The Art of Negotiation

hostage negotiations_edited-1

Don’t knock cauliflower crust pizza until you try it. It’s pretty good! And yes, it has to be a Mexican Coke. And yes, I can taste the difference. So no funny business. No Pepsi. No Tab. And definitely no high fructose corn syrup. 

Today’s comic is a bit of a shout out to Joe Martin, one of the great old-school newspaper comic strip artists, a dude who has been writing not one, not two, not three, but FOUR dailies for something like the last 38 years. (He apparently got married at 16 and had a passel of kids, so it was probably a survival/escape mechanism.) His wikipedia page is a bit threadbare, but his website claims that the Guinness Book has awarded him the designation of the world’s most prolific cartoonist, having published well over 20,000 gags. Mind-bogglingly, he is still funny after almost 4 decades at it.

He does a periodic bit about his “Uncle Leon” and what the world would be like if this out-of-touch relative held a variety of professional and historical positions. I’m pretty sure that’s where this comic came from, except that I am probably a little weirder. Like Uncle Leon, I am wholly unsuited to a wide variety of professions, but, unlike Uncle Leon, I think I’m aware of my shortcomings and could at least fake it for a while before people caught on.

I’m pretty pleased with this stereotypical looking police detective and his skewed tie. There are a couple details I couldn’t iron out, like the right side of his collar and the specifics of how men’s mustaches go gray, but by and large, he actually looks like the caricature I was trying to draw. It’s weird how the solution to little issues seems so simple once the comic is published when they’re impossible in Photoshop and I’ve erased and redrawn them 50 times. But I am the queen of second guessing myself. Dragon came out fine, although I don’t usually draw my body so skinny or angular. For a really long time, when I started cartooning, I was always trying to draw the whole body of every character, but obviously, in many cases, you only need the top part.

In the future, It would probably behoove me to start drawing backgrounds, too, but I’m still learning. But getting to the point where I can always get the idea down and I don’t need a jillion reference photos to figure out how the human body goes together. I want to develop a more cartoony style, and you can’t do that if you’re always dependent on photographs.

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