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A warm up sketch I did yesterday...

Sweet Tooth #4 Review

Gus might be the answer to the world's problems.

by Bryan Joel IGN.com

Jeff Lemire's Sweet Tooth is a monthly revelation, but it's not the fresh take on a post-apocalyptic world where the true genius of this book lies. Rather, it's in Lemire's brilliant character work and the seamless integration of it into his artwork. Sweet Tooth is far and away my favorite monthly comic, and issue #4 perfectly demonstrates why.

This issue finds Jepperd and Gus stumbling into a prostitution operation. It's the first time that the duo have really run into non-hunters in the outside world, and it's a chilling indication of how twisted the world has become. Sweet Tooth has more than a few childrens' storybook qualities to it normally, and the prostitutes are another example of this. On the surface they seem like one-dimensional figures intended to serve a specific purpose, but by the end of their story they've grown into something else and serve a new agenda. The simplicity of their one-issue story arc is genius.

But the real meat of the issue for me is the same as it has been in the previous three: the effect Gus and Jepperd are having on one another. Jepperd is positioned as the grizzled, jaded soldier figure and Gus as the timid, innocent neophyte, and every passing issue, each character drags the other further into their respective state of mind. This issue, it's Gus's naive, simple notion of right and wrong that alters Jepperd just enough that he's willing to help the prostitutes. Likewise, it's Jepperd's brutal handling of their pimps that brings Gus out of his sheltered mindset to appreciate the reality of their situation. Ultimately it seems to be leading towards the characters meeting somewhere in the moral middle, but the journey there is the true joy of Sweet Tooth.

Neither of these character movements would have come off quite as brilliantly if it weren't for Lemire's artistic cues. Whether it's Gus's (literal) doe-eye peeking around the corner to witness Jepperd's extreme violence, or Jepperd's clenched fist at the realization that Gus's black and white stance on morality is probably more admirable than his loner tendencies, Sweet Tooth #4 represents the zenith in art/script fusion. Even when the action dies down as the issue ends, Lemire treats readers to some stunning visuals, even when it's simply some rain falling, or the dysfunctional duo riding horseback. Lemire's artwork tells the story just as much as the words do, and this issue of Sweet Tooth is a true visual experience to be had.

This title continues to prove what the comics medium is capable of outside of spandex and muscles, and issue #4 is probably my favorite installment yet. Lemire is creating a fantastic world full of mystery, grit, and deceit, and a team of characters with real synergy and charisma.

BEHIND THE PANELS: SWEET TOOTH #4

Issue #4 of my monthly Vertigo comic SWEET TOOTH was released this week. This issue is the penultimate chapter in the first story-arc "Out of The Deep Woods". The issue also introduces a few new characters who will end up playing a big part in the overall story. I thought I'd select a scene from the issue and outline my creative process, from script to final art...

1. Script: I have the entire saga of Sweet Tooth outlined in one master document that I wrote when I pitched the book to Vertigo. This master outline, or "series bible", contains all of the major story points, character arcs and the overall plot. As well as more detailed notes on key scenes and even ideas for important dialogue here and there. At this point Sweet Tooth is projected to be 5 or 6 story arcs long (aprox. 30-40 issues), with a lot of room for the story and characters to expand and grow as I go along if need be.

From this master outline, I then break each story arc down into roughly 6 issues each. Then of course break each issue into 22-page outlines. From these I write my full script for each issue before I start drawing. These scripts are probably a bit sparser than an average comic writer's, because I don't have to spend time explaining the visuals for another artist to render, that's already in my head as I write. So, it's mostly to block out all the dialogue and make sure everything I want to do fits into the alloted 22 pages. I use a program called Movie Magic Screenwriter to do my scripts. It already has a couple of comic book templates built in, and lets me focus on the writing and not mess around with any formatting issues. Here is a four page (pages 2-5) excerpt from the 4th issue (click to enlarge):

2. Breakdowns: From these scripts I then thumbnail out a very rough page layout. These are really rudimentary doodles, probably so much so that only I could decipher them. But they just let me work out the panel structures and layout as well as the visual flow of the page. I take my script and reinterpret it, pacing out the beats of a scene or a conversation over panels. I often end up with a finished page that is very different from the script, as I tend to "write" best when drawing. The script is only a jumping off point :

3. Pencils: I then start on my pencilled artwork using these thumbnails as my skeleton. I used to pencil VERY loosely while working on Essex County and The Nobody. But, for whatever reason, my pencils have become increasingly tighter and more finished with each issue of Sweet Tooth. I do a rough, loose pencil draft with a blue pencil first, just getting all the basic composition and anatomy down, then go over this with a fine mechanical pencil, working out details and any drawing problems. I then take these pencils and trace them onto my bristol art board using a light box. The result of which can be seen below:

(Recently, I finished the artwork on Issue 9 of Sweet Tooth, and my pencils had gotten so tight that all the work and spontanaeity was gone by the time I went to inks. So, I've decided to go back to looser pencilling from now on, just go at the page with ink and have fun, take more risks. For me that's the real joy of cartooning.)

4. Inks: I then start inking these pages. I use Speedball India Ink and a steel point Hunt #2 pen tip for most of my linework, then go in with an Escoda 1212 Sable Hair Brush (usually a #1 size) and do my blacks and add accents to the linework where needed.

Once I have my pencils set, and I know there are no major drawing problems left to figure out, I start inking. And I like to ink VERY fast, and very loose. Let that energy translate onto the page. If I make a mistake (and I often do) I just keep going and go back later to fix it with white out, or I just redraw it.

5. Colors: From there the pages go to Jose Villarubia and he works his magic. I don't have to give Jose many color notes. He's a real pro and an accomplished artist in his own right, and I just let him do his thing, which is always beautiful.

USA TODAY Calls SWEET TOOTH "Spellbinding and Offbeat"!

'Sweet Tooth' like Mad Max with antlers

Vertigo/DC Comics Vertigo/DC Comics Vertigo/DC Comics Vertigo/DC Comics

By John Geddes, USA TODAY

What if a post-pandemic world devolved into a population of human/animal hybrid children being hunted by paranoid humans? That's the question Jeff Lemire proposes to readers in his new spellbinding and offbeat Vertigo series, Sweet Tooth.

Lemire is the critically acclaimed author/artist of the Essex County graphic novel trilogy, a devastatingly beautiful series of tales that led readers through the intertwined lives of characters in rural Canada. Essex was a story that highlighted the human experience from the magic in a child's imagination to the sorrowful regrets of old men.

So, how did the writer-illustrator go from quiet domestic drama to a story about the survival of human-animal hybrid children during the end of the world? Look no further than Dr. Moreau, Kamandi and Mad Max.

"The idea came when I was working on my recent Vertigo series called The Nobody— a reinterpretation of H.G. Wells' The Invisible Man," Lemire explains. "That involvement with Wells got me thinking about, and subsequently reading again, The Island of Dr. Moreau. I love the idea of these half-human/half-animals running around."

So much so, in fact, that Lemire had actually pitched the idea of doing a reinterpretation of Jack Kirby's Kamandi, the classic series recently redone by Dave Gibbons and Ryan Sook for DC Comics' Wednesday Comics. Like Kamandi, Sweet Tooth also follows the adventures of a lost boy, Gus, through a world devastated by a single, calamitous event. One key difference between the two series, however — Gus is an 11-year-old boy with deer antlers growing from his head.

The story of Sweet Tooth opens with Gus being protected and sealed off from the world by his father in a desolate woodland cabin. If he ventures out in the world, the boy is told, he'll be hunted and killed by men. Due to circumstances beyond his control, he finds himself no longer able to remain hidden away in the woods. A grizzled old brawler named Jepperd promises to keep Gus safe and take him to a place where he will be accepted and protected for the rest of his life. So begins the adventure.

"I'm a huge fan of post-apocalyptic stories —Mad Max and so on. Sweet Tooth is my version of a post-apocalyptic tale. It's a surreal fairy tale for adults. The series tries to solve the mystery of why the few children who are being born after this worldwide pandemic are all human/animal hybrids."

Expect some major plot twists along the way, specifically involving Jepperd's real intentions and the way Gus begins to develop as more of an adult character. "We'll see some big-time developments involving Jepperd. Readers will see how his motives are questionable, to say the least. He's going to play a huge part in the outcome of the story."

The main character of Gus also changes in significant ways. "He goes from being an innocent to being thrust into a violent world and needing to learn to survive."

The first five-issue story arc for Sweet Tooth will come to an end in January, with the second arc launching in February 2010. Lemire has the story plotted well into the future, though. "Right now, I have it planned out to be 20 to 30 issues, but it could go even further depending on the response it gets."

Given today's headlines concerning swine flu and other potential pandemics, Lemire's Sweet Tooth is certainly well-suited to capture the attention of a much larger audience. If the emotionally charged writing and subtle-yet-powerful art displayed in this first story arc are any indicator of what's to come, Lemire might just find himself creating Sweet Tooth books for a long, long time.

To find a comic-book shop in your area, go to www.comicshoplocator.com or dial 1-888- Comic-Book.

SWEET TOOTH 6 AVAILABLE FRO PRE-ORDER! NEW STORYLINE BEGINS!!

Written by Jeff Lemire; Art and cover by Jeff Lemire

"The new 'must-read' book." – Geoff Johns

"Like a Coen brothers road trip drama… a fantastic post-apocalyptic comic." – AM New York

"In Captivity" part 1! A new storyline begins for one of the most talked about new series. After the twisted conclusion to the previous issue, take a look back at the first days of the apocalypse and the lengths to which Jeppard is forced to go in order to survive. Plus, discover more details about the disturbing fate of the young hybrid boy Gus.

On Sale February 3, 2010

SWEET TOOTH 3 Review at IGN

Vertigo's latest keeps on going strong.
by Jesse Schedeen

November 4, 2009 - On a surface level, Jeff Lemire's Sweet Tooth seems to borrow from numerous sources. The basic concept of a young boy and his grizzled protector crossing a post-apocalyptic wasteland evokes images of Cormac McCarthy's The Road. Comics like The Walking Dead and Y: The Last Man also deal with similar subject matter. But the difference lies all in the execution. No matter how many times we might have seen the post-apocalyptic tale in comics, Lemire makes it seem fresh again.

The story might have moved a little slowly in the first two issues, but now that Gus and Jepperd are out on the road the pace picks up a bit. Lemire devotes some time to building on Gus' character this month, proving again that he's more than a simple country hick with no practical knowledge of the world. One positive quality this series shares with The Road is the slowly building sense of tension. Gus and Jepperd spend most of the issue alone, but it's difficult not to feel a growing sense of foreboding with each passing page. Lemire has established this world as a dark, scary place, and the reader is now left to wait and wonder when tragedy will strike again for Gus. It's tough to know whether to even accept Jepperd as a companion for Gus or just one more threat to confront. A powerful and haunting dream sequence certainly casts doubt on Jepperd's motivations and Gus' safety.

More than anything, though, it's the fusion of Lemire's art and writing that make this series function so smoothly and elegantly. The best writers and artists may achieve that long-sought creative synergy, but it's hard to top a creator who can do both and do them well. Lemire knows his craft well. There's never a case where the storytelling falters or Lemire's intentions become cloudy. Lemire is skilled at building mood and tension in his scenes, be they set in a barren room or in the tortured landscape of Gus' dreams. It's not the most detailed book in the Vertigo lineup, but I'd go so far as to say that Sweet Tooth is the best-looking one.

Vertigo has launched numerous books in 2009. Their track record with these new releases is very impressive. But as much as I'm drawn in by complex, winding projects like The Unwritten, the captivating, elegantly sparse world of Sweet Tooth represents one of Vertigo's finest new books in years.

THE NOBODY NOMINATED FOR YALSA AWARD!

The Nobody has been nominated as one of The American Library Association's "Breat Graphic Novels For Teens"! Click here to see the entire list.