Flesk Exhibiting at Spectrum Fantastic Art Live 2, Schultz Kickstarter Update

Greetings, all,

Last week I sent out the following email newsletter. If you are interested in joining the newsletter list, you can add your email address here. I send one or two out a month.

April 25, 2013 Flesk Newsletter

sfal2This is John Flesk and I have a lot of great information to share. I’ll cover our exhibiting at Spectrum Fantastic Art Live 2, the artists that will be at our booth, the new SFAL2 commemorative book, details about Mark Schultz’s new book Carbon and new printing of Xenozoic (including deluxe signed hardcovers), plus a Schultz Kickstarter update, and provide a link to a new Schultz interview conducted by myself. Let’s start with my favorite event of the year, Spectrum Fantastic Art Live 2!

Flesk Publications will be exhibiting at the Spectrum Fantastic Art Live 2 event in Kansas City, Missouri on May 17-19. I wrote details about the show and what will be happening at the Flesk booth on my blog. You can read it here.

In brief, we will have Brom, Bill Carman, Peter de Sève, Craig Elliott, Gary Gianni and Mark Schultz at our booth (#500). We have some other guest appearances which I will announce as we get closer to the show.

“Easy Being Green it is Not” by Peter de Sève. Artwork used with special permission and © Disney.
“Easy Being Green it is Not” by Peter de Sève. Artwork used with special permission and © Disney.

I’m honored to have had the opportunity to produce the SFAL2 book. Spectrum Fantastic Art Live, Volume Two commemorates the second annual Spectrum event by celebrating the work of the exhibition’s six special guests: Jon Foster, Peter de Sève, Tara McPherson, Charles Vess, Michael Whelan and Terryl Whitlatch. This 80 page, 9 x 12 inch hardbound collection will premiere at the show. All pre-orders will ship immediately after. Click for full details and to pre-order.

Mark-Schultz-Carbon-coverThe new art book, Mark Schultz: Carbon, collecting Schultz’s most recent works and the new printing with a new cover of Xenozoic is off to the printer. Our advertised release date is August 1st, but we are hoping to have copies at our Flesk booth at Comic Con International in San Diego. (I’ll keep you updated.)

You can pre-order copies of Carbon and Xenozoic at our Mark Schultz Kickstarter campaign, which gets you a special early-bird price and bonus goodies such as a signed print and access to watch a brush and ink demonstration video for free. (Click here to visit.) Afterward, the books will be available for pre-order from our website, although without the Kickstarter bonus items. Thanks so much to all of our supporters who have made the special signed editions possible through Kickstarter funding. You have our gratitude.

I have conducted an interview with Mark about his new art book, Carbon, and what you can expect to see inside. I have posted it on my blog for your enjoyment. You can read it here.

Another newsletter will be coming in two weeks. It will fill you in on all of the last minute details for SFAL2 and the Schultz Kickstarter campaign.

Thanks, everyone!



John Fleskes
Flesk Publications
Text copyright © 2013 John Fleskes. All rights reserved.

Interview with Mark Schultz about his new art book, “Carbon”

The new art book, Mark Schultz: Carbon, collecting Schultz’s most recent works is off to the printer. Our advertised release date is August 1st, but we are hoping to have copies at our Flesk booth just in time for the San Diego Comic Con. (I’ll keep you updated.)

You can pre-order copies at our Kickstarter campaign, which gets you a special price and bonus goodies. (Click here to visit.) Afterward, the book will be available for pre-order from our website, although without the Kickstarter goodies.

I have conducted an interview with Mark about his new book and what you can expect to see inside.

John Flesk: Carbon will contain material completed over the last two years. What can one expect to find within the book?

Mark Schultz: I’m focusing more on process than ever before. The feedback I get from readers in general is that there is a great interest in seeing the work that goes into creating the finish. So, in Carbon, I consciously tried to give a little more information on the steps that lead to the finish. There’s an entire section showing, step by step, the visual evolution of the newly identified dinosaur I rendered, along with text describing my work with the paleontologist.

There’s a greater concentration on my evolving use of color, too. The subject matter, I admit, is pretty much what would be expected of me: lots of adventure, speculative fiction stuff and tough girls.

JF: When did you start experimenting with watercolor highlights in your works and can we expect to see a shift to more color in your art?

MS: Defining, modulating and sharpening watercolors with carbon pencils is something I’ve been playing with for several years now. At first, I was pretty conservative with the color, as you suggest, doing more tinting of carbon pencil drawings than anything else. Recently, though, I’ve gotten a little more confident and have started leaning more on the color and less on the drawing. The cover to Carbon is my most extensive shift to color yet.

It’s an evolving process and my goal is to get to the point where I feel I can, when I choose, ditch the use of the pencils altogether and achieve the effect I want with the watercolor alone. Its part of my bigger plan to loosen up, become a bit more painterly and not so constrained by “line” when a particular piece would work best that way.

JF: Why have you worked primarily in black and white for much of your career?

MS: When I started my career in comics, with Xenozoic Tales, working the story in black and white was the only avenue open to me. That’s what my publisher at the time, Kitchen Sink, could offer. Which was not a problem—I’ve always loved monochromatic work, whether it be in comics, illustration, prints or movies.  When you get rid of color, there is a greater emphasis placed on composition, lighting, and texture—and you can achieve all sorts of atmospheric stuff with those elements.

When I was later given the opportunity to do Xenozoic in color, I chose to continue it in B&W, because that is how I’ve come to see it. I can’t imagine drawing the comic’s series as anything other than a monochromatic work.

Don’t get me wrong: I like working in color, too. But I feel a certain affection for B&W because it has become, I think, marginalized in our world where color is now so easily achievable in any media. People have come to think of B&W work as representing a drop in quality, not as an aesthetic choice. I want to see that attitude change.

JF: Do you have an interest in expanding into doing more color works in the future, either by adding watercolor to your brush and ink works, or full watercolors or even oil paintings?

MS: I absolutely do want to have the ability to create color work when it’s needed. It’s a matter of me putting in the reps and getting my technique to where I feel comfortable with my chops. Right now, my focus is on developing more command of watercolor—specifically transparent watercolor, of which Winslow Homer and John Singer Sargent were perhaps the absolute top practitioners. (And I am very well aware that, with those two, I have picked impossibly high standards to shoot for.) I have this idea of where I want to go with color illustration done in transparent watercolor—and its great ability to duplicate the quality of natural light—that could nicely compliment my brush and ink illustrations.  I hope.

JF: When comparing your art from three to four years ago to something you are working on today, how do you feel you have grown artistically in this time frame? Why?

MS: I don’t know if I’m the right person to ask. It’s all too close to me. I do feel that I’m getting closer to achieving the moods and feelings I want in my work, but I’m not sure how others perceive it.

Having said that, from my perspective, the last few years have seen a lot of growth in my work. I’m happier with what I’m producing today than I ever have been before. It sort of feels like the first twenty years of my career was all about laying groundwork and trial and error, and in the last few years I’ve been able to actually move forward into something I feel is my own.

And having said that, I’m always miserable about not getting on paper what I’m seeing in my head. (Not an uncommon condition among artist-types.)

JF: Your brush and ink art appearing in Carbon is a bit looser than pieces completed in the past. Has this been a conscious decision?

MS: I’m glad you think so—loosening up is something I’ve very much wanted to move toward. I drive myself crazy with my tendencies to carefully control every line I lay down. It’s obsessive and drains energy from finishes—and is one reason I think many people tend to like my preliminaries more. So, yes, I have been very consciously working on strategies to help me keep my finishes looser and livelier. The goal is always to create an illusion of movement and energy in a still image.

JF: How much does the imagery depicted within Carbon reflect your personal interests?

MS: Hmm—let’s see: dinosaurs, warrior women, Vikings, kitty cats, the sea. Pretty much 100% personal interest. I’m trying to think if there’s anything in here that I would have chosen not to do, if I had the choice. I don’t think so. I think that, if you take on the work of creating something, it’s your job to find a way of making it personal—making the piece something that has meaning to you, regardless the subject matter. If you can’t figure a way of doing that, the project probably isn’t right for you.  Uh, oh—I’m starting to lecture…

JF: Then I’ll change gears. How do you think Carbon differs from any of your previous art books?

MS: Bottom line, it’s bigger and more comprehensive. I think the production is stepped up a big notch, along with my showcased works. The 12” x 9” dimensions and the extra gatefolds really allow us to impressively expand the size of some of the pieces—sometimes close to the original dimensions. The use of color throughout—even the black and white pieces that are reproduced in color so that the paper tone and blue line work pop out—is more extensive and better balanced that ever before. And, as I mentioned elsewhere, there’s a greater focus on my process, both with preliminary and production works and in text.

I wanted the Various Drawings collections to have the quality of museum exhibition catalogues, and I think we achieved that in spades. I want Carbon to be a looser, more varied, more immersive experience.  I think we’ve hit that, too.

JF: I do too, Mark. Thanks for your time!



John Fleskes
Flesk Publications
Interview copyright © 2013 John Fleskes and Mark Schultz. Art copyright © 2013 Mark Schultz

Mark Schultz Kickstarter Campaign
Mark Schultz books from Flesk Publications


Spectrum Fantastic Art Live 2 is Next Month!

We are just one month away from Spectrum Fantastic Art Live 2! It runs on May 17-19 in Kansas City, Missouri in the Grand Ballroom of Bartle Hall. There is no other show this year that I am looking forward to more than this one. SFAL2 is all about the artists. It’s about real people and the art that they create, all of who are accessible in an inviting atmosphere. SFAL2 is open to the public. Anyone can go! Plus, there is original artwork to view and purchase.

The ticket prices are very reasonable. It’s only $40 for a 3-day pass and $20 for a single day entry. I like how the organizers have made the show welcoming to a diverse group by keeping the entry price low. I have always felt that it is important to make events accessible to young people, students and to those that don’t have a lot of money. It’s the best way to share our passion with others, and to introduce the arts to new people.

The 3-day ticket is an exceptional deal. It gets you into the show on the Friday Preview Night and Opening Night Party, plus a guaranteed seat at the Spectrum Awards Ceremony at the Midland Theatre on Saturday, May 18th. You can’t get the 3-day pass onsite–only in advance through the website. (A link to purchase tickets and for full show information is at the bottom of this post.)

I’m thrilled to be in a position to exhibit at SFAL2. It’s always a privilege to meet new people and those who have supported us. We hope we can give back a little by leaving you with a memorable visit, and properly show our appreciation in person.

I’m excited by the opportunity to host a terrific group of artists at our Flesk Publications booth (#500). Much of how I run Flesk is by focusing on the relationships and the artists. This show, I feel, falls very much in line with what I feel is the most important part of this industry–the people. With this in mind, I’ve asked some really great individuals to join us at the Flesk booth.

To start with, Gary Gianni and Mark Schultz, two gentlemen I came to know when I began publishing in 2002, and who have been wonderful to work with, will be available for autographs and to talk to.

Brom will be with us on Friday and Saturday. And things are looking good for us to have an advance copy of The Art of Brom book to preview.

Bill Carman will be doing a painting demonstration throughout the show. He has an uncanny ability to talk and paint at the same time. We encourage you to ask questions and take advantage of this opportunity to learn from this master painter.

Craig Elliott will be signing and sketching, plus he can fill you in on the latest paintings and films he is working on. Craig has completed a few stunning recent fine art works. He will have prints of them available.

Special guest to the show, Peter de Sève, can be found at our booth as well. Peter is well known for his covers for The New Yorker and his character development work for the Ice Age films. His imagination is among the highest level that I’ve seen.

These six artists will have original art, prints and books available. In addition, we will have a full line of all of our Flesk titles for you to peruse.

You can pick up the special event commemorative book celebrating the work of the six show guests from us. These artists are: Jon Foster, Peter de Sève, Tara McPherson, Charles Vess, Michael Whelan and Terryl Whitlatch. I’m working on a group signing at our booth on Saturday. The Details will follow soon.

Mike Mignola, who was previously announced as being at our booth, had a personal matter arise and will not be able to attend.

As we get closer to the show I will continue to provide updates and fill you in on the events that we will run.

See you soon!




John Fleskes
Flesk Publications
Text copyright © 2013 John Fleskes. All rights reserved.

SFAL2 website
SFAL2 tickets
Gary Gianni website
Mark Schultz Facebook page
Brom wesbite
Bill Carman blog
Craig Elliott Gallery website
Peter de Sève website

Mark Schultz Kickstarter Stretch Goals Announced

Hi, everyone,

Mark Schultz and I added a few bonus items to our Kickstarter campaign. Should we reach the goal outlined below we will include these options at no extra charge. What is Kickstarter and what are stretch goals? Please follow the link at the bottom for details.

Our Kicksarter stretch goal announcement:

As we continue to receive your support we would like to add more value to our goodies, and include new bonuses, as an ongoing expression of our gratitude.

45K Stretch Goal
Additional footage added to the brush and ink demonstration.
We were discussing Mark’s demonstration video and came up with an idea to make it even better. We will film and add an additional 15 minute segment with Mark discussing the tools he uses as well as his influences. This will expand the 40 minute video to 55 minutes.

55K Stretch Goal
Upgrade binding and bound in signature page for the Xenozoic hardcover edition.
We are seeing a lot of interest for this Xenozoic hardcover edition. We want to upgrade the binding from the current printed boards with jacket option to a fancy quarter-binding with an onlaid plate featuring the cover art set in the front center boards. The board design will finish off with a stamp of the title and Mark Schultz’s name on the front boards. (I’ll work on putting together a visual graphic to share soon. –John) The jacket will also be included. In addition, we will add a bound in signature page to the book, featuring a new Xenozoic preliminary drawing, which will be signed by Mark Schultz. This is on top of the already promised signed bookplate. This will be an exquisite production and unique to this 500 copy edition you have made possible through Kickstarter.

We will announce more stretch goals once the 55K goal has been unlocked.

In other news, we see that the Combo Pack #2 has been the most popular choice and that the availability has almost run out. We discovered that Kickstarter lets you adjust the numbers available for the different rewards. With only a finite number of hardcover books being available, we took away 75 copies from the individual Carbon and Xenozoic hardcover book options and then added 75 paired units to the Combo Pack #2, which gets you both of the hardcover books with one pledge.

With our thanks,

John Flesk and Mark Schultz

John Fleskes
Flesk Publications
Text copyright © 2013 John Fleskes. Art copyright © 2013 Mark Schultz. All rights reserved.

Our Kickstarter Link:

Mark Schultz / Flesk Publications Kickstarter Campaign Goes Live Today

Greetings, everyone! We launched our Schultz / Flesk Kickstarter campaign today. Here is a link and a copy of our email newsletter going out today.Thanks for looking.


Flesk Newsletter:
The Flesk and Mark Schultz Kickstarter Campaign is now live! We’re offering Mark’s new art book collection, Mark Schultz: Carbon, in both trade and Flesk exclusive hardcover editions.  We’re offering brand-spanking-new prints! We’re offering a Flesk exclusive hardcover edition collecting all the Xenozoic stories Mark has drawn! And we’re offering something truly unique: a video inking demonstration by Mark! Never before attempted — never before seen!

The full details and a video about our book and print offerings, exclusive Kickstarter goodies and a pair of pledges that will get you original artwork are provided at our Kickstarter campaign page here:


Here’s a breakdown of what you will find:
1. Mark Schultz: Carbon — new art book in paperback and Flesk exclusive hardcover
2. Xenozoic new printing with new cover — paperback and Flesk exclusive hardcover
3. “Beyond the Known Forest, She Talks with Birds” — signed color print
4. Exclusive Kickstarter 8 x 10” signed print — free to KS supporters
5. Exclusive brush and ink demonstration video by Mark Schultz — free to KS supporters
6. Two Special combination packs that offer original art from Mark Schultz.
Note: The hardcovers, prints and video will only happen if we reach our Kickstarter goal.

If you enjoy Mark’s work, this is your chance to support the quality projects he loves producing. Please take a look. And thank you — we appreciate your consideration!



John Fleskes
Flesk Publications
Text copyright © 2013 John Fleskes. Art copyright © 2013 Mark Schultz



Mark Schultz Kickstarter Campaign Goes Live on Thursday!

This Thursday, April 11, at 10:00AM PST / 1:00PM EST, the Flesk and Mark Schultz Kickstarter Campaign will go live! We’re offering his new art book collection, Mark Schultz: Carbon, in both trade and Flesk exclusive hardcover editions.  We’re offering brand-spanking-new prints! We’re offering a Flesk exclusive hardcover edition collecting all the Xenozoic stories Mark has drawn! And we’re offering something truly unique: a video inking demonstration by Mark! Never before attempted—never before seen! We will share the live link here on Facebook, on our Flesk website homepage and on John Flesk’s blog at go time this Thursday!



John Fleskes
Flesk Publications
Text copyright © 2013 John Fleskes. Art copyright © 2013 Mark Schultz. All rights reserved.

“Xenozoic” new cover by Mark Schultz
“Xenozoic” first cover by Mark Schultz


The Flesk April Update. Brom, Mark Schultz on Kickstarter soon, New Bruce Timm Teaser, Wendy Pini, and more.

During the last seven months I have been heavily involved in making new books. This began in September with my handling the production of the Illustrating Modern Life book for the exhibit of the same name at the Weisman Museum in Malibu, California. And then there is The Art of Brom and Kickstarter event. Brom presented me with the idea for this project at the inaugural Spectrum Fantastic Art Live event last May.

Speaking of SFAL, I began the second commemorative book for this year’s event last November. That book is done and already shipping from the printer. It’ll premier at the show in May. A new printing with a new cover for Mark Schultz’s Xenozoic and a new art book collection for Mark titled Carbon will be available this summer. Then, I have two show books that will premiere at our booth at Comic-Con. The first is Bruce Timm Naughty and Nice 2013 Teaser with all new art. The second being a Teaser for the two book set under development, The Art of Elfquest & Line of Beauty: The Art of Wendy Pini. Seven titles in seven months. (Plus, I am helping Terry Dodson in the background with a pair of his new show books.)

It’s been a good stretch of focused work. Between this May and August the six titles yet to be available will be coming out. I enjoy the hell out of publishing, and am eager to get these books into your hands.

I’m also finalizing a new Kickstarter campaign on the new Mark Schultz books. We’ve come up with some cool goodies and bonus items that we hope to share, if we reach our goal. There’s going to be a special hardcover for Xenozoic, a Carbon art book deluxe, a new print, and the soon to be revealed Kickstarter incentives that I’m very pleased to offer. We are just finishing up the promotional video, and doing some final edits on the campaign. Pending approval from Kickstarter, it will go live Thursday, April 11th at 10:00AM PST / 1:00PM EST. I’ll give you more details very soon.

The second Spectrum Fantastic Art Live show is coming up fast. It’s only six weeks away. I have a lot of planning and arrangements to sort out. Our booth will be the biggest I’ve ever had to date, with more artists than have ever appeared with us at one show. Brom, Bill Carman, Craig Elliott, Gary Gianni, Mike Mignola, Mark Schultz and Peter de Seve will be at our booth. I’ll have a detailed update about signing times, what the artists will be bringing and what we will have there, very soon.

During much of this month I will be catching up on some much neglected Flesk website updates, blog entries and newsletters to properly fill people in on what’s been going on.

Then in June, The Art of Brom will be arriving. I’m planning much of that month will be spent prepping, packing and shipping all of our Kickstarter and pre-orders. We’ll have fun with it.

There’s plenty going on here. There’s a new line of books we will get started on in the summer for 2014. But, I’ll focus on what’s going on now and save the details for future books for another time.



John Fleskes
Flesk Publications
Text copyright © 2013 John Fleskes.

Flesk and Emerald City Comicon by Guest Blogger Jonathan Leveck

I wasn’t able to make the Emerald City Comicon one month ago, but we were able to have a Flesk Publications booth presence thanks to Jonathan Leveck. I asked Jonathan if he could write a recap about exhibiting at the show. I’ll turn you over to Jonathan:

Jonathan Leveck writes about the Flesk Booth and time spent at Emerald City Comicon
The lead-up to Emerald City Comicon was rife with a quirky mix of emotions. Having grown up near Portland, any travel to the Northwest provokes nostalgia–that inimitable sense of coming home. Seattle, however, would be a new destination for me: one of those places that’s always been on the list but has remained conspicuously unchecked, like never having read On the Road, or seen Willy Wonka.

So there I was preparing to go home to a place I’d never been.

Then there’s Flesk. A failure on the part of the universe at large to take into account the subtleties of the company day planner resulted in a scheduling kerfuffle. Flesk would need to be in both Seattle and Kansas City, Missouri on the same weekend. Reluctant to miss either the ECCC or the 20th Annual Spectrum Judging, John Fleskes and I decided we’d divide and conquer the two events.

For me this meant running a show on my own for the first time and putting a check next to Seattle on that list I mentioned. For John Fleskes that meant being in Kansas City while, for the first time in the history of his company, Flesk Publications was being represented by someone other than himself, and that on the other side of the country. Neither the honor nor the responsibility were lost on me.

John and I caught up on business at the airport, checking out the cover proof for Spectrum Fantastic Art Live 2 and chatting about where publishing should set the bar in terms of catering to vs. challenging its viewership. A few parting words of Emerald City Comicon advice and we boarded our separate flights, John leaving Seattle and his company in what he outwardly projected–but must have inwardly hoped–were my capable hands.

Seattle. Where all the neon is rosy.

Within an hour of landing I was at my hotel downtown, already loving Seattle if only for its public transit system. The hotel lobby was a cage-less zoo of comic industry professionals, Trekkies and a gaggle of what I can only assume were plain-clothes cosplayers. A pair of unarmed security guards stood wide-eyed and twitching amidst the chaos.

Set up the next morning was a breeze, the show’s staff organized and helpful. I picked up the books and took my time setting up the booth, bringing the better parts of my compulsive nature to bear upon the presentation of our books and banners.

The Flesk booth just prior to the show opening.

I looked up from my shuffling to find a gentleman looking at me with an expression that said, “One of us should know the other, but I suspect neither of us does.”

“Hello,” I said vaguely, now mirroring his expression.
“I… You’re… This is Flesk?”
“We are.”
“We’re doing a book with you.”

A stunning bout of deductive reasoning on my part (combined with asking the man outright who he was) led me to understand that I was speaking with Richard Pini. Richard and his wife Wendy are the creators of Elfquest. Their books The Art of Elfquest and Wendy Pini: The Line of Beauty are currently in development with Flesk Publications.

Well met with Mr. Pini, the Elfquest booth was the first I visited when I made the pre-show rounds. I introduced myself to Wendy and handed her the new postcards for the upcoming books. Her face lit up when she saw them, further widening Richard’s easy grin. I was struck by the dynamic between these two: Richard, gregarious and charismatic, Wendy soft spoken and warm–equal and opposite points on the charm spectrum.

Richard and Wendy Pini pre-show.

My next stop was the BromArt booth, where Brom was bustling about the booth and his wife, artist Laurie Lee Brom, was returning from a failed odyssey to find her friend’s booth in the maze of the gaming floor. I was glad to finally meet Brom in person, having only interacted with him via email during the Art of Brom Kickstarter campaign.

Infectiously lighthearted, the Broms’ personalities might have been separated at birth. Speaking with them in tandem, one gets the inexplicable sense that everyone is a sly smile away from giggling.

In equal contrast to the ‘brooding rockstar artist’ persona one might project upon him to look at his art, Brom offered to watch the Flesk booth, should I need to pee at any point. Dark and angsty, indeed…

Brom and Laurie Lee Brom

By the time I left the Dodson’s booth a few minutes later, I was finding it a bit silly just how damnably charming all these couples are. Terry all warm-welcome and quick-to-laugh, Rachel quiet and amused.

Terry and Rachel Dodson: Charm and Charmerer.

Thankfully Mignola was next on the list. I hadn’t yet met his wife, but surely Mike’s dry wit and forthright demeanor would lend itself to some sort of Archie Bunker-esque repartee to help mollify my playful inner cynic.

Alas: nope. Equally lovely interactions from the Mignola camp.

Mike and Christine Mignola applying the finishing touches.

Convinced that John had some sort of hidden agenda to unite charming couples beneath the Flesk banner and take over the world at large, I headed back to the booth to prepare myself for the impending hordes.

And hordes there were. The show was stunningly busy. Our table–teeming with books on the morning of day one, with a case of overflow stowed beneath–comfortably fit all of our remaining stock by that afternoon. By the end of day two we had sold out of the large format Bruce Timm Naughty and Nice book and all but two Big Pocket editions. We were out of catalogues and the stacks of offerings from Dodson, Elliott, Gianni, Meseldžija, Schultz and Stout had been whittled down to a nub.

Booth bustle.

By the end of day three we were fairly well out of stock, and an extraordinary thing happened: We became an information booth.

“What’s the story on the Brom book?”
“When’s Mark gonna finish Xenozoic?”
“Is Bruce Timm here?”
“Are you Bruce Timm?”
“Where can I find Bruce Timm?”
“Are you the guys doing Elfquest?”
“Is Mark Schultz still alive?”
“Who’s Jim Silk-EE? This stuff is gorgeous…”
“Look honey: booties!”
“Do you have any more Gianni stuff?”

We had people stopping by to identify themselves as Art of Brom Kickstarter supporters, or to express what an influence Mark Schultz has been on their art.

With little left to sell, the crowd hadn’t diminished around the booth. For the last couple of hours the Flesk booth was a place to stop by and chat about good art.

When all was said and done, I packed a single box to send back to California, and arrived back at my hotel exhausted, voiceless and extremely pleased. John called and we downloaded our separate events and chatted about the big things upcoming from Flesk, some announced and others soon-to-be.

So: Seattle was fantastic. I didn’t burn anything to the ground, and nobody caught me sleeping at the booth. Well: nobody that couldn’t be bribed with a Naughty and Nice Teaser.


Jonathan Leveck
Director of Operations

Jonny Rocket.

A big thanks to Jonathan for running our booth!



John Fleskes
Flesk Publications
Text and photographs copyright © 2013 Flesk Publications. All rights reserved.

Emerald City ComicCon