This is the last entry to go up while I’m still on American soil; next Tuesday, I’m boarding a plane and heading off to Japan, to study Calligraphy at Shikoku University for two years!

What’s that you say, Twin Cities residents? You just couldn’t live with yourself if you didn’t see me at least one more time before I go? In that case, why not join me tomorrow, Saturday March 29 from 4pm to 7pm! I’m throwing a joint book release party with fellow graphic novelist Tim Sievert at Big Brain Comics in Minneapolis, to celebrate the release of our respective graphic novels, Tonoharu: Part One and That Salty Air! For more details, see this post.

But in case my imminent departure from the USA isn’t enough to convince the Minnesotans among my readership to come out to my little soirée, then how’s about these reviews/coverage for my book, Tonoharu: Part One?

Reviews
The Daily Crosshatch / Brain Heater
Comics Waiting Room / Marc Mason
Comic Book Bin / Leroy Douresseaux
Read About Comics / Greg McElhatton
The Japan Times / David Cozy
Best Shots / Micheal C Lorah (Review of Tonoharu a little less than halfway down the page)
Booklist also reviewed Tonoharu, but I can’t seem to find a link to that…

Other Coverage
JETAANY / Alexei Esikoff
Roseville Review / George Fairbanks

It’s both bizarre and exciting to have complete strangers comment on my work; it gives me a whole other perspective than friends and family, whose criticisms naturally soften when confronted by my large, puppy dog eyes. I’ve been very happy with the critical response Tonoharu has received thus far. Most of the reviews I’ve seen have been quite positive, and I’m glad that I managed to communicate something successfully with Tonoharu. Thanks to all the reviewers & reporters for taking the time to read and evaluate it.

This entry is pretty short, but I tell ya, this month was exhausting with all the preparations for this trip, the book release party, the book marketing… I’m beat. So I think I’ll end it here. Hope to see you tomorrow at the party, otherwise, sayonara!

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Actually, one more quick note: I figure for my first few weeks in Japan, I probably won’t want to have to worry about updating this blog, so I’ve prepared six blog entries to autopost for the next six Fridays. So continue to stop on by for those, (the first two of which will include shocking revelations that I dared not admit while still on American soil). And to read about my new life in Japan, check back on May 16 when I’ll post an entry about that.

I just wanted to quick mention that there’s an article about Tonoharu in today’s (Friday May 16th) print edition of The Wall Street Journal. I can’t seem to find a link to it online, but if you happen to subscribe to or have access to the paper itself, look out for it!

Also, thanks to WSJ reporter Jamin Brophy-Warren who was kind enough to cover my book and interview me, despite having to navigate the irritating eleven hour time difference.

*UPDATE*: Here’s a link to it: http://online.wsj.com/article/SB121089762572397267.html
The part about Tonoharu is about halfway down the page.

There’s a paragraph-long review of Tonoharu: Part One in this week’s EW (the magazine with the GROSSEST initials in the publishing world). May 23 cover date, page 126. As always, I can’t seem to find a weblink to it…

They gave me a “B”. That’s pretty good, right? I wouldn’t even want an “A”, because then it’s like I’m the teacher’s pet or something.

Anyway, check it out. The same issue also features a cover story about Sex and the City, all the more reason to take a look at EW this week…

Thanks to EW reviewer Sean Howe for the writeup, and to Lemel Williams for letting me know about the review.

*UPDATE*:  I just found a link to the review online:
http://www.ew.com/ew/article/0,,20200850,00.html

Pictured: Adjusting the levels of the artwork. What fun! 

This is the ninth post in a series describing the creative process behind my graphic novel Tonoharu. This installment offers an account of all the computer related stuff I do once the artwork has been inked. I’ll try my best to avoid technical jargon, but to explain this in a totally layperson-friendly manner would make this entry way too long, so I’ll occasionally use the technical terms (with wikipedia links for those that actually want to know more about some of the technical stuff) and hope that the accompanying pictures make what I’m talking about at least somewhat clear. Note: all artwork shown is from the work in progress, Tonoharu: Part Two.

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Pictured: Tonoharu’s protagonist, before and after graphical edits

This is the tenth (and final) entry in a series of posts describing my process for creating my graphic novel Tonoharu. This post deals with the “post-production” edits (for lack of a better term).

I’ve been drawing comics since I was in junior high. I’ve experimented with all sorts of formats & sizes, drawing styles & materials. Most of these experiments were dead ends, but little by little (by the process of elimination if nothing else) they helped me to realize what sort of comics I wanted to make. By the time I started working on Tonoharu in 2003, I had a fairly strong sense of what direction I wanted to go in, not only for Tonoharu, but (presumably) for the works that will follow it.

But that isn’t to say that I had all the fine details ironed out. Daydreaming and theorizing about the comics I wanted to draw only took me so far; only by committing something to paper was I able to see what worked and what didn’t in practice. For the things that didn’t work out, I did my best to make them right after the fact, via graphical and textual edits. (more…)

I just received word from my distribution partner Top Shelf Productions that the first printing of Tonoharu: Part One is almost sold out!

A second printing is in the works, but due to the time it takes to produce a hardcover book, Tonoharu: Part One may be unavailable in stores for a couple/few weeks. So those who want a copy in the very near future (or those who want a first edition) should get it from their favorite retailer now!

 Or if you can’t find it anywhere else, you can always buy a copy directly from me.

A big thanks to all those who helped to make the first printing of Tonoharu: Part One a success: the folks at the Xeric Foundation, Chris, Brett and Leigh from Top Shelf, the blogs and publications that give it coverage, my friends and family, and especially to the people that bought a copy! Whether my foolhardy dream of eking out a living as a cartoonist will pan out over the long haul still remains to be seen, but I’ve off a good start, and can’t begin to express my thanks to those who helped me get to where I am today.

This is a short entry, but since I’m busy prepping the second printing, I’ll leave it at this. Tune in next Friday for a new web comic.

For some time now I’ve been meaning to write about my progress on Tonoharu: Part Two. Just this week I finished the artwork for the first quarter of the book, so I figured now would be a good time to devote a blog entry to how things are going.

Out of Tonoharu‘s four parts, Part Two is looking to be the longest of the bunch. It’s a good 40% longer than Part One, and is filled t0 the brim with hard-to-draw crowd & city scenes. *Sob*…

Just to clarify, when I say the artwork is 25% done, I mean that I’m 1/4 of the way through the drawing, inking, and computer stuff for the actual comic itself. I have not yet so much as even started any of the final edits/tweaks, nor have I started the dust jacket artwork, nor any of the incidental design work. And even once the book is 100% finished, I’ll still need to deal with production and promotion issues, which will tack on another couple-few months on to Tonoharu: Part Two‘s release date.

So the million dollar question is: when will Tonoharu: Part Two be done, printed, and available for sale? The honest (but unhelpful) answer is: I don’t know. It’s still too early to say with any confidence. I’m shooting for a release in the second half of 2009 , and if I’m able to stay on schedule, that could/should be possible. But an accident I suffered earlier this year reminded me in no uncertain terms that things don’t always go according to plan, so for the time being, I’m not going to commit to anything more concrete than maybe 2009.

My apologies to those who would prefer for the book to come out sooner, or to have a firmer release date. Trust me when I say that no one wants to see Tonoharu: Part Two come out in a timely manner more than myself, as my dream of making a living as a cartoonist is contingent on me, y’know, actually having comics available for sale. Rest assured that I work on this comic seven days a week, and make a little progress everyday…

I should hopefully have a slightly clearer sense of the release date with the next progress report, which I’ll write when the artwork is half done. If I’m able to stay on schedule, that update should occur in three to four months. We’ll see…

I’m lazily pawning off a bunch of links as my blog entry this week:

I recently conducted an e-mail interview with Tim O’Shea for his blog Talking with Tim. Check that out here.

I was also recently interviewed by Paulo Patrício for his blog Entrevista Súbita, which can be found here. Included is the original English version (halfway down the page), as well as a Portuguese translation. I just get a kick out of the fact that someone bothered translating what I have to say into another language.

Additionally, I recently updated the “Press” tab of this website to include a listing of all the interviews, profiles, and reviews Tonoharu has received (that I’m aware of). So check that out here.

The critical reception for Tonoharu has been positive (overall), but in the interest of painting an honest portrait of the response to my book, I’ve included the negative reviews as well. (I’m not going to tell you which ones are negative, though, you’ll have to muddle through them yourself.)

Also, if anyone knows of any media coverage that I’m missing, please let me know. For example, I think Giant Robot had something about my book, but I don’t know what issue #, and it doesn’t seem to be online…

I always feel a little gross writing these press releases, and yet… I do it anyway. Enjoy!

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NO LOVE FOR MANGA
American Cartoonist finds inspiration in Japan, but not in its comics

FOR IMMEDIATE RELEASE

Among comic fans, mention of Japan instantly brings to mind a very specific art style. A staple of Japanese comics (or “manga”), it features hyper-expressive characters with neon hair and huge sparkling eyes. Manga has become increasingly popular around the world, and has influenced the work of many non-Japanese artists.

One might expect American cartoonist Lars Martinson to be among them. He has lived in Japan for more than four years, and it is the setting of his graphic novel Tonoharu. But despite Japan’s prominent role in Martinson’s life, the influence of Japanese comics is noticeably absent from his work.

“I’m not much of a fan of the manga art style.” Martinson said. “It tends to be a little too flashy, and distracts from the story rather than compliments it. For my own work, I wanted something more subtle.”

Martinson’s Tonoharu tells the story of an American who moves to rural Japan to teach English. With its leisurely pace, somber art style, and weighty themes of isolation and cultural identity, Tonoharu is not what one generally expects from a Japan-centric comic.

But it seems to have struck a chord. The first printing sold out less than four months after its publication date, and the book has garnered coverage from mainstream publications such as the Wall Street Journal and Entertainment Weekly. Not that Martinson has had much of an opportunity to brag about these accomplishments.

“I was in Japan when Tonoharu was released, and none of my friends here have heard of the American newspapers and magazines that covered it.” Martinson said. “They were more impressed when a local school paper did a little blurb about me.”

More information about Tonoharu can be found on Martinson’s blog at:
www.larsmartinson.com

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I’m delighted to announce that I have been nominated for a 2008 Ignatz Award in the category of “Promising New Talent”! For those who aren’t familiar with the Ignatz Awards, here’s a description taken from their website:

The Ignatz Awards, named for the character in the classic comic strip Krazy Kat by George Herriman, is a festival prize that recognizes outstanding achievement in comics and cartooning. The ballot is created by a panel of five cartoonists and is then voted on by the attendees [of the Small Press Expo]. This offers a unique reflection of the views the professionals and their fans.

The Ignatz Awards is one of the most prestigious comics awards, so I’m thrilled just to be nominated. Of course I’d be even more thrilled to win, so if you happen to be attending the Small Press Expo next month, please consider voting for me! Thanks!

*UPDATE* I didn’t win. Shucks. But my thanks to those who voted for me, and my congratulations to winner Sarah Glidden!

I’m happy to announce that artwork from my two comic books, Tonoharu and Young Men of a Certain Mind, will be displayed at the Minnesota Museum of American Art as a part of their fall exhibit Hot Ink: Comic Art in Minnesota!

The exhibit opens on September 28, with an opening party taking place on October 3rd at 8pm.

This is the first time my work has ever been publicly displayed, so needlessly to say I’m thrilled; the only downside is that since I’m in Japan, I won’t be able to attend the party. But my parents will be representin’, so here’s your chance to meet them! Oh boy!

For more information, check out the MMAA’s website.

*UPDATE* The International Cartoonist Conspiracy website has a page with even more details, including a full list of featured artists. Check that out here.

I’m putting my How I Self-Published a Graphic Novel series on hold for one week, since the following announcement is time-sensitive.

I just wanted to remind Twin Cities residents that the opening party for the Minnesota Museum of American Art’s fall exhibit Hot Ink: Comic Art in Minnesota is tonight at 8pm! Admission is $10, or $5 for students and MMAA members.

I unfortunately will not be in attendance, since I’m currently on the opposite side of the globe. But I assume that most of the other contributing cartoonists will be there, so anyone interested in the Minnesota comics scene should definitely check it out!

*UPDATE* It’s over now, of course. The MMAA website has some pictures of the event here.

The exhibit actually opened last Sunday, and my parents snapped a few pics of my contribution to it: (more…)