Owl 5x7 Print Process

For 2017 I'll be introducing a lot of new 5"x7" matted prints to my convention appearances and in my online store. Fans have been enjoying the Saxon, Gwendolyn, Sadie, and Kenzie prints in the same format, so in addition to adding more guardmouse characters for 2017, I'm also adding more animals/scenes.

In this post, I'll be sharing the process of creating the owl and mouse artwork to the left from concept to finished colors.





I started by drawing the owl on a sheet of copy paper. Then to make sure I could easily adjust the layout and proportions, I drew the mouse & basket separately. The mouse is the same mouse from my 2016 limited print "Juniper". Instead of a contentious relationship with an owl like the Guardmice had in Winter 1152, I opted to have this be co-operative. After I assembled the two drawings in photoshop (tinting them both to help my eye see where one ended and the other began) I dropped in a stock photo of a close up of a pine branch.



I printed out the photoshop assembled layout and taped it to the back of a sheet of Strathmore 300 series bristol and inked on a lightpad. I use a Huion lightpad that allows me to see the printout through the surface of the bristol. This means that on the surface of the bristol will only be my inks, no pencil lines to erase (though sometimes, I do tighten up the pencils a bit as I work if the layout sketch is too loose). For pens I used Copic Multiliners, the 0.7 & 0.3 nibs. I used the stock photo as a guide for masses rather than directly copying the specific forms of needles and branches.



Once the inks are scanned, I start the process of flatting the piece for color. This means laying in flat color (no concerns with shading or texture) to establish that areas like the owl's feathers will be different from its eyes, the branch's needles, the basket, etc.

Once the flat colors are in I start rendering each area using the dodge and burn tools (lighten and darken) with a textured brush. I had to do some color tinting and painting to get the owl's feathers to have the variety of tone & hue you see in the finished print.



Here again is the finished colored artwork. This print and many more will be available at any of my convention appearances this year was well as in my online store.

For process posts on previous prints:

http://davidpetersen.blogspot.com/search/label/Print

2017 Appearances: 

C2E2: April 21-23

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Rand 5x7 Print Process

Rand, the yellow cloaked shield-bearer will be more prominently featured in the upcoming Weasel War of 1149 series.  I've been trying to offer up more of the 5" x 7" matted prints at conventions and in my online store. With a Saxon, Sadie, Gwendolyn, and Kenzie prints already available, I wanted to include that lesser know mouse of defense to the lineup. Even though Rand has barely been in the Mouse Guard series so-far, he has diehard fans who love him and tell me they already know he'll be their favorite. In today's blogpost I'll share the process for creating the image for this print.


Layout:
Unlike many of my process posts, in this case I didn't have multiple drawings to merge together for my layout. I did one drawing of Rand with the background drawn right in there...on the some sheet of copy paper and everything! I've gotten in the habit of using dandelions  as a visual cue/symbology for Rand. I don't know if I have specific cause for this, but it's cropped up with other drawings of him or places connected to him. All that was left to do after I scanned the pencils  was to resize it to make sure it fit nicely inside the format for the print. I also added a quick digital circle to the dandelion puff-ball because I noticed my sketch was a bit oblong.

Inks: 
I printed out the above layout and taped it to the back of a sheet of Strathmore 300 series bristol. On a light pad (I really like the Huion brand of these) I can see through the surface of the Bristol and ink using the printout as my 'pencils' to guide me. I used Copic Multiliners (the 0.7 & 0.3 nibs). I opted to ink the edge of the puffball and the cascading seed-tufts very boldly and dark. In this inked stage, that means they look a bit odd, not fluffy and light. But I knew that I'd use a color hold when coloring it that would reverse that sensation.

Color Flats:
After scanning in the inked piece (and adjusting the levels and cleaning up any dirt, dust, etc from the scan) the first step to coloring is Flatting in colors. This means, like any good coloring book user, you color spaces inside the lines. But when flatting, you don't need to worry at all about shading, lighting effects, or even if you are going to use the real colors (here I stuck close to what I knew the palate was for the final piece). Unlike some colorists, I like to use new Photoshop layers for new areas of color. This allows me to not have to 'cut in' precisely when I butt up against an area I've already colored.

Final Colors:
After the areas of color are isolated by flat colors, I went in an rendered each part using the Dodge & Burn tools in Photoshop. I have my settings on Range: Highlights and 1% exposure most of the time and I use a textured brush. I tweaked color balances with leaves and subtle areas like Rand's nose. At this stage, I also played up all the color holds on the shield and puffs.





I broadcast LIVE on Facebook as I colored this piece. You can watch that video here:

Part 1: https://www.facebook.com/david.petersen.777/videos/10155727207764778/
Part 2: https://www.facebook.com/david.petersen.777/videos/10155727588574778/

The final 5" x 7" matted print will be available at my 2017 convention appearances and in my online store.

More of the 5x7" Mouse Guard character print process Blogposts:
Saxon Print: http://davidpetersen.blogspot.com/2015/04/5x7-saxon-print-process.html
Sadie Print: http://davidpetersen.blogspot.com/2016/04/sadie-5x7-print.html
Gwendolyn Print: http://davidpetersen.blogspot.com/2016/05/gwendolyn-print.html
Kenzie Print: http://davidpetersen.blogspot.com/2017/02/kenzie-5-x-7-print-process.html

2017 Appearances: 

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Hare 5x7 Print Process

For 2017 I'll be introducing a lot of new 5"x7" matted prints to my convention appearances and in my online store. Fans have been enjoying the Saxon, Gwendolyn, Sadie, and Kenzie prints in the same format, so in addition to adding more guardmouse characters for 2017, I'm also adding more animals/scenes.

In this post, I'll be sharing the process of creating the Hare & Piper-mouse artwork to the left from concept to finished colors.





I started by drawing the hare on a sheet of copy paper. Then to make sure I could easily adjust the layout and proportions, I drew the mouse separately. The mouse is Piper from the 2016 FCBD story "Piper the Listener". After I'd started assembling the two drawings in photoshop (tinting them both to help my eye see where one ended and the other began) and then I decided that the hare needed some kind of clothing. I only showed the hares in Winter 1152 with mouse-made saddles and harnesses for riding, no apparent clothing of their own. I dunno if I'll stick to this new fashion forward hare-look, but for the print, I thought it needed it.



I printed out the photoshop assembled layout and taped it to the back of a sheet of Strathmore 300 series bristol and inked on a lightpad. I use a Huion lightpad that allows me to see the printout through the surface of the bristol. This means that on the surface of the bristol will only be my inks, no pencil lines to erase (though sometimes, I do tighten up the pencils a bit as I work if the layout sketch is too loose). For pens I used Copic Multiliners, the 0.7 & 0.3 nibs. I fudged in the grassy silhouette while looking at photos of various grasses gone to seed.


Once the inks are scanned, I start the process of flatting the piece for color. This means laying in flat color (no concerns with shading or texture) to establish that areas like the hare's fur will be different from the collar, its eye, the rock,  etc.

Once the flat colors are in I start rendering each area using the dodge and burn tools (lighten and darken) with a textured brush. I also added some color holds on the hare's collar embroidery and the grassy background.



Here again is the finished colored artwork. This print and many more will be available at any of my convention appearances this year was well as in my online store.

For process posts on previous prints:

http://davidpetersen.blogspot.com/search/label/Print

2017 Appearances: 

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Rose Limited Edition Print Process

Since 2012 I've released a new 11" x 11" limited edition print every year. Past year's pieces have been titled "Peacock", "Raspberry","Moonflower", "Lavender", and "Juniper". Julia requested that these prints be pretty and not just a mouse doing battle, but more aesthetically feminine. To the left is the finished artwork for this year's "Rose" and below I'll show the full process.

The print is available in my online store and at my convention appearances until the print sells out

For this year's print, "Rose" I chose to focus on a character from Mark Smylie's Legends of the Guard story "Crown of Silver, Crown of Gold". In that story a mouse named Moria from Rosestone who avenged her beloved warrior mouse after he was slain due to treachery from the king. In the last panel (shown to the right) she takes up his armor and weapons and becomes a well-known guardmouse. In Black Axe, I went further than that and showed (via a stained glass tribute) that she became one of the most celebrated of Matriarchs of the Guard)

I started with the figure of Moria drawing her out on copy paper. I tried a few variations and ended up merging the two (the head from one and the body/pose of the other). Then I placed a printout of my merged drawing on my light pad and on a new sheet of paper over top, I drew out a series of wild roses making sure to have intersection points for her feet to touch. After scanning those two drawings in to photoshop, tinting them different colors to help me visualize, resizing them, and making some placement tweaks, I had a layout for this print ready.


I printed the composite layout onto two sheets of legal copy paper (being 11" square, the layout wouldn't fit across one sheet, so I had to print the top and bottom separately and then puzzle them back together). Using my light pad, I was able to see through a sheet of bristol to the printout of my layout below. I taped the layout to my bristol to make sure I didn't lose registration as I inked. To the right you can see the finished ink (this was inked all with Copic Multiliner SP pens (the 0.7 & 0.3 nibs).

Once the inking was done, I started coloring the piece. This process starts with a job called 'flatting' where you simply lay in flat colors to establish which parts are which colors. With Moria's copper armor and shield, red cloak, and the color of the roses, I knew this was going to be a warm-toned piece. So even my greens are falling into a yellow-brown zone. I looked at varieties of wild roses to get a sense of the color palates, but shifted everything a bit more red/magenta to create the color unity I wanted...though that would mean being careful to get all the various 'greens' to read as different shapes without being able to adjust their overall hue too far away from the base color.


The final step was to render the image. This means going in and adding depth and texture with shadow, and highlights. I do this using the Dodge and Burn tools in Photoshop (and a textured stock brush). Making sure to give the armor the right amount of rendering so it looks metallic while also dialing it back on the flowers so they don't look plastic took some self control and fiddling to get right.

Again, the print is available in my online store and at my convention appearances until all 300 are sold out.

2017 Appearances: 

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Frog 5x7" Print Process

For 2017 I'll be introducing a lot of new 5"x7" matted prints to my convention appearances and in my online store. Fans have been enjoying the Saxon, Gwendolyn, Sadie, and Kenzie prints in the same format, so in addition to adding more guardmouse characters for 2017, I'm also adding more animals/scenes.

In this post, I'll be sharing the process of creating the frog and mouse artwork to the left from concept to finished colors.

Julia and I made a list of the type of animals that would work well in this format. On her list of suggestions was "something like the frog and mouse-harvester on the cover of my 2015 sketchbook". Looking directly to that piece of artwork, I set to doing a piece that would fit the taller orientation and have a less tropical-looking frog species while making the frog more the focal point than the mouse.


I drew a frog (using some online reference for a northern leopard frog) and the mouse on separate sheets of copy paper. I assembled them all in Photoshop tinting each character a different color to help me see where one character started and the other ended. The outer line is a pre-set template I've made for this size of print so that it will float in the mat nicely...though, I'm not working at actual size, I'm working larger, but the proportions are right so that when the final version is printed to scale, everything will fit inside the mat.



I printed out the photoshop assembled layout and taped it to the back of a sheet of Strathmore 300 series bristol and inked on a lightpad. I use a Huion lightpad that allows me to see the printout through the surface of the bristol. This means that on the surface of the bristol will only be my inks, no pencil lines to erase (though sometimes, I do tighten up the pencils a bit as I work if the layout sketch is too loose). For pens I used Copic Multiliners, the 0.7 & 0.3 nibs. All of the grass I did on the fly as I inked.


Once the inks are scanned, I start the process of flatting the piece for color. This means laying in flat color (no concerns with shading or texture) to establish that areas like the frog's skin will be a different color than the rock, grass, of the mouse, etc.

Once the flat colors are in I start rendering each area using the dodge and burn tools (lighten and darken) with a textured brush. I also added some color holds on those stars/will-o-whisps in the background.


Here again is the finished colored artwork. This print and many more will be available at any of my convention appearances this year was well as in my online store.

For process posts on previous prints:

http://davidpetersen.blogspot.com/search/label/Print

2017 Appearances: 

C2E2: April 21-23

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Goose 5x7" Print Process

For 2017 I'll be introducing a lot of new 5"x7" matted prints to my convention appearances and in my online store. Fans have been enjoying the Saxon, Gwendolyn, Sadie, and Kenzie prints in the same format, so in addition to adding more guardmouse characters for 2017, I'm also adding more animals/scenes.

In this post, I'll be sharing the process of creating the goose and mouse artwork to the left from concept to finished colors.

I started with being inspired by the geese Mark Buckingham illustrated in his Legends of the Guard story ("The Gosling and the Ghost" in Vol. 3). I'd seen a goose piece Mark had done as part of a Fables promotion and asked him if he'd feature a goose in his Legends of the Guard story. The image of this gaggle from his page 1 of that story stuck with me, especially the hats. And in an effort to want to embrace and take advantage of all the great concepts contributors have added to the Mouse Guard world in the pages of Legends of the Guard, I set out to draw my own clothed goose.


I drew a goose wearing a hat with scarf and armor on a sheet of copy paper. On another sheet, I also drew a mouse in a basket. After scanning them both, adding a stock photo of some blueberries, and assembling them all in Photoshop, I had this composition for my print ready. Orange line is a pre-set template I've made for this size of print so that it will float in the mat nicely...though, I'm not working at actual size, I'm working larger, but the proportions are right so that when the final version is printed to scale, everything will fit inside the mat.



I printed out the photoshop assembled layout and taped it to the back of a sheet of Strathmore 300 series bristol and inked on a lightpad. I use a Huion lightpad that allows me to see the printout through the surface of the bristol. This means that on the surface of the bristol will only be my inks, no pencil lines to erase (though sometimes, I do tighten up the pencils a bit as I work if the layout sketch is too loose). For pens I used Copic Multiliners, the 0.7 & 0.3 nibs.


Once the inks are scanned, I start the process of flatting the piece for color. This means laying in flat color (no concerts with shading or texture) to establish that areas like the goose's feathers will be a different color than his hat or scarf, of the mouse, etc.

Once the flat colors are in I start rendering each area using the dodge and burn tools (lighten and darken) with a textured brush. I also added some color holds (areas where I want the inkwork to appear as a color rather than a black line) on the background lines, and the eye of the peacock feather.


Here again is the finished colored artwork. This print and many more will be available at any of my convention appearances this year was well as in my online store.

For process posts on previous prints:

http://davidpetersen.blogspot.com/search/label/Print

2017 Appearances: 

Emerald City Comic Con: Mar. 2-5

C2E2: April 21-23

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Fox 5x7 Print Process

For 2017 I'll be introducing a lot of new 5"x7" matted prints to my convention appearances and in my online store. Fans have been enjoying the Saxon, Gwendolyn, Sadie, and Kenzie prints in the same format, so in addition to adding more guardmouse characters for 2017, I'm also adding more animals/scenes.

In this post, I'll be sharing the process of creating the Fox and mouse-dwelling artwork to the left from concept to finished colors.




I started with a fox drawing (from reference of a fox in the snow) on copy paper. With all the dead thicket branches I planned to have in this piece getting in the way of the snow lines, I made life easier by laying a new sheet of copy paper over the fox drawing and then on a light pad draw them in around the fox. On yet another sheet of paper, I drew a little mousey building...



I found a photo online of this building called "The Shoemaker's Tower" in Sighisoara, Transilvania, Romania. I loved the shape of the roof peak, the offset tower, and the canopied balcony staircase. So, when I drew the little mousey version, I didn't change much other than making the lantern bigger and adding an existing mouse flag (see Black Axe). I decided that for one of the as-yet-unseen mouse towns, I'd use this aesthetic. So on my sketch I jotted down notes about one of the fallen towns: Woodruff's Grove. This is a small step towards developing that location, but this is a small step on which I can build much more in the future...but back to this print...




After I assembled the three drawings in photoshop (tinting them all to help my eye see where one ended and the other began...this is where having the branches separate from the snow-lines made a big difference) having these elements all on different sheets/layers I was able to make lots of adjustments to resize parts without affecting the lines of the things around them.



I printed out the photoshop assembled layout and taped it to the back of a sheet of Strathmore 300 series bristol and inked on a lightpad. I use a Huion lightpad that allows me to see the printout through the surface of the bristol. This means that on the surface of the bristol will only be my inks, no pencil lines to erase (though sometimes, I do tighten up the pencils a bit as I work if the layout sketch is too loose...in this case the eyes). For pens I used Copic Multiliners, the 0.7 & 0.3 nibs.



Once the inks are scanned, I start the process of flatting the piece for color. This means laying in flat color (no concerns with shading or texture) to establish that areas like the Fox's two different fur tones and making sure they are different from the branches, snow, building, etc.

Once the flat colors are in I start rendering each area using the dodge and burn tools (lighten and darken) with a textured brush. I added minimal colorholds on the snow linework and the flag embroidery.



Here again is the finished colored artwork. This print and many more will be available at any of my convention appearances this year was well as in my online store.

For process posts on previous prints:

http://davidpetersen.blogspot.com/search/label/Print

2017 Appearances: 

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

Kenzie 5" x 7" Print Process

Kenzie, the blue cloaked patrol leader of Lockhaven, deserves a print all to himself. I've been trying to offer up more of the 5" x 7" matted prints at conventions and in my online store. With a Saxon, Sadie, and Gwendolyn print already available, I wanted to include that stalwart mouse of wisdom to the lineup. Because of his lack of a sword, and his calm nature, he's not the most requested of characters, but the fans who love Kenzie, really love him and they are not in any small number. In today's blogpost I'll share the process for creating the image for this print.

Sketch:
I did two sketches for this piece. It's rare I get this torn between sketches. I can usually hone in on what I like more about one idea/concept/rough and decisively choose. But for some reason, I had to call in the assitance of my Editor Cameron Chittock to talk me through this choice. The one on the left was calm, resolute, and peaceful....but ultimately a bit dull. And the one on the right was better, but didn't drive home those Kenzie qualities in body posture as well as the other. With Cam & my wife Julia both weighing in, I came to the decision that the more dynamic pose was best.

Layout:
I scanned in the rough pencils and re-sized them to match the size & ratio I'd need for the final artwork & print. I think (though I'm not entirely sure) I fiddled a bit in Photoshop with the proportions and angle of the head. I also added in a drawing of a lantern. I didn't use the lantern design Kenzie has from Winter 1152 because the Saxon print already had that criss-crossing wire frame and I didn't want to repeat myself. I opted to do something tall and lender to match Kenzie's frame (I try to make every detail about Kenzie make him feel tall: the long straight cheek hair, the staff, the long front-cloak, etc.)

Inks: 
I printed out the above adjusted layout and taped it to the back of a sheet of Strathmore 300 series bristol. On a light pad (I really like the Huion brand of these) I can see through the surface of the Bristol and ink using the printout as my 'pencils' to guide me. I used Copic Multiliners (the 0.7 & 0.3 nibs). After Wind in the Willows, it was hard not to want to add hatching in on every leaf to give a better sense of depth and to help Kenzie stand out a bit more, but I reserved to do that in color instead...

Color Flats:
After scanning in the inked piece (and adjusting the levels and cleaning up any dirt, dust, etc from the scan) the first step to coloring is Flatting in colors. This means, like any good coloring book user, you color spaces inside the lines. But when flatting, you don't need to worry at all about shading, lighting effects, or even if you are going to use the real colors (here I stuck close to what I knew the palate was for the final piece). Unlike some colorists, I like to use new Photoshop layers for new areas of color. This allows me to not have to 'cut in' precisely when I butt up against an area I've already colored and it allows me to smudge up and fade out the color in places where my linework isn't closed off completely without disturbing the color next to it.

Final Colors:
After the areas of color are isolated by flat colors, I went in an rendered each part using the Dodge & Burn tools in Photoshop. I have my settings on Range: Highlights and 1% exposure most of the time and I use a textured brush. I tweaked color balances with leaves and subtle areas like Kenzie's nose. At this stage, I also added in a glow to the lantern and made the veins of the maple leaves more subtle.

The final 5" x 7" matted print will be available at my 2017 convention appearances and in my online store.

More of the 5x7" Mouse Guard character print process Blogposts:
Saxon Print: http://davidpetersen.blogspot.com/2015/04/5x7-saxon-print-process.html
Sadie Print: http://davidpetersen.blogspot.com/2016/04/sadie-5x7-print.html
Gwendolyn Print: http://davidpetersen.blogspot.com/2016/05/gwendolyn-print.html

2017 Appearances: 

Emerald City Comic Con: Mar. 2-5

C2E2: April 21-23

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8

2017 Bookplate Process

For this year's Mouse Guard bookplate (For new fans, I've done an annual limited-edition bookplate since 2012...links at the bottom of this post to see process on them all) I decided to once again ape the design of a character from Jeremy Bastian's Legends of the Guard story: Faulknir.


To the left you can see the 2017 bookplate, which will be available at my convention appearances as well as in my online store, and for this week's blogpost, I'll share the process for creating the image.


I started with this brilliant page of Jeremy's from "The Tale of the Hawk's Mouse and the Fox's Mouse" from Legends of the Guard Volume 1 (which I'm fortunate enough to own the original of). Jeremy did a fantastic job of creating a myth about the creation of the Mouse Guard that I'm jealous of to this day. I've drawn from this story for the Mouse Guard short story "Service to Seyan" as well as last year's bookplate (and a few easter eggs in Black Axe). Here we see Jeremy's design for Faulknir, his armor, & feather cape.


On copy paper with a mechanical pencil, I set to draw my version of Faulknir. I tried to keep as much of the detail of Jeremy's version in as possible, but executed with my proportions, line style and sensibilities. Though, it was hard not to include more lines for shading like an etching.

I'd considered doing this piece as an etching (my degree is in Printmaking) but time & access to a press, acid, & supplies made me opt to just ink this traditionally as an illustration.



I took that drawing and composited it in Photoshop inside the borders that Jeremy drew on the bottom panel of his page. I, of course, checked with Jeremy before doing this to get his blessing. Like last year's bookplate I wanted to keep the motifs and aesthetics that Jeremy infused into those mice.
I'd be able to make it my own in the inks...

I printed out and taped the above layout to the back of a sheet of Strathmore 300 series bristol. On  my light pad (I like using the Huion brand of these) I could see through the surface of the bristol to use the printout as 'pencil' guides as I inked. I used Copic Multiliner (the 0.7 & 0.3 nibs) to ink this piece. To the left you can see a phone-photo of the inks in-process on the light pad.




Here are the finished inks for the piece. I added a vertical line pattern behind Faulknir to help him pop a bit. Like I did on Wind in the Willows, the key to having these lines look organic, but still evenly spaced & straight is to use a t-square and pencil them onto the back or print out a lined guide and then ink them by hand with no ruler, allowing for little hiccups and imperfections as you go.




To color this piece, I pulled my first-pass palate from Jeremy's panels. Jeremy purposely used a limited color-range when doing his Legends story, and unlike last year's bookplate of Silfano, I chose to use the same limitation of hue Jeremy did.









Ultimately, as I did the final rendering, I adjusted the colors a bit, so that they had some of my voice, but still payed homage to the wonderful work of Jeremy's. Here is the finished artwork sans-text & bookplate trappings.

The bookplate will be available at all my 2017 convention appearances and later in march in my online store.






Past Bookplates:
2012: http://davidpetersen.blogspot.com/2012/02/2012-bookplate-this-year-im-starting.html
2013: http://davidpetersen.blogspot.com/2013/01/2013-bookplate-like-last-year-ill-be.html
2014: http://davidpetersen.blogspot.com/2014/03/2014-bookplate-process.html
2015: http://davidpetersen.blogspot.com/2015/03/2015-bookplate-process.html
2016: http://davidpetersen.blogspot.com/2016/05/2016-bookplate.html

2017 Appearances: 

Emerald City Comic Con: Mar. 2-5

C2E2: April 21-23

Heroes Con: Jun. 16-18

San Diego Comic Con: July 19-23

Baltimore Comic Con: Sept. 22-24

New York Comic Con: Oct. 5-8