frequently asked questions. if your question isn't here, don't hesitate to email me at
mooncalfe at hotmail.com!
- how can i get your books? are they available in [insert place]?
my books are available in pretty much any place with a bookstore or comic store. if they're not already on the shelf, ask the bookstore/comic store staff to order you a copy, and it'll arrive right in the store. my books have ISBN numbers just like every other book, so the store should have no problem getting them, and although sometimes it can be tough getting them through comic shops because the distributor is weird, it can be done! if the employee you talk to says s/he can't order the book, they're either incompetent, lying, or lazy. you can also order any of my books on Amazon.com, Barnesandnoble.com, and most other online book-selling-type stores.
my books are available in pretty much any place with a bookstore or comic store. if they're not already on the shelf, ask the bookstore/comic store staff to order you a copy, and it'll arrive right in the store. my books have ISBN numbers just like every other book, so the store should have no problem getting them, and although sometimes it can be tough getting them through comic shops because the distributor is weird, it can be done! if the employee you talk to says s/he can't order the book, they're either incompetent, lying, or lazy. you can also order any of my books on Amazon.com, Barnesandnoble.com, and most other online book-selling-type stores.
- can i buy your books directly from you?
yes, either direct from me, although i don't have copies of all my books, or at conventions. if you're still unable to get the books online or through your local store, let me know and maybe we can work something out! getting them from me will be a bit more expensive, though, since you'll have to pay for shipping expenses.
yes, either direct from me, although i don't have copies of all my books, or at conventions. if you're still unable to get the books online or through your local store, let me know and maybe we can work something out! getting them from me will be a bit more expensive, though, since you'll have to pay for shipping expenses.
- what is Wet Moon?
Wet Moon is a series of comics i write and draw published by Oni Press. it's a drama/romance/comedy/mystery, sort of teen drama meets Twin Peaks, set in the fictional city of Wet Moon, and features primarily teenage girls and ambiguous supernatural elements in a decompressed, plotless slice-of-life type set up. there are five volumes so far, with the sixth on its way in September 2012!
Wet Moon is a series of comics i write and draw published by Oni Press. it's a drama/romance/comedy/mystery, sort of teen drama meets Twin Peaks, set in the fictional city of Wet Moon, and features primarily teenage girls and ambiguous supernatural elements in a decompressed, plotless slice-of-life type set up. there are five volumes so far, with the sixth on its way in September 2012!
- how many volumes are there going to be of Wet Moon?
there's no set number right now, but i'm estimating around 10.
there's no set number right now, but i'm estimating around 10.
- what is the deal with Wet Moon 6?!
long story short, Wet Moon 6 got delayed by a combination of me wanting more time to develop the story and not rush it, and because my publisher's post-production and scheduling processes were changed which led to a longer turnaround, and finally because Oni's release schedule is jam-packed.
long story short, Wet Moon 6 got delayed by a combination of me wanting more time to develop the story and not rush it, and because my publisher's post-production and scheduling processes were changed which led to a longer turnaround, and finally because Oni's release schedule is jam-packed.
- why did you change your style/what the hell is up with Cleo's eyes?
i did a blog post about this stuff after the initial backlash against Cleo's look and other characters' visual changes on my deviantart journal here. or read this, that sums it up pretty well. i hope you understand where i'm coming from and give the new material a shot even if you don't dig the changes.
i did a blog post about this stuff after the initial backlash against Cleo's look and other characters' visual changes on my deviantart journal here. or read this, that sums it up pretty well. i hope you understand where i'm coming from and give the new material a shot even if you don't dig the changes.
- why does the artwork change in Wet Moon volume 3?
part of the reason: see the above question. the other reason is that during WM volume 3 i had some kind of bad tendonitis in my drawing arm; i had ditched inking interiors because my hand couldn't take it anymore, and i switched to pencil but even that was difficult. pencil isn't as able to get the detail as ink is, and that coupled with my bad arm made the linework kind of loose and shaky. Wet Moon 3 was the hardest book i've ever had to draw!
part of the reason: see the above question. the other reason is that during WM volume 3 i had some kind of bad tendonitis in my drawing arm; i had ditched inking interiors because my hand couldn't take it anymore, and i switched to pencil but even that was difficult. pencil isn't as able to get the detail as ink is, and that coupled with my bad arm made the linework kind of loose and shaky. Wet Moon 3 was the hardest book i've ever had to draw!
- what is Mountain Girl? where can i get it?
Mountain Girl is a series of self-published mini-comics i make that follow the journey of a mystic cannibal warrior girl named Naga as she traverses the frozen landscape of a magical Pangaean Ice Age full of spirits, gods, and boundless evil. there were only 3 issues made plus a paperback book collecting them. i'm currently sold out of the book but i'm hoping to do another printing soon! it can only be obtained through me directly or from me at a convention. the only store that carries them is The Dragon in Guelph, Ontario, Canada.
Mountain Girl is a series of self-published mini-comics i make that follow the journey of a mystic cannibal warrior girl named Naga as she traverses the frozen landscape of a magical Pangaean Ice Age full of spirits, gods, and boundless evil. there were only 3 issues made plus a paperback book collecting them. i'm currently sold out of the book but i'm hoping to do another printing soon! it can only be obtained through me directly or from me at a convention. the only store that carries them is The Dragon in Guelph, Ontario, Canada.
- are you ever going to do another Mountain Girl comic?
i hope so! the self-published series is kaput for now, but i'm planning a graphic novel length standalone Mountain Girl book which i'm super excited about (you can see some early sketches for it in my deviantart gallery). hopefully i'll be able to get to it in the next couple years.
i hope so! the self-published series is kaput for now, but i'm planning a graphic novel length standalone Mountain Girl book which i'm super excited about (you can see some early sketches for it in my deviantart gallery). hopefully i'll be able to get to it in the next couple years.
- what materials/tools do you use?
in terms of traditional media, i use pencil, sumi ink with a brush, ink wash and markers (mostly prismacolor). i also use white acrylic for highlights and sometimes eyeshadow for eye makeup, dirt or bruises. digitally, i use a graphire wacom tablet with Photoshop 6.
in terms of traditional media, i use pencil, sumi ink with a brush, ink wash and markers (mostly prismacolor). i also use white acrylic for highlights and sometimes eyeshadow for eye makeup, dirt or bruises. digitally, i use a graphire wacom tablet with Photoshop 6.
- are your characters real people?
no. some of them have pieces of real people here and there, combined and mixed around, but no specific person was the inspiration for any of them, and i make most of their personalities up from scratch.
no. some of them have pieces of real people here and there, combined and mixed around, but no specific person was the inspiration for any of them, and i make most of their personalities up from scratch.
- are you available for commissions/requests/art trades?
not right now, sorry, but if i decide to take some i'll announce it on my journal(s)! sometimes i'll take on a commission if i can squeeze it in or if the price is right, but it all depends, and i pretty much only do Ninja Turtles commissions.
not right now, sorry, but if i decide to take some i'll announce it on my journal(s)! sometimes i'll take on a commission if i can squeeze it in or if the price is right, but it all depends, and i pretty much only do Ninja Turtles commissions.
- can you draw my comic/can we collaborate?
my schedule is super busy, and i don't usually like working with other writers, so i'm afraid i'll probably have to say no. i'd be happy to take a look at any scripts or proposals you might want to send me, though. email me and i'll give you my mailing address, or you can just email the file to me. it typically takes me a while to get around to reading anything, so please be patient! thanks!
my schedule is super busy, and i don't usually like working with other writers, so i'm afraid i'll probably have to say no. i'd be happy to take a look at any scripts or proposals you might want to send me, though. email me and i'll give you my mailing address, or you can just email the file to me. it typically takes me a while to get around to reading anything, so please be patient! thanks!
- can you draw me/my portrait in your style?
it would be one thing if it was in person/a live model session type of thing, but i'm going to have to say no on this barring certain circumstances; see commission info above. i'm also terrible at getting people's likenesses!
it would be one thing if it was in person/a live model session type of thing, but i'm going to have to say no on this barring certain circumstances; see commission info above. i'm also terrible at getting people's likenesses!
- can i use your stuff for signature tags/tubing/etc.?
sure! aside from the standard artist credit (Ross Campbell, and/or my website, greenoblivion.com, or my deviantart gallery, mooncalfe.deviantart.com), my terms of use are that you don't alter the images' colors, and that you don't add any animation to them. i also would like it if there are no slogans or anything promotional added to them, no text that projects anything onto the characters or promotes or sells something, except if you want to use the characters to promote an agenda or type of activism i agree with, that's a different story, we can talk about it. also, please stay away from using commissioned works like my Exalted pieces for White Wolf, and fanart of existing/licensed characters, such as my Ninja Turtles and Final Fantasy fanart.
sure! aside from the standard artist credit (Ross Campbell, and/or my website, greenoblivion.com, or my deviantart gallery, mooncalfe.deviantart.com), my terms of use are that you don't alter the images' colors, and that you don't add any animation to them. i also would like it if there are no slogans or anything promotional added to them, no text that projects anything onto the characters or promotes or sells something, except if you want to use the characters to promote an agenda or type of activism i agree with, that's a different story, we can talk about it. also, please stay away from using commissioned works like my Exalted pieces for White Wolf, and fanart of existing/licensed characters, such as my Ninja Turtles and Final Fantasy fanart.
- can i make icons from your pictures?
it's cool with me. the same PSP/sig tag terms apply.
it's cool with me. the same PSP/sig tag terms apply.
- can i use your pictures for blog/website layouts?
yep! just be sure to give me visible credit and/or a website link or something. and again, i'd rather the colors weren't changed and again, not using the characters to sell or promote anything without talking to me first.
yep! just be sure to give me visible credit and/or a website link or something. and again, i'd rather the colors weren't changed and again, not using the characters to sell or promote anything without talking to me first.
- how did you/do i get into comics?
i showed my work to Oni Press years ago at MegaCon in Orlando, Florida, and then about a year after that, they finally gave me some work on Hopeless Savages volume 3 doing the flashback sequences. it wasn't very many pages but it was a place to start, and i worked my way to my own work from there. while i didn't take this route, i think the best thing to do is either to make a mini-comic to give out/sell at conventions (it really shows publishers you can get something done and shows your storytelling and all that), or do a webcomic. coupled with that, the best way to break into the industry itself is to go to comic conventions and show your work to anyone and everyone: not only editors, because you never know who knows who and who could become a great contact. meeting them and showing them your work in person is almost a must, though it is possible that the right people might see it online if you're doing a webcomic, but don't count on that because it may or may not happen, and you can't sit around and wait for something like that. and conventions are also a must because most publishers don't accept unsolicited submissions, but some, like Dark Horse, do take online/mailed submissions. but if you're doing a webcomic, sometimes you can end up doing that full-time and make your money from merch and stuff like that, in which case you don't need to "break in" to the industry in the traditional ways.
i showed my work to Oni Press years ago at MegaCon in Orlando, Florida, and then about a year after that, they finally gave me some work on Hopeless Savages volume 3 doing the flashback sequences. it wasn't very many pages but it was a place to start, and i worked my way to my own work from there. while i didn't take this route, i think the best thing to do is either to make a mini-comic to give out/sell at conventions (it really shows publishers you can get something done and shows your storytelling and all that), or do a webcomic. coupled with that, the best way to break into the industry itself is to go to comic conventions and show your work to anyone and everyone: not only editors, because you never know who knows who and who could become a great contact. meeting them and showing them your work in person is almost a must, though it is possible that the right people might see it online if you're doing a webcomic, but don't count on that because it may or may not happen, and you can't sit around and wait for something like that. and conventions are also a must because most publishers don't accept unsolicited submissions, but some, like Dark Horse, do take online/mailed submissions. but if you're doing a webcomic, sometimes you can end up doing that full-time and make your money from merch and stuff like that, in which case you don't need to "break in" to the industry in the traditional ways.
- could you make a tutorial about your drawing/coloring/design/etc.?
i don't plan on making any tutorials, no. i don't think what i'm doing is especially technical or insightful enough for a step-by-step thing, it's all pretty basic stuff, i wouldn't know what to show. maybe at some point in the future but i don't have any plans right now. although tutorials can be cool as a peek into how an artist goes through their personal processes, as far as teaching-style tutorials go, i feel that doing things on your own and figuring them out is the better way to go. the only tutorial-like thing i can offer is to draw from life and practice a lot.
i don't plan on making any tutorials, no. i don't think what i'm doing is especially technical or insightful enough for a step-by-step thing, it's all pretty basic stuff, i wouldn't know what to show. maybe at some point in the future but i don't have any plans right now. although tutorials can be cool as a peek into how an artist goes through their personal processes, as far as teaching-style tutorials go, i feel that doing things on your own and figuring them out is the better way to go. the only tutorial-like thing i can offer is to draw from life and practice a lot.
- can i get your pictures tattooed on me?
yes! please do! it would be an honor. be sure to send me photos afterward so i can see it! :D
yes! please do! it would be an honor. be sure to send me photos afterward so i can see it! :D
- are you going to print new t-shirts?
most likely, but not sure when. stay tuned.
most likely, but not sure when. stay tuned.
- what's up with The Abandoned 2?
things are uncertain with The Abandoned 2, it's in limbo indefinitely. i'm not sure what's going to happen with it, if it happens at all, the situation involves Tokyopop owning their share of the rights per our contract, them not wanting to proceed with further volumes, but not returning the rights to me so i can continue the story somewhere else. i've been considering doing the sequels as a webcomic but the main obstacle right now is time, i'm too busy with other stuff!
things are uncertain with The Abandoned 2, it's in limbo indefinitely. i'm not sure what's going to happen with it, if it happens at all, the situation involves Tokyopop owning their share of the rights per our contract, them not wanting to proceed with further volumes, but not returning the rights to me so i can continue the story somewhere else. i've been considering doing the sequels as a webcomic but the main obstacle right now is time, i'm too busy with other stuff!
- can i reference/use a pose from one of your pictures?
i usually discourage this, because it's always best to either draw from life, reference a photo, or use your own anatomical knowledge for a pose; you should distill life through your own eye/style/skills. and when you're referencing another artist's work, you'll be using how somebody else sees and stylizes things. but if you want to, that's fine, i can't stop you.
i usually discourage this, because it's always best to either draw from life, reference a photo, or use your own anatomical knowledge for a pose; you should distill life through your own eye/style/skills. and when you're referencing another artist's work, you'll be using how somebody else sees and stylizes things. but if you want to, that's fine, i can't stop you.
- who are your influences?
my main influences when i was a budding artist were Bill Watterson, Kevin Eastman & Peter Laird, and HR Giger. as for influences these days, the only visual artist i can think of who has influenced me at all is Michelle Silva, her work really inspired me. other than that i'm influenced mostly film, and real-world stuff like animals, cultures, events, geography, weather, and people's mannerisms and experiences as well as my own of course. that stuff also goes for writing influences; most of my ideas come from real life, or "basic" sorts of ideas such as "giant monster" where i'm influenced by the concept rather than a specific writer or written work involving it. there are some filmmakers that inspire me, though, in terms of their storytelling styles: George Romero, of course, for his zombie movies and his injection of politics into the genre, my existing zombie material and any i may do in the future owes it all to him; David Lynch for his use of mystery and the surreal, Larry Cohen for how he makes crazy ideas work and the unusual structures of his stories, and the storytelling in the movie ALIEN.
my main influences when i was a budding artist were Bill Watterson, Kevin Eastman & Peter Laird, and HR Giger. as for influences these days, the only visual artist i can think of who has influenced me at all is Michelle Silva, her work really inspired me. other than that i'm influenced mostly film, and real-world stuff like animals, cultures, events, geography, weather, and people's mannerisms and experiences as well as my own of course. that stuff also goes for writing influences; most of my ideas come from real life, or "basic" sorts of ideas such as "giant monster" where i'm influenced by the concept rather than a specific writer or written work involving it. there are some filmmakers that inspire me, though, in terms of their storytelling styles: George Romero, of course, for his zombie movies and his injection of politics into the genre, my existing zombie material and any i may do in the future owes it all to him; David Lynch for his use of mystery and the surreal, Larry Cohen for how he makes crazy ideas work and the unusual structures of his stories, and the storytelling in the movie ALIEN.
- did you go to SCAD? can you tell me your experiences at the school? is art school/SCAD worth it?
i went to SCAD back in '98 and majored in Sequential Art, and it was a blast for the most part. i can't say i learned too much as a result of my own attitude, i was too frivolous and caught up in my own world and i never paid attention in class or studied the life drawing models or my environment when i should have. and i eventually paid the price when i realized i sucked, and now i'm still kicking myself. so i did almost all of my technical and anatomical learning on my own after graduation and busted my ass to catch up. but despite that, i still had tons of fun at school and made some great friends. it's great to be surrounded by other artists wanting to do similar things, and it's good because you're forced to practice and forced to do assignments you don't like which is a good learning experience. but, know that SCAD (or any other school) is not a miracle school and there is no miracle technique someone can teach you to make you an awesome artist, you have to do that on your own. you don't even have to go to art school at all, there are lots of phenomenal artists who've never taken an art class in their lives, and many comic artists never went to art school. you just have to practice, all the time, and draw from life (people, environments, objects, etc.). where art school can really help is the often-needed kick in the pants to get your ass in gear, since practicing at home without the stucture of school can often lead to procrastination and laziness, and also for the atmosphere and getting feedback from other artists, so it all depends on what feels right for you. and if you do go for Sequential Art like i did, don't do it for the degree because the degree itself will never help you get a job. do it for the experience and learning. you tell an editor you have a Sequential Art degree and they will either be confused or laugh. if there's an artist who's better than you who is without any schooling of any kind, that person will get the job. i don't think any of the publishers i've worked for even know that i have this degree or even that i went to college at all. it's pretty irrelevant so your work has to speak for itself. so in conclusion, it really depends on the person, and i think if you're able to kick yourself into gear, then do it, don't even bother with school and practice on your own. so, if you go to art school, go for the experience, the friends, and the exposure to other like-minded artists, all those things can be great help and invaluable.
i went to SCAD back in '98 and majored in Sequential Art, and it was a blast for the most part. i can't say i learned too much as a result of my own attitude, i was too frivolous and caught up in my own world and i never paid attention in class or studied the life drawing models or my environment when i should have. and i eventually paid the price when i realized i sucked, and now i'm still kicking myself. so i did almost all of my technical and anatomical learning on my own after graduation and busted my ass to catch up. but despite that, i still had tons of fun at school and made some great friends. it's great to be surrounded by other artists wanting to do similar things, and it's good because you're forced to practice and forced to do assignments you don't like which is a good learning experience. but, know that SCAD (or any other school) is not a miracle school and there is no miracle technique someone can teach you to make you an awesome artist, you have to do that on your own. you don't even have to go to art school at all, there are lots of phenomenal artists who've never taken an art class in their lives, and many comic artists never went to art school. you just have to practice, all the time, and draw from life (people, environments, objects, etc.). where art school can really help is the often-needed kick in the pants to get your ass in gear, since practicing at home without the stucture of school can often lead to procrastination and laziness, and also for the atmosphere and getting feedback from other artists, so it all depends on what feels right for you. and if you do go for Sequential Art like i did, don't do it for the degree because the degree itself will never help you get a job. do it for the experience and learning. you tell an editor you have a Sequential Art degree and they will either be confused or laugh. if there's an artist who's better than you who is without any schooling of any kind, that person will get the job. i don't think any of the publishers i've worked for even know that i have this degree or even that i went to college at all. it's pretty irrelevant so your work has to speak for itself. so in conclusion, it really depends on the person, and i think if you're able to kick yourself into gear, then do it, don't even bother with school and practice on your own. so, if you go to art school, go for the experience, the friends, and the exposure to other like-minded artists, all those things can be great help and invaluable.
- you're a girl, right?
no, i'm a guy.
no, i'm a guy.
- what size are your pictures/what size paper do you use?
my pictures vary in size, but on average they're about the size of an 8.5×11 piece of paper, give or take depending on the shape and orientation (rectangle, square, vertical, etc.). i usually use smooth bristol paper, but for most pin-ups i use Crescent cold press illustration board. for comic pages, i used to do them pretty big, around 10×15 inches or even bigger, but nowadays i do them at around 8×12 inches, so that two pages fit on a 14×17 piece of bristol.
© 2011
art by Ross Campbell | site by Fawndolyn Valentine | North by Northeast
Please ask permission to use any images
my pictures vary in size, but on average they're about the size of an 8.5×11 piece of paper, give or take depending on the shape and orientation (rectangle, square, vertical, etc.). i usually use smooth bristol paper, but for most pin-ups i use Crescent cold press illustration board. for comic pages, i used to do them pretty big, around 10×15 inches or even bigger, but nowadays i do them at around 8×12 inches, so that two pages fit on a 14×17 piece of bristol.
© 2011
art by Ross Campbell | site by Fawndolyn Valentine | North by Northeast
Please ask permission to use any images