all the American psycho memes so that some of those videos have that as a background music. But yeah,

(01:04:39)
So if you click, oh yeah, if you click the one that says Ink of Shadow, that would just show you my process. So when I do an animation, I do the storyboard, rough animation tie downs. And then again, I’m still deciding if I’m going to use clip studio paint to do the finishing for the whole thing, or if I’m going to just do it in tune boom, which I did my last zero point short in. But yeah, that’s just a nice breakdown of the process. Cool. Yeah. And that one there would, oh yeah, it’s funny. Doing any type of walking or running animation is the hardest thing you can do. Oh yeah, click that one.

(01:05:28)
It’s there. That took me a couple days to do that. And of course, yeah. And of course because it’s got all that gear on, you have to make sure that because coming to the camera, so you’ve got to keep that all in perspective and making sure that looks right and that still looks good. And one of the things when you do an animation is to be aware of the line work and weight is important, but I think people will tend to notice if your volumes of the figures are fluctuating more than if there’s a bit of line frying, as they call it with a line is moving a bit because obviously you can’t draw the same line twice more studies. And that 0.1 in the middle is a test where I did kind of trying to emulate what I’ll do in tune boom harmony. Oh yeah, this is a fun one. It’s like a first person hand-drawn perspective shot.

Ed Kearsley (01:06:38):
Wow,

Jonathan Saunders (01:06:39):
That’s awesome. Yeah. So again, that’s all Bill 3D, I didn’t copy that off like three B, I bought it. Oh yeah. And then you got a fun one of, again, the latest pages from the last zero point I did the final volume and yeah, you got some fan art, transformer fan art on the left there. Left of wind commander of, because again, I want to, that there is based off the kids guys my age. Remember there was a European exclusive line of transformers in the early nineties called the Turbo Masters. So that’s boss. And then obviously just page from Zero Points Origins part four where Magnus finally meets Kyle. And yeah, as I said, this is all stuff from my comic zero point Origins, which you can get on wild north comics.com.

Ed Kearsley (01:07:51):
Cool. All right, let’s have a look at the page and here we go. So we’ve got Adams, I’ll find my mouse. There he is. Excuse me, we’ve got Adams panel. Sorry about that. My leg need to reach it. And let’s have a look at the nice leg detail there for Nick. And then we got the craziness of Jonathan’s panel.

Jonathan Saunders (01:08:40):
Yeah, I just sent another one. I forgot it didn’t turn off the perspective grid.

Ed Kearsley (01:08:46):
That’s okay. And you got the UFO. That looks really cool. I like the panels on the UFO. I like the detail on the ring too. You got the little holders holding the diamond in. We’ve got some more leg action and then we’ve got the dither ring to show you where the bits he’s getting tractor beamed in.

Jonathan Saunders (01:09:11):
Yeah, I stole that from a terminal catcher hero in Akira, the manga. You’ll do that to show light where you put, do that with the tone just to kind show that there’s light there or in this really crazy background shots, you do it to actually emulate the fog effect you get from seeing something in the distance, which I love those kind of techniques that were invented during those analogue. The analogue because of making comics nowadays, you can just put make an opaque layer or something, but back then the guys had to figure out how to do it with ink and paper and do tones.

Ed Kearsley (01:09:57):
Yeah, screen tones.

Jonathan Saunders (01:09:58):
That’s it.

Ed Kearsley (01:09:59):
We’ve got love the double line on the outlines, Adam, there’s a nice halo around everyone.

Ed Kearsley (01:10:05):
Thank you.

Ed Kearsley (01:10:08):
The page well done.

Ed Kearsley (01:10:11):
Awesome.

Adam Gillespie (01:10:14):
Just helps keep the important part of the page separate from the space I find.

Ed Kearsley (01:10:29):
And both well done. What’s the detail for such a short time, which is true. And that will do us for tonight, thanks to today and everyone who commented and thanks to Adam and Jonathan for coming on tonight and drawing such awesome panels.

Jonathan Saunders (01:10:51):
Always a pleasure.

Ed Kearsley (01:10:53):
And thanks to Siz for almost being muted with his rookie voice. Yeah, thanks to everyone that watched and commented and to Jeffrey who’s going to watch it later and everyone else who’s going to watch it later, we don’t want it to be over. I think that’ll do us for tonight. So if you want to play us out, says we’ll get going. Thanks everyone and see you.