Happy Holidays from Eva Ink Artist Group/Pros & Cons Celebrity Booking and HappySpacePOP.com

Hello Out there..... Everyone at Eva Ink Artist Group, Pros & Cons Celebrity Booking and HappySpacePop.com wants to wish you a very happy holiday season as we all look forward to 2021! Can't wait to see you in person! Until then, join us for some virtual fun and our FREE Happy Space POP Holiday Special at: https://knightsboard.com/register-happy-space-christmas-special?post=4183

All of our best to you and yours!! (Art by Rags Morales)

Cover Recreations: Venom Lethal Protector #1 by Sam de la Rosa!

Artist Sam de la Rosa is offering a special recreation  Venom Lethal Protector #1 on a blank (blank included) OR you can upgrade to a 12x18 piece of Original Art. 

Venom Lethal Protector #1 Recreation on a blank (bk included):

$400 in pencil

$600 in ink (color is additional $100)

$1000. On 12"×18" (logo/ trade dress is printed)

Postage is $20 for domestic shipping. 

Contact evaink@aol.com for details.

New Round of Michael Golden "Sketch Masks" Available!

The "Sketch Masks" have been pretty popular and it's been fun to see what people come up with for ideas. 

Here are some examples of the current round Michael just finished. 

You can order your own via evaink@aol.com.

All masks are $35 or $70 for a double mask and that includes the domestic shipping. Mainstream characters are all fair game.

Just contact us for more details! 

If ya gotta wear 'em we might as well have some fun with it! 

Custom "Sketch Masks" by Michael Golden

Hi Folks--

Since it's the new necessary item we all need to have, why not have a little fun with it too?!

Announcing washable/reuseable "Sketch Masks"  by artist Michael Golden!

Artist on Dr. Strange, Micronauts, Baman, "The 'Nam," Star Wars and so much more, as well as the co-creator of Rogue, you have alot of material to choose from.

That's right, this is an original piece of art on a MASK, and you get to pick the character you want to sport. Any comic book character is game. And if it's some other character you have in mind, just contact us for details. You never know!

Samples of Masks. Colors include white, pink, gray or light blue.

Each mask is $35. That includes shipping and handling. Double images are $70.  The colors we have right now are white, pink, gray and light blue.

For more details or to order you persoanlized "Sketch Mask" contact us at: evaink@aol.com

TMNT '90 Producer Kim Dawson, Writer Bobby Herbeck-- Talk Turtles!

 From Scoop:

Teenage Mutant Ninja Turtles ’90 Producer Kim Dawson, Writer Bobby Herbeck Talk Turtles 

 

In 1990, producer Kim Dawson and writer Bobby Herbeck put Kevin Eastman and Peter Laird’s Teenage Mutant Ninja Turtles onto the big screen. The live-action film took the No. 1 spot on its opening weekend and since then has become a beloved modern classic among comic fans and the now-grown kids who saw it in theaters in ’90 and are showing their children. As the cast and crew celebrate the 30th anniversary of Teenage Mutant Ninja Turtles, Herbeck and Dawson talked to Scoop about the movie, recounting behind the scenes events that brought the Ninja Turtles to life.
Scoop: Let’s start with how each of you got involved in this movie.
Kim Dawson (KD): In the summer of 1986, I got a call from my partner [producer] Gary Propper that he was in Detroit and had found a comic book that was the first issue of the Teenage Mutant Ninja Turtles, the black and white. He was a talent manager, managing a comedian named Gallagher playing at the Fox Theatre. He got so excited when he found this comic because he felt it could be the first movie that we made. We did a lot of television projects together, but the first movie we made that could be a live-action picture. He sent me the comic and then the next day I called Mirage Studios, who had just signed a deal with Surge Licensing for treatment and then with the two of them it took us a couple of months to negotiate the deal and we finally put it together. Actually, I misspoke, it was the summer of ’87, so by the fall of ’87 we had a deal in place and that’s when I introduced the project to Bobby.
Bobby Herbeck (BH): I was working for Golden Harvest, I was writing a movie for them, they’re out of Hong Kong, they did the Bruce Lee and Jackie Chan movies. Kim told them “Bobby’s over there working with Golden Harvest, that’s a perfect fit to make the Ninja Turtles.” Which took some time to get my boss to put the dots together. He kept telling me, “Write the movie I’m paying you for and quit bugging me with the pinjin, ninjin turtles.” He gave it a different title, which someday maybe we’ll do the Pinjin Ninjin Turtles. A couple of months maybe, it was going around Hollywood.
KD: It was longer than that because by December that year we had prototype toys from Playmates, and there was a graphic novel by that point, and there was now going to be a cartoon series promoting the toy line. The toy line launched at Toy Fair in February of ’88. Bobby and I and Gary Propper went out to Hollywood and talked to everybody we knew and basically pitched our hearts out. We had the toys, we had the press kit, we had what we thought was a viable package and people weren’t buying at that point. Nobody was interested.
BH: I was literally laughed out of some pitch meetings and after one of the pitch meetings, they called my agent and said, “Who’s the guy smoking pot that came in with this turtles thing?” They thought this was just some stoner trying to sell a movie. It didn’t happen easy, but I kept going back to Tom Gray, my boss at Golden Harvest. Finally, one night we had a drink and it donned on me, he had a 12 year-old kid at home and I said, “Hey Tom…” and he said “Don’t go there.” I said, “Just one more time, you go home tonight and ask your kid about the Turtles because now they’re on TV, building an audience.” By the time I got back to Long Beach that night he’d left me a message to call him and get Kim and meet him for breakfast in the morning. We had a meeting and he was leaving the booth, he calls it he had one butt cheek off the booth when Kim reeled him back in with “You have the best martial arts guys in the world. You just put them in the costumes and dub the voices.” Then he slid back in and the ball started rolling. It took, maybe three months.
Scoop: You said it was a tough sell and I was wondering if you saw any reluctance because of Howard the Duck since that was around the same time.
BH: You are so right my dear. This was Tom Gray’s biggest fear: that it was Howard the Duck. [both laugh]
KD: And there was another comic book that had been a live-action picture called Garbage Pail Kids that had also tanked badly. Howard the Duck was obviously George Lucas, and Lucas was…I think everyone at Universal was stunned that the movie didn’t do better.
BH: And again, this wasn’t what Golden Harvest did. They did these action kick butt martial arts movies; they didn’t do kids movies. They didn’t have a clue at the beginning and I’m sure Raymond Chow, the man that owned the company was like “What are you talking about?” I don’t think he had a clue how you make that movie. As time evolved with the help of Kim and Gary Propper, rest his soul, the other producer we lost last year, really the force behind finding the book and then coming to me, and then working with Tom and putting it in his brain, really – this is how you do this movie. It just started evolving. Everything I tell people, Kim and I – it was all timing. It’s like catching a wave, our timing was perfect. Kids had only had TVs then, they didn’t have iPads and Xboxes and stuff, they got their entertainment on TV. Pong was the game.
Scoop: You mentioned that part of the pitch was getting martial arts actors and putting them in the suits, then dubbing the voices. Did you have any voice or suit actors in mind when you started?
KD: No, here’s how it went down when Golden Harvest made the deal for the rights, they sent Bobby to Massachusetts to work with Kevin [Eastman] and Peter [Laird], they were looking for the right director to do it. We focused in on Steve Barron who had been doing a lot of Michael Jackson videos, he did “Billie Jean” and a few others. I think he was the production designer/art director on Dark Crystal. He just had a real look that they liked, and I felt that would probably be to our advantage. So, when Steve came on board, he was good friends with Brian Henson and together, they convinced Jim [Henson] that the Creature Shop should be the ones to make the costumes. Brian felt that in order to do the movie properly, that the actor inside the costume had to be enough of a stuntman to do a backflip and drop through a simulated manhole cover. So, they had trampolines in the Creature Shop, so they were building suits to make those work, so it was really focused around the puppeteers and the actors that he brought together. The voice actors were an after thought later on. We didn’t replace those voices until well after the movie had been finished.
Scoop: I wanted to ask about the costumes. We’re at the 30-year mark and the costumes still look great. I was curious about the process of getting Jim Henson’s Creature Shop involved. It sounds like they put a lot of thought into mobility as well as the look.
BH: A lot.
KD: It had to be. There were actually two sets of turtle costumes: you had the stunt turtles, the guys who did all the fighting and running, that sort of stuff, then you had the talking turtles, that were the acting turtles. The acting turtles had, under their shells, extensive electronics that were the servo motors that were used to move the facial features. I think what you’re driving at, a key point of the success of the film, is between the puppeteers who used joysticks and also remote control gloves called waldos and the actor inside the suit. There had to be a rapport. Brian was very careful in casting those parts so that those guys could behave the way the characters are written, because Bobby wrote these deep characters that were all differentiated in their words and that had to manifest itself in how they behaved inside the costume with their facial features and everything. So, it was a complex dance, if you will.
Steve Barron was at the heart of it because even as they cast all these characters, he had to be thinking about how they would interact. I think it was that chemistry between the puppeteers, the actors inside the costumes, Steve Barron, and Brian, even the script supervisor, because they were all wired up – could hear one another, talk to one another. So, aside from the fact that the costumes were operating at 110 degrees of non-air conditioned studios, the sweat that built up in the costumes kind of shut them down. It kind of fried those electronics on a regular basis. It took longer to make it than it should have, probably.
Scoop: What story points or background from the comics did you want to include in the movie?
BH: That was all by design. Once Tom Gray said he was in, we were going to go for it. We flew to Northampton to meet Peter and Kevin, to convince them. My job was to convince them that Golden Harvest was the company to make the movie – which we did. I got back, not home two days and was told, “Pack up, you need to go back and sit with Peter and Kevin. They need to sign off on the story for the movie.” That was not a short and easy process, it took some time for them both. I’d do a treatment and give it to them, we’d meet a few days later and I could tell by their body language that one liked it and one didn’t. That went on for a while. I finally said one morning, “How did you guys ever get a comic book done? You can’t agree on anything.” So, they finally agreed and I came back. I’m getting to answer your question, a lot of it came from the graphic comic book, obviously, the characters and then to just delineate them a bit more on screen and some of the story points, plot points were from the comic book. I added Tatsu to the mix.
KD: You added comedy to it and rapport. The original comics are pretty anxious. It’s much darker. I think that we knew we had to make a movie that was PG-13 or PG. We couldn’t make a movie that was dark and an R. We knew that there was an audience of comic fans out there, but Tom Gray was interested in the more youthful audience, which is where New Line felt that they could bring it to the theaters and attract an audience that was kind of bifurcated. We had a youth audience in the afternoon and in the evenings and then later at night we had the cult comic book collectors.
BH: Two things here, first of all, Kim’s the one that brought this up a while ago, Tom didn’t really give two beans about the story as much as the action, because they were an action company. So, it was not always easy with him and writing it, as to what they wanted and didn’t want. Once I was assigned to it, Steve took me to London to write this – which was great to be away from Hollywood with Steve and do this. I looked at Star Wars, the first one, I wanted to count the number of battles and I wanted to see the motivation from Lucas as a writer. I realized each battle had a reason, a theme. It wasn’t just “Hey we need a battle scene here.” But that is part of a template.
So, every time in that movie when the Turtles go up against the Foot, there’s a reason for it. It’s very important in the writing that Splinter says, I’m paraphrasing this “You never start the fight, you only defend.” That was the message. I’m a message guy. I love the scene where he talks to the boys and tells them he loves them and will always be there. My friends, adults who took the kids to the movie back then, one big rugby player guy starts crying and says “Oh, man I took my son to see the movie.” And I asked “What are you crying about?” and he said “My son looked up and said, ‘Are you my friend daddy?’ and I said ‘Yes’ and he said ‘I love you daddy.’ I started crying and said, ‘I love you.’” He’s telling me “You piece of s---, you made me cry in front of my son at the movie theater.” [both laugh]
For Kim and I, this has all been wonderful for us because we’ve been kind of in this bubble. I know when I’m out in the world and someone says, “This guy wrote the Ninja Turtles movie” the reaction I get. We are just blown away by the love and devotion of the fans and how many there are. We had no idea, after all these years. And the second generation. It’s a blessing.
Scoop: What are each of your favorite parts of the movie?
BH: I have several, I like the whole thing because it was a success. I love the opening because kids are at the edge of their seats to see the Turtles like this. Seeing Raphael lifting the manhole cover and knocking the light out and you finally see his face from the cop’s bubble light and the next shot is in the sewer and you see them in silhouette. I get goosebumps every time. I think that was a brilliant thing. The beginning for me.
KD: One of my favorite parts of the movie is the farmhouse. When they go to the farmhouse and the things that happen there. The dialogue between Donny and Casey and certainly the repertoire between Casey and April, I love. The Kodak moment when Raphael wakes up and Leonardo is there is my favorite moment in the movie because it’s like what brothers would do. “Get a grip. What’s the matter with you?”
BH: Two of my favorites scenes are that Kodak moment and the one when they bring April down to the den and she’s passed out and they look at Splinter and say, “Can we keep her?” that had all kinds of connotations to me. I just love that.
Scoop: Did you have any pushback from the studio or censors regarding the fighting in the movie?
KD: It’s interesting. Particularly in certain territories around the world, there was a fair bit of pushback. Norway, I think they changed the name to Hero Turtles. I don’t think it got nearly the traction it could have or should have in Japan or Korea where martial arts are a big thing because they felt it was –
BH: A mockery.
KD: Right. Whereas the guys who played the characters, the stunt Turtles, Pat Johnson was the choreographer and he did all the Three Ninja movies, he was brilliant. He was an amazing fight choreographer. You just can’t say enough. Oddly enough, the second and third film don’t have quite as much violence in them. This was back in a time when violence wasn’t tolerated as much as in today’s world, when you compare movies where they’re blowing the crap out of stuff. There was pushback. We did get some from whatever organization in Washington, DC pushes back on kids’ violence. The truth is, when you look at it, these fights do have a message and all that. The movie’s an allegory for things that are going on in life that are much deeper and richer than a 7 or 8-year-old can understand, I think. There’s a lot of double entendre in the film and that’s all due to Bobby and [co-screenplay writer Todd Langen] and the words that they wrote and built the characters and certainly the direction. But, there was some pushback.
Scoop: The movie has built a legacy. It was No. 1 on its opening weekend, a lot of people consider it among their favorite movies, and the kids who saw it in 1990 are showing their kids now. As the movie is celebrating its 30th anniversary this year, what are you feeling as you reflect back on it?
KD: Oh, how blessed we were to be involved. I swear. In life you have those moments where you can go left or right, it’s that Robert Frost poem “The Road Less Traveled” it feels like we arrived in that moment at the right time in our lives. It’s been that sort of thing. It kind of launched a whole new career for me, because I was a television producer up until that time and I’ve been able to produce films since then and I’ve made amazing relationships with people.
So, as I start to build from 30 years ago the things I’ve been able to do as a result of that particular picture, it’s a blessing. When the movie was first released, I’d moved to Orlando to produce The Mickey Mouse Club for Disney Channel. I was out of the Hollywood mix and I’ve been able to stay in Florida as a result of the film because we did three in a row. Two up in North Carolina where it was easy to get to and the third film was made out in Oregon. For me, it was just that seminal moment that broke open a new pathway in what was now a long career. I started in the mid-‘70s in the film and television business. For me, it was just that opportunity where you got to take a path that you never even anticipated. I owe that to GP, Gary Propper was my partner, like I said, he was the manager of Gallagher at the time. We made a dozen specials for Showtime and I’d done a lot of work in entertainment and sports prior to that. Once we started down the path of Turtles, it kind of gave me a new perspective of what the world was about because it was frivolous and it was lightning in a bottle. No doubt about it.
[Editor’s Note: Kim Dawson had to end his portion of the interview at this point for another engagement.]
Scoop: Bobby, do you want to comment on getting pushback from the studio or censors regarding the fighting in the movie?
BH: Like Kim said, we did get that, you always get it, but to go a step further on what Kim was saying about the Asian market, according to Tom Gray who was running the company at the time, he told me a couple of year ago – I was shocked – this movie didn’t really play in Asia at all. They didn’t want it. It played everywhere else in the world. I think he told me there was no Asian market, therefore the foreign numbers weren’t very good, box office-wise. Now, once it was a hit, they started buying into it because it became a phenomena around the world. It just brought awareness to it – this little graphic book that was in a store in Detroit. It just put it on the map and Peter and Kevin.
The other thing, when I was writing the delicate balance I always felt was not to write down to the kids on this movie and to write straight across and keep the parents in mind because you had the teenagers and then you had the younger kids. Like Kim said, there were two groups that went to the movie. I always say that part of the success of the movie is that it was written such that the parents – and I know for a fact because I’ve had parents tell me – they took the kid to see it, kind of begrudgingly, and come home and call their sister or brother or friend and say, “It was really a cute movie. It’s really good, go see it, you’ll enjoy it too.” So that helped.
In the business, they’re making big money on these movies, these tentpole movies, because people are going back to see them again. I’m not a math person, but someday I’m going to ask somebody what they think the box office would’ve been today at today’s price of a ticket, because you remember, tickets were a heck of a lot cheaper in 1990. I’d be curious what that number would’ve been today.
Tom Gray and I had made a bet. We were going to lunch the week before it opened, and he was nervous as hell. He said, “Herbs, I think we’ve got Howard the Duck on our hands.” I said, “No, we have an audience. Howard the Duck fell out of the sky. We have an audience already waiting to see this.” He said, “What do you think it’s going to do opening weekend?” I said, “My money is on $20 million-plus.” And he goes, “From your mouth to God’s ears. If that movie opens to $20 million the first weekend, Golden Harvest will buy you anything you want.” I didn’t go for the house. So, we’re in his car going to lunch in Santa Monica and Wilshire Boulevard where they cross and this beautiful black convertible two-seater Mercedes pulls up and I said, “I want one of those.” And I was about to get married to boot. And he said, “You got it Herbs. If the movie does $23, $25 million the first weekend.” To this day, 30 years later, no I never got the car.
And I say, that is typical Hollywood. They love you at the time and then…next… They didn’t let me write the sequel. I didn’t have a sequel to write. They didn’t let Judith [Hoag] come back for the sequel either to play April. That’s all Raymond Chow because he’s very tight. When you write a movie, if you write the sequel, it’s called your quote – what you got paid to write the first one, they have to up the ante on the second one. He didn’t want to do that. He didn’t let me have the sequel. I was not happy at all. I said to Tom, how can you let this happen, I’m the one that brought you the movie? He said, “Well, my hands are tied.” I did not leave with very good feelings there. Tom was very upset when we won the People’s Choice Award on national TV and Kim and I are on stage thanking everybody and Tom, to this day, has not gotten over that we didn’t thank him.
There’s just so many things to the story. We’re doing a documentary series on this whole history from the beginning of Peter and Kevin to how this movie got made and subsequently what happened during and what’s happened over the years after and the lawsuits and the this and that. The latest chapter after this is the coronavirus. We were all set, 30th anniversary. The virus couldn’t have hit on the 29th or the 31st anniversary – on the 30th the virus hits. We were supposed to do WonderCon and Comic-Con, we were supposed to do a series of autograph shows and other cons. But everything’s shut down.
But, we found a workaround with social media. We’re doing a pizza party on the 23rd of May on our YouTube channel at 8 at night Eastern, 5 Pacific. Judith, bless her, has rounded up not only the cast, but she got Steve Barron, Brian Henson, Kim and I are going to be on it. It’s just a thank you to the fans. No money involved here. This is just a thank you to everybody and our way of showing some appreciation. It’s the first time we will have all been together in all these years.
Scoop: You have the documentary and the pizza party. Are you working on anything else for the anniversary?
BH: We’re going to do a book. We just talked to Neca who had some ideas, because they think it should be a coffee table book with pictures and stuff. They’re going to join forces with us. This guy Randy [Falk] is amazing, the guy that runs that company and his partner, the guy who designs stuff, Trevor [Zammit]. I thought, “this will be a half-hour conversation [referencing a call from earlier in the day], we’ll get to Amanda in no problem.” This thing went on and on. They’re doing a whole line of 30th anniversary toys that are going to be in Walmart and Target in June. When it comes to the Turtles, they do a lot of other action figure stuff, but when it comes to the Turtles, all they are interested in are the early Turtles. Not today’s, they just want ones from our time. They think they’re the original, and I agree.
I’m not a big Michael Bay fan and what he did to the Turtles. I get asked that in a lot of interviews. Frank’s TV interviewed me last year and asked, “What do you think of the Michael Bay Turtles?” and I said, “Not much.” They didn’t change Superman and Spider-Man and Wonder Woman and how Batman looked. Maybe a subtle change, but not a change like that, to a point where there… My grandson jumped in my lap, he was 6 when he first saw the first Michael Bay one and he said “Pop-Pop, why’d you make them so scary?” I said, “I had nothing to do with it.” They are! They’re just not the sweet, fun looking little Turtles.
Scoop: One of the things I like about this movie is that April O’Neil isn’t just a damsel. Raphael does save her, but she has gumption and attitude. Was it important to you to write her that way?
BH: Absolutely. I asked [Judith] what was the hardest scene in the movie, I knew what it was, it was waking up and discovering Splinter and the Turtles and she has to scream and jump up on the couch. She said that was the scene and I said I thought that was the hardest to do. That scene I didn’t like that much, not her fault. I didn’t want her to look like some screeching little… I had a thing in my comedy act that when you look at older movies, the woman when she always fell down. How come the men don’t fall down? I fall down all the time. You see a woman running and she falls, you go “C’mon, with the falling. Stop falling.”
I wanted her to have just a little edge to her because that’s what the ‘90s was, you know. Women were raising a little hell about the glass ceiling and I thought she should not be the atypical woman that they put on the screen. She could carry her own and in real life, she is that way. She’s a tough broad. I love her. I mean it, she’s been a godsend for us, putting this thing together. I said, “You’re our superstar, you’re going to get the Oscar for this – I’m not sure what we’ll call it. Best supporting, that’s for sure.”
Scoop: Before Kim got off the phone, I asked how he’s feeling as he reflects on how popular the movie is and the fact that people who saw it in 1990 are showing their kids now. With the 30th anniversary this year, how are you feeling?
BH: I’m a weepy guy. I’m very sensitive and I cannot tell you…I’m touched. I’m almost going to cry. I’m touched by it all, I’m overwhelmed. When my wife and I go to a public function… I’ll give you a couple quick examples. I go to a wedding last year and there’s people in their 30s, mainly, at this wedding. Someone mentioned, “See the guy over there, he wrote Ninja Turtles, the movie.” So, when I’m leaving, I was stormed by about eight guys going out the door, saying, “Dude, you can’t go” and when they say “dude,” I know they know. “Dude, can we get a picture with you?”
It’s happened again and again to almost the point of embarrassment. I’ve been invited to celebrity events and I used to be a judge at the Pepperdine Songfest that the students put on every year. The first year I went, I was sitting next to Ben Stein and some other faces. Ben was introduced and he got a nice ovation and they go “Bobby Herbeck” and I’m standing up and they say, “The man who wrote the first Teenage Mutant Ninja Turtles movie” and as I’m standing up – my wife will tell you – the kids jumped up and were screaming like I was Elvis. I shot back down in the seat. This was an auditorium full of kids.
At the intermission, someone came in the green room and asked, “Are you here for the second part of the show?” and I said, “Yes, I’m judging.” They said, “Oh man, you aren’t going to believe this.” There were all kinds of students putting on productions, song and dance. The second number, these four guys come out – they didn’t know I was going to be there – they come out on stage dressed as Ninja Turtles. They’re singing a number and pointing out at me. I look at Tami [his wife] and I got tears, and said, “Can you believe this?” That’s why the kids wanted to know if I was going to stay. And I was mobbed afterwards when the show was over.
I’m just saying, it’s there, it’s been there and now I’m realizing it’s bigger. When we talked to TMNT Minute podcast, I said, “So what do you think, we have several thousand fans?” And they said, “No dude, it’s in the millions.” I said, “You’re kidding me.” And that’s what the Neca guys are saying. That’s what Randy was saying today. I’m just blown away, you know? In my business… First of all, to get a hit like this and it lasts this long, and still has a gravity pull? You just can’t be more blessed than that. I’m serious. We got so lucky. I’ve tried to get another one all along the way, but lightning only strikes once. Now, George Lucas is a different cat, but we’ll take this. The second one did okay, but everybody loves the first movie. I’m blessed. And people like you, I can’t thank you enough for wanting to take your time and hear what we have to say, but beyond that being a fan. That’s why we’re doing this.

  Original Post: 

https://scoop.previewsworld.com/Home/4/1/73/1017?articleID=242751

For more information on convention appearances for Bobby Herbeck and Kim Dawson, contact their booking agent at Eva Ink Artist Group/Pros & Cons Celebrity Booking at evaink@aol.com.

Michael Golden-- Patreon Page! Join the Force!

 Hi Everyone-- 

We want to invite you to join Michael Golden's new Patreon Page! 

Through becoming a member, even at the $1 level, you'll help support one of the industries best storytellers as he goes about the business of creating new art and new projects for you. 

Well known for his work on Star Wars, Doc Strange, Batman, 'The 'Nam," "Micronauts"... you know there is more magic in store. 

As a member, you'll have access to special offers and exclusive information. 

We want to create a fun environment for all Golden fans!

So, hope you'll become a Golden One today.


https://www.patreon.com/Michael_Golden_2020?fbclid=IwAR2t8FIIHqb-EX3dON1XhdGvGtt44wza2hNMDXI6Gm67Sl1AitBLrxmRiSQ

It is the Way. :-) 


Best,
Renee

The Queen of Martial Arts-- CYNTHIA ROTHROCK for 2020 Bookings!

 

For Immediate Release
November 13, 2020

Cynthia Rothrock-- Movie Legend--"Queen of Martial Arts"-- Available for Booking For your Pop Culture and Comic Event in 2020


New York, NY-- Actress and Martial Arts Legend Cynthia Rothrock has agreed to make a few key convention appearances in 2020, via  Eva Ink Artist Group/Pros & Cons Celebrity Booking.

A Black Belt in numerous disciplines, Rothrock has made over 43 action films, including "China O'Brien (1 and 2),"  "Yes, Madam," "Righting Wrongs," "No Retreat, No Surrender," "Martial Law (1 and 2)," "The Blonde Fury," "Millionaire's Express,"  "Rage and Honor," "Sworn to Justice," "Rapid Fire,"  "Lady Dragon," and "Guardian Angel." 

Her fight against Michelle Yeoh in "Yes Madame" is considered one of the best on screen fights of all time. And in fact, she ranked as the  world-wide, #2 leading marital arts movie draw for over a period of ten years-- one of the few performers to achieve genuine Stardom in seven films.

In addition, Cynthia's TV appearances include "Hercules: The Legendary Journeys," opposite Kevin Sorbo, and "The Dukes of Hazzard Reunion." She is also the inspiration behind the video game character Sonya Blade in the game "Mortal Kombat" and is part of the creative team on the video game "The Untouchable 2."  In addition, she is a voiceover actress, lending her vocals to the animated series "Eek the Cat."

Cynthia Rothrock is the real deal.  The "Queen of Martial Arts Films."

At only 5'3" she holds five Black Belts in various Far Eastern disciplines, including Northern Shaolin (classical Chinese), Eagle Claw (Chinese), and Tang Soo Do (Korean), Tae Kwon Do (Korean) and Wu Shu (Contemporary Chinese.)

She was the undefeated World Karate Champion in both forms and weapons from 1981 to 1985. And is one of the very few individuals to be inducted into both the Black Belt Hall of Fame and Inside Kung-Fu Hall of Fame.

Cynthia with Michael Khan (aka Yoeh) 

With five Facebook Fan pages devoted to Cynthia and her movies, and with  her highly successful "Traditionz" t-shirt line, she will be tremendous draw at shows.

And there are so many ways to capitalize on this rabid fan base.

In addition to her signing at her table at the show, and photo ops, we can also negotiate "meet and greets, " panels and seminars (additional fees), and can arrange screenings of her movies, to make this a multi-faceted part of your convention.

To discuss particulars, please contact Renee Witterstaetter at: evaink@aol.com


Here are a few clips of Cynthia Rothrock and her work:

Rothrock versus Sheperd  on "Hercules: The Legendary Journeys":
https://www.youtube.com/watch?v=10i49sctkEc

Rothrock versus Kevin Sorbo's Hercules on "Hercules:The Legendary Journeys:
https://www.youtube.com/watch?v=21-8IhMEtGM

Climactic scene in "Yes, Madam", with Michelle Yeoh, which broke box-office records in Hong Kong:
https://www.youtube.com/watch?v=-44PGLaPEwY

Convention Bookings Open for 2019-- Eva Ink Artist Group!

Obviously making their selections.

Hi Everyone-- 

Well it's that time again! When we start putting together our list of appearances for 2019! 

We do have some amazing talent to offer for 2019 and beyond.

AND you can book them as a single artist, or I can make package deal with a group of certain creators. So, please tell me who you are interested in inviting ASAP, and we'll iron the details, with the interest of making a a great appearance for the artist, the fans and the show! 

We love what we do!  And it's always exciting to see where the artists will be next! 

Here are a few of the creators available for 2019 (Long bios below):

Mike Zeck-- Creator of Spider-man's black costume.  Hey, there is a new Venom movie coming out. Without that black costume... there would be NO Venom! 

Michael Golden-- Creator of Rogue of X-Men fame. Former art director of Marvel Comics and considered one of the best storytellers in the biz.  Just took at his work on "The 'Nam" and "Doctor Strange." Talk to me about booking his class in storytelling.

Arthur Suydam-- Artist for "Marvel Zombies," "Walking Dead," "Deadpool," Black Panther."  Perfect booking to tie in with the Pop culture at your show. On Sunday's he does free sketches for kids as well! 

Jim Shooter-- Former Editor in Chief of Marvel Comics. One of our foremost living experts on the history of comics! 

Graham Nolan-- Renowned Batman artist and creator of Bane! Don't miss out on having his charismatic creator at your show. 

Rags Morales-- Artist for JLA, Wonder Woman and too many titles to mention. Read his longer bio below.

Geof Isherwood-- Artist for Doctor Strange and Suicide Squad! 'Nuff said. 

Tom Cook-- Artist  for Scooby Do, He-Man, Hanna Barbera. 

Phil Ortiz-- Artist for the Simpsons!  Fans can have themselves turned into a Simpsons character at the show. 

Mike DeCarlo-- Artist for Marvel and Archie Comics.  Fans can be sketches as an Archie character! 

Rodney Ramos-- Renowned artist for Marvel and DC Comics. Including "Transmetropolitan." 

John Beatty-- Inker on some of the most ground breaking comics around, including "Secret Wars."  

Mike Deodato-- Renowned DC artist. Artist for "Old Man Logan."

Will Conrad-- Artist for DC Comics.

Clinton Hobart-- Artist for Disney!! Catch one of his live demos.

Jeff Balke--  Be sure to stop by Jeff's table and inquire about his "sketch colorings.' 

Dennis Calero-- Artist for Marvel and DC Comics.

Jim Salicrup-- Responsible for some of your favorite comics, through his time as an editor at numerous companies.  With Venom coming out, also a wonderful booking opportunity. 

Ric Meyers-- Movie and TV consultant, Kung Fu expert, Hulk writer, former editor at Charlton Comics!

Check out our full list below!

And let's talk about 2019! 

Best,
Renee

Eva Ink Artist Group
Pros & Cons Celebrity Booking
evaink@aol.com
evainkpublishing@gmail.com (assistant-- Rachel)

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. )

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. )

Arthur Suydam-- (Artist/ Creator)

 

 

The Zombie King," as he is known, rose to stardom for his work on the smash hit series "Marvel Zombies," the lines at his booth at any given show are a testament to the enduring "zombie craze," with Suydam as a forerunner.

He is also renowned as the Deadpool cover artist on "Merc with a Mouth." As well as "The Walking Dead." And he is credited as being one of the first artists to bring fine art painting techniques to the world of comics in such books as "Cholly and Flytrap" and "Mudwogs."


Recent 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. His "Cholly and Flytrap" series has recently been compiled into a collected volumne, marking that great achievement and it's place in comic history.


Programing Notes: Arthur is also 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.)

 

Jim Shooter-- (Writer/ Marvel Editor-in-Chief)

Jim Shooter

Jim Shooter started writing Superman and other titles for DC Comics at the age of 13 in 1965.  He worked his way through high school writing stories, laying out pages and designing covers.

He was hired by Marvel Comics in 1976 as associate editor and in 1978 became Editor in Chief.  He introduced benefits, royalties and other incentives for creators that attracted a legion of phenomenal talents who., under his oversight, authored a decade of brilliant creativity and unparalleled success.  Jim wrote several notable series including the Avengers and Marvel Super Heroes Secret Wars.  He also headed up the creative teams that developed G.I. Joe and Transformers.

Jim went on to found Voyager Communications in 1989, where he was the CEO and President.  He also served as Editor in Chief, principal creator, head writer and occasional artist for the highly acclaimed comics published under the VALIANT imprint, which included Magnus Robot Fighter, Solar Man of the Atom, Harbinger, X-O Manowar, UNITY and more.

Programming Notes:  Jim has certain booking conditions and is open to doing numerous panels, including two that he always brings to the table.

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!


Graham Nolan-- (Writer/Artist)

Graham Nolan

Graham is an Inkpot Award winning cartoonist, best known for his long run on BATMAN in Detective Comics and as the designer and co-creator of the iconic Batman Villain: BANE.

He is also the creator of the graphic novel: MONSTER ISLAND, web-comic: SUNSHINE STATE and the co-creator of the IDW horror adventure series: JOE FRANKENSTEIN. 

When he is not chained to the drawing board you will find him in his Jeep, down at the lake fishing...

And we hope at a show near you!
  

Mike Deodato-- (Artist/Creator) 

Brazilian artist Mike Deodato, Jr. (born Deodato Taumaturgo Borges Filho) has become an enduring fan favorite, working in styles ranging from wildly energetic cartooning to moody photorealism. 

His father, also a Brazilian comic-book artist, inspired Deodato's lifelong love of comics and guided his son's artistic development. A professional artist since 1985, Deodato often collaborated with his father on comics in a wide variety of genres. Always a fan of American comics, Deodato broke into the U.S. market with projects like Malibu's Santa Claws and Innovation's Beauty and the Beast. 

Switching from his original realistic style to an Image-influenced dynamism during the early 1990s, he made a name for himself with a popular run on DC Comics' Wonder Woman. Sometimes aided by assistants, Deodato became one of the decade's most prolific and in-demand artists, including Marvel credits such as Avengers, Elektra, Incredible Hulk, Spider-Man and Thor. 

Gradually feeling overexposed and overextended, he cut back on his workload and reinvented his art again, crafting a darker, more detailed, more personally satisfying style. After trying out this new look in a Nightcrawler story for X-Men Unlimited, Deodato landed one of his favorite assignments to date, collaborating with writer Bruce Jones on Incredible Hulk. 

Subsequent assignments for the currently Marvel-exclusive artist have included Witches, New Avengers, Amazing Spider-Man, Thunderbolts and his latest ongoing series, Old Man Logan.

Booking Notes:  Mike has specific table and booking needs.

Jeff Balke-- (Artist, Colorist, Animator) 

Jeff Balke and his Sketch Coloring

Add  a big dose of Whimsy and outright fun to any show with Jeff Balke and his own unique "Sketch Coloring," which can be applied to any sketch by any artist. Either on the original or on a copy of the original. 

Jeff is an entrepreneur, animator, voice actor, colorist and producer who through his animation studio, JeffBalke Studios which focuses on 2D CEL Animation. In addition to creating animations, the studio also produces weekly Comic Strips, Comic Strips ANIMATED! and Comic Books.

He is also as an Award Winning Comic Book Colorist and has worked on more than 300 comic books, and has worked with companies such as Marvel, Image, Zenescope, and Storm King Productions just to name a few. 

Jeff has also been nominated twice for the Eagle Awards for Best Comic Book Colorist, and won the ShelDorf Award in 2011 for Colorist of the Year. In 2007 he created something called Sketch Coloring™ (HISversion of commissions as a colorist).  Sketch Coloring is when Jeff colors (with markers by hand) most anything black and white (comic, print, poster etc.) making what’s colored POP right off that image and leaving some of that item black and white, which makes it one of a kind and unique.

Programming Notes:  Jeff is always available for panels or demos, and is at his table all hours of the show to engage the fans.   

John Beatty-- (Artist/Inker)

John Beatty ( Inker – Marvel Super Heroes “Secret Wars”, Captain America, The Punisher, Thanos Quest, Batman )

John Beatty is a veteran comic book artist, best know for his inking work for both Marvel and DC Comics.

Developing into one of the industries top inkers over his career, Beatty has worked with top pencil artists, such as Mike Zeck, Kelley Jones and Michael Golden.

Working on almost every major comic character in the industry at one time or another.

Titles best known for include many fan favorites such as: Marvel Super Heroes “Secret Wars”, Captain America, The Punisher, Thanos Quest and many Batman projects, including a highly regarded fan favorite 3 year run on the monthly “Batman” book.

Being picked or picking titles and peers to work with carefully and with cause, many of these series still remain highly regarded and collectable in today's current comic culture.

Rags Morales-- (Illustrator)

A veteran of the comic industry, Rags began his career with DC Comics in 1989 with the TSR licensed book Forgotten Realms. His first super hero series was "Black Condor." 

He has since worked on countless titles for DC, most notably "Identity Crisis". Other notable projects include: long runs on "JSA," "Hawkman," not to forget "Batman/Superman," "Nightwing," The New 52 and "First Wave." 

Rags has also worked with Valiant, Dark Horse, and Marvel Comics. 

From September to May, Rags also teaches at the Joe Kubert School of Cartooning and Graphic Art. He lives in eastern Pennsylvania.

Programming Notes:  Rags is available for programming regarding his career in comics and creating comic books.

Phil Ortiz -- (Simpsons, Hanna-Barbera, Warner Bros., Muppet Babies!)

Come and be sketchanized by Phil and see what you would look like if you were to appear as a character on the Simpsons! It costs $70 per person to be sketched inked and colored. This is a work of art that you will cherish for the rest of your life.

Phil Ortiz grew up in East LA of Mexican and Spanish/Norwegian parents in 1953. He currently lives and works in the beautiful Lake Arrowhead area. Over his more than 30 years as a professional artist, Phil has worked on everything from daily newspaper comic strips (Bugs Bunny) to layouts and character design for animated cartoons including The Simpsons where Phil had a hand in the look of about 200 characters on the longest running comedy series in TV history. 

Some of the notable characters Phil designed for the Simpsons include: Flanders, Otto, Herman, Lou and Eddie, Ralph, and Apu. 

Phil has won five CERTIFICATES of ACHIEVEMENT for his work in TV animation and has been drawing for The Simpsons comic books for many years. 

Programming Notes:  Phil will sketchanize your convention attendees to turn your whole world into a Simpsons landscape! 

Tom Cook-- (Artist/Animator) 

Tom began his career as an animator and director in 1978 at Hanna-Barbera Studios where he was hired to work as an assistant animator on Challenge of the SuperFriends, Godzilla, Scooby Doo, Smurfs, Pacman and the Flintstones.

A short stop at Ruby-Spears had him working on Thundarr the Barbarian (had the privilege to meet and work with Jack Kirby), Heathcliff, Fang Face and Plastic Man. Freelancing at Film Roman he worked on the Garfield Special Babes and Bullets and for Bill Melendez on the Peanuts Special This is America Charlie Brown.

He then moved over to Filmation Studios in 1980, which at this point had become the only animation studio doing animation in the United States, and worked on Tarzan, Flash Gordon, Blackstar, Fat Albert and the Cosby Kids, Brown Hornet, He-Man and the Masters of the Universe, She-Ra Princess of Power, Ghostbusters, Lone Ranger, Zorro, The Kids Super Power Hour with Shazam (Captain Marvel), Hero High and the futuristic Western Bravestarr. He was also involved with many TV commercials such as The Jolly Green Giant, Chevrolet, and the 7 Up Spot campaign.

He then became the timing director on Road Rovers, Disney's Mighty Ducks, PB & J Otter, Duckman, King of the Hill, Savage Dragon, HBO's Happily Ever After Fairy Tales, Extreme Ghostbusters, Extreme Dinosaurs and many more.

He also animated on a number of motion pictures such as Walt Disney's Prince and the Pauper starring Mickey Mouse, Roger Rabbit in Tummy Trouble, The Jetson's Movie, Rover Dangerfield, Stay Tuned, Pinocchio and the Emperor of the Night, Steven Spielberg's Were Back, and Don Bluth's Thumbelina.

 

Will Conrad-- (Artist for DC Comics)

Artist Will Conrad

Will was born in the Brazilian city of Belo Horizonte. And is now one of the most prolific artists in Brazil, working since 2001 in the industry and producing exclusively for the American market.  

Companies that Will has and is working for include: Top Cow, Dark Horse, Dynamite, Marvel and DC, on titles such as Serenity, Kull, Conan, Buffy, Angel; Faith, Wolverine, X-Men, New Avengers, Teen Titans, Outsiders, Stormwatch, Green Lantern, Nightwing, Cyborg and many others!

As mentioned, Will is also currently one of the main artists in DC’s Action Comics! Looking at his work, you can certainly see why! 

Don't miss this chance to have this amazing artist at your shows. A professional fan favorite that is a pleasure to be around to boot!  

Programming Notes:  Will is open to doing panels for your show and helping make it a great event for your attendees. 

Mike DeCarlo-- (Archie and Marvel Artist)

Mike DeCarlo

Mike DeCarlo is a 4 decade veteran of the Comic Industry. Trained by the legendary Dick Giordano. He has worked as a penciler, artist and inker for Marvel, DC, The Simpsons, Disney, BOOM Studios, Warner Communications and Archie. His best attribute is the ability to draw ANY property in any style, period or genre.



After graduating Notre Dame High School and studying art for 2 years at Southern CT ST College, he began his professional career as sports cartoonist for The New Haven Register. He left that position to begin that apprenticeship with Giordano and after 18 months branched off to begin a solo career in the comic book industry. Over the next dozen years, he worked primarily as an ink artist on such titles as Batman, Teen Titans, Green Lantern, Thor, Iron Man and Conan the Barbarian.

In the mid-nineties, his focus changed to the cartoon/animation genre and worked as an artist on Looney Tunes, Powerpuff Girls, Ben-10, Scooby-Doo and Pinky  the Brain among others.

In the last decade, in addition to the work he now does for The Simpsons comic company Bongo Entertainment, he works for Disney Worldwide Publishing on Phineas & Ferb, Marvel Superheroes Magazine and Spider-Man Magazine.

Mike also has extended his repertoire into the digital field, becoming accomplished at digital inking in Illustrator and coloring in Photoshop. 

Clinton  Hobart-- (Disney Artist/ Fine Art Painter) 

Clinton T. Hobart is a Fine Artist and Licensed Disney Fine Artist. He creates original oil paintings of a wide variety of subjects ranging from classical subject matter such as fruit and eggshells to more modern subjects such as Mickey Mouse and Doritos. Even his Disney paintings are technically still-lifes, because he works from real objects in front of him. If he cannot find the objects he desires to paint he frequently will build elaborate "Sets" to work from. For his painting of the tower from the Disney movie Tangled he constructed a four foot tall replica of it made out of stone, mortar, cardboard, plaster and wood. The sculpture has since become as popular as the actual painting.

In addition to painting for Disney, Hobart also paints still-lifes, portraits, cosplay paintings, and ocean waves. He has been featured on NBC News, FOX News, The CW, ABC News, and American Artist magazine. He appeared on CBS News with Scott Pelle after a Chinese company sold forged copies of his paintings online. Afterward, the Huffington Post mentioned the story in an article stating that Clinton was part of a “sting operation.” Hobart’s painting “A Portrait of Doritos”  is in the private collection of actor Michael Rooker from Guardians Of The Galaxy and The Walking Dead.

Programming Notes:  Clint is available to do painting demos at your convention or event.

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.

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.

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. 

Dennis Calero-- (Writer/Artist/Colorist)

Dennis Calero is an internationally recognized and award winning artist and writer.  Co-creator of "Xmen Noir" and the web series "Devil Inside," Calero co-penned "Clandestine" for the Syfy Channel and Valhalla Productions.Dennis currently writes and draws Assassin's Creed: Templars for Titan Comics and is currently working on his second novel.

His novel, You Aren't the Captain of Me, has been optioned. He's the recipient of awards from The Harvey's and The Society of Illustrators. Other work includes "Alex Ross's Masks," "Army of Darkness," with writer Steve Niles,"The Shadow," "Legion of Super-Heroes," "Magic: The Gathering," "The Night Stalker," "Star Trek: The Next Generation,"  "Cowboys vs. Aliens,"  "Dungeons and Dragons," and "X-Factor" which was honored with a Harvey Award for Best New Series during his tenure. As well as being a versatile penciler, Dennis is also a sought after colorist, while also working in the world of film and television.  

Programing notes: Any number of panels can be arranged with Dennis that encompass overviews of his career, or focus on his amazing skill set.

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

Writer, editor, colorist and publisher Renee Witterstaetter has acted as editor on such books as "Thanos Quest," "Guardians of the Galaxy,"  "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. 

Let's get movin'!

Art by Konstantin Komardin.

Renee Witterstaetter

Eva Ink Artist Group

Pros & Cons Celebrity Booking