Why wouldn’t I do commissions? Not that you’d doubt I do them, but I just feel the need to remind you that I do every once in a while so the thought will occur to you. Band, flyer, party invitation, just for yourself, or what have you, I’ll do something in b/w or color and let you have the original art. I have a sliding scale. E-mail me.
I have several pages of original art for sale and have asked why I only sell about a piece a month when I have 1400 followers on Twitter and 1700 on Facebook. I’ve been told people are more likely to order something if they can do it by just clicking a button since it can be done and any other way is increasingly more outdated than letters or checks. We’re working on doing just that and putting everything up eventually before things are technologically advanced enough that you can order things through thought transference. In the meantime, if you’re interested in something of mine and it’s not listed for sale, chances are at least 90% I have it. Ask.
I did about 5 covers for Screw in the 90s. Instead of doing color on computers, we had to do each color on a separate overlay on tracing paper and make targets to get all the overlays to match up. We only had three colors to work from, and since I didn’t have zip-a-tone I had separate overlays for 20%C, 100%C, et cetera.
Screw was a newsprint tabloid that was one of the first publications to mix satire with sex. It became obsolete pretty soon when magazines like Hustler and to some extent National Lampoon came along with higher production values, and the ads for “escorts” that were Screw‘s bread and butter were featured in almost every urban alt-weekly. By the time I came along, the magazine was basically a vanity project for the recently deceased Al Goldstein, who was still living off the fortune he’d made twenty years earlier. Whenever Goldstein had a bad experience with an airline or consumer product, he would use the magazine as a platform to humiliate the CEO, or if he came up with an idea at the spur of the moment, he would ask the staff to execute it.
Since it was a weekly and Al didn’t always have a vendetta that week, it was mostly a playground for the staff and an outlet for their friends. It was pretty much a Who’s Who of every underground and alternative cartoonist working in New York City during their 30-odd-year run. Danny Hellman, probably their most prolific artist for Screw and go-to-guy for Goldstein’s ideas, has become the de facto executor for Screw‘s covers, which were almost always cartoons and illustrations. His blog features the best of the art he was able to salvage when the business closed down.
This was one of the covers I did. I was able to use the image for a t-Shirt and the cover of the second printing of Humor Can Be Funny. The only pre-requisite for any contribution was that there be some kind of sex involved in some way. A naked body counted in some way, I guess. They weren’t allowed to have erect penises on the cover, which was on another one I did, but they decided that since my style is so minimal it was okay.
Many cartoonists worked under pseudonyms for fear of blacklisting, and I was no exception. The first cover I did was under the nom de plume “Semen S. Hardon”, an anagram of my name. After the first cover, I realized nobody read the magazine or cared, so I stopped using it.
The other covers I did are in storage somewhere, but in the meantime, here’s this one from 1995.
I just did an interview with Alex Deuben at Comic Book Resources about the Scene But Not Heard collection. It can be found here. I also had an old strip reprinted at Panel Patter a couple weeks ago as part of publisher Rob McMonigal’s Advent Calendar.
I was talking with my publisher a few weeks ago about how my covers all look the same and this is why we think people walk by our table at conventions as if they don’t see us, and if they’re fans think maybe they already have these issue. They all have a single flat color and one guy talking to another in the middle. Personally I don’t mind, the way I find them different is that every issue’s cover is a different color, but I can see why they ultimately don’t stand out, especially when I spent a few years not having anything new. The reason I don’t have other artists do the cover like I do with the back and some interior pages is because I don’t want to be deceptive. Primarily it is my work and should be sold as such. This cover keeps my style and sense of humor without being different from what’s inside while not looking like all the other issues. This is something I came up with which may or may not be the final cover.