Now taking Commission Pre-orders for New York & Grand Rapids Comic Cons

I finally have a gap in my comics schedule and for a limited time am taking commissions for custom sketches. I get lots of requests outside of conventions, but am usually dealing with comic book deadlines that are too tight for me to consider additional work, so now’s your chance!

I am taking advance orders for New York Comic Con and Grand Rapids Comic Con, as well as orders to be sent by mail.

New York Comic Con (Pre-Order Deadline September 25)
October 5-8, 2017 – New York City, NY
http://www.newyorkcomiccon.com/

Grand Rapids Comic Con (Pre-Order Deadline October 10)
October 20-22, 2017 – Grand Rapids, MI
http://www.grcomiccon.com/

I will appearing at all three of those conventions and will be taking orders and commission sketches there, but my sketch list fills up FAST, so even if you’re hoping to see me there ordering your sketch in advance is the best way to make sure you can get the original art you want. Plus, for ordering and paying in advance, I’m offering a FREE PRINT with any order of $100 or more. My full selection of prints can be seen in my Etsy store. Let me know which print you’d like to get for free with your commission when ordering.

All of my convention sketches are black ink on 9×12″ bristol. I will also draw on sketch covers and in sketchbooks by request. I have a supply of the Doctor Who: The Third Doctor sketch cover variants available for $5 each.

Sketch Rates

Here’s my sketch rates right now. Samples of different varieties of sketches are below!

• Full Figure: $100 for the first character + $80 for each additional character
• Head Sketch or Head-and-Shoulder: $60
• + $5 for Doctor Who Sketch Cover Book:
  The same rate structure applies to artwork done on a sketch cover. I can provide the Doctor Who: The Third Doctor sketch variant, but anything else you would have to provide.

I expect demand to exceed my available time, so I will commit to commissions on a first-come, first-served basis. Place your order early so you don’t miss out!

Headshot or Head-and-Shoulder Sketches

Single-Character Sketches

Two-Character Sketches

Three-Character or Negotiated Flat-Rate Sketches

More Sketch Covers

  >      

If you want to place a commission order, send me an email at chris@christopherjonesart.com. I will need the following information:

Your Name:

Contact Email:

Means of Delivery: (Pick up at NYCC, Pick up at GRCC, or Send by Mail)

At-Con contact (Cell # for text messages, if applicable):

Shipping Address (If applicable):

Choose one option per commission ordered:

A) Head & Shoulders $60
B) Single Figure $100
C) Two Figures $180
D) Three or More Figures (Cost will be negotiated based on description)

Sketch Type:

A) 9″x12″ Bristol (Standard)
B) Doctor Who Sketch Cover (+$5)
C) Other

What would you like me to draw?
Please specify character(s) and VERSION of character(s) (version of costume, in style of specific series, etc.).

Additional Comments/Questions:

For orders of $100 or more, specify which of my prints you would like as a free bonus!
You can see the range of selections in my Etsy store.

Upon receipt of your email I will write you back to confirm the details of the order and ask any necessary follow up questions. I’ll instruct you on how to make payment via PayPal (including a postage & handling charge if the artwork is to be shipped). Once I have the payment I will complete your sketch it will be available for pick-up or shipped as per our arrangements.

Title Pages: The Batman Strikes #19

It’s time for another installment of Title Pages, featuring another title page from my run on The Batman Strikes! which was a tie-in comic for The Batman animated TV series. A Title Page is the page which features the story title and credits for the issue, and is often (but not always) a Splash Page, which is a full-page image, rather than a page broken up into multiple panels.

A classic comic book Grundy

Grundy as seen in The Batman

The De Niro Frankenstein monster

I wish the effect of Batman caught in the beam of the flashlight hadn’t been colored with such a sharply-defined cone of light coming from the flashlight. It’s not a realistic effect and it detracts from the effect of the area caught in the beam popping out from a background that’s otherwise in silhouette.

And while it has nothing whatsoever to do with the Title Page, I can’t blog about this issue without including my favorite page from the issue, and one of my favorite from the entire series.

Title Pages: The Batman Strikes #18

It’s time for another installment of Title Pages, featuring another title page from my run on The Batman Strikes! which was a tie-in comic for The Batman animated TV series. A Title Page is the page which features the story title and credits for the issue, and is often (but not always) a Splash Page, which is a full-page image, rather than a page broken up into multiple panels.

In The Batman Strikes! #17, Chief Angel Rojas was still the top cop in Gotham City. By issue #18, Police Commissioner James Gordon has arrived on the scene, and with him his daughter Barbara Gordon, aka Batgirl!

While not appearing in this scene, the villain of the issue was Poison Ivy, and given the title of the story, I tried to give the title logo a decorative, floral approach. I like how it turned out.

I’ll have more installments of Title Pages soon, but until then you can check out previous installments! As always, questions and comments are welcome!

Title Pages: The Batman Strikes #17

It’s time for another installment of Title Pages, featuring another title page from my run on The Batman Strikes! which was a tie-in comic for The Batman animated TV series. A Title Page is the page which features the story title and credits for the issue, and is often (but not always) a Splash Page, which is a full-page image, rather than a page broken up into multiple panels.

The Batman Strikes! #17 featured a title page that was the payoff of a 2-page sequence with Gotham City Police Chief Angel Rojas and Detective Ellen Yin reacting to a message being projected into the sky via searchlight beam by The Riddler. What the heck kind of smog does Gotham City produce that they have such dense, concentrated cloud layers that you can project PRINT onto them without it diffusing into illegibility?

 
Both of these characters were fun to draw. Chief Rojas was the top cop in the first season of The Batman animated series for which this was was the tie-in comic series. Both Rojas and Ellen Yin were new characters created for The Batman, and brought some needed ethnic diversity to the pantheon of Batman characters. Rojas was unfriendly to the bat-garbed vigilante who had recently appeared in Gotham, especially in contrast to Commissioner Gordon who largely replaced him in the second season. I never heard if there was any reason to invent this character and not use Gordon in the first season other than trying to diversify the cast (a worthy enough goal). I wish they would have done more with him after Gordon came in, but the character kind of faded away. Yin also largely was pushed aside to make way for other supporting characters as Batgirl and Robin were added in later seasons.

On page 2 we see the payoff of this sequence as Batman swoops in front of the searchlight, foreshadowing the Bat-Signal. The story title and credits appear in this panel, and I made the “Q” into a question mark to reference The Riddler as the villain of this story.

 
Sadly I don’t have the inks-only versions of these pages in digital form to include in this post, but you can see how the pencils compare to the finished pages. I’d really love for DC to make digital editions of all the issues of this series available, as the lower-quality paper used on this title combined with the deep, saturated colors that were frequently used could make the pages look dark and muddy, and a lot of the contrast I was trying to create in the line art was diminished. I bet most of these pages would look MUCH better in purely digital form as opposed to what you see  here, which are scans of the printed comic.

I’ll have more installments of Title Pages soon (I promise), but until then you can check out previous installments! As always, questions and comments are welcome!

Harley Quinn and my first DC Comics Writing Credit

Page 1 – The Corwin O’Dooley Show!

Page 2 – The Obligatory Monologue

Page 3 – Enter: The JOKER!

Russell Lissau was one of the writers contributing scripts for The Batman Strikes and I met him and was chatting with him at Wizard World Chicago. He mentioned that he’d wanted to do a story with the Joker but hadn’t been able to think of a Joker plot that could be told within the kid-friendly confines of the Strikes title. I mentioned an idea I’d had to tell a story from the point of view of someone under the influence of the Joker’s nerve-toxin, since in this continuity is was a paralytic rather than instantly deadly. The whole story would be about The Joker and Batman playing hot-potato with the victim while they were a helpless, paralyzed observer. Russell loved the idea and offered to co-write it with me, which lead to issue #35.

The concept got watered down a bit. I would have loved to tell the story literally from the victim’s POV – seeing it through their eyes, but I wasn’t surprised when it was deemed too  high-concept for an animation tie-in title. I’d hoped that we could at least limit our story POV to that character – only seeing and hearing what they would be personally aware of. But even that was considered to be a little too much.

Still, the story was a ton of fun. It introduced the show’s version of Harley Quinn into the comic, and centered on a late-night talk show host who earns the Joker’s ire when he is dubbed “The Clown Prince of Late Night” by a Gotham magazine. The character was deliberately a cross between David Letterman and Conan Obrian.

That opening page took forever to draw, but I really wanted that big shot looking from behind our host out at his studio audience – letting us share the view he would have walking onstage. I think this was one of the pages I apologized for when handing it off to inker Terry Beatty. I wanted the sequence to feel like you were seeing it from the stage floor of the studio, not from the POV of the audience or the cameras, so that meant a few more busy shots of the studio audience in the opening pages, until the action eventually led us to a chase outside the studio confines.

Page 5 – Harley Quinn’s big entrance.

Page 6 – Bruce & Dick sneak away.

Page 7 – The helpless host.

And here’s a look at how some of these pages looked in print, with inks by Terry Beatty and colors by Heroic Age.