New Argon Zark! webcomic page

Argon Zark webcomic new page

Argon Zark webcomic new page (detaile)

It’s not that often that I feature my own work on Lines and Colors, but this is special occasion for me. I’ve just posted the first new page to my webcomic, Argon Zark!, in quite some time.

I’m really pleased to have the comic moving again, and looking forward to continuing the story. (It will not interfere with my work on Lines and Colors. If it garners enough support, it may actually free up more time for writing Lines and Colors posts.)

For those who are familiar with Argon Zark!, you can see the new page here.

If you’re not familiar with the comic, but are curious about my endeavor, start with the first page of the current story, or go to the home page.

You can also read my recent Lines and Colors post with a little background about the comic, and about how I’ve gone over the current story and brought it up to date with bigger graphics and current web technology: Argon Zark! remastered.


Argon Zark! remastered

Argon Zark! webcomic remastered

Argon Zark! webcomic remastered

A long time ago (on an internet far far away), I created one of the earliest webcomics, Argon Zark!, a cyberpunk humor/adventure story about a computer geek who has invented a way to be physically transported into and through the World Wide Web.

For a long time I thought it was the very first online comic — simply because I couldn’t find any others for comparison or inspiration — but as search and internet history improved over time, I found there were a couple of others that preceded it by a few months.

Argon Zark!, however, was certainly the first long-form (comic book or graphic novel style) webcomic, the first drawn in a format specifically for the computer screen, the first drawn entirely on the computer and the first to incorporate elements of animation and interactivity.

I pursued the project for a number of years, but I was finally worn down by my inability to make the comic pay for the enormous amount of time it demanded. Selling a few T-shirts here and there didn’t cut it, and the fun wasn’t enough to sustain me through the huge number of hours required to maintain progress.

Weary and somewhat defeated, I felt I had to put the comic aside for lack of funding. It’s been dormant now for more than ten years (sigh).

Since then, however, things have changed. The size and activity of the web has increased by orders of magnitude since the mid 90s, and not only are there now hundreds (if not thousands) of webcomics, there are new resources for funding such projects — notably “crowdfunding” sites, and in particular, Patreon.

Patreon allows those who wish to support a creator’s work to contribute a small amount each month on an ongoing basis. With sufficient numbers of patrons, this can give a creator the leeway to put dedicated time and effort into their project. It’s explained in more detail on the new Argon Zark! Patreon page.

So, I’ve relaunched the comic, with the intention of trying that avenue, and in the process, I’ve taken the interactive elements of the pages out of Flash (which limited its availability on iPads) and put them into HTML5.

I’ve also gone through all of the pages in the most recent, ongoing story, and made them 50% larger, as well as adding to and revising many of the “special features” incorporated into the comics pages.

Some of you who are long time Lines and Colors readers may remember the strip, and even if you’ve read the story thus far, you may find it enjoyable to go back and reread the newly enhanced version.

(You can also still read the original first Argon Zark! story, though it is still at its original size to fit the small resolution of mid-90s computer screens.)

I’m working on a new page, and will post notices on Twitter and on the Patreon page (a day in advance for second level patrons) when new pages go live.

Zen Pencils (Gavin Aung Than)

Zen Pencils (Gavin Aung Than)
Zen Pencils is an online comics feature by cartoonist Gavin Aung Than, in which he interprets inspirational writings, sayings and quotes from various sources in the form of comics.

The main page of the site is arranged as a blog, and the strips are intermixed with supplementary commentary and other material. New readers may want to sample the “10 most popular Zen Pencils comics of 2013” or use the “Archives” drop-down to the right of the main navigation, the Archives page, or some of the recent selections in the right-hand column.

Be aware that the strips are loaded as single, sometimes quite long sets of panels, and may take a moment to load into the page. I’ve selected a few representative sets of panels from the middle of several different strips, above.

Than draws his material from a fairly wide selection of sources, from Carl Sagan to Shakespeare to George Carlin to Ben Franklin to Chinese proverbs and actual Japanese Zen stories. Those inclined to find inspirational quotes and aphorisms a bit too “Reader’s Digesty” may find the effect leavened by the fact that… hey, it’s comics!

The comics are Than’s freely imagined interpretations of the meaning of the words, given form in a way that may or may not be in the context of the original. Often, they also serve as a tribute or homage to an individual, as in his homage to Bill Watterson’s style in the course of “A Cartoonist’s Advice” (above, second set of panels from the bottom).

Among my favorites is his interpretation of highlights from Neil Gaiman’s wonderful commencement address to the 2012 graduating class of the University of the Arts here in Phialdelphia (image set above, bottom — if you haven’t seen Gaiman’s original speech, by the way, it is definitely worth 20 minutes of time on the part of anyone involved in art related fields, see my post here).

In addition to the blog-like format of Than’s site, there is a separate blog section. There are also features like translations of some strips in several languages and an about page. Than also has prints available on society6.

Charlie Hunter

Charlie Hunter
When walking around during the recent Wayne Plein Air Festival here in Southeastern Pennsylvania, looking for painters working in the streets of the town (and feeling a bit like a birder searching for rare species, as many of the participants had found off the beaten path locations to paint), I came across Vermont artist Charlie Hunter working on the small painting of a railroad underpass shown in my photo above, top, and was immediately impressed.

Unfortunately, neither my hasty location photo, nor the relatively small reproductions of work on Hunter’s website or the sites of the galleries in which he is represented, adequately convey the wonderful textural and painterly quality of his work.

Hunter works in a subdued, often almost monochrome palette — shifting attention to his command of values, variation in edges and the surface qualities of his paintings. They sometimes have a feeling similar to Andrew Wyeth’s drybrush watercolors, though Hunter works in oil, most often of the water-miscible variety.

Hunter was last year invited to join the Putney Painters, a painting group in Vermont guided by painter Richard Schmid, without question a contemporary master of edges and value in particular, and Schmid’s wife, artist Nancy Guzick, notable for her command of those same qualities.

Hunter indicates that his style developed almost accidentally, evolving out of his career as an illustrator and designer, and his ability to see and work with major shapes and compositional geometry.

He works with a limited palette of burnt sienna, viridian and French ultramarine, occasionally supplemented with yellow ochre or Naples yellow. He begins by toning the canvas with a diluted mix of his three basic colors, out of which he pulls large and then smaller shapes with paper towels, Q-tips and other implements before going back in with brushes.

Like those great old black and white film noir movies, Hunter’s paintings have a quality of atmosphere and mood that would be difficult to maintain in a higher chroma palette.

When I encountered him working on the painting above, top, he was just reaching the stage at which he was ready to make the call of “complete”. He commented that Mother Nature had made his job of finding a suitable subject more difficult by dealing him a brightly lit sunny day.

When I later saw the painting in the Plein Air exhibition, I saw little change, and was just as struck with the visual quality of his other paintings, one of which was awarded First Place by juror Jim Wodark.

The links to work on his website under “Images” are a little awkward, in that only “Current“, “Other Available Paintings” and “Painting Archives” are within his site, the other links take you out to other sites or even a Flickr page for galleries (linked below). In the Painting Archives section you will find some of his commercial work and gallery work in other media.

There is a profile of Hunter on

Hobo Lobo of Hamlin

Hobo Lobo, Stevan Zivadinovic
Hobo Lobo of Hamlin is a side-scrolling webcomic by Stevan Zivadinovic that uses multiple planes scrolling at different rates to give a nice dimensional effect, augmented with other touches of animation.

My screen captures above attempt to give some idea of the changing relationship of the planes, but they’re inadequate to the task; you need to see the actual effect.

You can use the controls at top to move through the panoramic images one “scene” at a time, or just grab the horizontal scrollbar at the bottom of the window and have at it.

The animation and multi-plane scrolling are apparently created in HTML and JavaScript rather than Flash, which means you should be able to view the effects on the iPad, but outdated desktop browsers may have issues.

On his “What is this thing?” page, Zivadinovic implores users of Internet Explorer to get a real browser, as well as explaining a few other technical considerations and indicating his intended update schedule; according to which an update should be coming 1:25am (CDT) on this Friday, April 29th, 2011.

The strip, which appears to be loosely based on The Pied Piper of Hamlin, is only two sections long at the moment, but looks promising to be watched for coming updates.

Zivadinovic also has a primary website called The Nihilist Canary, where you can see more of his work.

[Via Scott McCloud]

The Wormworld Saga, Daniel Lieske

The Wormworld Saga, Daniel Lieske
The Wormworld Saga is a new online graphic novel by German illustrator, comics artist and gaming concept artist Daniel Lieske.

It is an adventure story centering on the memories of a young boy recalling a time in his life when the world of the everyday intersected with the extraordinary.

The format is a bit different from most online graphic stories, which are posted a page or a few panels at a time; the first chapter of The Wormworld Saga was just posted complete; a necessity in this case because the entire chapter, in a variation of Scott McCloud’s “infinite canvas” concept, is essentially one long scrolling page, with the panels interconnected by larger passages and shared backgrounds.

The comic is read by scrolling down (something seemingly particularly appropriate for reading on the iPad), and though there are sections that might be considered “pages” in that their content and panel format is related, they defy the boundaries of conventional page layout.

Unlike some artists who have experimented with the online comics format and the conventions of how comics stories are read, Lieske hasn’t indulged in experimentation at the expense of graphic storytelling fundamentals, and his story reads well, flows nicely and is easy to follow.

The story, though only one chapter long so far, also stands out for its pace, more like an actual novel than the pace of most comics, which tend to proceed like a movie or television show, in which the narrative is compressed. Lieske seems comfortable with a pace that allow him to build up background and narrative texture; though the story is told well enough that there is no feeling of lag or delay.

The most outstanding characteristic of The Wormworld Saga, however, is Lieske’s artwork, which is highly accomplished, quite original and wonderfully realized.

Lieske is a digital painter by profession, both in his illustration and his game related concept art (you can see his professional portfolio here). He has applied his skills with digital painting tools to the images for the story in way that is delightfully painterly; and no, I don’t think applying the description “painterly” to a digital medium is a misuse of the term, it refers to the application of color in patches that look and feel like physical brush strokes.

Combined with a cinematic feeling for drama, his painterly textures and judiciously applied details give the story an emotional resonance and sense of place and time.

Lieske created a page called The Wormworld Saga Exhibitions, in which he talks about the project and its origins. he also maintains a blog which likewise features background on the story and art, as well as a personal website with sections for his other projects, including galleries of digital painting and sketches, and a page about the artist. There is also a page for ordering prints that should go live sometime this month.

If Lieske continues his practice of creating an entire chapter before posting, the next installment of The Wormworld Saga may take a while to arrive; but the current chapter ends in a way that will allow us to wait, and the next chapter should be worth waiting for.

[Via MetaFilter]