Friday, March 31, 2006


Pwede siguro dito mag-participate ang mga taga-komiks...maganda kung grupo....


All artists and Enthusiasts, Please register now thru for inquiry. The record breaking of the World's longest painting on continueous canvas will be held this April 22, 2006 at Barangay Kaligayahan, Novaliches, Quezon City.

The record event schadule from April 22 to May 20, 2006 from 6:00 am to 12:00 mn. Daily. Free to register, grant entry is now offer for everyone.

Update: The longest painting participants are now coming as far from the Northern Luzon and Mindanao. This special date will symbolize the spirit of Filipino Bayanihan and hopes for Peace.

To all artists ages 10 years old and above in different professions are welcome to register. All Fine arts schools, university or other related educational institutions, this event will give a chance to hold your reunion gathering this summer break by registring in group. Your participation is a greatful moment to share with your batch on this memorable event. Be part of this history making.

Your work and name will be included in the longest painting coffee book and receiving certificate of recognition.

First come first serve on the master list. Participants may reserve more lenght of meter as they wish as long they can finish on the given five hour time limit.

Contact: oTSAA 02-4175785
Mobile: 09184731321

Thursday, March 23, 2006


Following is an excerpt from....

Emerging Trends in Philippine Publishing

By: Ms. Karina A. Bolasco

ROMANCE PAPERBACKSNext to textbooks, the biggest seller in the country today is the romance paperback or romance pocketbook.

This genre, popular anywhere in the world, is your usual boy-meets-girl (rich boy meets poor girl or whatever other variations possible) story, an almost endless relay of obstacles (the more fantastic and overwhelming, the better for the story) and finally a happy ending (Twists and turns become incredible and forced to reach the prerequisite happy ending). It's soap on print, the same kind that fills up television primetime.

From what once was dominated by the original publisher Books for Pleasure of the biggest selling Valentine romances, the market now has several players, most of them breakaway groups from Valentine. The upcoming and most aggressive, now taking the lead, is Precious Pages, run and owned by a young entrepreneur whose first exposure was in the movie business.
Romances sell 20,000 copies per title every month, and at an average release of 20 titles, they can generate a monthly gross of P14 million.

Romance paperbacks statistically have won over a large part of the comics readership. In fact, comics publishers themselves, in the mid 90s, began to reissue their serialized stories into thin novelettes selling from P10-P20 depending on number of pages. They took out the art and expanded the speech balloons. These are still in the market today but not as successful as the romance paperbacks.

Romance paperbacks, in defense against accusations of being escapist and therefore just a waste of precious trees, teeter between moralism and realism. There are lines that are obviously didactic and teach values and others that are to a high degree socially realistic but still hew closely to the formula.

if you want to read the whole article,here's the link

Friday, March 17, 2006


Artists worldwide are invited take part in a historic rebuilding and recovery of a vital missing element in the cultural record--the creative expression of childhood. PapaInk, the nonprofit International Children's Art Archive, is issuing its second call for professional artists' childhood and early youth artwork.

The call is open to all practicing artists with extant works from childhood or memories of epiphanic moments of early creative discovery. Select works will be shown as part of a traveling exhibition of galleries and museums. Museums and galleries who have not been invited to host the "When They Were Children" Exhibition are invited to submit their inquiry and request to Marc Feldman, the Executive Director of PapaInk.A large number of artworks and text will also be exhibited within the "When They Were Children" Collection.

This Collection, appearing within the online venue of PapaInk's world-noted archive of historical and contemporary children's art draws one million visitors annually. "When They Were Children" functions as the spirit and substance of artists' collective creative history, and as a material legacy and imaginative fuel for young artists today.

Artists who wish to donate physical childhood works to PapaInk's physical archives of children's art, please contact Marc Feldman at PapaInk preserves original art by children and holds it in trust within its archives for future generations of viewers and scholars.Submitting WorkArtists may submit works created up to and including age 20.

Submissions should be accompanied by a narrative detailing their discovery of creative expression, and its role in their early lives. Artists whose childhood works are not extant are invited to submit narrative about their discovery of creative expression, and its role in their early lives. (see example).

All artwork and texts are displayed with the artist's copyright, contact information and relevant links.There is no limit to the number of pieces an artist may submit. Artists who have eight or more works selected for inclusion will have their work displayed as a dedicated collection (see example) within the larger "When They Were Children" exhibition.

This dedicated collection will include a homepage presenting the artist's biography, resume, contact information and links to recent works online.

The submission deadline is July 11, 2006. Artwork may be submitted to PapaInk in original or digital format. Submission SpecificationsFor physical works:Please securely pack and send original works to PapaInk for free digitization. Our address is:PapaInkPO Box 467Guilford, CT 06437USAFor digital works:

*Works in jpeg format
*150 dpi or greater, at least 1,000 pixels on the longest side
*Cropped to the image (i.e., no matting please)
*Please email digital images to, or send images on CD to the address given below.

All submissions should be accompanied by the following supporting information:

*Artist's name and country
*Date and age for each piece
*Any comments/context that has bearing on individual pieces' creation or meaning
*A brief narrative about the artist's creative exploration and discoveries in childhoodAbout PapaInkPapaInk is the world's leading nonprofit archival body for children's art, distinguished by its worldwide scope and historical depth.

The online venue of PapaInk's archive,, is expected to draw over one million visitors in 2003. The archive has been highlighted in publications including The New York Times, USA Today and Britain's The Guardian.

PapaInk works with a wide range of nonprofits, schools, museums, businesses and individuals worldwide to exhibit, preserve and document historical and contemporary children's art collections. Our partners include the UN, SOS Children's Villages, NATO, the World Bank, American Friends Service Committee, the Jewish Museum in Prague, Christian Children's Fund, Habitat for Humanity International and Gallaudet University. Through our exhibition and archival activities, we recognize and support young artists and their work, and highlight the diverse organizations and individuals worldwide that value and enable children's creative endeavors.

PapaInk is a Connecticut-based 501c3 nonprofit with volunteer staff and organizational partners worldwide.

Monday, March 13, 2006


Parang magic ang nangyari sa akin kagabi!

Medyo sabog pa ang mga chapters para sa librong sinusulat ko about komiks. Hindi pa kasi ako makapag-concentrate sa dami ng 'raket'. Then kahapon ng umaga, binalikan kong basahin ulit ang mga naisulat ko na. Doon ko lang na-realize na mali lahat ng naisulat ko. Mali dahil parang hindi ganoon ang gusto kong gawing presentation sa libro. Masyadong pormal at academic. Gusto ko ay makaka-relate kahit hindi gumagawa ng komiks. Gusto ko lahat ng tao ay makabasa. Tagos sa puso, may humor, at down-to-earth na paglalahad.

Then bigla ko na lang naisip 'yung libro ni Ricky Lee na 'Trip to Quiapo' tungkol sa scriptwriting. Tiningnan ko ulit ang laman nu'n. Iniisa-isa ko ang bawat chapter. Naisip ko, dapat ganito kagaan pero very informative, dapat malapit sa reader ang pagtuturo.

Buong maghapon kong ni-revise ang lahat ng naisulat ko na.

Kinagabihan, naisipan kong mamasyal ulit sa Luneta. Member kasi ako doon ng 'Luneta Triva Society', samahan ng mahihilig sa trivia. Nakinig muna ako ng triviahan at debate. Maya-maya, sa gulat ko, Ricky Lee mismo! Makikinig din ng nagti-trivia.

Sa sobrang pagka-excite ko, nakipagkuwentuhan ako sa kanya (kahit hindi niya naman ako kilala). 'Common man' si Ricky ng time na 'yun. Para lang talagang tambay na nagawi doon. Nagpakilala ako, sabi ko taga-komiks ako. Then napagkuwentuhan namin si Vincent Kua. Tapos kinuwento niya na ginagawa niya ang 'Trip to Quiapo 2' at tatlo pang libro. Tapos 'yung susunod niyang pelikula e horror. Tapos nagpameryenda siya ng Chippy at Pop, hehe. Tapos maya-maya umulan. Napakaripas na rin siya ng takbo. Hindi ko alam kung saan siya sumilong. Mahigit isang oras din bago timigil ang ulan.

Pag-uwi ko sa bahay, iniisip ko ulit ang ginagawa kong libro. Isa sa ilalagay ko sa acknowledgment page ay si Ricky Lee.

Friday, March 10, 2006


Nang unang lumabas ang press release ng ginagawa naming pc game na ‘War of the Worlds’ sa GamesMaster Magazine, mas nasabik pa akong mabasa ang reaksyon ng mga mambabasa sa mga susunod na issues ng magazine na ito.

Tama ang aking hinala noon, Pilipino ang unang magbibigay ng komento sa aming development team na ipinagmamalaki kong ‘all Filipino’. Una niyang pinuna ang quality ng graphics na ginagawa namin. Accepted para sa akin ang kanyang sinabi, na masyado daw pixelized ang pagkakagawa ng mga characters namin. Sa isang wala pang karanasan sa 3d application lalo na sa game designing, iyon kaagad ang unang mapupuna sa trabaho namin. Bibigyan ko na lang ng kaunting pahapyaw kung bakit ‘pixelized’ ang mga characters (pati na ng ibang games) sa mga compute games. Unang-una, ang bawat computer games ay may tinatawag na ‘game engine’. Dito tumatakbo ang kabuuan ng game. Dito nakalagay ang lahat ng makikita sa game—environment, characters, artificial intelligence, special effects, cinematics. Sa madaling salita, para itong container na nilalagyan ng kung anu-ano. At sa ayaw man natin at sa gusto, talagang napupuno ito. Kaya may mga games na sobrang bagal kapag pinatakbo sa mababang ‘specs’ na computer.

Ang solusyon dito ng mga game developers ay bawasan ang mga ‘polygons’ (ito ‘yung bawat himaymay at parte ng lahat ng models at environments). Kaya nagiging ‘pixelized’ ang mga characters ay dahil sa paggamit ng ‘low poly’ models. Kaya naman pulido ang mga graphics sa pelikula ay dahil wala naman silang engine na ginagamit—diretso na kaagad sila sa camera. Pero dahil under development pa ang game namin, marami pang puwedeng mangyari para mapaganda ang isang ‘low poly model’ (ngunit technicalities issue na ito, at wala na akong balak ikuwento dito).

Ang talagang punto ng comment nu’ng sumulat sa magazine ay ang mismong theme ng game namin. Pinalalabas niya na hindi katanggap-tanggap sa lipunang Pilipino ang ginagawa namin dahil hindi daw ito nagpapakita ng pagka-Pilipino natin. Ano nga ba naman ang title namin? War of the Worlds—galing sa nobela ni H.G. Wells. Ang setting ay sa New York. Ang mga characters ay sina Sgt. Armstrong, Lt. Yeager, etc. Talagang walang ‘touch’ ng pagiging Pilipino.

Parang nanermon pa ‘yung letter sender, ikinahihiya daw namin ang pagiging Pilipino. Kesyo kolonyal daw ang mentalidad naming lahat. Mabuti pa daw ‘yung game na ‘Anito’, Pinoy na Pinoy ang pagkakagawa. Sa mdaling salita, bad trip siya sa aming lahat dahil puro nga naman kami Pilipino pero wala man lang kahit kaunting pagka-Pilipino sa gawa namin.

Mabuti na lang at naroon ang editor ng GamesMaster at sinagot na rin kaagad niya ang sulat. Ito ang bungad niya du’n sa letter sender: ‘Ever heard of a Pinoy trait called ‘talangka mentality?’

Napapalakpak tuloy ako.

Sinundan pa nu’ng editor. Bakit ‘yung Half Life, mga Amerkano ang gumawa, bakit hindi naman tungkol sa Amerika ang theme? Yung Far Cry, gawa ng mga German, pero hindi naman tungkol sa Germany ang theme. Yung sangkaterbang online games dito sa atin (Ragnarok, MU, Rose Online, etc.) na kinababaliwan ng mga kabataan ay puro gawa ng Koreans pero hindi naman tungkol sa Korea ang theme. Ang mga Hollywood movies na gawa lahat sa Amerika, sa tingin ko kaya panonoorin mo pa kung ang lahat ng theme ay tungkol sa bansang Amerika?

Ang punto ko dito, nag-uusap tayo dito tungkol sa ‘entertainment’ at hindi sa pagiging ‘makabayan’ natin. May malaking kaibahan ang ‘commercial’ sa pagiging ‘nationalist’.

Sa mas malalim na point of view, minsan ang pagkahumaling natin ng sobra sa sinasabing 'identity' ay nagpapahiwalay sa ating role as a human being.

At minsan din, nagkakamali tayo sa sinasabing 'pagmamahal sa bayan'. Ngunit ang totoo, masyado lang tayong nagiging 'regionalista'.

Kaya pagdating sa paggawa ng komiks, asahan ninyo na makakatagpo din tayo ng ganitong sitwasyon.

Wednesday, March 08, 2006


20x30 inches
Pencil, Pen & Ink on Bristol Board

Tuesday, March 07, 2006


First time ko pa lang magpi-feature dito ng foreign artist. Hindi ko lang talaga matiis na hindi ilagay ito dahil isa si Fisher sa mga baguhang comicbook artist na sinusubaybayan ko ang trabaho.

Kaya ko naman ito nilagay dito ay bilang tribute na rin sa kanya. Namatay siya ilang araw pa lamang ang nakararaan.

Narito ang website ni Fisher

Saturday, March 04, 2006


Ang PhilArt Magazine ang pinakabagong magasin tungkol sa 'art scene' sa Pilipinas. Sa unang isyu ay naka-feature si Francisco Reyes (Kulafo). Tiyak na matutuwa nito ang mga nasa 'komiks world'.

Narito ang example ng mga pages sa loob ng magasin.

Hindi pa malawak ang circulation nito kaya mabibili niyo lang ito sa ilang piling galleries.

Wednesday, March 01, 2006



Check out the link here.