Review: Earth 2: Society Annual #1
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[Editor’s Note: This review may contain spoilers.] Writer: Dan Abnett Pencillers: Bruno Redondo (Batman Sequence) & Diogenes Neves (Firepattern/ Huntress Sequence) Inkers: Juan Albarran (Batman Sequence) & Ruy Jose (Firepattern/ Huntress Sequence) Colorist: Rex Lokus Summary While Earth 2: Society may not fall under the Rebirth banner, it is utilizing some of the main themes of the Rebirth…

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Review: Future Quest #4
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[Editor’s note: This review may contain spoilers.] Writer/Artist: Jeff Parker Other Artists: Evan “Doc” Shaner and Ron Randall Inker: Hi-Fi Summary Timelines collide. Backstories are cleared up while others are muddied. A dog chases a cat. A monkey draws a picture and writes his own name. A super-villain is diabolical. A genius creates a giant robot for her son. A spacewoman remembers her name. A…

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“Chappie” Poster Series by Simon DelartBen Mcleod, Laurie Greasley, Salvador AnguianoLuke Butland, Sam HoOrlando Arocena, CandyKillerThe Dark InkerAndy Fairhurst.

Part of the Poster Posse’s tribute project, more of which can be seen HERE.

Review: Gotham Academy Annual #1
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[Editor’s note: This review may contain spoilers.] Writer: Brenden Fletcher & Becky Cloonan Pencillers: Adam Archer, Msassyk, Michael Dialynas, & Chris Wildgoose Inkers: Sandra Hope, Msassyk, Michal Dialynas, & Chris Wildgoose Summary The story begins with Olive Silverlock examining a clock in the Academy’s chapel tower. The clock has an arrow in its face, and when Olive removes the arrow, a…

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Superman/Batman Annual #1 - “Stop Me if You’ve Heard This One…”

written by Joe Kelly

art by Ed Mcguinness, Ryan Ottley, Sean Murphy, Carlo Barberi, Dexter Vines, Cliff Rathburn, Don Hillsman, Bob Petrecca, Andy Owens, & Rodney Ramos


Spider-Cat process art! Here is the step by step on how I created this fun piece. Please feel free to share and re-post. :)

Step one - Pencils

Step two - Inks

Step three - Watercolour

Step four - Flats - Flat colour is added to the piece.

Step five - Character shading. I add more flights and darken some of the shadows.

Step six - Background. I play around with effects till I get the background I like.

Step seven - Colourize the line art.

Thank you!! Like and re-post to share with anyone who may be interested.

Here is a link to the finished piece as well! Thank you!!

I also did a Sailor Moon rock band piece. I will post the process for this as well at a later date. :)

Because the German language can even make new wave seem hardcore…

Things kicked up to high gear at the studio this week and I got a few commissions taking up my time so the next  SU sketch dump remains like 2 pieces away from being mildly satisfying-stay tuned for that, another Over the garden wall piece, a Xenomorph chick, The Khaleesi and a bunny man coming soon.

Interview: Ted Brandt

Today we’re joined by Ted Brandt. Ted is a wonderfully talented inker who works in comics. He’s one of the artists working on Action Lab’s Princeless: Raven the Pirate Princess book, which looks absolutely incredible. He obviously has a lot of passion for his work and it shows. My thanks to him for taking the time to participate in this interview.


Please, tell us about your art.

I’m primarily an inker working in the comics industry, currently for Action Lab comics on the LGBT+ friendly comic Princeless: Raven the Pirate Princess.

As an inker my main job is to take the comics pages that are pencilled and polish them, finishing the linework. Reductively, I neaten the pages, but it’s more like a subtle reinterpretation.

What inspires you?

Depends on the day! I absolutely adore movies and music, but find inspiration in reading, cooking, eating; anything can be inspiring, or maddening, if you approach it in a certain way.

What got you interested in your field?  Have you always wanted to be an artist?

Art’s a bit like my sexuality: I was always supposed to be here but it took me a long time to figure it out. I’d been reading comics regularly since I was 14, but it wasn’t until nearly a decade later that I decided to try actually making them.

Do you have any kind of special or unique signature, symbol, or feature you include in your work that you’d be willing to reveal?

Sadly no; as comics work is sequential commercial illustration, there’s nothing recurring in the work I’ve done so far!

What advice would you give young aspiring artists?

Never confuse wanting to be an artist with wanting to be known as an artist: take pleasure and pride in the process, and let the results worry about themselves. And never be afraid of a bit of hard work; as long as you’re not sacrificing your health to achieve it.


Where on the spectrum do you identify?

I’m in the heteroromantic asexual category. I’m very happily in a long-term relationship, but don’t experience any desire for sex.

Have you encountered any kind of ace prejudice or ignorance in your field?  If so, how do you handle it?

I might be lucky, but no! If, and that’s a big if, it’s ever come up, people have been pretty cool about it. It’s entirely possible my lack of experienced prejudice could be partly to do with the fact that I’m white and male; it’s still a pretty big sea of privilege to be swimming in.

What’s the most common misconception about asexuality that you’ve encountered?

Probably my own! Before I realised where my orientation is, I was obviously not interested in sex but felt like admitting that was somehow announcing that I wasn’t as cool or interesting as everyone else.

What advice would you give to any asexual individuals out there who might be struggling with their orientation?

Find friends who you can talk to about it, and don’t be afraid to be honest. I lied to friends for years, pretending I was like them, and had experienced sex. I’m pretty sure they all knew I was lying, of course, but they were kind and never challenged me over it, or made me feel terrible because of it. So having people in your life who will be supportive is key.

Also, don’t be afraid to experiment and find out where on the spectrum you are. Trying something doesn’t define you at all, but the self-awareness that you will gain is priceless! I thought I was demisexual for quite some time, but with time and experience have realised that I’m full Ace.

Finally, where can people find out more about your work?

You can type my name into the digital comics website to find all my published work.

My Tumblr ( is my rolling art/blog.

I’ll have a full website soon, but it’s not quite ready yet. When it is, links will be available from my Tumblr!

Thank you, Ted, for participating in this interview and this project. It’s very much appreciated.


Lillian Friedman Astor
animator, inker, in-betweener
April 12th, 1912 - July 9th, 1989

Lillian Friedman Astor was the first American female studio animator, working at for the Fleischer Brothers’ studio, inking and eventually animating various Betty Boop cartoons, as well as one Popeye, some Color Classics, and several Hunky and Spunky cartoons, although she received screen credit on only six cartoons in her lifetime.

The youngest of six children, Lillian started drawing at age 12 and later studied commercial art at Washington Irving High School. Reportedly, Friedman had applied to work at Disney, only to be told that the work is performed entirely by young men. In July, 1930, she and a classmate, Lillian Oremland, got work at a small animation studio doing inking, coloring and inbetweening on a pilot film for a series (’a lovely little fantasy to the music of Mendelssohn’s ‘Spring Song’’). She and Oremland then became inbetweeners at Frank Goldman’s Audio Cinema, and through Goldman’s friendship with Max Fleischer, were hired as inbetweeners by Fleischer’s in July, 1931. 

After a few months, Shamus Culhane, ‘a very fussy animator,’ liked her work so much that he made her his assistant in February 1932. ‘This required,’ she recalls, ‘some very strong persuasion, or as he put it, yelling and screaming. Culhane taught me a great deal about animation, but his greatest contribution was that he encouraged me for the first time to aspire to become an animator.’ In April, Culhane’s idea of having assistant animators was abandoned and she went back to inbetweening. However, he continued to encourage Lillian’s aspirations to become an animator. 

In 1933, Nellie Sanborn, head of the Timing Department, gave her a chance to redo a scene in a Betty Boop short, showed it to Max and Dave Fleischer ‘without telling them at first that it was done by a girl inbetweener,’ and, as a result, in July, Friedman was signed to a three-year contract as an animator. After a brief stint with Seymour Kneitel’s unit, she joined a new unit led by Myron Waldman. ‘This was a much happier group for me because they were all younger and newer animators and they accepted me as one of them, whereas in Kneitel’s group they were all hardbitten and they would make these sarcastic remarks about the girl animator.’ Friedman was paid $40 per week for the same work done by her male counterparts who received $125. 

Although Culhane was her initial mentor as an animator, it is apparent in talking to her that Lillian Friedman was and is very much a Waldman protege. Like other animators in the 1937 Fleischer, strike she crossed the picket line; however, her open stand for the Union nevertheless caused her to suffer ‘all sorts of abuse directly or indirectly at the hands of the company, from catcalls from hooligans to being told I could expect no increase in salary as long as I chose to belong to the Union.’ 

After she failed to find another job after the Studio decided to move to Miami to break the Union, she stayed on only until her husband found work. Thus, in February 1939, she quit to become ‘a housewife and mommy,’ and moved to Troy, New York.

In 1988, she was honored by ASIFA, receiving recognition for her work as a pioneering woman animator.”

Click on the gifs to see which film they’re from. 


A complete list of Friedman’s animated work can be found here.