Wagner and Miller...

were on to something. There's a certain value to the Black/White/Red combo that grabs your eyeballs. Not that this comes close to their dynamic. No matter how much I tried adding other colors, the BWR combo looked the best.

The original is available if there's any art collectors, or DD/Elektra fans hanging around. This was a commission that never got picked up.

Ramoooonaaaa

Sorry I've been slackarse. I haven't really, I just happened to land myself
smack in the middle of an extremely volatile circumstance here and Austin, and things
have been difficult to say the least.

The good news is the first draft of Last Call at Saturn's Tempest is done. Clocked in at 122 pages, but I'm going to cut that down a bit in the next draft. I hope.

Meanwhile, I managed to finish up a painting of Scott Pilgrim's main squeeze, Ms. Ramona Flowers. This is ink and watercolor with some digital flourishes. I could have chipped away at this thing forever, but I'm trying to finish off all my little pet paintings before immersing myself in LCAST.

I was going to post the B&W of the piece I'm coloring entirely digitally, but I thought I'd wait and post them both together. It'll be up just as soon as I'm done.

I pray you're all well, and I'll be back with more as soon as I possibly can!

- ISIT

Whoops!

After a bit of rough adjusting, I'm now starting to develop a routine here in Austin, and the webz should be up and running at home soon. So next week, everything will continue carrying on!

Cheers!

List of Demands...

At my last Joplin 'In Sleep I Travel' performance, I was pleased to debut nearly a half an hour of brand new material. One of those songs was 500 days. Another that caught everyone by surprise (including me when the audience began singing along), is a cover I did of Saul Williams' List of Demands. Saul has been infinitely inspiring to me since I first caught wind of him from the New Orleans' Voodoofest post Hurricane Katrina, and hopefully, maybe a few people will get a bit of the inspiration that I got from the original.



I look at it in a way as a bookend to an era of ISIT, one that began in 2006 with the song Dead or Free (which I released into the Public Domain btw.) Moving forward, I'd suspect we'll be seeing actual records and more focus on compositions that rest alongside other projects. I'll have plenty of time to get my rock and roll off drumming in my other band, Create.Escape.

I'm in the process of re-integrating and re-building the website proper, and making it easy for people who just want music to just get music info and people who just want art to just get art and comic info. (of course, those of you who enjoy both get the real treat!) I'll be keeping this blog updated at LEAST once a week until then. Tuesday has been my day, but this Tuesday I'll be on the road to Austin, TX, so I'll aim for Thursday.

Much love and thanks to all!

- Chad "isit" Hindahl

Up Next: We're in bat country! Plus, the final say on the Grey Area collection.

Last Call at Saturn's Tempest

Apologies for the delay! Enterprising readers will have noticed I hid the title in the tags for the first Telefated announcement ;)

Here's a bit of the blurb from the video teaser I'm assembling:

"Saturn's Tempest...one of the few remaining vestiges of a once great and fortuitous independent society. Floating a the tip of the last oasis, sprawling ashore a massive tent city of artists, gypsies, musicians, and mages, it's legends hauntingly precede its vastness. Converted from an ancient temple of other wordly monks, Saturn's Tempest now houses the last vortex in Xeros, the grounds beyond the gates of the Imperial Regions. Strange happenings are indeed however afoot, and Imperial lust knows no satience. Rumors of Imperial infiltration among the Tempest's most elite echelons slithered to the farthest tents of the valley. The sick were being healed, and the healthy fall ill. Cats began washing ashore, hitting the onyx beach with a cough, and then prancing into the city. Unexplainable apparitions were becoming common vernacular amongst Xeros citizens. Signal feedback from old satellites getting trapped in radio wave loops was touted as the bottom line, but others cited the precession of alignments between Saturn's Tempest, and it's namesake, the hexagonal storm of planet Saturn as it reached it's apex toward earth. Others still whispered of the veil that separated all probable realities being eaten away by a phantasmal cancer. As the Imperial Crown tightened it's claws, the citizens of Xeros and its allies gathered at Saturn's Tempest for a final rallying festival. A cry of creative defiance to the labyrinth of Imperial oppression. Paranoia and confusion envelop even the strongest willed of Xeros culture as the impossible becomes yesterday's news, and the body count begins to rise with the thermometer. Will the hearts of the free be able to withstand the fate they've been given? Can the magick of the faithful transmute the vibration of harmony for all possible outcomes? Or will the torrential wave of shocks across the metaphysical web of life shake loose the boundaries of reality and imagination at even the most subatomic levels? Pull up a chair and grab a drink, you're at Saturn's Tempest...and it's last call."

This is a rough for what will eventually be a multi-media promo piece. I'm through the first draft, and I'll be continuing the refining and design process through September. This has already including designing and fabricating clothing, and models of environments and vehicles, such as the Anisoptera MAV (micro aerial vehicle) seen there under Black Iapatus' ass, her "spurs" functioning in much the same way a key does for a car.


I'll be back tomorrow with the last blog of the week!

Shedding the dead, and saying what needs be said.

*WARNING: Contains talk of comic books, and burning of small, rickety bridges*


It’s no small feat to carve out an audience for oneself, regardless of what it is you’re doing. Try as one may, much of this post-consumer world we live in has blinders on to anything that doesn’t look/sound/taste/feel like it fits in their particular niche. It’s also incredibly difficult to not get tangled up in stats and numbers, and not hold it against the world when you really feel like you’re doing the best you can. It’s an even bigger task when you’re trying to spread your art across multiple genres, formats, and audiences. I’ve come to learn that it isn’t really that big of a deal, the numbers, the hit counts, the re-posts, or the comments. At the end of the day, I’m still going to do exactly what I do. I’m still going to make the music I want to make, and I’m still going to draw what I want to draw. I record my music in my bedroom. I draw on a sheet of plexi-glass laying on the floor (I don’t have a table.) Compared to many others who have big studios, or amazing art setups, I’m happy, and my worries are relatively small. What I have to say in the following is meant to save maybe even one person from making the same mistake I cyclically repeated for a decade. Nobody else is going to do whatever it is you want to do for you. And 9 times out of 10, trying to involve people in that is going to hold you back. Help is great. A second opinion can end up saving you a lot of time. But, to steal the classic Terminator line, “There is no fate but what we make for ourselves.” You feel fated to do something? Do it. If you wait around hoping other people will come with you, you’ll blink and your whole life is passed by.

The last couple of months have been some of the most interesting and integral of my entire life, and a lot of it has been shedding old skin. Like many, growing up I wanted to be a pencil pushing superstar for the “Big Two” (Marvel and DC Comics respectively.) I have a love of superheroes that will never die. It’s something my Dad and I shared together for the first five years of my life until he died. He was the first to say I was good, and he was the first to put the idea in my head that drawing superheroes was something I could legitimately do with my life. To be honest with myself, a lot of the passion in my pursuit of that goal was to give as much honor as I could to the few memories I actually have left of him. Part of that passion is the reason I’ve chosen to turn my back on the “Big Two.” It’s just too difficult to have respect for someone or something that has no respect for itself. I’ve stopped buying any products that have Marvel or DC logos on them, and my services and abilities as an artist and creator are no longer available to them. Until both of these companies make some very definitive changes in their treatment of creators, their legacies, and the characters on which their respective empires were built, to work for them would be A.) a huge disservice to myself, and B.) a huge disservice to anyone who actually appreciates my art. The legendary Steve Bissete’s recent challenge only helped to reinforce my decision. I just have to never mind that for the last 6 weeks Marvel reps have slowly circled around like fat lazy vultures. I desperately want to play in that metaphorical sandbox, but I’d rather wait until they clean some of the cat shit out of it, and realistically, that may never actually happen. The mainstream comic industry IS dying, but only because the mainstream world is dying. Their reaction is to tighten their grip like a barbed wire noose around their properties, their vendors, and most of all their employees. It doesn’t take a PHD to know that the dying find peace, or get better, by letting go.

See, I’ve had a lot of near hits with the comic industry in the last ten years. I’ve seen countless ideas that I’ve shared, taken, run with, and published to marginal degrees of success. In the earliest days of In Sleep I Travel (when I went by the name Infernal Devices,) Ben Templesmith was the artist/designer in charge of putting a visual to my music (this was well before Hellspawn and 30 Days of Night.) The way he layered imagery and color has been one of my biggest influences, not necessarily graphically, but in the music itself. I struggled to make my music as good as the artwork he was providing. In many ways, I’ve yet to be entirely successful. Around the end of Ben and I’s tenure (link to interview: http://www.popimage.com/industrial/060501templesmithint.html), as his star was rising, and mine was remaining stagnant, I began working on a couple of projects with writer Dan Jolley (JSA: Liberty File, Obergeist.) %98 of the reasons for those projects never coming to fruition lay squarely on my shoulders. He was working with Tony Harris, who still to this day is one of my illustrative idols. I was 17, and good for 17, but no Tony Harris, and at the time, I wanted to be. Most of my failure has been simply crumbling under the weight of my own expectation and ambition. At some point around 2000/2001, I completely bowed out of the scene. I figured I’d hone my craft more and come back with a splash. 2004 found me in the midst of developing a project that was being geared toward Adult Swim, a Twilight in Lord of the Rings (this was pre-twilight vampire boom) type of thing that eventually collapsed under it’s own bloat. I took a trip to San Diego Comic Con that year (THANKS STEPH!), and got great response. Nearly every pro I showed my portfolio to just asked why I wasn’t working on a book. I didn’t know. I didn’t really get the indy game. I thought you worked for Marvel or DC, made a name, then did your own thing. (I’ve since learned that it works opposite.) Again, back to honing. In 2006, Jim Lee was on tour promoting his new Superman book, and happened to be coming within a days drive. I was 10 in 1992, Jim Lee wasn’t actually a person, he was a fucking demi-god. He’s still to this day probably the most ripped-off and marketed comic artist the world over. Lord knows I’m still trying to break some of the piss poor habits I picked up copying his work. With two days prep, and a very pregnant wife, I went and waited in a line that wrapped around the block. Jim ended up walking down the line signing comics as quickly as possible and I just held my portfolio open not saying a word. He did a double take, and stopped. He flipped through the handful of half finished pages, looked up at me and said, “This is the best stuff I’ve seen all tour. Finish the pages and send them to me in La Jolla.” I never did. I froze. As great as that was, it wasn’t what I needed. I guess being told “your good enough” is for people who don’t want to get better, they just want to be “good enough.” I crave knowledge, I love learning. I went home. Shortly there-after, I had my first son, and didn’t do much of any serious drawing for several years (fortunately, my balls began to finally drop on the musical end during this period.)

In 2009 I decided to try the Midwest. In all of that decade, I’d moved from coast to coast (Los Angeles, Myrtle Beach, as well as “home” Montana.) Musically it seemed appropriate, as most of my direct influences began in the Midwest. At first Joplin was really great. Not too big, not too small. There was a place to actually get comics (growing up in Montana, the closest place was 200 miles away,) and lo! There was even a small hometown comic convention, Hurley Con. I’d been to Wizard Chicago ‘99, and San Diego ‘04, so my convention experience was of epic spectacle, and save wonderful conversation with Seth Fisher in ‘04, not very personable. Hurley Con is a small one day affair with a few of the Midwest’s working pros. I got to meet and get feedback from some really talented people, including Joplin’s own Jeremy Haun. We seemed to hit it off right away, and about a week later he invited me to his home to take a peek at some things he had in development. He asked if I might be interested in assisting him on some ink fills as he was under deadline. “Oh sure,” I said. In my head I was thinking, “oh holy fuck I’m actually going to work on a real actual comic page with a real actual comic artist.” It was a page of Top Cow’s Berserker, and he drew while I inked all through the night until around 5 in the morning. We talked about Grant Morrison, and I talked loosely of Telefated. I was so jazzed when I got home I couldn’t sleep. I busted out my supplies and started going to town well into that afternoon. He was fairly happy with the work I’d done and invited me back over to do some more and perhaps this time to pose for a couple of pictures for reference. I was all to happy to oblige. I’d always kind of dreamt of some type of apprenticeship, and surely as I got better he would help to get my work in front of the eyes of those who could actually give me work right? So credit or payment was never brought up, it was mildly inferred that when I had finished some samples he would help me out with some of the legwork of getting it out there.
Over the next year I’d come back and help him out, pose for pictures, or just have friendly conversation, because hell, we’d become friends. Over the duration of the Batman: Arkham Reborn book I must have climbed in and out of the Bat suit a hundred times. I got to be Batman, what the hell could I complain about? It didn’t matter if my payment was a beer and some McNuggets, I had an end goal in site and this was part of paying dues…or so I thought. A good childhood friend, Joe Bereta (yes, viral video star Joe Bereta), said to me, “Hey, if you’re good enough to do the work, you’re good enough to get paid.” I shrugged it off. Jeremy was my friend. I wasn’t the only one that helped him work on pages, there were/is around 4 or 5 others that came in and spent hours with their head down getting shit done. Behind their backs he’d often say some pretty harsh shit about them, and played a kind of mind game that they just weren’t that good, so this was as good as it was going to get. Then I noticed a comment (and I’m paraphrasing here) that began to reveal his true colors. CB Cebulski (talent coordinator and now Senior VP of Marvel) tweeted; “Artist, if your running behind on a deadline, it isn’t the time to have all your friends come over and help you finish pages,” to which Jeremy tweeted back, “Wow, people really do that?” That right there people, is what you call a bold faced fucking lie. The only reason I didn’t jump ship right there is because A.) I want to believe in the best in people, and B.) I actually had a lot of fun doing the work. With Batman all wrapped up, I started to spend a lot more time on my own stuff and pursuing my own leads. Our weekly interaction came down to planning and doing the life drawing class, which was very dear to my heart. I would set up and tear down the class, and help to costume and dress the models. Money was super tight for me, always has been, and probably always will be, and I couldn’t afford the fee for the class. So despite all my work and effort, I wasn’t allowed to go. Jeremy threw me one last distraction, asking me to compose an original music piece for Battle Hymn 2. Despite no pay, I obliged, as I always have. As I said earlier, it’s really hard to get anything you do out there and have people take notice, so I’ve always taken any opportunity. I did a couple of things that week that I didn’t feel really fit, and told him I would have to keep digging. Somehow, this became, “I did it, but was going to use it for something else.” He stopped taking my calls or returning text, and the next thing I was told was “Well, B. Clay Moore said, fuck that guy, so…” and the project was pulled from me, without so much as a note being heard. By this point, I’d actually had a handful of pretty great motifs, but wasn’t able to get in touch with Jeremy. Months went by, and Jeremy sent out a tweet looking for some missing DVDs which I’d been borrowing. I told him I had them, brought them back to his house, and we’d had, what I thought was a make-up conversation. I was in the middle of some MAJOR life changes, which ended up with me being homeless and sleeping in an abandoned train station for a short while. I’d spend my days in the park drawing next to a stream, and my nights in bars doing portraits for a few bucks. I ate oatmeal three times a day. Truth be told, I was really, really happy. I was doing what I wanted to do. I was drawing what I wanted to draw. I visited Jeremy for a half hour one day, showed him what I was working on, got some hot water for my oatmeal and left, on what I thought were good terms. We haven’t had any personal interaction since. At this year’s Hurley Con he saw fit to send a fan over to my table to borrow a Sharpie, while never saying a word, or bothering to check out my table. He’s seen it plenty fit to go into my girlfriend’s work place, and talk about how I “used him,” and how I was an asshole, all the while expecting the entire town of Joplin to kiss his ass because he’s really good at light boxing photographs. My e-mails and inquiries to re-acquire a few comics and a studio chair I let him borrow get no response, or returned. I was extremely upset for a long time about this. It’s made me physically ill at times, because I really gave him my all, and I truly believed he was a friend. I’m not angry anymore so much as I just feel really sorry for him. Now that I’m in the field I can see the trees. He’s an incredibly dissatisfied person, and with good reason. He’s locked into a lifestyle that requires him to spend 12 hours a day drawing crap that he himself doesn’t even want to read. That’s hard folks. Being a professional comic book artist is probably one of the most demanding and thankless jobs in commercial media. He’s been doing it for over ten years now, and can’t really see beyond himself anymore. I feel incredibly blessed and thankful for the time and lessons learned, but the only thing I ever did wrong, was give him %100. The biggest lesson I learned, is just because you spent your life pursuing a goal and got it, and it turned out to not be what you really wanted, doesn’t give you a license to be an asshole. So, I’m thankful. If this experience is what I needed to keep myself from turning into that, than it was all well worth it. All of the money and material objectification in the world aren’t worth a goddamn thing if you have to get up, and slog through something you don’t even care about everyday.

I still have a good handful of mainstream superhero art that I’ve yet to post, but I’d wager it’s the last you’ll see from me for a good long time. Maybe once Marvel kicks some cash to Kirby’s family, or DC learns how to work with the architecture built on the backs of many before demolishing and rebuilding every ten years (if the focus had been on telling good stories that were imaginative and creative as possible in the first place, they wouldn‘t have to,) maybe then, I’ll toss my hat back in the mainstream superhero ring. If it’s still there. I know I will be, along with thousands of others, doing what I want to do, and not worrying about the bottom line, or catering to an overlord with mouse ears.

Tomorrow, I'll share some new artworks, including a genuine first peek at Telefated!

500 Days

I decided to break up this week's update into multiple parts, so I'll be updating about every day throughout the week. Last week's show was certainly in my top two (personally) so far, and I debuted a few new tracks. 500 Days is different than most of my songs in that it was written entirely on guitar, campfire style, before I started recording a note. This is my stab at a straight up pop song, completely radio friendly and safe. Entirely written, performed, produced, etc; by me, in my living room. It's fairly easy to figure out what the song is about, but I'll touch upon that later in the week.

Without further ado, 500 Days;



This will be the last song on the Grey Area collection, which, I'll also discuss later this week.

'til tomorrow (or later today ;) I remain...

ISIT

my shiny new tetrahedron

Last week I promised a first look at the comic that I'm going to devote a good portion of the rest of my waking...and sleeping, life to. I'm coming up on 11 years now of bouncing these ideas around in my head. For several years I've whispered these stories camp fire style to my friends in dimly lit corners of smoke filled pubs, sketching away, and laying the foundation of what I've finally come to. Without any further ado;

While this is actually a collage, and reflects absolutely nothing of anything that will happen, at it's basis, it's a fair example of the design aesthetic and look of the overall series. It will be in full color, and it will take me a very long time. Even if I spent every day forever, I'd probably not finish it. Thankfully, there are certain chapters and elements of the story that require another character's perspective, and that will be another artists' duty to convey. It's certainly developed an awful lot of elements, so much so that recently I broke under the pressure of it and had myself a nice little meltdown. Part of the advice I took from that was to scale everything in my life back to it's most important and integral elements. In the context of Telefated, it meant going back to the origin.
How and why does Isit have iridescent blue hair? Why do the Nautil-Eyes glow? One of the catalyst was the recent Hellboy comic, "Buster Oakley gets his wish." A one-shot (meaning one comic, one self contained story) by Kevin Nowlan. I realized with all of the elements, my best bet was going to be to tell the story in one-shot type chapters. Telefated is the title card, with each chapter being a comic book, music record, or motion picture episode, and in some cases, such as the first chapter, elements of all 3 of those things. With any luck, It will debut at SXSW next year, with all variable elements spreading out across the month of the festival. Hopefully that I'm moving to Austin and leaving Joplin in the sunset in two weeks will help. (That's right Austin, 2 weeks, to the day, I will be in you!). Having an Isit show this Thursday night in Joplin at the Keystone btw. Lots of new stuff! Starts at 9. Cover is tbd (less than $5 I assure you.) I'll have a gallery of artwork (most for sale), a special ISIT CD available only to this show, and maybe a few hugs, cause hey, it's goodbye.

Next week; a new semi-motivational pop song, more artwork, and Austin bound!

- Chad

Of Might and Mead (tpb edition)

Fought all day and managed to get the thing into this handy little reader that you can read and share and stuff ;)

Open publication - Free publishing - More darkhorse

Of Might and Mead

 (Disclaimer: Thor is property of Marvel/Disney, and Hellboy is property of Mike Mignola/Dark Horse.  These pages are intended as a demonstration of abilities and are not to be reproduced or taken to be a representation of officially licensed product past, present, or future.) 

Here's all 8 penciled (and slightly lettered) pages of Thor/Hellboy: Of Might and Mead.  I'll prattle on afterwords.  (pages are embiggenable)


                                                   

One of the oldest practices of breaking into comics is to have a portfolio with a series of vignettes featuring a certain publishers characters to show how you as an artist might handle these characters.  I figured why not extend it a couple of pages and do something that I would really love to see.  Thor and Hellboy have been my two favorite comics of the last 10 years, so getting them both in the same comic would be my personal nerd fantasy.  So I did it myself.  I've made a good dent into coloring these, but I'm doing it the 4 color way, which is fills not painting.  Don't like it, doing it for practice anyway.  Eventually I'll show those, but no time soon, because frankly, I'd rather spend time on something I can actually publish.  I'll be back by next week to tell you about what that is, but for now, I hope you enjoy these pages.  

Numbah won!

Okay, I've gone and done the first of two and a half portfolio updates, including full pencils on 36: the Kosmokratores.  I wasn't planning on it quite yet, but DeviantArt is running a contest to send a couple of people off to San Diego Comic Con, and I figured I'd take my chances.  There's also some other pieces in there that you may not have seen yet, like the pencils for this Ninjak which I'm currently inking, and will eventually be a painting.

Perhaps the fine folks over at the newly reformed Valiant Comics will be fond of it ;)

Alas, 36; the Kosmokratores.  Originally conceived as a pitch for the now defunct Zuda Comics.  I put an awful lot of time into the research and design of everything.  My series bible alone is nearly an inch thick.  The whole first season is written (clocking in at 80 or so drawn pages.)  The nature of Zuda was one in which they retained ownership of the work, and I wasn't about to hand over what I consider to be my "A-list" concepts.  Being a student of Biblical history, I was always fascinated by the supposed way Solomon built the temple, by enslaving demons via a signet ring.  What if this ring suddenly turned up today.  Who would have it?  Who would want it?  What would be the societal, religious, and government/military implications of such a "weapon."  Why would the 36 choose a young, impressionable, and vulnerable girl to be the weilder?  That was all the easy part.  The hard part was the hours upon hours of research and design put into the 36 demons.  I wanted the look of each one to reflect it's purpose in the construction of the temple, as well as the particular ailment it caused.  This lead me down a particular road I wasn't keen to go down, and at a certain point I pretty much had to walk away.  Solomonic symbolism has become so overwrought that, while I felt the key elements of my story were fresh, it was covered and bogged down in what's almost become pastiche.
I'm proud of the work I did, but I wouldn't be holding my breath for more.  I will paint and letter the pages eventually though.

Page 1:

The other 7 pages, as well as some other stuff is in my DA portfolio here.  Hope you enjoy.

I still have a whole bunch of things I'm putting finishing touches on, the Thor/Hellboy pages among them.  I'm working as fast as I can while also being in the midst of a major move and ulcer inducing pressures, I truly appreciate the patience and support of any and all.

-C

*processing...processing...process...*

"Whatcha dooooooin?"

I'm doing a cover featuring earth's mightiest of heroes, the Avengers!  Marvel puts out these nifty blank covers for people to terrorize and customize.  Want to
take a look?  Here...oh...fuuuuuudge!

And this is what happens when we don't put the lid back on our inkwells.  Admittedly, I'm notorious for it.  Also, cats will LOVE to walk right across a freshly inked page leaving little black paws cavorting away.



Let's start over, the Avengers.  Lets make it featuring the characters from the Marvel movies coming out next summer in their 616 modern representations!

Now, I'm going to take it in two directions, first, lets lay in the colors;

It might be worth noting, that although I've dabled in digital coloring for years, I'm more used to traditional watercolor techniques, and I've yet to full break myself of working light to dark, when I would probably be better served working dark to light.  And so, the other direction I've gone is one full of light!

Then I more or less combine the two.  Taking out parts of one and emphasising the parts of another, and then massaging them together.  Also Bucky died in the middle of working on it, and I decided to change it to the returned Steve Rogers cap.  Felt a little better that way to be honest. 
The Avengers ported down via Bifrost into the heat of battle.

I still have a million and 2 problems and things to fix, but I spent longer getting this far than I intended, and I have other pages that are more of a priority.  I learned a lot though, which is the point of these, and you can certainly look forward to more soon. 

And here's an inked page that didn't get paw prints as a bonus:

That's Neil Gaiman's Sandman, and Spartan from WildCATS.  There's a couple more pages in this vignette that are only partially finished.  Hopefully, I won't actually have time to finish them for awhile.

Hope you enjoyed, still lots more to go!

-C

A quickie-

My apologies to all who've come looking for the Hellboy vs. Thor pages.  If you didn't know, I live in Joplin, MO, and the last couple weeks have been packed with trying to help friends and friends of friends piece what little lives they have back together.  Alas, I've fallen a bit behind.  I'm going to push it back a month to early July.  I've finished the pencils, but I intended for the strip to be fully colored and lettered as well.  Within that,  I'm obliged to serve a "first look" to a couple of prominent comics companies before I post it up here.  I will still be posting up other new art between now and then, so all is not lost ;) 

For those coming here for ISIT music, the old site is still available; ISIT tunes.  Around the same time that I post up those pages, I'll divulge the skinny on what is in the cards for the future of In Sleep I Travel.

-C

KICK-OFF!