Five Colorado artists on Inktober's knack to bring artists together

In October 2009, illustrator Jake Parker created an annual challenge for artists called Inktober. The project was a challenge to himself, his artist friends, and peers to begin a consistent inking practice.

In October 2009, illustrator Jake Parker created an annual challenge for artists called Inktober. The event was primarily a challenge to himself to improve his own inking skills and to develop positive and ongoing drawing habits. The project also served as a way to hold himself accountable to fulfill the task, as he reached out to others and encouraged them to do the same.

According to the Washington Post, Inktober didn’t catch on right away. It was a simple idea that grew over time. The event has since become international where all kinds of artists from illustrators to graphic designers challenge themselves to create 31 new ink drawings in 31 days. Today, proof of those artists’ efforts can be found all over social media platforms such as Twitter and Instagram.

Inktober is a pretty big deal in Colorado’s illustrator and graphic artist scene. That is why we asked five Colorado-based artists to take the time to answer some questions about their involvement in Inktober 2015. Oi Bob Parks, James McFarland, Thea Hunt, Zak Kinsella and Lonnie Allen stepped up to explain what brings them to Inktober. From career advancement and networking to practicing certain skills, these artists explain what the event means to them and their communities.

"Fight Club" spoof by Oi Bob Parks for InktoberCourtesy of Oi Bob Parks

"Fight Club" spoof by Oi Bob Parks for Inktober

A few years ago, self-described “pencil zombie” Oi Bob Parks began noticing artists on Instagram using the #Inktober hashtag. Later the hashtag began appearing on his Facebook and Tumblr. It wasn’t until this year that Parks began participating in the event.

He explains that taking part in Inktober is a way for artists to show solidarity with each other.

In his social media feeds and in local gatherings, he has seen his artist friends adopt themes for their Inktober contributions. Some adopt horror or anime themes, while others choose to work in everything from realism to robots. “It gave me the idea to try posting things that I've never drawn before.” It's definitely a challenge for me as I don't often get the chance to draw every day,” he explains.

“I started blocking out chunks of time that would otherwise go to busy work or...zoning out, and I made sure I drew my Inktober for the day. It helped me realize that no matter how busy I thought I was with life, I still had time to draw.”

Parks is currently working on many projects in the Denver area, including a third volume of a series called “Dinopocolypse”, which is a collaborative effort coming from Colorado artist collective Red Team Go.

Inktober image by J. James McFarlandCourtesy of J. James McFarland

Inktober image by J. James McFarland

Boulder-based commercial illustrator, fine artist and graphic designer J. James McFarland explains that Inktober provides artists with a way to share their work and receive feedback. “Artists in the digital Era tend to be eager to share their work, but they are uncertain what is and what isn’t worth sharing. The practice of creating frenetic, fast-paced, generally unplanned art is immensely advantageous to this end.”

Inktober along with other events such as 30 Characters and 24-Hour Comics Day force artists to work quickly. Artists work at an “uncontrolled rate, and ultimately force the work to display patterns of strengths and weaknesses, relates McFarland. “It’s important because a community of artists absolutely must be able to strengthen each other through encouraging criticism. Holding your work to the regular exposure of peer feedback is a revolutionary tool for self growth.”

McFarland is very active in his communities. He has just finished a project with Aurora Rise, a Denver-based charity community that supports families of the victims of the 2012 Aurora Theater shooting. He also has ongoing comics projects, including “Maize”, “Mustang Tuesday Weekly”, and a 24-Hour Comic that will be published by Time Warp Comics in Boulder, Colorado.

Map of Veronlen by Thea Hunt Courtesy of Thea Hunt

Map of Veronlen by Thea Hunt

Denver-based sequential artist and illustrator Thea Hunt explains that Inktober for her is a way to connect with other artists both on and offline. She began participating in the event about three years ago. Hunt explains that the group event helps artists connect with other artists, even when they are spending most of their time working on their individual projects. “I think that since drawing is kind of a solitary thing most of the time, it’s fun to still be able to see what others come up with,” Hunt explains.

“For me, I’m a pretty shy person. I do a lot of my socializing through online groups. Inktober is a fun way for me to interact with other artists and see some interesting ideas on paper,” Hunt continues.

Hunt’s main mission with her work is to create good stories. She is currently working on a small comic project named “Amelia.” The story is about a girl who is separated from her family and then finds out she is protected by a forest god.

Self-Portrait by Zak Kinsella Courtesy of Zak Kinsella

Self-Portrait by Zak Kinsella

Cartoonist and illustrator Zak Kinsella explains that Inktober is important because it fosters consistency, growth and improvement for artists. “Those things can be a hurdle for any kind of artist,” he says. “But, adding one drawing a day isn’t too overwhelming. It’s just enough of a challenge to not get in the way of your other work.”

Kinsella likes the way the month builds a sense of community, not just in Denver, but worldwide. “We can all put up a drawing everyday, explore thehashtag and find new people's work we love. It's a weird introvert's way of making friends,” he said.

“We made an Inktoberists Facebook page for our Colorado group. It’s cool to see what people are working on without going to a convention or meetup. Between work, freelance and my own comics #Inktober provides a way for artists to shine and be social, even when they are swamped.”

Kinsella has two books he’s writing and drawing right now called "The Book of Daniel" and "Outré Veil." He explains, “My philosophy is that comics should be fun – and not just whimsical, marshmallowy, no content kind of fun, but the kind that can explore any topic to it's depths while retaining a sense of humor about it.”

Inktober Gender Bender Green Goblin by Lonnie M'F' Allen Courtesy of Lonnie M'F' Allen

Inktober Gender Bender Green Goblin by Lonnie M'F' Allen

Graphic designer, writer and illustrator Lonnie Allen loves the way Inktober brings communities that wouldn’t necessarily know about each other together via social media hashtags. “Participating artists can easily look up #Inktober and see what other people are doing all over world. There’s the instant gratification of us simultaneously participating in something larger than us and also as individuals,” Allen said.

Allen is currently working on many projects, including a book that will be printed through Tinto Press, a Denver-based boutique publisher of graphic novels, sequential art and mini comics. The book will be available at the upcoming DINK Comic and Art Expo.

*originally published on the now defunct Examiner.com

Sharon Kumm's Beautiful Art

I make a lot of wonderful connections by being a barista, often with artists whose work I admire immensely.

Some time ago, an artist named Sharon came in with her lovely handmade cards depicting historical buildings around Denver. I have posted some samples of her work above (click on the image for an enlarged view of the images). I remember being so giddy with how wonderful her art is. I told her so.

I asked her how much the cards were. They were wrapped for sale, seemingly. She said she would just give them to me but I insisted. "Eight dollars. . . ." was her timid response. I gave her twenty, bought two sets, sent one set to an architecture student and another to a dear friend in Mumbai (who collects handmade cards). "You should be selling these," I said, "I'm not just going to take them from you."

A light seemed to ignite in her eyes. I asked her if she had her work anywhere around town and she said she hadn't, said that maybe she should do something about that. And I thought, "This is nuts! Surely the historical society or the tourist peeps would want these in their store," so I offered to help her. She said that was okay. I went to the tourist center anyway and asked them if they took consignments (while showing them the card sets) and they said yes.

She came in to the store after that, many days in a row, thanked me and showed me each new project, often giving me her work after I had told her about what I had done. Each time she came in I asked her if she had checked the tourist information center or if she had thought about putting some of her work, framed, around the Santa Fe Arts District or somesuch thing. Most days she said she hadn't. She seemed a bit discouraged, especially after she had gone in to the Tourist Center and had been rejected with a stern negative.

I offered to take the work in again because I suspected that her rejection was a product of a certain kind of discernment that I detest but she said that was okay.

I have been worried about her. I hadn't seen her in months until yesterday. One of my coworkers had one of her cards. I ran immediately into the lobby to see if she was still there, found her, and then asked her how she was. She told me that she had put some of her work into a few different galleries. I wanted to hug her right there. She said that I was an inspiration and then I noticed her right hand above the table, shaking uncontrollably and realized when I asked her if she had been drawing any new work, there were only ever unfinished drawings or a few spare lines on any given blank page.

I don't want to end my post here but this is the image that has been with me for almost 24 hours, now. This image and the image of Sharon digging through trashcans for bottles and cans overlap in my mind. This image along with the realization that Sharon probably doesn't have healthcare or very good healthcare and certainly low means (I've tried to call her and her phone has been disconnected).

I can't end this post selfishly, either. I thought I would say something like, we don't know how much time we have with the talents and interests and loves we have, and that I've taken all this to heart in lieu of my own skills and interests and loves. . . . I thought that I might tie in to the political things that are happening right now, the protests and what not but that doesn't feel right, either. Both of the latter things feel like exploitations to me.

The thing is, despite the shaking hand, Sharon is doing something with her work, even if she is only intermittently able (or maybe not even able at all) to draw. Despite the shaking hand, Sharon is being proactive and every time I see her, her eyes are bright!

I suppose then, the right thing to do here is to say that Sharon is an absolute inspiration to me and I have definitely made sure to tell her so.