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Wednesday, September 23, 2015

Convention Bookings for 2016 OPEN--Check out our partial list of talent at Eva Ink Artist Group!

(The World isn't as big as it used to be! Conventions-- bringin' it all together!  )

Hey Everyone-- 

We are beginning to accept convention bookings for the 2016 season! And with a range of talent that encompasses writers, artists, editors, directors, film professionals and actors!

 If you are a convention or store, and are interested in inquiring about any of our great talent, please get with me ASAP.

If you are a fan, and would love to see some of these folks at a show/store near you, be sure to let that venue know.

Looking forward to seeing you in the coming year!


R. Witterstaetter
Eva Ink Artist Group

Check the bios of some of our great creators below:

Michael Golden--(Artist/Writer/Consultant/Designer)

One of THE storytellers in the industry,  influencing generations of comics fans and professionals, Michael Golden boasts creations that are some of the most licensed and enduring in the industry. 

Co-Creator of Rogue, Bucky O'Hare, Micronauts and "The 'Nam," among much more, Golden is known as one of THE artists on such characters as Batman, Doctor Strange, G.I. Joe and the Punisher. Golden's recent covers can be seen on everything from "Spawn" to the "Walking Dead," to World Wrestling  work. Recent covers include works on "The Walking Dead," "Deadpool," and "DareDevil," to name a few. 

In short, no history of comics is complete without touching on the influence that this legendary artist has had on this industry. Recent books on the colorful life and vibrant art of Golden include "Michael Golden: Alchemy" "Modern Masters: Michael Golden" and "Excess: The Art of Michael Golden," and "Michael Golden: Dangerous Curves." 

In addition, having served as both Senior Art Director at Marvel Comics and Senior Editor at DC Comics, Golden's lectures and classes in storytelling are sought after world wide, with recent venues including places as diverse as Spain, France, Russia, Norway, Brazil, Chile and China. With recent gallery shows mounted in New York City, Maryland, Spain and Russia. 

Programing Notes: Various panels on the art of comic books can be scheduled with Michael, to highlight this special event at your show.  (Note: Michael has specific table and listing requirements. )

Geof Isherwood--(Artist/Designer/Storyboards)

Renowned artist for Marvel, DC, Broadway, and Heroes Of The North, in fact, creator of Psylocke's Katana! Some of Geof's major title runs include "Dr. Strange," "Suicide Squad," "Conan the Barbarian," "Conan The King," "Namor" and "The 'Nam".  Geof is also the inker of the graphic novel, "Revenge of the Living Monolith," over Marc Silvestri. But he says the comic brought to him most often to sign is probably "Dr. Strange" #50. 

Geof has also worked on over 60 film and TV productions, including X-Men: DOFP and X-Men: Age of Apocalypse, Being Human (US), Hot Wheels, Helix, Wings of the Dragon, The Phantom, The Last Templar, Race to Mars, The Covenant, Dead of Night, Battlefield Earth, Gothika, Rollerball,The Fountain and much, much more. 

In addition to film work, as an expert in figure drawing, Geof teaches in the Concept Art and Illustration program at Algonquin College in Ottawa, Ontario, as well as having a sketch list that is in demand at every show he attends. 

Geof is now also working for Renegade Media drawing the final issue of the soon-to-be-released "Necromatics".  

Programming Notes:  Geof is available for programming encompassing subjects ranging from comics to TV/film!

Konstantin Komardin--(Artist/Animator/Writer)

After several successful signing and screening tours in the United States, Konstantin is busy at work on his current lengthy animation project focused on human rights, now in development. 

Komardin is an award-winning sequential artist, graphic artist and animator. His work includes the BD magazines “Veles,” “Hacker,” “Max Cooler,” “Moulin Rouge,” “Timof” which published his story “Siberian Dreams,” and the renowned comics “Agent Z,” “Sit-o-city,” “Gate of Alice,” and “Mechanics of Senses.” Konstantin was awarded the Grand Prize for “The Site of Polis” at the Moscow Comics Festival.  

His animation works include the concept designs on “Elka,” “Man with the Wind in his Head,” which was featured at the Suzdal Film Festival, “Tram,” “Spindel” which was honored at the Moscow Short Film Festival, and “The Man in Penze Nez,” which screened at both the Suzdal Film Festival and the Moscow International Film Festival.  

Programing Notes: Konstantin can do panels on animation as well as sequential art for your show, and talk about the cross-cultural world of comics.

Ric Meyers--(Writer/Film Consultant/Director/Actor)

Novelist Richard S. Meyers is responsible for the Marvel prose novel featuring the Hulk among others, but around 100 other books as well! Creator of the Destroyer series, Ric is also the writer of "Santa Confidential," illustrated beautifully by artist Chris Browne of "Hagar the Horrible" fame, "The Kung Fu Movie Book," featuring everything you want to know about the martial arts world, and is the director of "The Kung Fu Movie Movie."  

His commentary is sought after on director cuts of movies and television compilations worldwide. As well as acting (most recently as a villain in a Scotland filmed production), Ric has been called on as an expert consultant for such projects as "Twilight Zone," and "Kung Fu Panda." He yearly runs the Marital Arts movie segments at the San Diego Comic Con. 

Programing Notes: Ric is available for a plethora of programming, Kung Fu, comics, film and otherwise! Screening of his movie works are also possible.

James O'Barr--(Artist/Writer/Film Consultant)

Creator of "The Crow," James O'Barr's newest books, "The Crow: Curare," was one of the most well received new books in recent years, along with his writing on "The Crow: Skinning the Wolves," both from IDW.  The recent release of the original "Crow" graphic novel in Italy,  broke sales records for the publisher during his country-spanning Italian tour with capacity only crowds in Sicily, Naples, Rome, Bologna and Milan. While in the US, new generations of Crow fans ensure that the graphic novel is still one of the best-selling graphic novels of all time, and has never gone out of print. 

O'Barr won the Yellow Kid Award (pretty much the Academy Award in comics) in 1995 for Best Storyteller.  Recent events include gallery shows in Maryland and Moscow, and a Lifetime Achievement Award from the University of Maryland Eastern Shore. 

Recent books on O'Barr include the sold out sketchbook "James O'Barr: Uncoffined," with another sketchbook hopefully in the works. 

James is also, much to the relief of fans, the consultant on the upcoming "The Crow" movie to start filming in 2015.  Q and A's with James are sought after world-wide, most recently in the Middle East, Chile, Peru, Brazil, Spain and venues all over the United States. 

Programming Notes: For shows, it can be arranged to have a screening of "The Crow," with Q and A/ commentary with James. (Note: James has specific table and listing requirements.)

Rodney Ramos--(Artist)

Artist Rodney Ramos has worked on just about every major character for Marvel Comics and DC Comics with a flourish that makes him a master at his craft. He began his storied journey in comics as a Romita Raider at Marvel Comics, learning his craft under the legendary John Romita, Sr. Regular work on titles like "Psi-Force," "What The!?" "Thundercats" "Punisher War Journal," "Amazing Spider-Man," and "Iron Man" followed, as well as work on Green Lantern, Batman, Wonder Woman, and much more. 

His works include masterful craftsmanship for clients ranging from Valiant, Malibu, Acclaim, Marvel UK, and Neal Adams Continuity Studios, in addition to Marvel and DC. He reached cult status with his work on DC's "Transmetropolitan," a huge fan favorite, and most recently over Simon Bisley's pencils at Legendary.

Programming Notes:  Rodney is available for panels on his career and comics in general. 

Trina Robbins--(Writer/Historian)

Award-winning herstorian and writer Trina Robbins has been writing books,
comics, and graphic novels for over forty years. Her 2009 book, The
Brinkley Girls: the Best of Nell Brinkley’s Cartoons from 1913-1940
(Fantagraphics), and her 2011 book, "Tarpe Mills and Miss Fury," were
nominated for Eisner awards and Harvey awards. Her all-ages graphic
novel, Chicagoland Detective Agency: The Drained Brains Caper, first in a
6-book series, was a Junior Library Guild Selection. Her graphic novel,
"Lily Renee: Escape Artist," was awarded a gold medal from Moonbeam
Chidren’s Books and a silver medal from Sydney Taylor Jewish Library

Trina’s most recent book is Pretty in Ink, her final and
definitive history of women cartoonists. In 2013, Trina was voted into
the Will Eisner Comic Book Hall of Fame.

Programming Notes: Trina is available 
for panels highlighting her career as well as panels on women in comics and
the history of comics. 

Jim Salicrup--(Writer/Artist/Editor)

Jim Salicrup is the Editor-in-Chief of Papercutz, the graphic novel publishing company he co-founded with Terry Nantier. Papercutz is devoted to publishing great graphic novels for all ages:  Annoying Orange, Ariol, Classics Illustrated, Dance Class, Disney Fairies, Geronimo Stilton, LEGO® Ninjago, LEGO Chima,Lunch Witch, Nancy Drew Diaries, The Smurfs Anthology, and many more. Recently, Papercutz launched a new imprint, modestly called Super Genius, which publishes titles such as WWE Superstars, Neil Gaiman’s Lady Justice, and more.

After being published as a writer and artist in Kids Magazine at age 14, Jim moved on to working at Marvel Comics for twenty years, editing most of their top titles, such as Spider-Man (with Todd McFarlane), The Uncanny X-Man (with Claremont & Byrne), The Fantastic Four (with John Byrne), Iron Man, and many more. Jim was the writer, and then editor of Spidey Super Stories, , a comic created to help children learn how to read. Spidey Super Stories was produced in co-operation with the Children’s Television Workshop, the producers of Sesame Street and The Electric Company. Editing and writing Spidey Super Stories was important in getting Jim to think about comics created for kids.

Jim was also the writer of such comics as Transformers, Visionaries, The Spider-Man Child Abuse Prevention comic, The A-Team, The Inhumanoids, Kool-Aid Man, and more. He also wrote and edited Marvel calendars, toilet paper, coloring books, posters and drinking cups. He also was the editor on Marvel Age Magazine for eight years.

After Marvel, Jim developed a line of comics for the Topps Company, Inc., where he was Editor-in-Chief. At Topps Comics Jim worked with such writers and artists such as Charlie Adlard, Ray Bradbury, Steve Ditko, Keith Giffen, Michael Golden,  Don Heck, Gil Kane, Miran Kim,  Jack Kirby, Don McGregor, Mike Mignola, George Perez, Stefan Petrucha, P. Craig Russell,  Scott Shaw!,  Roy Thomas, Craig Yoe, and many others.  Jim was also Senior Writer/Editor for Stan Lee Media, and a Trustee for the Museum of Comic and Cartoon Art. 

Programming Notes: Jim is available for panels on his career and comics in general. 

Arthur Suydam--(Writer/Artist)

Arthur, rose to stardom for his work on the smash hit series "Marvel Zombies," earning him the moniker "Zombie King," but is known to comics fans for his ground breaking creator owned works "Cholly and Flytraps" and "Mudwogs" as well. 

His zombie Magneto art  sculpt was all the buzz at  NYCC--The same convention that  announcement his  zombie project with director George Romero for Marvel Comics (Arthur provided the rare variant covers), which is now being launched as a TV series.  And in fact, you will see Arthur's zombie artwork emblazoned on t-shirts, hoodies and a plethora of merchandise from Hot-Topic and other retailers world-wide. 

Awards for Arthur include "The Spike TV Scream Award (Best Artist)," "Spectrum Gold Award for Institutional Art," "The San Sebastian Film Festival Lifetime Achievement Award,"as well as the "University of Maryland Eastern Shore Lifetime Achievement Award,"  among others. 

His work can also be seen on works for "The Walking Dead," "Deadpool, "Batman," "Wolverine," "Fantastic Four," "X-Men," "Ghost Rider," "Army of Darkness" "Vampirella," and too many to name here.  With gallery shows mounted in several cities in Spain, Maryland and New York, to name a few venues.   

Programing Notes:  Arthur is offering to do a special promo for shows that includes free sketches for kids on Sundays. Ask for details.  (Note: Arthur has certain table and listing requirements.)

Veronica Taylor--(Actress/Voiceover Actress)

Veronica Taylor is a classically trained actor who has performed in NYC and around the U.S. in contemporary and classical theatre. 

Her voice has been a part of Saturday morning cartoons for some time now. She is probably best known for playing the roles of Ash and May on “Pokemon”, April on “Teenage Mutant Ninja Turtles” and roles in “Cubix”, “Dinosaur King”, “Yu-Gi-Oh!”, “Huntik”, “Tai Chi Chasers”, and more. She can be heard on PBS kids’ “Word World” (Sheep), “Lunch Lab” (Mixiebot), and “Chuck Vanderchuck’s ‘something something’ Explosion!” (Ramona). 

Current projects include Sailor Pluto on “Sailor Moon”, “Mofy” (Mofy, Mogu, Sora), “Astroblast” (Sputnik), and “Welcome to the Wayne (Spy from 8-i).  Some anime favorites include Amelia on “Slayers”, Yukino on “His and Hers Circumstances”, all 7 Nana’s on “Nana Seven of Seven”, and Narue on “World of Narue”, as well as many others. 

She has done numerous voices for animation, video games, audiobooks, commercials, and documentaries. 

Programming Notes: Veronica loves to be at her booth to sign autographs for fans. Inquire as well for various programming opportunities. 

Matt Triano--(Artist/Designer)

Matt Triano is known for his illustrative work on both super-hero and fantasy/horror projects. "The Devilers," "Grimm's Myths and Legends," "Robyn Hood," "Call of Wonderland," "Sleepy Hollow," "The Story of Mankind" for the Discovery Channel, "Shark Week" illustrations for Discovery Channel, "The Shadow," "The Lone Ranger Annual," and more highlight his amazing work and insistence on research and story setting. 

His attention to detail and design has most recently been seen in the series "Sherlock Holmes: The Liverpool Demon," which was released to great reviews and the aforementioned "The Devilers," which also feature his character designs. 

In addition to his story work, Matt also is a storyboard artist, working on motion comics projects and developing custom comics for high profile clients. Other works include material for Robin Hood Charities in New York,  work on Marvel Trading Cards and Batman work for the "DC Halloween Special."  

Programing Notes: Matt is available for programming at all the shows he attends,on subjects relating to his career and the comic book industry.

Renee Witterstaetter--(Writer/Editor/Color Artist)

Writer, editor, colorist and publisher Renee Witterstaetter has acted as editor on such books as "Hercules," "Xena," "X-Files," "Conan," "She-Hulk,"  "The Marvel Holiday Special," "Impossible Man Summer Special," "Jurassic Park,"  and too many books to mention here. 

As a film professional, she has worked on such movies as "Red Dragon" and "Rush Hour 2," while also behind the scenes, racking up credits on dozens of music videos and commercials for artists as diverse as Madonna, Seal and Usher.  

Her books as a writer include: "Jackie Chan: Dying for Action," "Nick Cardy: The Artist at War," "Excess: The Art of Michael Golden," "Nick Cardy: Wit-Lash," "Art of the Barbarian,"  "Michael Golden: Excess," "The Art of Mark Texeira," and her children's book "Kerry and the Scary Things." 

In addition, combining her film work with comics, she is a producer of DVD's on various comic book creators and talents in other fields through her partnership with Amdale Media,  and has spearheaded mounting art shows and retrospectives in the United States, Spain, China, Russia and other venues worldwide. She has lectured on the industry in China, Spain, Norway, and numerous other countries, not to mention the United States! 

Programing Notes: Renee is available for portfolio reviews as well as panels relating to her career and working in the publishing industry and comics. 

Mike Zeck--(Artist)

When discussing comics heavy hitter, Mike Zeck, you'd have to argue which is his most influential work, or which is most deeply embossed on our pop culture. 

His series "Kraven's Last Hunt," took Spider-man to a whole new level and has been voted by readers as the "Greatest Spider-Man story ever told." His subsequent work on the Punisher  with "Cricle of Blood," cemented him as one of the THE artists for the character, while the series "Secret Wars," set comic book readership on their ears, and heralded Zeck's creation of the black and white Spider-Man costume, still around as the attire of the super-villain, Venom. His work on Captain American also stands out as some of the most influential in the industry, and iconic images of this and other characters such as Superman and Batman, are etched in comic history.  

In fact, Zeck images are featured on Marvel merchandising ad nauseam year after year, evidence of his enduring popularity. It's hard not to notice all those "Secret Wars" t-shirts! 

Recent books on Mike include "Raw Fury: The Art of Mike Zeck," while Zeck's  series with writer Steven Grant (creator of the hit movie "Two Guns"), "Damned," was released in a recent volume by IDW Publishing, which has also just released a deluxe volume of Mike's classic Marvel covers. 

Programming Notes: Mike prefers not to do panels. But is at his table for fans all hours of any show he attends.  (Note that Mike will be doing very limited appearances, and certain conditions apply. Please contact me for details. )


Okay, let's get the ball rolling! 

I may be adding a few more very exciting talent names before the end of the year.

Looking forward to hearing from you, and discussing your show, gallery event or store appearance.


R. Witterstaetter
Eva Ink Artist Group


Looking forward to it! 

Tuesday, August 11, 2015

Konstantin Komardin Making US Appearances This Month!

New York--Artist and animator Konstantin Komardin will be making several appearances in the United States beginning last weekend at the Kansas City Comic Con and continuing for the next month.  He will be accepting commission requests, as well as screening several of his animated shorts.

Konstantin Komardin is an award-winning Russian sequential artist, graphic artist and animator currently living in Moscow. This marks his second only appearance schedule in the United States, providing a rare opportunity to see some amazing originals never before offered. Konstantin was born in Ekaterinburg, where he fell in love with sequential art as a child, and went on to attend the Academy of Book Design. And has worked with numerous publishing houses on book covers and interior illustrations, while also working with anthology magazines in the role of graphic artist. 

Some of his published work includes the BD magazines “Veles,” “Hacker,” “Max Cooler,” “Moulin Rouge,” “Timof” which published his story “Siberian Dreams,” and the renowned comics “Agent Z,” “Sit-o-city,” “Gate of Alice,” and “Mechanics of Senses.” Other works include the Russian/Polish project “City Stories.” Konstantin was awarded the Grand Prize for “The Site of Polis” at the Moscow Comics Festival in 2003. 

A talented illustrator for print, Konstantin is also an award-winning animator as mentioned. His works include the concept designs on “Elka,” “Man with the Wind in his Head” which appeared in the Suzdal Film Festival in 2008, “Tram,” “Spindel” which was honored at the Moscow Short Film Festival in 2010, and “The Man in Penze Nez,” which screened at both the Suzdal Film Festival and the Moscow International Film Festival in 2010.

Several shorts by Konstantin will he aired at the convention, including “How I Lost 21 Grams,” and “The Man With the Wind in His Head,” so check your programming for time and place. Konstantin will be in artist alley sketching throughout the show. 

His schedule of shows for this trip includes:

Kansas City Comic Con— August 7-9
ComiCON— August 14-16
Wizard Chicago— August 20-23
Little Rock— August 29
Wizard San Jose— September 4-6

For more information on Konstantin and his work be sure to visit him at his table in artist alley. For information on ordering sketches before any show, contact Renee at evaink@aol.com

Monday, July 6, 2015

Montreal Comic Con! Overall... the Best of Times.... (Addressing the Table Issue)

Hi Folks—

In response to the posts about the Montreal Comic Con this weekend and the table placement for artists at the show:

There has been a little turbulence due to a tweet made by an artist at the show, who had no knowledge of what occurred behind the scenes that necessitated some of us not being where we were supposed to be on the map. Not knowing what really transpired, this has led to a great deal of misinformation on the internet... as usual. Big surprise.

So, here's what happened as we witnessed it,  below.

As the booking agent for a group of artists at the convention, including Mike Zeck, Michael Golden and others:

When we arrived for set up on Thursday, there was a snafu with the table lineups for all the artists. None of the agreed table amounts were accounted for.  In order to correct the problem, everyone had to be moved.

The Montreal Comic Con, much to their credit, stepped in and found solutions for all the table placements, so that all artists had their agreed upon table amounts!

Arthur Suydam moved actually to allow fulfillment of tables for some of my group -- (he had been placed right in the middle of the two Michaels, all with inadequate space). 

But hey, several people had table issues that needed to be addressed that added to the Tetris Game:  I had been placed across the room, another one of our guys had been placed even somewhere else and was incorrectly christened as "Jerry." :-)  Yanick had 3 tables, one of which was on a different row...Again, seemingly simple stuff to fix, that nobody was aware of unless they were there for set up. 

Arthur then got permission to move once more due to space limitations. (The first table relocation wouldn’t work because of the size configuration— which was my fault for thinking it would— as it turned out, he needed a linear space, not an L-Shape. )

Nobody was upset....These things happen. It's a big show. You just arrive for set up. Check out your space, and  if there are problems, you ask the organizers what to do, offer suggestions, and work things out.

Later, when Arthur became aware that there was some discontent, he volunteered to do what he could with the show promoters, to make the other artists happy, when it became evident that they were not aware of the logistical moves that were made on Thursday. Several people are witness to that conversation. He even said he'd move for them. 

At that point he had paid for electricity in the new approved spot  and the other artists seemed happy in their spots with added tables etc. Dan said he didn't want to move and Francis seemed fine with more tables. At least that's what they said when Arthur, myself and several other people met to discuss it with them in person. (Isn't that a novel idea.)  I didn't meet Rachel until later in the weekend, but spoke with her as well.

In Short: No changes were made without the shows knowledge and no artist made any arbitrary changes on their own.   Any artist there for set up was informed of the changes, and I'm sure others, who weren't there for set up, were told as soon as they could be told.

As Yanick suggested to me, perhaps we all should have considered a simple statement saying there were "Last minute Floor Changes necessary after the printing of the program" and that would have sufficed! It's not the first show where placements have been off, afterall! 

So, in the end, NONE of us were where we were originally supposed to be on the map. But it appears that all the fans found us anyway and everyone had a great time at the event. The fans were tremendous, actually!

I can’t fault the show in any way either. They’ve been wonderful.

So, thanks to the Montreal Comic Con for their support and willingness to fix any situations that did arise. And thanks to everyone that come to see all the talent at the show.

Renee Witterstaetter

Tuesday, May 26, 2015

Mike Zeck, Jim Shooter and John Beatty-- Together for "Secret Wars" Reunion Tour!


JIM  SHOOTER  --  MIKE  ZECK  --  JOHN  BEATTY …. TOGETHER AGAIN FOR THE FIRST TIME IN CLOSE TO 30 YEARS in celebration of the 30th Anniversary of the ground breaking Marvel Comics Maxi Series “Secret Wars”

Eva Ink Artist Group together with The Artist's Choice is proud to announce:

Jim Shooter, Mike Zeck, and John Beatty reunite for the first time in nearly 30 years to make a limited number of convention appearances together, as they celebrate the anniversary of the legendary Marvel Super Heroes Secret Wars maxi-series. This will be a rare opportunity to meet, greet and get autographs from all three of the original creators of one of the most important publishing events in comic book history.

Prior to the official launch of the tour, artists Mike Zeck and John Beatty will make a stop together for a special pre-tour celebration at HEROESCON: June 19-21, 2015 at the Charlotte Convention Center, Charlotte, North Carolina,   http://www.heroesonline.com/heroescon. Heroes Aren't Hard To Find & HeroesCon owner Shelton Drum said “When I heard there was going to be a new Secret Wars series, I just knew I had to get Mike Zeck and John Beatty to do a variant cover for my show. Secret Wars # 8 has always been one of my favorites, and I am in love with their new interpretation. Having them at HeroesCon is just icing on the cake“. Don’t miss the opportunity to get your copy of the 2015 SECRET WARS ISSUE #1 HEROESCON VARIANT, featuring penciller Mike Zeck, and inker John Beatty, who reunited to recreate their classic Secret Wars Issue #8 cover, replacing the original characters with their contemporary counterparts.

The formal tour begins when writer Jim Shooter, penciller Mike Zeck, and inker John Beatty reunite at FLORIDA SUPERCON: June 25-28, 2015 at The Miami Beach Convention Center, in Miami, Florida, http://www.floridasupercon.com.  Florida Supercon owner Mike Broder said “I'm thrilled to have Florida Supercon as the formal launch point for this reunion tour! Secret Wars was such a groundbreaking concept thirty years ago, and helped fundamentally change how comic books approach big events, marketing, licensing, etc.. Plus, it couldn't be more relevant than today, just as the new Secret Wars series from Marvel Comics hits the shelves. It really is an honor and privilege to play host to these three legendary creators."

The second stop will be KANSAS CITY COMIC CON: August 7-9, 2015 at the Kansas City Convention Center in Kansas City, Missouri, http://www.kansascity-comiccon.com. Matt Driscoll, owner of the convention said of the tour  “Secret Wars is a milestone that has influenced writers and artists ever since its publication in 1985. We are proud to have the creative team of Jim Shooter, Mike Zeck, and John Beatty join us at Kansas City Comic Con to celebrate the 30th anniversary of the most iconic series in Marvel history”

The tour will then continue at the CONNECTICUT COMICONN: August 14-16, 2015 at the Mohegan Sun Convention Center, Uncasville, Connecticut, http://www.ctcomicon.com/. Connecticut ComiConn producer Mitchell Hallock stated  “Having all three of the Secret Wars creators with us … Jim Shooter, Mike Zeck and John Beatty … together at the Mohegan Sun this August for the con is a dream come true. I'm sure fans will come from miles around to say hello, shake their hands, get an autograph or three and say "thank you for making one of the greatest comic book stories ever!”

There are at least three additional tour stops planned, which will be announced shortly. More events may be added down the line as well.

*Mike Zeck, legendary Bronze Age penciler and creator of Spider-Man’s black costume, said of the tour … “We’re putting the band back together!” Looking forward to this reunion with Jim Shooter and John Beatty to celebrate the original Secret Wars series and hail the arrival of the new Secret Wars. It’s been very gratifying to see our original series maintain its popularity and remain in print for the past 30 years. A rare success! Hope to see you at one of our dates”

John Beatty, inker extraordinaire, stated “The big picture of Secret Wars is the fans. Having fans tell me through the years over and over that this series either brought them back to reading comic books, or started them reading comic books. I never dreamed, or could have at the time, that Secret Wars with Mike Zeck & Jim Shooter would have kept its appeal for three decades. Being able to share in the history of this series with both Jim and Mike is a bit surrealistic in many ways. It's a huge blessing that we are still able to get together 30 years later and show our appreciation for the fans who made the series the success it has been and hopefully will continue to be. Thank you all!”

Jim Shooter, legendary writer, artist, editor, and publisher said of the tour “Secret Wars turned out to be a watershed in the history of the medium. I'm glad I was part of it and I am very, very happy to get together again with brilliant artists Mike Zeck and John Beatty.”

Don't miss this once in 30 years opportunity to get your comics signed by all of the creators who made it happen so many years ago ... Jim Shooter, Mike Zeck and John Beatty.

Looking forward to seeing many fans, old & new, at the respective events.

Spencer R. Beck
The Artist’s Choice

Renee Witterstaetter

*(For questions on booking Mike Zeck)
Eva Ink Artist Group

Monday, March 30, 2015

Witterstaetter Talks: The Business of Comics

Courtesy of Renee Witterstaetter and Eva Ink.

By: A.D. Poole

Renee Witterstaetter Discusses "The Business of Comics"

At the WizardWorld Comic Con in Raleigh, NC, Renee Witterstaetter took the time to go on the record with Legendarium Media. Witterstaetter worked as an artist, writer, and editor with DC, Marvel, and Topps Comics and now runs her own publishing company, Eva Ink.

Legendarium: What interested you in the comic book industry?
Renee Witterstaetter: Oh, well, gosh, I’ve always been interested in storytelling ever since I was a young kid. Storytelling was always something that always attracted me, whether it was movies, or books, and comic books as well. My first exposure to comic books: I had two older brothers and I would often go into their room to look for reading material, and I think some of the first comics I ever saw were the issue of Spider-Man where he met Mary Jane, and also some kind of really funny DC comics that featured Jerry Lewis, and I just loved the storytelling, and it just so happened that my career ended up being in journalism and English and certain doors opened to me and that led to me becoming a comic book editor.

L. Through that experience growing up, did you have any particular favorite characters?
R.W. I always did like Spider-Man. He was always one of my favorites and I gravitated more towards the Marvel books because to me at the time they did seem to have a lot of empathy, you could really relate to them, they had flaws, they had very accessible personalities. There were some DC characters I liked as well like Batman, but I have to say that one of my favorites was always Spider-Man.

L. You worked on some licensed works as well, such as The X-Files and The Shadow. Did working with licensed works introduce you to any new fandoms that you became attached to?
R.W. Oh, absolutely! I really enjoyed working on the licensed projects! In fact, when I first read the “Jurassic Park” novel I took it to my bosses and said, “You know, we really need to try to get this license and make it into a comic book.” And we did! That was at Marvel at the time. . .The person I took it to at Marvel [was] like, “Well, we don’t really need to do Jurassic Park because we’ve got Devil Dinosaur.” But then I shortly after that started working at Topps Comics and they actively pursued the Jurassic Park license and I got to work on it anyway, and I love dinosaurs so that was a dream come true. I had Michael Golden doing all my covers, one of the best artists in the industry, and I had some wonderful writers on that. And I really enjoyed X-Files as well, because it was a TV show that I really enjoyed. And one of my favorites was also working on the [comics for the] Hercules and Xena TV shows. We would receive tons of Email from people on all of those properties that just really enjoyed those particular genres, and it led me to being able to go visit the TV sets of a lot of those shows, and it was a lot of fun. You know, there wasn’t the infrastructure of conventions when those books came out like there is now, so honestly, I’m just now beginning to meet a lot of the fans that were reading my books when those shows and properties were being done.

Jurassic Park Comic. Courtesy of Renee Witterstaetter.

L. So when did you start coming to the con scene?
R.W. I’ve been an artist agent now since 2003. So, I’ve been taking whatever artists I’m working with and representing them on the con scene since 2003. I’m also a publisher, I have Eva Ink Artist Group and Eva Ink Publishing, so I’ve been taking my own books and books that I print on and publish on other artists to shows and also selling them through Diamond [Comic Distributors], so that’s been really great on the convention scene to introduce the artists to fans that haven’t met them yet, and also to introduce our books to a wider audience as well.

L. Speaking of Eva Ink, what are some of your upcoming projects?
R.W. We always have a lot of projects in the works. I’m currently working on a trade paperback of Spartan X, which is a series that I created with Michael Golden. My new book. . .“Nick Cardy: The Artist at War” and all of his sketches from World War II, those have just been released by Titan Books in England, so that’s a brand new book. We’re also planning some new sketchbooks on various artists like Michael Golden, and then I have a few very specific and very fun books which I’m writing right now but I can’t really talk about those yet.

“Nick Cardy: Wit-Lash,” an artbook featuring Nick Cardy’s humor art. Image courtesy of Renee Witterstaetter and Eva Ink.

L. How did you get into editing comics, and how is that different from editing print work, like novels?
R.W. Well, my degree, like I mentioned, was in journalism and English, and through that door I was hired. My first job out of college was doing public relations for a show that put on comic book conventions. That was in Texas, it was a company called the Dallas Fantasy Fair and they’re not around anymore, but they were really the forerunners, I would say, of the modern-style convention. From there I was hired by DC Comics as an assistant editor, and from there I went to Marvel and Topps, and from there I started my own company. But, really, editing a comic story is not that much different from editing a newspaper story or editing a novel because you are still looking for the same elements. You’re looking for a good story. You are looking for what we call in journalism the essentials. You have to read something and say, “Does it answer Who, What, Why, Where, How, and When?” If you have all those elements answered in your story, then when your reader is reading that—whether it’s a comic or a novel or a newspaper story—in their brain they’re gonna feel like they have all the information. Even if they don’t stop to pick out all those elements while they’re reading it, their brain knows if it’s there or not. So, as an editor, you’ve got to make sure that all the essentials are there so it’s a fulfilling package. And the difference with being a comic book editor is that. . .if you’re doing it the way American publishing works—where you have the writer, the artist, the inker, the colorist, the letterer—you’re dealing with five creative people on every book you work on, so your job as the editor is to find the best people for that job, the person whose writing and art style fits that project, and then finding that group of people that works well together and also makes the deadlines, because in American comic books, that’s a very important element as well. So, as the editor, you are the director. You are the producer and the director of putting this project together.

Renee Witterstaetter showcases some of her work. Courtesy of Renee Witterstaetter and Eva Ink.
L. As both an artist and having a background in journalism, did that give you valuable insight into the creative process of comic book making?
R.W. I would like to think so, and I had a very good relationship and still do with all the artists that I work with, and they have always been very accepting of any feedback I give them, any changes I ask them to, because I always approach it from a storytelling perspective and I explain why I’m asking for the changes. And if you do that, they’re like, “Yeah, I see what you’re talking about.” So I do think having that background has helped as an editor.

L. In closing, do you have any advice for any aspiring editors or comic book artists?
R.W. You know, it’s a wide-open market right now. There’s so many different avenues you can find to get your work out there, including the Internet. If you have your own project that you want to get out there, self-publishing [and] doing webcomics is a great way to go. I would say if you’re doing your own properties to get your intellectual properties in print either on the web or on hardcopies, to protect your copyrights, and if you’re not doing all of the elements of the story yourself, find good people that you like to work with and even if they’re your brother, sign contracts. [Laugh.] And protect whatever it is that you’re creating together. You know, you may go into this thinking like, “Oh, he’s my best friend and we’ve known each other for 20 years!” That may be true, but in business, you also always have to. . .you know, it just helps preserve the friendship, I would say, and just realize that this is a creative medium and to try to find things that you like to work on. You know, if you’re the artist, find the style that you wanna work on, and find out if you wanna work with Marvel or DC, find out what it is that they’re working for [and] looking for. I can tell you that they want you to do at least eight pages of things that are focused on their property. So you wanna do their characters. But do not give away original story ideas! Find a script online you can go and do those samples from. And there’s so many other things! We should do a panel at it at a show sometime! So you guys come out and see me at one of the Wizard shows, or one of the other shows I’m at, and, who knows? Maybe we should do a panel on this, on the business of comics.

Saturday, February 28, 2015

I Am Spock (And occassionally Uhura) -- A few thoughts on Leonard Nimoy

A little time traveling.

When I heard of the death of Leonard Nimoy, my reaction was, well, uniquely mine...
My mind went to a kid named Bill and an odd jumble of a  pink house, in a small town in Texas.

Bill you see, was my first boyfriend (at least in my mind he was. Bill may have a different story). I was all of 7 years old.

I can’t remember how I first met Bill. I think perhaps it was the day he was in his back yard, hands on his hips, contemplating a peeling wooden dog house that looked like it was being held together by maybe two nails at the most. I, in my own backyard, ambled over, introduced myself, and somehow we ended up with various cans of rusted old paint and some dried out brushes we found in a shed, and we were giving the little structure a fresh new look.

As one of my first outside art installations, I remember my motif included some nice flowers, which I assume were daisies,  along the side, in multi hues. Not to be negligent,  I also had the idea that the dog should have something nice to look at while in the house as well, and promptly painted some scenes on the inside too.

I don’t remember if the dog house was big, or if I was just small, but yes, there was enough room for me to paint inside.  And in fact, I don’t remember there ever even being a dog, now that I think about it. But that didn’t seem to matter.

We were fast friends.

Our visits house to house became so frequent in fact, that either Bill’s parents or mine—I can’t remember which— put a gate in the chain link fence separating our properties, so neither of us would be climbing it henceforth and ripping holes in our jeans or worse, our legs.

Very convenient this, because we had a lot of work to do.

Bill’s house was a marvel to me. Rocking that paint that was a Pepto-Bismol hue, it was no ordinary house.  It had, what I’d later learn, is called “personality.”

Instead of being a regular square shape like most abodes in the neighborhood, this house was made of wood instead of brick, and was an odd jumble of at least 4 different geometrical shapes, all fitted together without rhyme of reason, and connected with tacked on wooden halls, as if they were arteries going into a four chambered heart.

It was like a fun house had mated with a New Orleans Painted Lady. And I loved it.

Nothing like Pepto Bismol pink!

Recently my brother told me that before Bill’s family, at some point,  the house had been occupied by one Charles B. Pierce, the director and producer of “The Boggy Creek Monster” and the “Town that Dreaded Sundown.”  Two movies,  one documenting our area's local monster, and the other not so lovingly,  our most famous serial killer.

Mr. Pierce must have been quite the eccentric. And I can almost picture some frenzied, coffee-fueled, scriptwriting going on in one of those lego block rooms in some begone day.

Whatever it’s pedigree, the pink house became mine and Bill’s stage for many adventures.

I recall the summer break when we decided  it would be a fine idea to stage a carnival for the neighborhood kids ala Spanky and his gang. I was the artistic director and the Public Relations person. Bill was in charge of sets.  I don’t know how many people actually showed up, but the planning  and building of the attractions was a hoot. And not to forget all those afternoons making new grooves in the yard with that Chitty Chitty Bang Bang go cart that appeared out of nowhere in Bill’s backyard. (Note, these are fun as long as you don't mistake a hot muffler for a handle. And if you do, butter does NOT help.)

There were also melancholy times... for instance when we found a  baby owl near Bill’s front porch, and how we tried to nurse it back to health, it’s large black eyes looking up with a mixture of fear and futility. We failed. I know I cried that day. I think Bill did too. Bill’s Mom gave us icing covered Pop Tarts, which she always seemed to have in great supply. And we gave the owl a little funeral in a small cardboard shoe box. I believe Bill said a few appropriate words.

When I think of Bill, I remember him with dark hair and brown eyes. Wouldn’t it be funny if I was completely wrong.

Memory is an odd thing, the patina of time makes the Polaroids in ones mind fuzzy around the edges.

But I do remember without a doubt  that he, like me, enjoyed monster movies and Godzilla and Tarzan (Johnny only) and “Hogan’s Heroes,” and most of all… “Star Trek.”

There was a time when “Star Trek” was on every afternoon following school, and it became an obsession for Bill and I to dash home to watch it every day, then, of course, run outside to re-enact that afternoon’s scenario, in the large yard studded by evergreen pines around the Pink Lady.

For some reason, unbeknownst to me, Bill always had to play Captain Kirk, which left me with the rest of the cast to choose from. 

Starting out, I took on the challenge of channeling Uhura, being that she was the only consistent women on the show, and a strong female character to boot, so I didn’t mind. (It’s only bothered me a little in hindsight , not that I didn’t like Uhura, but it would have been nice to be the Captain now and then, Bill. And,  no, your name being "Bill" is not a free ticket to ride.)

Even then, we were a great team. Rifling through the toy barn (also painted pink)—that magical shed on the property, full of those rusty cans of paint  that people save “Just in case,” and various pieces of long destroyed toys—looking for objects that could substitute for communicators and ray guns or alien artifacts harboring great and misunderstood power.

One time we thought it would be a good idea to recreate the infamous Kirk/Uhura kiss. After all we’d seen it on TV. Somewhere in the midst of a heated battle with Klingons, Captain Kirk leaned in to kiss me… I mean Uhura… on the cheek, our tender moment interrupted by Mr. Hamilton  shouting “hello kids” from next door. (He, unbeknownst to us, must have been taking a much closer look at our daily antics than we realized. )

It wasn’t long before my acting chops needed a boost however, and I suggested to Bill, that regardless of the fact that I was a girl, that if we used our imaginations, that I could also perhaps play Spock. He was one of my favorite characters after all.

Spock and The Captain.

And thus, the next day, the transformation was made. And I wasted no time perfecting my Vulcan Nerve Pinch and writing it in to the "original lost episodes" that we began to scribe ourselves. Charles B. Pierce would have been proud.

Sometimes it would be Kirk that would rescue Spock, sometimes vice versa, but it was all quite the adventure, taking turns saving each other, you know.

Of course, it did cut down on the kissing scenes.

I have to say that some of my finest acting to date may have been on the stage of our pink house and environs—explaining logic to “Jim” and shooting our ray guns— which may have formerly been parts of a T-Rex— at an onslaught of Romulans. And as for me, I was perfectly happy in my new role of Spock. It seemed…well… logical.

Not everything in life is...

I’m not sure when the last time I saw Bill might have been. It’s lost in my memory, filed away perhaps in the folder entitled “Things I choose not to remember.”  But the end for me seemed to be comprised of  two major events.

The first, probably mostly major to me….We were out playing putt-putt on a bright summer afternoon, and Bill, with his usual theatrics  and joie de vivre, decided to swing the club back like he was really playing golf.  Think: A steel mallet at full force. I had the misfortune of standing behind him and being hit square in the head, opening a huge bloody gash right on my eyebrow.

It’s true what they say about head wounds. They bleed. A lot. 

After leaving behind huge red puddles on the nice new cement of the Putt Putt Golf, a visit to the hospital and numerous stitches, Bill and his Dad came over to our house--a hollow knock on the  garage door. Bill was standing there, so upset, he seemed to have shrunk in size somehow, shoulder's down, apologizing to me. I didn’t really understand why. It was a accident. I knew he felt bad.  His eyes said “I’m sorry I didn’t save you this time” more than the words. 

I  remember mostly his eyes.

For some reason, my mind has erased such moments for  the second event... I remember it as if someone told me about it. Like they were people I didn’t know. But I know that’s not true.

Bill’s Mom worked with my Mom at the local Sears store. My Mom was the bosses secretary at the time (she later worked her way up to personnel manager). I can’t remember what Bill’s Mom did. I do remember that she was sweet and kind. (Note the aforementioned iced Pop Tarts). And she smiled a lot.

My Mom and Bill’s were friends, and met almost every day at the Sear’s coffee shop for their break. The shop was a glass enclosed 1970’s little place on the corner of the building, with Formica tables and colorful plastic chairs, and a grand view of the parking lot.

One day, Mom was running late and didn’t make it to their usual coffee break on time.  A car crashed through the glass window that day, killing Bill’s Mom, as she sat there alone. Just drinking coffee.

She may have been the first person I ever knew who died.

I don’t know how long it was after that, but Bill’s Dad remarried. They sold the old pink house and moved away.

Eventually a lock appeared on the gate between our properties.

I never went there again.


I have thought about all of these things. Most within a few minutes of hearing of Mr. Nimoy’s death. I’m sure too, that your mind took you on a journey as well, also uniquely your own…a journey that made you think what relevance he had in your own life.

I wonder if someone like Mr. Nimoy understood all that?  I mean…how much those characters were a part of our memories. I like to think that he did.  I know he embraced what he had created, at least later on. And that he understood that the character— that ensemble cast, the stories—meant something to a great deal of people.

I love it too, that he created the Vulcan Nerve Pinch because he was tired of staged on-screen fights, and  he also created the “V” symbol that every single one of use who grew up on the show practiced over and over again until we got it.

Admit it, how many of you automatically did that “V” symbol within moments of hearing of his passing! I know you did, and it makes me smile.

Because I did too.

In my current line of work, I've have the great fortune to travel near and far to places that as a child I  could only dream of going. China, Russia, Brazil, Chile...Madison, Wisconsin! To a little girl full of imagination, growing up in a small Texas town, they would all have seemed as equally exotic to me and unattainable...except for the fact that at 7, I had already traveled frequently to the Klingon home planet of Kronos!

In the course of events, I’ve met many of the Star Trek actors, and it always seems surreal. I’m not that affected by actors to tell you the truth, having worked in film production for many years. They are doing a job. Their’s is just on the other side of the camera. But I admit, when William Shatner once told me I looked nice, I was giddy. “That’s Captain Kirk Dammit,” I said in my head. (And maybe out loud too. I can’t remember.)

While I was at some shows with Nimoy in recent years, I regret that I never really got a chance to talk to him much. (I guess I'm still shy by nature.) My impression is that he was a class act, and true professional, and a supporter of many causes that I also believe in, as well

I think you can see the essence in his character by the fact that he  took the high road and remained friends with all his Star Trek co-stars during times when many of them were squabbling with  each other and didn’t talk for years.  

The more I read about him and his career just makes me like him more:


So, here’s to you Mr. Nimoy for the inspiration, the joy, and whatever that secret ingredient was that you guys added that made us want to be you.

And for the hint, dare I say hope, via your show— which really was positive— that perhaps nobility and friendship are things that will always exist.

"Kirk: I want you to know why I couldn't let you die... why I went back for you..."
Spock: Because you are my friend."

That maybe as you said in an 1986 interview that it gives us the ideas that “mankind is humane and will do the right thing eventually to each other and to others…. And we all like the idea that there are great mysteries still to be explored.”

Your last post on Twitter, February 23rd  was a brief and beautiful statement, and it was a summation of my own mind meanderings today, I suppose:

“A life is like a garden. Perfect moments can be had, but not preserved, except in memory. LLAP”

 I know...

When I’m home at my Mom’s in Texas, I sometimes sit in my Dad’s old chair by the backyard window— the chair he used each night when he was alive, and I look through the trees towards the old pink house— still there, still painted like Pepto-Bismol, but needing a new coat… or perhaps some nice daisies along the sides…if only one could find a few squirreled away rusty cans of paint and a young soul or two to do it…and I still see imprinted on that canvas what use to be. 

And I find myself reaching up without realizing , to touch the “putt putt” scar, hidden by my brow.

Then...  I remember Bill and I remember “Star Trek,” and I  see an 8 year old Captain Kirk and a not so logical Spock, boldly setting out to change the world . Not really knowing at that point what the world even was.

Yet on our little plot of soil, turned into a vast universe in our imaginations, it somehow seemed…well… limitless. And you know what, Mr. Spock, as illogical as it might be, thanks in part to you,  I still feel the same.


— R. Witterstaetter
Somewhere in Costa Rica
March, 2015

Tuesday, February 17, 2015

Historian/Writer Trina Robbins Available for Booking!

Trina Robbins
Hi Everyone-- 
We are pleased to announce that we are doing a limited amount of bookings for 
the amazing Eisner Hall of Fame member,   Trina Robbins. Here is a little bit about Trina below. 
For more information, contact us at: evaink@aol.com
Renee Witterstaetter
Eva Ink Artist Group 
Award-winning herstorian and writer Trina Robbins has been writing books,
comics, and graphic novels for over forty years. Her 2009 book, The
Brinkley Girls: the Best of Nell Brinkley’s Cartoons from 1913-1940
(Fantagraphics), and her 2011 book, "Tarpe Mills and Miss Fury," were
nominated for Eisner awards and Harvey awards. Her all-ages graphic
novel, Chicagoland Detective Agency: The Drained Brains Caper, first in a
6-book series, was a Junior Library Guild Selection. Her graphic novel,
"Lily Renee: Escape Artist," was awarded a gold medal from Moonbeam
Chidren’s Books and a silver medal from Sydney Taylor Jewish Library
Awards. Trina’s most recent book is Pretty in Ink, her final and
definitive history of women cartoonists. In 2013, Trina was voted into
the Will Eisner Comic Book Hall of Fame.

Just a few of the books by Trina Robbins.