You can get rid of that mold by yourself at home without inviting any professional to get things done for you. This way, you can save the money for professional hire and spend it on other very important things. You should explore this possibility especially if you are living on a budget. It will do you a world of good financially. The truth is you are not alone in search of DIY mold remediation methods; many home owners are also searching for ways to get things done by themselves; I mean, who does not like the idea of saving money? Doing it yourself also comes with huge satisfaction. If the truth must be told anyway, there are some very important situations that would require you to invite professionals to help get rid of the molds in your home.
When can you handle the job by yourself?
As hinted earlier, it is not all cases of molds that you can handle by yourself. If the mold growth is not yet at advanced state, you will not need to invite any professional to help get things done. If for example the growth area of the mold is still very small, the mold can be removed easily without external help. If you find the mold growing on very easy to clean surfaces in the home, like the sinks, tubs, tiles, metal and glass, you will also not need to invite a professional to help get things done. Just wipe it off using bleach solution and that will be all.
You can also carry out the DIY mold remediation by yourself if the mold is growing on such areas like carpet and furniture. It is hard to remove mold from these surfaces, but such materials can be easily removed and replaced. If you know how to replace such materials, then there is no point in calling in a professional. Before you ever attempt to carry out mold remediation, first consider your health status. Never get involved in this if you have any health condition like asthma, which may be complicated by the mold. If you have any health condition whatsoever, first check with your doctor to find out if the condition will not be complicated by exposure to mold. If any complication will arise, then it is better to invite an expert to help get the job done.
In contrast to the information given above, the DIY mold remediation idea may not be an entirely perfect one if the mold is growing across a larger area, something more than 3 feet in diameter. In this situation, you may have to invite a professional to help out. If not, you may risk spreading the mold to other parts of the home. You may also have to call in the professionals if the mold growth is consequent of earlier flooding incident. In the course of the flooding, contaminants and infectious agents might have been brought into the home and the atmosphere in the home would not be safe. The professionals will help get rid of the mold and also help to decontaminate the home.
Six-Gun Gorilla might be my favorite book of 2013. Rarely, and I mean it, do I pick up a book based on title alone these days. Nine times out of ten if it isn’t in my pull list, I’m leaving it on the shelf. It’s just the way things work when you’re broke. That tenth time though, that’s the big gamble. The facedown card that’s about to determine whether you just wasted $2.99 on a comic or just added something new to your loaded pull list. Six-Gun Gorilla was that tenth time . Alternate history featuring gunslingers and ghouls — check. Genetically altered gorilla with cinder block-sized revolves — check. Insane artwork via one of the best up-and-coming artists around, Jeff Stokely, — that’s a check.
Nearly every day of the week you can find Stokely posting to his blog Sketch Goblin for a taste of his beautiful, contemporary style. But aside from web clippings, Stokely has also lent his talent to the Fraggle Rock comic and the recently released Archaia title The Reason for Dragons. Stokely has partnered with some wonderful writers, but in all honesty, even if he was drawing Bazooka Joe comics, his style would blaze through like a lit match.
I caught up with the artist to talk about, well, his amazing artwork and what it’s like drawing a six-gun slinging gorilla for a living.
How did you first get involved in comics?
I’ve always loved comics, and I’ve always wanted to draw them but my first brush with published work was with Archaia on their Fraggle Rock series. At the time I was interning with them and remember Stephen Christy looking at me one day, saying “Huh, you’re the first artist approved for a Fraggle Rock comic in close to 30 years, you’re the main artist on issue 1, and you’re the one person who’s never been published! So you’re the wildcard.” It was playful but also like saying “NO PRESSURE DUDE BUT YOU’D BETTER KILL IT!” I’m still very much proud of that work, oddly enough.
You and writer Simon Spurrier built such an interesting world around Six Gun Gorilla. What process went into crafting the SGG atmosphere and characters?
When I read the pitch for this book (and very much the same with Dragons) the world, the characters, the overall atmosphere was very much present. Si has a knack for conveying the right tone and I felt it was all relatively easy to visualize, probably because it’s exactly the kind of book I’ve always wanted to draw. When designing the characters there was a bit of back and forth, a lot of it was everyone really encouraging me to to make the gorilla more of an animal with less human-like posture and that sort of thing. World building and concepts are always one of my favorite parts of making a comic.
When a writer approaches you to work on a comic, what do you like to see from them? Full scripts? Rough ideas?
Generally it’s nice to know the specifics first, like the genre, the tone, and the length of the project before diving into the script. But if it’s longer than a short, like a mini series, I like to read a more fleshed-out concept, usually in the form a full page of the overall plot, characters and setting. Then the script.
As an artist, do you prefer a writer give you detailed scene descriptions or do you like them to keep it slightly open?
I’ve worked from all kinds of scripts, in Dragons it was very much left to me to determine the staging and compositions, which I absolutely loved. In 6GG a lot of the descriptions were more lengthy but never too much, always used for world building purposes and I would rarely do something different than what Si had written because I knew he was just dead-on. Never overly verbose. If you’re working on a sci-fi book you obviously need the descriptions to know what the setting is or how extreme to go, fortunately Si and I seem to have really similar influences and we jelled really well together. Chris would also come over and we would really discuss how things should move on the page and he would just give me chunks of pages with no dialogue. So truth be told, I love both forms but only when they’re done right, which is very hard to do.
You regularly upload sketches to your blog. How often do you draw? How does it help you as an artist?
While working on Six Gun Gorilla I had 2-4 days off a month, so that’s a good example of how often hah! This sounds terrible and was in no way BOOM!’s doing, sure it was draining but I always told my editors that if it weren’t for my physical well-being I wouldn’t sleep. I’d just work because I love it so much. I’ve definitely grown while working on 6GG, it’s the biggest volume of work I’ve put out so far and it’s easily my best work. Hoping to continue pushing my self and try new things with each book, though. I do try to keep my work out there for everyone to see, without spoilers of course! The feedback is always really helpful and I think having it out there helps keep people aware that I’m still alive, even if it’s just a snapshot or something.
Any advice for someone who wants to get into illustrating comics professionally or otherwise?
I say this often but I stand by it: Draw what you want and do it a lot. If you want to draw monsters, draw monsters. If you want to draw superheroes don’t let anyone stop you. Do it long enough and eventually you’ll get better and the better you get the more recognition you will receive so it might as well be recognition for something you love doing. Also, learn the basics, it never hurts and only helps.
Every so often, we either come across or are sent an independent project that we feel – being starving artists ourselves – deserves a little recognition. Recently, comic artist and writer Lee Milewski tipped us off about an independent comic beautifully titled With The Earth Above Us.
With The Earth Above Us is somewhere between Blade Runner and 2001: A Space Odyssey mixed with an oppressive air of isolation and rendered in grey scales.
Lee is currently seeking funding over at Kickstarter to help him complete this 70-page B/W graphic novel. It is really a beautiful tale of isolation and paranoia wrapped in the cold metal hull of an interstellar spacecraft. That said, check this book out, give Lee some support and head over to the official Kickstarter.
To help flesh out this comic a little more, we got together with Lee via the magic of email to talk about With The Earth Above Us and the perils and perks of self publishing.
Why did you choose Kickstarter over Indiegogo?
IndieGogo has many limits towards it’s overall presentation, though I’d say the primary reason is due to popularity. Kickstarter has so many projects going on at once, which means that you have tons of people who come to the site and check out your project as well. I also enjoy the “all-or-nothing” concept that Kickstarter goes by, which makes it a much more intense and exciting thing to be apart of.
Why did you choose to self publish?
Self publishing allows me to keep my identity, I guess. I love that my book can look, feel, and go exactly where I want it to; And the fact that my ideas are the only ones which affect the end result is great!
What are some of the difficulties you have encountered?
The main thing that I’ve found to be the most difficult for my own personal growth, which probably comes off as a little odd, is getting my name out into the wide world of independent comics. In fact, before this campaign, I hadn’t really shown my stuff around. It really was a challenge to get out of my comfort zone.
What do you think are the benefits of self publishing?
The benefits largely consist in being able to direct your project whichever way you choose, which is great. Unfortunately, you do lack advertising (unless you shell out your own money), but you can make that up by joining in on the many conversations that consist to help spread the word on independent comics. There are many forums to use, along with Facebook/Twitter/etc., which allows for a person like myself to reach a wide audience.
I was first introduced to Eleanor Davis’ work after someone posted one of her short comics at an illustration blog. The comic, The Beast Mother, is a black and white mini-comic about a monstrous creature who seems to have kidnapped children and is now raising them as her own. While its cutlass and pistol-wielding hero echoed sword and sorcery, the comic resonated on a deeper level for me. It’s a strange mix of a stand alone hero story blended within a universe that is deeply grim and brimming with untold history.
The same can be said for much of Davis’ work. Her projects, even when presented as simple story, are loaded with a sense of a real past. We are rarely told the whole tale, but that’s the point. Her comics are meant to present us with a portion of time, a sliver of history shadowed and hidden. We aren’t the archeologists digging into Davis’ work. Instead, we are the museum patrons gazing at dinosaur bones from a distance.
I spoke with Davis recently about her career as an independent illustrator and artist. She imparted some really brilliant knowledge about creating not only comics, but artistic expressions. Davis also included an FAQ she shares with students, which includes some choice advice regarding a career in illustration. We’ll add a few questions from that at the bottom of the page.
I’ve read that you’ve been drawing and writing comics practically your entire life. What attracted you to comics as a young person?
My family has always been into comics. I grew up in a house full of them – my mom collected Little Lulu, my dad was really into Pogo, Popeye, Little Nemo and all the rest. I read and re-read all those comics until I had them memorized. I’m not sure if I was drawn to them because I had an innate love for comics, or if my love for comics came from reading them so much?
You’ve primarily worked in independent comics or self-publishing. What about indie comics appeals to you over something more mainstream?
I’m not a mainstream lady, I guess. I like the rawness and punkiness of indie comics. I like that indie comics don’t tend to be gender-normative; that’s very important to me. And although I see the value of fantasy & escapism, it’s not what I’m interested in exploring in my own work most of the time. I’m mostly interested in making art as a form of self-expression, & indie comics has a strong tradition of that.
You style has a dream-like quality akin to that of Winsor McCay. How did you develop your specific artistic style when drawing comics or creating illustrations?
Thank you! That’s high praise. I draw what feels true. I draw dream-like images because life is dream-like.
Do you first remember when you knew you wanted to pursue comics professionally? Was there a watershed moment that steered you in that direction?
I’m not actually a professional cartoonist, depending on your definition of professional. I’ve tried living off of the money I’ve made making comics in the past, but it was too hard! Too much work for not enough pay. Now I make a living doing illustration and I make comics for myself.
I think I realized that I was making comics that were good enough for other people to be interested in reading maybe my Junior year of college. Some cartoonists I really admired – Chris Wright, Lance Simmons and David Youngblood – asked me to put together a mini with them. That was thrilling, to get that sort of affirmation. But before that, I never doubted that I would be making comics. I just didn’t know if anyone would be reading them.
We have readers who are artists and would likely be interested in your process. How do you develop a comic like The Beast Mother from start to finish?
I did the Beast Mother my junior year of college, I think. I was in a psych 101 class & drew this image of a giant woman-beast covered with babies. As soon as I drew that image, I knew what the story would be. I just had to sort of shake it out. I thumbed the comic out in a day, then had my husband (boyfriend, then) Drew Weing read them & I edited it a bit. Drawing the whole thing took about a month, I guess. I wasn’t very fast back then. I remember all those pine trees being a real headache.
Do you have any advice to impart on up-and-coming comic creators? What would you go back and tell yourself? Would you go back and tell yourself anything at all?
A young illustrator just asked me this question; it’s a good one. Here’s what I told him, about a month ago – not much has changed since then, but ask me again in another month!
I don’t know what advice I’d give myself. My career trajectory so far has been irritatingly round-about and inefficient, but I think maybe I had to do it like I did. The big mistake I made was rush into things too fast at first & burn myself out. I tried to embark on a long series of graphic novels – my kid’s GN The Secret Science Alliance was supposed to be the first in a series – when I wasn’t fully developed as an artist yet. I signed a two-book contract & only did one book and it’s been a real headache since then. But that’s a choice other artists have made and it’s worked out very well for them.
Figure out how to be happy and have fun. There are easier ways to get love and money so if you aren’t having a good time you should rearrange your life and work process so you are having fun, or you should quit.
There’s no shame in getting a part-time job. If you aren’t strong & developed as an artist & you’re trying to make a living right away, you’re not going to make the work you want, you’re going to make work you think other people want. And that work will not be very good. If you focus on making the work that excites you, that’s important to you, that will be your best work. And then you’ll get jobs. You might need to buy time to focus on that, and in that case getting a pleasant low-key job that will get you out of the house & around people will take a lot of the pressure off.
“Don’t try to imitate another artists’ voice. Find your own voice. And don’t go looking for your own voice. Just draw and think and draw and think. Don’t harden your heart. Don’t avoid pain. Feel those feelings and draw them. Your voice it will come out on its own. Then, when it comes out, trust it.” That’s what I would tell myself. That’s what I would tell anyone, I think.
From the FAQ:
What advice would you give to an illustration student?
My advice is to have a simple, professional website that you update frequently, a decent web presence, and constantly, constantly strive to produce the best, most interesting, most honest work you’re capable of. Don’t try to do what you think other people want. You simply won’t be able to produce your best work that way. Make art that speaks to you and comes from your heart. Be true to yourself. Remember why you’re doing this. Also, live cheap and get a part-time job. Don’t think you have to make a living on art right away. It’s okay not to. Once you build up enough clients decide if you’re ready to live off of art alone.
What do you think of the current trends in illustration and where do you think this field is heading to?
I have absolutely no idea. I don’t think anyone does. People have told me I’m part of a new wave of illustrators who get more professional jobs through art directors seeing their personal work. I think that’s really neat and I’m excited to have had the opportunities I did.