Imaginary San Diego Comic Con

On Monday, we go to the airport in the middle of the afternoon, as most international flights leave at night. So, it's rush hour traffic for close to an hour to get to the airport.
We get there three hours before the flight. We don't like to take chances. We already lost a flight at LAX back to Brazil (or Houston or Dallas or Panama, I don't remember where the first layover was). We almost lost our flight to Angola, and had to carry our baggage with us inside the plane because check-in was already closed for twenty minutes. We eat some crappy airport food, because it's going to be around midnight by the time the flight attendants bring dinner to the passengers, and by that time we'll be starving even if we did eat at the airport, and the airport food will be as crappy as the one we had close to the gate.
We always bring something to read on the plane, and we might read a little of it, but inevitably we'll choose a movie, preferably a movie both of us have not seen (usually a super hero movie), and watch it while we eat the plane dinner. After the movie, we'll try to get some sleep, but if we struggle to find our way to slumberland, we'll choose another movie. Sometimes we can finish this second movie after we wake up at the crack of dawn when the flight attendants serve breakfast.
And then we land on Houston. Usually Houston, anyway. There are no straight flights from Brazil to San Diego, and we usually get better deals on our tickets going through Houston. We usually meet other brazilians on the same flight, also going to Comic Con. Once we met all of Jeff Smith's Cartoon Books crew coming from Columbus, meeting up with Terry Moore's Abstract Studio's crew on the gate so they could all go to San Diego together (Jeff and Terry weren't there, it was just their entourages).
We arrive in San Diego before lunch, sometimes just after regular breakfast hours in California, and we go to our hotel. We could easily have a second breakfast, but we try to remind ourselves we're not Hobbits.
It's Tuesday on the A.M, and we check in at the hotel.

Now what?
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Tuesday is our free-pre-con-day, so we can take it easy and recover from the jet lag. With the four hour difference from São Paulo time, it's very easy to get up early in the morning while in San Diego, even with little sleep the night before, but we need this first day to be low key because our trip is long and before 10 pm on Tuesday we're already dead tired. We usually meet some friends for an early dinner (we're not the only international artists that arrive one day early to recover from jet lag, so there's always someone about, and our friends who work at many of the publishers arrive earlier to set up the publisher's booth on Mondays and Tuesdays), have some drinks at the hotel bar and crash at the room early.
Wednesday is when our job begins.
Before Comic Con became this crazy giant thing, we did all sorts of different things on Tuesdays. For some years, staying at the Hostel, we would hang around with foreigners from all over the world who came to San Diego because of the beaches and the weather. We would have to explain to them that we were there for this comic book convention that happened around the corner (the Hostel is right there on Fifth Avenue at the Gaslamp District), and the ones we managed to leave curious would say over the course of that week that one day they decided to try out that Comic Con thing, went there and bought tickets right then and there and got in. They had fun.
We, too, went to the beach some years on Tuesdays. When we started going, Shane (Amaya, who wrote Roland and lived in Santa Barbara at the time and would drive down to San Diego) would drive us to the nice beaches and we would admire giant American biquinis and think about Brazilian biquinis instead. Back then, we would go back to that part of town even at night, after our Comic Con days, to try our luck on Pacific Beach bars, karaoke and pool included. Once, I don't know how, we ended up on a rooftop party of some local indy cartoonists.

All that, and it was only Tuesday.

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You can read here the announcement of the Hellboy Winter Special 2018. We're back at Mike Mignola's backyard for a little while, writing and drawing a short story revisiting the B.P.R.D Vampire world (don't know B.P.R.D Vampire? It well be reprinted soon). Mignola did a knock-out cover for this issue, and we both did variant covers. With two other stories in this comic (one by the uber-talented Tonci Zonjic), it should be a fun read. Maybe a little scary, but fun.
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We don't want to wake up too early on Wednesday, but the jet lag is still on full swing so we can't help it. Bá will probably hit the gym, and I'll try to join him (at least this early in the week). We have a quiet breakfast, probably our only meal for the rest of the week which isn't also some sort of meeting. I'm probably finishing a drawing I'm going to hide later as part of my Moon Art Hunt game. I'll consider going to the hotel pool for a swim (I prefer the Hyatt when it comes to a suitable pool for swimming). At lunch, we'll probably have our first meet-up, usually with our brazilians friends. This year, we would go meet Rafael Albuquerque, who's a guest of the convention and has just released a beautiful adaptation of Neil Gaiman's A Study in Emerald (with Rafael Scavone and Dave Stewart). A talented Brazilian artist going to San Diego for the first time this year is Eduardo Medeiros. It will be good for him (and for the comics' world) to widen his horizons and experience a little bit of the craziness of SDCC.
This will be a long lunch, with drinks, that will last as long as it takes for the line of people waiting to get their badges to get smaller (the Brazilian posse won't mind spending an afternoon drinking). Then we'll go get our badges so we can get in for a light, commitment-free preview night. If there's some book I really want and made a mental note to track down during SDCC, I try to find it on Wednesday, because I might forget during the week, and if I don't, by the time I go back there it might have already be sold out . Last year, I stopped at the beginning of the con at the Fantagraphics booth and got some books they had published, and forgot to get the new Jason book. I went back on Sunday, and it was all gone.

Saying hi to Terry Moore and Jeff Smith is usually part of our preview night.

Wednesday is still preview night, so it isn't so crazy to find places to have dinner. We usually choose as we walk around the Gaslamp, depending on who we're meeting for dinner. Still, it's a relaxing dinner with friends. The calm before the storm.

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From Thursday on, the con game is on. After a breakfast meeting with one of our publishers, we usually have a signing. If we don't, it's my first chance to hide a drawing and start posting pictures online and giving people clues so they can find it.
Lunch is also a meeting, probably with a foreign publisher. Our foreigner publishers from France (Urban Comics) and Italy (Bao) usually go to San Diego. In fact, we met both of them in San Diego years ago, before they were our publishers, and now, besides being our publishers, I think of them as friends.
Signings await in the afternoon, and we also usually stop at the Comic Book Legal Defence Fund (CBLDF) booth to leave the original art we brought for the art auction on Saturday. Their booth is near the DC comics booth, on the way to the Drawn & Quarterly booth. Alex Cox will probably have a lot to say about their relocation to Portland, and if he doesn't, I'll simply ask. I'm curious.

We leave the artwork  personally on the first day because we are not mailing it from Brazil in advance, and because we know they'll display all the artwork they got on Thursday night at the party so people can get a good look of what is available and get excited about the auction.

Thursday night, the rooftop CBLDF Welcome Party at the Westgate Hotel is the party to go. It's traditional, and in this modern day of Entertainment World takeover, it's your better chance to hang out with the cartoonists you know and/or admire. And to meet new ones. It was at a CBLDF party that Bá and I saw Neil Gaiman for the first time, relaxing in a hallway before he had to go back inside to read something for everyone to enjoy. It was at a CBLDF party that we hung out next to Frank Miller in an outside balcony while he smoked a cigarette and talked passionately about comics, standing tall in his red Converse sneakers. This party has always been about the shared love for comics, and about the people who love them: the fans and the creators, interacting together and having a good time.

Maybe we'll have energy to go to a second party, probably with Sierra, and probably at the Bayfront. The Boom Studios crew have good parties at the Bayfront bar. If all goes right, the night might end in pizza in the lobby.

(the Bayfront bar has a brazilian bartender who makes some great caipirinhas)

Friday begins with another breakfast meeting. Maybe with someone from Vertigo/DC to talk about the Absolute edition of Daytripper and decide what sort of extra material would be fun to put in this oversided deluxe edition. Maybe to talk about something else.

(See, the same way I forgot to mention that every morning before breakfast, we'll try to go to the hotel gym, in real life we'll also probably forget to go to the hotel gym before breakfast)

After the Hall-H celebration of Dr. Horrible's Sing Along Reunion (which I'm not going, as I have never been to Hall-H in my life), I would probably stop at the Dark Horse booth at 12pm to get some of the posters they'll give away, because I think they turned out pretty nice (hint: I did the artwork).

During the week, we usually have a signing at the Dark Horse booth, next to a panel or announcement we're involved. After the panel, Dark Horse normally sets up interviews from media outlets.

Lunch meeting, but all day on Friday we're thinking about the Eisner Awards later that night at the Bayfront Ballroom. I hide another drawing across town, and we're thinking about the Eisners. I meet some friends for drinks around six and I try not to think about the Eisners. If these friends happen to be Skottie Young or Jason Latour, their jokes alone will keep me busy laughing and I'll forget everything. I'm still going to the Eisners afterwards.

Mainly because of the Umbrella Academy Netflix show, Bá got an invitation for the Universal party. The Umbrella crew is still shooting in Toronto, so I don't think we'll be able to make it this year.

We arrive at the Bayfront, where they're presenting the Eisners. Every awards ceremony is boring, I know. Still, we like the Eisners. We like to see people get happy about how other people love what they do enough to vote for them. We like the celebratory aspect of it. We miss that the ceremony doesn't have a keynote speech anymore, or a keynote speaker. We heard some earth-shattering-life-changing speeches at previous Eisner awards that motivated us, and still do, to try harder, and do more, and to do it better.

There's some drinking after the awards are all delivered at the Bayfront, and then we'll probably head back to the Hyatt bar and catch up with our gang of idiots. The convention night scene is definitely more spread out nowadays, to all sorts of places and hotels and bars, but there are a bunch of us comics' folk who still hang out the the Hyatt bar.

There's a panel on Saturday I can't help but think we would be in if we were there. We're usually invited to those kind of Dark Horse panels. Here's the description:

3:00-4:00 PM:  Artists Who Write: The Craft and Creation of Comics (Room: 7AB)
Whether it's a superhero adventure, a colorful fantasy world, an ultra-violent crime noir, or a new take on an old classic, creators put a lot of thought into the sequential art that drives stories told in comics. Join an all-star lineup of Dark Horse creators including Frank Miller (Xerxes: The Fall of the House of Darius and the Rise of Alexander, Sin City), Dave Gibbons (The Originals, The Life and Times of Martha Washington in the Twenty-First Century), Joëlle Jones (Lady Killer), Wendy Pini (ElfQuest), and Rafael Albuquerque (EI8HT) as they discuss turning an idea into a full-fledged story and how they continue to keep their writing fresh.
I would be interested to be there just to listen to Frank Miller and Dave Gibbons talk, but Albuquerque and Joëlle are so talented that it's no surprise they've reached the success they have, and I also want to hear they talk about how they got there.

Saturday is the big hollywood day. It's crazy. It's fuller. We usually hide in the green room for lunch.  If I haven't run into Joss Whedon up until this point at a hotel bar (I like that he started going to Comic Con again after two giant Avenger movies), then on Saturday he's easier to bump into, relaxing and having a good time. We stop by Mike Mignola's booth to make sure we say goodbye to him, as he doesn't do Sundays anymore. Close by, we might try to walk around artists' alley for a bit, but nothing sticks out. A lot of crazy talented creators with original art, prints and commission lists. People who sells books usually have booths on the other side of the convention floor, where we used to have our booth, and we have always been book people. We make comics so people can read them.

For the past few years, we have tried to have at least one signing at the CBLDF booth as well, where they have a great selection of our work from all publishers we work with. You'll find there (signed) copies of Daytripper, Casanova, Umbrella Academy, Two Brothers, How to Talk To Girls at Parties (with a special signed bookplate) and much more.

At the end of the day, the CBLDF live art auction will take place at the Bayfront, on the Sapphire AB room, starting at 8 PM, where you'll be able to bid for some amazing original art from your favourite creator. There are some pretty neat Frank Miller, Jeff Smith and Howard Chaikin originals being offered, among many other incredible pieces of art.

The night is full of wonders. We have a much better time at dinner, usually catching up with old friends. For the past few years, this has been editor's dinner for us, so to speak. Bob Schreck, Diana Schutz, Karen Berger, Sierra Hahn, Pornsak Pichetshote, all great editors, dear friends, and during the craziness of Comic Con, we catch up with them, and they catch up with us, and we start our night just right. We met some great cartoonists while on those dinners, which always involved big tables and lots of people. I'm pretty sure I met Scott Morse and Jim Mahfood in one of those dinners with Bob. I met Eduardo Barreto in a dinner with Diana (actually, Eduardo Barreto comes from Uruguay, and was the very first "international" comic book artist I met when he went to São Paulo for a book fair to promote his Batman book, and I was around 13). I met Jeff Lemire in a dinner with Karen. I met John Cassaday in a dinner with Sierra.
Saturday is the night that never ends, no matter if California law says otherwise, and we all meet up at some point after the Hyatt bar closes. The backsteps crew doesn't disappoint. (Will Dennis always has our backs, fellas). One of the recent topics I ask my friends is when are they coming to Brazil, as the Brazilian convention, Comic Con Experience (CCXP), as well as the Brazilian audience, would welcome them with open arms (I'm trying to convince myself the reason I didn't get Skottie Young to come last year was because, on a very energetic Saturday night, I didn't agree to go have matching tattoos made the following Sunday – he got an amazing Alfred Newman).

The spotlight panel on Rafael Albuquerque is at 10 AM (room 24 ABC) on Sunday morning. We'll need breakfast before going to the panel. I'm not sure Albuquerque will wake up in time to get anything to eat, but at least he's a special guest of the convention and there will be people who will go to his hotel room and make sure he attends his own panel. (the convention organisers have a volunteer who speaks Portuguese, who took care of me when I was a guest in 2009. He was taking care of Eduardo Risso last year. I bet he'll take care of Albuquerque).
 
​Our last stop of the Con is the Dead Dog Party, organised by Bob Chapman and the Grapphitti Design crew. Every friend we didn't have a chance to talk to during the convention will stop by, have a few drinks, have a few laughs.

Things start to die out earlier on Sunday, like the magic pixie dust starting to wear off. The Hyatt bar is still open, and some other friends are there. It might close soon, tho, and so we'll cross the street and stop by the Lion's Share.

When will we ever go to sleep?

Probably on the flight back home, the next day, and for the entire following week.
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Maybe now it's a good time to say Bá and I didn’t go to San Diego this year. We have been going since 1997 every year. We didn't go in 2013 to focus on work (making Two Brothers, specifically), and I went alone in 2014 (Bá was still drawing Two Brothers) to negotiate which publisher would publish the book in the US. Aside from that, we've been there every year. It's our safe port in the american market, where we know our way around, where we see our friends.
This is one of those years where we decided to focus on work. And, like those years, we did miss San Diego greatly throughout the week.

I recommend the experience. I still think it's a special show. You don't have to go 20 times.
But do it at least once.

TWO BROTHERS at the Eisner Awards

We still have a hard time believing it, but it did happen. And we have it on video now.


Thanks to all of you.

SDCC 2016 - Thank you, Darwyn.

We publish comics in the U.S. since 1999, first work with a publisher was in 2003 things started to hit off only in 2006, but we still live in Brazil and that keeps us distant from the market. The upside is that we don't get influence by trends, imediata statistics or business gossip. We do our work isolated in the safety of our studio. The downside is that we don't have direct contact with the readers and retailers. We throw our books into the ocean hoping they'll find the reader. Throughout all these years, San Diego Comic Con International has been the moment we have to connect with the market, the editors, artists and readers. We've been going since 1997, and this trip serves to recharge our batteries and fuel another year of production.
The convention has changed a lot since we started going, but it's still a unique experience and the best portrait of the North American market in every sphere, from the indy artists with their first mini-comic, to the Small Press area filled with tiny publishers you've never heard of, to alternative oasis like Drawn & Quarterly and Fantagraphics, going through book publishers having their go on comics like Penguin and Scholastic and First Second, finally getting to Marvel, DC, Dark Horse, Image, as well as "younger" companies like IDW or Boom Studios. Besides, there're many artists and writers scattered around on tables, signing sessions and panels. Yes, Hollywood has taken a gigantic space on the Con – physical space as much as the attention of the media and the public –, but if you're going there for the comics, you're still gonna have the best experience of your life.



We shared tables on small press area and booths on the main floor for years, but since 2012 we don't have a table anymore, a place to stay for the whole day selling our books. This year we had one signing every day and a couple of panels, giving us all the time in the world to walk around, enjoy the show and rest. We miss the close contact with the readers that having a table allowed us, but it was great to do things calmly and really enjoy our days. With such a big demand and a 7 years waiting list, I'd say it's rather unlikely we'll have a table in SDCC again.
But our signing sessions were awesome, full of old and new readers, known faces, people who we connect only by social media, who comment, share and like the smoke signals we send throughout the year, from afar. During these moments of brief interaction, we could have a glimpse of the the readers' reaction about TWO BROTHERS, released last October, and also about our new book, HOW TO TALK TO GIRLS AT PARTIES, released last month. With two recent books, readers had a lot to talk about.
Between parties and dinners, one of the highlights of SDCC is the Eisner Awards Ceremony Friday night. Long and boring like any other award ceremony, the Eisner is, however, a moment to stop and celebrate Comics, the creators and the work. We're ALL isolated in our studios, separated by miles, continents and oceans, but right there we're all together, with all our attention on the art. Throughout the night you'll discover works you didn't know, see some comics that had not caught your attention earlier with new and fresh eyes, and get to know a little closer artists whose work you appreciate for years. Over the weekend, you can walk the convention floor looking for the winners. All of them will be there, waiting for you.
Once more, we were.






Over the course of twenty years, we met a lot of people in Comics. We've seen our idols become our friends and some of our friends turning into professionals. SDCC is also a big reunion, a big party.
This year's edition was one of the best SDCC for us, for all the reasons described above, but specially for bringing a deeper feeling of recognition. We're always trying new things, every new project is different from the last, and every year we meet new artists and new works that inspire us and push us to keep innovating and believing there's still a lot to be done in Comics. One of these artists, whom we've met personally in 2008, was Darwyn Cooke. He showed us with his “Parker” series that it was possible to make an good adaptation, keeping his own voice while doing it and blowing the readers' minds. This was the work that convinced us it was possible to adapt Two Brothers. He showed us (and everybody else) an adaptation can be relevant, feel original and look amazing. Throughout the years, his work would guide us, and I hope to have achieved just a bit of the prime he's presented us.
Last Friday, in the heat of the moment and nervous as hell, while thanking everyone who helped us making Two Brothers a reality, I forgot the most obvious and important person of all. Without Darwyn Cooke, our book wouldn't exist. The Eisner we won is dedicated to him.
 

SDCC - Different is Cool!

For the first time in a while, I looked at the whole upcoming SDCC program, and that reminded me how big the show is. There's a lot going on there. Of course there are loads of TV and movies useless bullshit that drag thousands of people every year to gigantic pitiful lines, but you can find many panels with comics creators and publishers with experience and knowledge to share, with lessons about the craft and great advices to the young artists and writers.
There’s a pattern to be recognised on the panels that jump to my eyes while reading the whole program. First, let’s see a list that I find very interesting, and that I might even go to.

On Thursday there’s a panel called "breaking into comics right now" at 12pm on room 28DE and "Breaking into Comics the Marvel way" at 1pm on room 7AB. At 11am, a "Writing Workshop with Kelly Sue DeConnick" on room 2, and at 3pm, "Writing 101: what to think about before you start writing" with Marv Wolfman on room 30CDE. On the same room, it's followed by "Comic Book Art: making a living doing it", talking about how to price and sell your art, exploit and merchandise it and try to squeeze those dollars out of it. 

At 4pm, on room 28DE, there's the "Delcourt panel", with the French publisher's founder Guy Delcourt. Decades of experience and millions of comics sold every year, it'll be good to learn that there's more to comics than American super-heroes. And while you're discovering new cultures, at 5pm, "Making a living in Manga: Japan creators and editors talk" on room 29AB.

Fábio and I will be on two panels on Thursday. At 1pm on room 2, we'll join "DeConnick and Fraction: Milkfed Criminal Masterminds at work" to talk about all the projects this crazy couple is working on, including Casanova. And at 3pm we'll be at room 23ABC on "Dark Horse Originals: The New Mainstream", talking about our new graphic novel, Two Brothers. 

Wow, and that was just Thursday. 

On Friday at 11am, "Publishers Weekly: The French Comics Invasion" on room 29AB. 

If you want to create comics for kids, you should go to two panels. On Friday at 12:30pm, "GRAPHIX: Beginning, Present and Beyond" on room 24ABC, and on Saturday at 3pm, "Kid's Comics" on room 23 ABC, and 

Friday at 3pm, "Breaking into Comics and Staying in" on room 30ABC and on Saturday at 4pm, "IDW: So, You want to be in comics" on room 4. 

On Sunday, if you still have energy for panels and want to learn a little bit more about digital comics, “Comixology Submit: The Future of Self-Publishing” at 3pm on room 29AB. 

And almost every day there's a cool IMAGE COMICS panel with creators and editors talking about how awesome comics are.

You might have caught the pattern on the panels I’ve picked. They’re all about creating Comics, getting into Comics, different approaches and mind sets. Well, that was my way to prepare you to our panel on Sunday, “Different is Cool”, at 11:15am on room 6DE. 

In the last 20 years, we’ve self-published Comics and we’ve worked with small and big publishers, on tiny to gigantic projects, and we have been living exclusively out of comics for the last eight years. We have been to conventions all around the world (we’re open for invitations for show on Japan and Australia, by the way). The first thing we learn on our first trip to San Diego Comic Con in 1997 just proved to be one of the most valuable once we started going to Comics Conventions and Festivals in other countries. Diversity is the most precious quality the Comics global industry has to offer. Yes, Global Industry, because good creators can come from anywhere in the world, and a good story breaks barriers and travels to distant countries and gets translated to the most exotic languages. 

So I invite you to enjoy the whole show, go to all the panels you can, go to the Eisners ceremony, learn all the things you can, talk to all the people you can, and then come meet us on Sunday on room 6DE, at 11:15am, and let’s talk about how the best way to break into comics and build a career may not be by doing what everyone wants, but by doing what only you can do. And let’s find out what that means.

Umbrella Academy originals at SDCC 2012

San Diego Comic Con International is just around the corner, happening from July 11th to July 15th and, once again, Fábio and I will be there and share a booth with some amazing artist friends: Jill Thompson, Becky Cloonan, Andy Belanger and Rafael Albuquerque, plus the talented Murilo Martins.
We will have our books to sell this year. Umbrella Academy (both volumes), CASANOVA (Luxuria, Gula and the freshly compiled AVARITIA trade), our beloved Daytripper and more. Please stop by to check out any – or all – of the books.
And, as we have done in previous years, we'll have original artwork for sale ate our booth (and some with the nice folks of The Beguiling store over at the Drawn and Quarterly booth, very close to ours). And other pages I'll have are on this link.
Here's a preview of some of the Umbrella Academy pages I'll bring, from the amazing Apocalypse Suite series (click on the image to see a bigger version).


(this last page, page 07 from issue 4, is reserved already).
We'll put more updates before we travel, with signing information, panels, shows, Trickster and everything you need to know to find us on the big, crazy show. It's so close. Again.
See you all soon.

Tr!ckster Cocktail Hour

Bá and I will participate this year again in the awesomeness that is TR!CKSTER. During Comicon in San Diego, while amazing stuff happens inside the convention center, there's just too much going on, and more and more it's easy to lose focus of what you want, what you love and what you're looking for. For these reasons, some amazing folks created a place outside the convention center where you can focus on creators who do their own comics, and where you can learn and discuss how to become a creator yourself talking with some great talented bunch of authors you admire or soon will discover.
This year, TR!CKSTER is promoting an activity called Cocktail Hour, in which one accomplished creator, or a team of creators, will spend one hour with one person who subscribe, to help develop this person's project. As it's put on the website, "YOU will bring a project you're working on and brainstorm, design, chat, troubleshoot, and create alongside one of your favorite working storytellers. Bring a script, an outline, character designs, comic pages, storyboards, screenplay pages, whatever you need, and experience one of the most focused working sessions of your life as you drink and create, together. Time and day to be mutually determined"

Bá will do one cocktail hour, and I will do another.

What does that mean? What can we do with your project? How can we help you?

- Let's say you're an artist with no script. We can look at your artwork and help you with your technique, with your inking or coloring, with your style. We can tell you what publisher your work fits better, and maybe we can even know who to talk to at the publisher. We can give you advice on how to start writing your own stories, and how that can be different than working with other writers. We can give you tips and advice on self-publishing.
- Let's say you're an artist with a script or project. We can look at your script, your story, your project, and help develop it further, see where it can be improved, talk about schedule, talk about craft and how the art and the words work together to tell your story. We can look at your character designs and help out create the look of your story, help you make your art your own.
- Let's say you're a writer with no artist. We can give you advice and tips on how to find artists, we can look at your script and tell which artist or style to look for, maybe we even know somebody who really fits your project. We can help sketch the characters, think about covers, design, how to package your story to propose your project to a publisher, and what publisher does the kind of books you want to make. We can go over your script and polish it, maybe tell you what artists like to see in a script and what doesn't help the artist to understand what that scene/panel is about, we can help you break down a scene in panels and pages.


If I got yourself interested in learning while helping out TR!CKSTER, go to the TR!CKSTER indiegogo page and subscribe to one one hour of intensive learning. It will be tons of fun, guaranteed. There are other amazing artists offering the same Cocktail Hour workshop, so maybe you can also have an amazing time with Jill Thompson and her storytelling and watercolor skills, or you can get expressive, cartoony and funny with Scott C (just to name two), it's your call. While you're checking the link, see all the other ways you can get fun stuff and help maintaining this amazing creator friendly space, buying prints and books.
Let's all meet up at TR!CKSTER and celebrate the art and love of making comics.

There and back again.

Home. Here we are, and we're safe, and we're happy.

And busy. We've been busy for a long time. We were very busy during the convention, as we were on previous years (maybe more), and being busy is a good sign, is a sign we're working, we're building something that hopefully will stand the test of time as worth of the reader's time. We work because we feel this need to tell stories, and being busy is a way of knowing that stories are being told. This year, above all, I felt that not only stories were being told, they were being read as well.



We work our best, but the job is only done when we find our readers, when they do their part, when they get the books and read the stories. Maybe they'll like it, maybe they won't. Every year, as we work more, I think it becomes easier to find our stuff and to read our stories. Having a body of work certainly makes it easier to be seen in this sea of artists and that's something most people don't realize. Doing comics is not easy and more often than not there are no overnight successes. It takes a long time, it's a long road, and you have to love it.

We do love it.



I still can't believe we won. It's overwhelming, it's flattering, it's unbelievable and, at the same time, undeniable. I remember well that, during the ceremony, I completely forgot to thank anyone, so say anyone's name, or to express my gratitude for these awards. I was holding myself from bursting into tears, I was high of happiness, and I was pumped by my love of Comics.

From that moment on, all I could think of was how bad I wanted to do more comics, and I hope that's the effect these awards have on people: this is it, you won, now get back to work and do it better, do it harder and do it for as long as you can. No words can really say how it feels, or how it felt for me, so I just want to work an keep doing what I love, and what it seems people also love, and have the work be my way of saying thanks.



It's great to belong. It's great to have friends. Nobody is an island, we were not made to be alone, and it's great to find people who can take this great trip along with you, people who share our love for comics, people who also want to do their best, who don't settle, don't give up and they always want to do more, and do it better.

These are great friends to have and I wouldn't have it any other way.

On the plane back, I started drawing. I couldn't help it, I couldn't wait any longer and I just did it, between the first and the second movie on the second and longer leg of my trip, and it was great. It's great to draw, to create and to share. I inked the drawing when I arrived home, 'cause the plane was too shaky. I knew this drawing world need good inking, 'cause these are friends you have to treat well. They're great, and I miss them already.



We have a second PIXU to finish now, and just too much more to list at the end of this narrative, and we just can't wait to get to it. We love comics, and we thank all of you for your tenderness and support.

One day, lotta work! Off to the Comic Con!

Last day of work before leaving for San Diego. We're all set.
- We're gonna sell original pages of Umbrella, Casanova, Sugar Shock;
- We have PIXU!!
- We also have CASANOVA vol.1 softcover, CASANOVA vol. 2 set(issues 8-14), Ursula, Rock'n'Roll, the Eisner nominated 5 and the Eisner nominated De:TALES.

we'll be on booth 2729, from Wednesday 'till Sunday.

We'll be signing at:
Thursday - Dark Horse - Fábio and Bá - 1pm-2pm
Saturday - Dark Horse - Umbrella Academy - 4pm-5:30pm
and at CBLDF at some point.

And now here's a video of my last day of work, penciling 2 and a half pages and inking 5, in order to travel to San Diego in peace.

Original pages at the Comic-Con - first call

So, ever since we started doing high-profile projects as Casanova and Umbrella Academy, from time to time we get emails asking if we sell original pages. Since we live in Brazil and we don't want to deal with international shipping and paypal and stuff (not right now), the only time we actually get to sell our pages is when we go to San Diego for the Comic Con International.

If you're going and you're interested, now is your chance to let us know.

Well, the convention is 2 weeks away and we will be bringing original pages to sell. Next week we'll post a page with all the pages we'll bring (yeah, it's impossible to bring a year's worth of pages of 2 monthly series).

Stay tuned.

PIXU is upon us.

PIXU
2 part mini series
by Becky Cloonan, Vasilis Lolos, Fábio Moon and Gabriel Bá.
special edition, 1000 copies, numbered and signed.

part one will be released on the San Diego Comic Con International. Part two will be out in September.

This is not going to be distributed by Diamond. If you're not going to San Diego and you want to save your copy of PIXU, it will only be available through KHEPRI.COM. They are already taking pre-orders.

PIXU is coming.

PIXU, our new self-published comic, will be ready for San Diego Comic Con, special 1000 copies numbered and signed. The PIXU crew is Becky Cloonan, Vasilis Lolos, Fábio Moon and Gabriel Bá.

It's gonna be a 2 part mini-series and the second one will be out in september.
If you're going to MOCCA this weekend, find Becky at table A69 and find more about our new project.

And If you're not going to San Diego or if you already want to save your copy of PIXU, you can pre-order it at KHEPRI.COM.