Nerd News Social Sits Down With Camilla d’Errico

Lindsay Garber is back with another interview with the artist Camilla D’Errico to talk about her work, the week of San Diego Comic Con, here is what we found out!

Lindsay Garber: Thank you for joining us. It’s such a crazy day! It’s Friday the 13th!

Camilla d’Errico: I know, did you see my Jason Voorbees image I posted.

LG: Yes, I’m actually an October baby, and everything Halloween and witchcraft I love! That was a phenomenal post. I did save it!

CE: Well I’m glad you liked it. My husband was born on Friday the 13th, so I get it. Not this Friday the 13th, but he’s very proud of it.

LG: I am a Patreon subscriber to you because every time we have met, and we have met a few times at different conventions, you are so amazing. How you can be so busy, but you are still able to give your total attention to some stranger who walks up to you? Some of the things I’ve seen you post, really connected with me. So sorry if it’s a little sappy, I’m just very glad to have met you as an artist. So I have some questions that are important to me.

CE: I’d love to answer! I’m glad that you subscribe to me on Patreon too, that’s so awesome. Even if it’s a dollar a month, it means so much! I’m so happy that you are on my Patreon. Thank you!

LG: One thing that you say on there is, “express what you feel and feel what you express”. You can really see this come out in your work. The passion you are able to feel from one of your creations is really what makes you stand out to me. Can you tell us a bit about your journey on how you came to this mantra, and the things you did before you were the artist you are today, and how you got to this point in your career?

CE: That’s a big question, so get ready! Haha. I came to that mantra in 2012. Before then I was painting art, I was putting my emotions in it, but at the same time I was working towards what the galleries were encouraging me to do. They really liked my art with girls and animals. They wanted to pigeon hole me into direction. My heart wasn’t as into, my heart wasn’t feeling those things. So I decided in 2012 that I’m going to paint what I’m feeling. I’m going to paint whatever comes to me, whether it’s new and different, or bizarre and no one has seen it before. I have to do that for myself because that’s what I’m feeling. If I’m not feeling it, then what I express in the art might not come through, it might be a different method. One of the cool things about being an artist, is that when I look back at my work, I see it as a diary of my art. I can see what I was feeling in a lot of those shows. I can see a certain series that I did with crying girls, and because I was very broken hearted. I was painting that. I was painting my emotions. It wasn’t in a negative way, but actually cathartic, I got to get these emotions out. By the time that I have finished the pieces I had realized that I had painted myself in a lot of them. Especially in “Iguana” and the “Loveless Bird”. Those two specifically meant a lot to me and they express exactly what I was feeling, without me even realizing it. I always wanted that for my art, I always wanted the paintings to have emotions in them, and not just be pretty. Oh it’s a girl with blue eyes, and an octopus, and it doesn’t really mean anything. I try to put a lot of my soul in the paintings, and when I came up with that mantra, I really nailed it. That’s it! That’s what I’m going to do. And I have to. It’s easy to see what sells, I guess, and keep doing that. But I don’t think success is actually based on what you sell, but based on how much you produce that means something to you, and how much people react to it.

LG: Everything you are saying is amazing, and proves the point why I picked you to interview. One of the second pieces I got from you was a print of one of the Helmet Girls. A horizontal piece with dark crows flying around. She had a long horizontal helmet, and you can see the darkness surrounding her. When I look at it, it kind of takes a little of my sadness away from me, absorbing it, into the painting. That’s why I think your so successful, It’s your mantra right here.

CE: I actually just read a message on Instagram from a fan who said that, because of me, she started her own artwork and business. That I encouraged her, from what I’m doing, to follow her passion. She said “You have just one live, and I have to live it and chase my dream.” She did it because she saw that I did it. That’s amazing! She felt like what your feeling. She took the emotions in the art and transformed them into her story. That’s the beautiful thing about art. It’s subjective, and it means so many different things to so many people. I actually lose control of the art. I can’t exactly tell people what it means, because it’s so different. Art is a mirror to our subconscious. Whatever you’re feeling is projected in front of you. It may not be my message, but it’s always a beautiful emotional message.

LG: I totally agree, I have a few of your pieces. Some of them are just fun. Some of them are like Totoro ice cream. I’m like yes! That’s how I feel right now.

CE: Yes! Exactly. Art doesn’t have to always be sad or angry. People ask me about the bumble bees, “What’s up with the bumble bees?” Because they are cute and adorbs!

LG: That’s probably one of my favorite series of yours that I’ve seen. I love them so much. I have one of the necklaces with a purple FUZZBUTT.

CE: Haha, the FUZZBUTT.

LG: The naming is on point.

CE: Thank you! I was talking to Tasha about it. We should call them FUZZBUMS or FUZZBUTTS, and I said, “Should I say that on Instagram?” she said “Just do it!” I’m glad I have Tasha, my Jiminy Cricket, to encourage me to be nerdy and myself. Sometimes I’m like should I say butts? I’m too Canadian sometimes. “Is that impolite?”

LG: That is so cute, another description of yourself is a mashup of manga meets renaissance paintings with a dash of rainbow. I love that. How did you get to that? Who are some of the artists who inspire you to get to this point?

CE: If we are talking a lifetime of inspiration, it’ll go way back. The people who have influenced me the most in my lifetime of art, I consider my art gods. Greg Simkin is an astounding artist. His art is flawless. When I see these people’s art, I hate them because their art is so good. I’m watching him paint and I think, “bitch”. But I love him, there is obviously no hate. I really love Greg. He is such a sweetheart, the nicest guy. I ask, “Are you sure you’re not Canadian?” I love Greg Simkin. I first discovered James Jean when he was doing covers for Fables. That was when I was heavily into comic book work. He’s definitely someone that I saw creating masterpieces, actual fine art for covers of comics. It really lead me to bridge the gap between pop realism and comics. I had my feet in both. I straddled the line, of both industries. Ashley Wood was one of my biggest influences when I was first starting out. I’ve met him, he did the forward for one of my artbooks. He is such a cool guy. He’s really funny. He also created this book 15 years ago or more, God I’m so old! It was called Popbot. It wasn’t a tradition comic. It was paintings that had words attached to them. They followed a somewhat story. I just thought, this is so inspirational, so motivation. That’s actually one of the books that inspired my series Tanpopo. I didn’t have to do traditional comics, that I can go outside of it. Then Terada Katsuya. One of my favorite Japanese artists. His girls are so crazy! They’re sexual, they’re strong and beautiful, and they’re bizarre. Sometimes you feel really uncomfortable looking at his art, but then it’s also stunning. I love his work and him. I have a lot of female artists that I look up to. I love Audrey Kawasaki. She was the reason I started working on wood. Back then I was working on canvas, because back then, that was all there was. It was either paper or canvas. Then someone came in with a print of hers to get it framed, and I said, “Oh my God, is that wood grain?” I had to google it, “Girls with wood”, and now that I think about it, not a good search. However, that’s when I found out I could work on wood, and that was a game changer for me. I never liked working on canvas, I was doing it because it was all I had. When I started working on the wood it changed everything. I really love Audrey’s work. It’s so meticulous, stunning and perfect. Her art is flawless and I could never achieve that.

LG: Do you own any pieces from any of these artists?

CE: I can’t afford their originals. One of my other inspirations is Mark Ryden, but his work is millions of dollars. So not yet! I’m still playing the lottery, still going for it. I do have prints of theirs. I have every book that Mark Ryden and James Jean has published. Katsuya did do a little sketch for me, so I am excited about that. We had tea in Japan, and then he did a little sketch for me. He is so non-traditional Japanese, a wild character. When you see Katsuya Terada, you can tell he is an artist. I hide it behind cute little outfits, you could never tell that I’m an artist, but you can tell that he has that art look. I love it. I wish I could do it. Oh, and Enchanted Doll by Marina Bychkova. She is actually a close friend of mine. We actually mutually discovered each other. We mutually liked each other’s art. She lives across from me in Vancouver. We literally have known of each other for 15 years. She really liked my Helmet Girl series, so she discovered it. I discovered her because she did a doll of one of my Helmet Girls, then I fell in love. We have been friends ever sense. Her dolls are absolutely stunning. Your eyes will just explode, they are so beautiful.

LG: It must be amazing to see another interpretation of your work in a 3D environment. That’s such a compliment.

CE: It’s unbelievable. I could go on but I wont.

LG: That’s alright, I’m not the one who is transcribing this. So I get to have fun with you.

CE: Nice! You get the good job!

LG: As a graphic designer, I can honestly say I love your branding.

CE: Thank you!

LG: I can spot your booth from across the con with that ionic teal color. I very much admire it. Did you design your signage, booth layout and displays, and do the photography for your products as well?

CE: Yes, I have a degree in illustration and design. I went to University in Vancouver. Which is really great, because I did all the branding myself. I love teal. I do all the signage and photography. I’m kind of, well not an evil overlord, but kind of. The branding has to be on point. I now work with a designer who will do a lot of my ads for me. I have to delegate now, because I have to spend time painting and working. So I do give direction now, when I have an ad in a convention book.

LG: Yes, sometimes people need to ask for help, the fact that you came up with your branding on your own is impressive. A lot of artists don’t do that on their own, they come to me for that.

CE: It makes sense, not everyone has all those talents. I am so musically stunted. I can’t sing, or use instruments, not even the spoons, it’s pretty embarrassing. Everyone has their strengths. A lot of artists should put thought into branding. They might not think it’s important, but I think it is. It looks cohesive and professional when it all comes together. When you see my booth, you can see it from far away, and it looks like a candy store. Between my branding, which is teal, and the art which is colorful, it draws people in. People comment all the time “This is such a happy place!” I say, “Yes, that’s what I want!” I want people to be happy. Branding is important.

LG: I can walk by some very talented booth, but I’ll stop for something that looks like candy.

CE: Oh yeah, who wouldn’t right?

LG: Speaking of the colorfulness of your branding, and a lot of your newer pieces have rainbows and a lot of colors, when I first started following your work, a couple years ago, I was drawn to your raw and moody black and white surreal art pieces with some of your helmet girls. Lately I haven’t seen much in the way in black and white. Has something transitioned in your style or interests?

CE: Yeah, when I was doing those pieces, I was a different person. I was brand new to Vancouver. I learned some psychology about colors. I learned that people wear greys, black, and whites when they are unsure of themselves, and aren’t as bold. People who wear colors are really bold and extroverted, and at the time I was 24, from a small town. I was very introverted. I had never let my personality shine. That was a part of it. I was hesitant to work with color. I really loved traditional manga and black and white. It’s still something I enjoy and I do a lot of ink drawings. I channel my love for black and white into my books. Which I do like coloring books. I produced two coloring books which have 80 pieces of black and white art in each. Also I still a lot of sketches. I recently did a Sakura takeover, on their social media, and did several black and white ink pieces. I do find ways to still celebrate my love of traditional black and white manga art. Now with my paintings, I’m a different person and I channel my other emotions in there. Things I want to be less subtle about. Also I’m less moody. I’m in a happy place now. I’m married, I have a dog, and I just am using the colors I’m working with, specifically the rainbows to express specific ideas. I think I do miss the black and white acrylic painting, but I have never forgotten Helmet Girls, they are my babies. I’m actually working with a writer Joshua Dysart and working on a graphic novel on the Helmet Girls. I just read the third pass of the script and it’s amazing.

LG: I can’t wait!

CE: I’m bringing back Helmet Girls in a big way. I love that you asked this question. I think I’m circling back. I think life is cyclical, and I’m able to go back and bring the Helmet Girls into the future in a new way. I’m also talking to Huck Gee and SuperPlastic about possibly doing a black and white Helmet Girl figure. I don’t want it to be in color. I want the whole thing to be shades of grey and black, with neon butterflies. Nobody does that. Everybody thinks that toys have to be full color. No I want it to be in super black and white. I think it will look amazing. Huck Gee is very excited about it, were going to talk about it and hopefully produce it soon. Soon can be a couple years. It takes time to make toys.

LG: Of course. I will definitely be on the lookout! Going back to color, your FUZZBUTT series, beautiful colorful bees, there are some great crossovers that I can’t wait to see in person at Comic Con San Diego this year such as bee Batman, Sailor Moon…

CE: Bat Bee!

LG: …and Pokemon to name a few. Do you have a favorite of the FUZZBUTT’s that you’ve created?

CE: Hmm, that’s like asking what kid do you like better. I kinda have one that I like better than the others, you know parents do. They always do. It’s hard, but for me, I love them all. Each one has a special significance for me. I really like Beerah, because that’s my childhood. I was painting it and had the theme song for Sheerah playing in the background on repeat while I was painting it. I am still not sick of the theme song. I never will be, I’ve loved it my whole life. Getting to paint Beerah! I’m very nerdy, so I like puns. There’s Batbee who is very judgy with squinty eyes, then there is Togabee, Jason Voorbees, and Poison I-Bee. I have two more, Carebears. I am going to post those on Sunday, because I am adding the final touches to them.

LG: Sheerah the Princess of Power! I grew up with her too, so I love hearing that!

CE: She is the best.

LG: Do you have any piece of yours in general that you just can’t let go? Are you going to keep Beerah?

CE: I learned a long time ago, that I need to let go of my art, otherwise it’s a hoarder way of life if I do that. There are certain pieces that I want to keep, but I know that other people will enjoy them. I have spent months or years on some of the pieces. I feel like they are my kids but they have to grow up and leave the nest. There are a couple pieces that I do regret selling, because I loved them so much, and I didn’t realize what they meant to me. One of them, very recently was “Polina” and “Bonnie Bonnet” from my show Sky. I actually cried when they sold. I was kind of hoping they didn’t. Bonnie was a whole head of bees, I injured my wrist painting her because there is so much fuzz. I had to stop painting for a couple weeks to allow my wrist to heal. I had carpal tunnel. Polina, there was just something about her that, I loved. I loved the colors, the expression, and everything about her. I cried when she sold. She was even in my favorite frame. Beyond the Rainbow, was the first Rainbow Child I painted out of the series I call Rainbow Children. Melting Rainbows. She was me in 2011. I didn’t want to paint anymore because galleries were telling me what to paint, sending me emails about painting a specific animal, like Koalas. I’ll never paint koalas, but they say, “They’re really popular, they’ll sell really fast.” I love koalas by the way, but I couldn’t put it together in a significant way that meant something to me. I didn’t know if I was going to keep painting. I was thinking I only wanted to do comic book art, to me it was more passionate. Oddly enough, it was less clinical. I could tell stories and no one was going to tell me how to draw it. I had an editor who would say something like “You drew six fingers, fix it.” but they weren’t standing behind me saying “If you do this, and this, it will sell.”Tara McPherson emailed me and asked me to be in her gallery in 2011. I really like Tara and I respect her, she’s probably the only person who could have pulled me back from the brink. I love her art. Being asked by her to do a show, I asked what do you want to see, and she said “What do you mean?” I said “What paintings do you want?” she said, “Whatever you want?” “So I can paint anything? Even if it’s not anything you’ve seen before” “No, I want you to express yourself.” I decided to paint this new series. Beyond the Rainbow was me, I felt like my heart was missing and not in the art. The melting, was paint. Beyond the Rainbow was paint melting out of her, because that’s what she is made out of. It’s dripping away and not being utilized, and that was me. That was the first Rainbow Child I did. After that the floodgates were opened. That’s the one piece I really regret letting go of.

LG: I can see this piece, and now that you’re me the background of it, it’s almost bringing me to a beautiful sadness.

CE: Exactly!

LG: It’s quite amazing. Thank you for sharing that. I own one of the Rainbow Children prints, with the octopus crown.

CE: The Dream Melt was the final piece I did in that series. To me it was a cathartic piece. In this one the paint is creating something. The tentacles represent the past and pieces, so it’s actually creating, and not wasted. It’s being used, and I felt really strong after creating the whole series. The Dream Melt brought that all to a beautiful conclusion.

LG: I remember you had a sculpt of this octopus crown before, will we be seeing those at Comic-Con this year?

CE: That was a Kickstarter that I did. It’s over now, but I actually discovered 5 to 6 crowns in storage. So they are coming with me to Designer Con.

LG: Designer Con in November?

CE: Yep, they’ll be there.

LG: I will definite also be there then!

CE: Haha.

LG: Speaking about all this work, What’s a typical routine day for you in work life? How do you approach each day?

CE: Each day is different, and depends on what’s on the docket. It depends on what’s going on projectwise. Usually, I’ll get up at 8-8:30. I have my routine where I walk the dog, then check social media. As soon as I wake up, what’s happening on Instagram? However, I’ll have a couple hours in the morning where I check my emails, walk the dog, feed the fish. I’ll slowly get into it, because I can’t work, or create art if there is something I have to do. If I have to check emails, I’m not going to be able to paint. I have to be in a quiet headspace. Most of my day is spent running my business, which has many facets planning for the future. So a lot of my day is put towards that, and meetings, and interviews. I do a lot of painting throughout the day starting at 10. I then take a break in the afternoon, and come back to painting after dinner. It depends though. I go to bed around 2am. Recently around 3:30am. Then I wake up at 7 because I have so much to do. That’s crunch time, but I love painting at night. The whole world shuts down. Nobody is emailing me, nobody is texting me, it’s beautiful! I’m so happy.

LG: Wow! I get way more sleep then you.

CE: Most people do. I need to take it easy, but at the same time there is so much to do.

LG: Comic Con is so close.

CE: I know it’s nuts!

LG: Thank you then for taking the time to talk with me right now, since you should be painting.

CE: I actually should be, but it’s okay. I don’t mind, I like doing interviews, and I’m running around doing things you can’t see. Like feeding my fish right now.

LG: Do you have any lifehacks or technology you find useful in your line of work that helps you be productive and/or stay on schedule with your goals?

CE: Well, I am very archaic. I have a notepad and it’s pinned to my wall with a to-do list. I’m not a big technical person, so I don’t like apps. I know that there are lots, but if it’s written down I can cross it off. I plan ahead a lot. Whatever I do, I plan 2-5 years in advance. You kind of have to. Life can sweep you away if you don’t plan for it. Nothing is just going to happen. I can say I want to win the lottery, but if I don’t actually go out and play it, I won’t win it. The chances of that are minimal, but you still have to try and do the necessary steps. I am constantly planning ahead, trying to be organized, so things don’t slip under the radar. I also make sure that I reward myself, after I’ve done a lot of work. So when I finish something, I give myself a treat. One thing I find important is to take time for yourself. I’ve started this aquarium hobby, you need it. You can’t constantly go go go. It will make you a monster. You have to have fun. I find it Zen to have betas and aquafish. Owning aquariums is a lot of work.

LG: Do you have any go to playlists, bands, or genres you like to listen to while you work?

CE: I don’t listen to that much music. I listen to audiobooks. I do like music. My husband calls it “Epic Love Ballads”, that’s my genre. I’m one of those people who shazam the super romantic songs that come on during Vampire Diaries or Shadowhunters. I’ll have a playlist that is pretty much the soundtrack to Teen Wolf, Vampire Diaries, the good stuff. I love Amy Winehouse.

LG: What are you currently listening to in audio books, or reading in comic books?

CE: I don’t have a lot of time to read, because it requires a lot of sit and quiet to do one thing. With audio books, I just finished the Unattractive Vampire, it was hilarious and I loved it. One of my all time favorite books is Driving Mr. Dead. So funny, I can’t even. I love audio books. They transport you into this other world while you are working. I’ve listened to Kevin Hart’s book, and Amy Schumer’s book. I listen to a lot of comedy. I’m not a huge fan of non-fiction to be honest, because I live life, and it can be a bit depressing and down. I like to live in this world where werewolves, magic exist, and there is ghosts.

LG: I play Dungeons and Dragons, so I know what your talking about.

CE: Really! I want to play that! I need people to play it with me.

LG: You need time also, I don’t know if you have that.

CE: That’s true! I heard the quests can be pretty long.

LG: Sometimes your sitting down for 5 hours. If you develop a way to stand and paint while gaming, let me know. I would like to know if it’s possible. So you do so many different things. I can’t even imagine, even as we are speaking, how you are doing many different things. What is the best advice that keeps you going, and staying so positive?

CE: Well that would be John Buscema I met him in 1999 at Comic Con San Diego. John Buscema is the godfather of Conan the Barbarian, he drew it. It was absolutely amazing. He is one of the most incredible artists, I got a chance to talk to him after the panel. My mom made me go, I’m nineteen and I don’t want to talk to anybody, but I talked to him, and he asked why do I want to be a comic book artist. I said “I love comics, and drawing. I want to do this.” He said, “Good, because I’m going to give you some advice,” which I’ve kept for the past 19 years, “you do things for the passion of it. If you do it for the money or the fame, it’s easier to get rich and famous as an actor then it is as an comic book artist. Only passion is going to get you through the sleepless nights, all nighters, the deadlines, the times people won’t pay you. All throughout the downtimes that passion will get you through it, it’s the only thing that matters.” I heard that advice and I’ve followed it. It actually had an impact on my sister too, she used to manage me. It’s fun and if it stops being fun then you need to change things. Life is too short to be unhappy.

LG: Those are powerful words. That is great advice. Sometimes you need to check in with yourself and make sure your still happy.

CE: I know, you can get very caught up in it. I know that I do a lot, and I need to focus and narrow things down. I would like to do a little less, so I could enjoy a bit more. Sleeping 4 hours a night is not healthy or good for you. This happened to me before, and I had George Costanza “Serenity Now” moment when my friends had an intervention, “You’re working to much,” and I responded, “I don’t have time for this I have to work,” and they responded, “That’s what we are talking about!” I literally was going bald. I ran away from them. That was when I realized I had to start saying no to people. It was a very hard lesson to learn. As an artist you need to learn how to say no. If you stretch yourself out too far, or your not enjoying them, you have to have self preservation. I’m working as much as I can, while still taking time for myself. I have a two year plan in motion for myself right now. You need to enjoy your life. I am looking forward to going to San Diego and just sleeping after the con. I will have a whole week of just sleeping.

LG: Speaking of the San Diego Comic-Con, this will be your 20th year, congratulations!

CE: Thank you, I know. I started attending when I was 18. I haven’t gone as an exhibitor for 20 years, but I’ve been attending it for 20 years since 1998. Every year I haven’t missed it. I’m looking forward to enjoying it. I did some special things for this show, like working with my Camilla store in Virginia, who created a coniversiery bag. 20 will be out each day, only 20. There is a rainbow pin inside that is a chibi version of me. There are 20 golden ticket versions of the pin that are gold, with glitter inside. I’ve dropped 5 original hand painted broaches out of the 100 bags given. 20 bags have a hand embellished print. The rest have a regular signed edition. There are stickers and twins. It’s in my brand color of teal.

LG: It is impressive. Your branding is 110% in.

CE: Thank you.

LG: It’s all you woman! This being a big year for you, is there anything in particular you are really looking forward to doing, or seeing/meeting people you want to link up with?

CE: I have this really fun thing planned for the crew running the booth. I have this painting, Kitty Titties, I’ve made it into bathing suits for everyone. We are all going to wear them, and take a photo. It’s going to be very weird, and awkward at poolside when we are all wearing it.

LG: Is your husband still helping you this year? I met him once, I think at Comic-Con last year he was able to help you out. Is he going to be wearing the bathing suit also?

CE: He didn’t come last year because he didn’t want to. I told him that it was okay. He doesn’t have to come every year like me and enjoy the show. He felt left out, so he is coming. He doesn’t want to miss out. The crew that works the booth is really great. Asami and Michael are so good. They run the booth, while I am signing stuff. My husband is usually the one who takes me out of the booth because I don’t take breaks. One day at New York Comic-Con I didn’t take a break the entire day, which is 10 hours. I wanted to stay and talk to people and sign, but he takes me out, to go and enjoy the convention. He says you don’t have to be there every single minute. We circle a little, and then I run back! No I want to meet people. He’s actually amazing. He knows me the best, and always knows how to take care of me, by making sure I’m not overworking myself. He has been the valium to my crazy.

LG: Sounds like you have a great team, between your husband, the people at your booth, and your dog Loki…

CE: Loki gives me this stare, an unimpressed look when I’m staring at a piece of wood for 6 hours. He probably thinks that that same as we think when we see cats staring at nothing for 6 hours.

LG: It’s good to have these people on your side. At Comic-Con SD last year, you did an drawing for giveaways. So many people participated that security had to stop the event due to how much traffic was at and around your booth. I never saw anything like it. How did the turnout of that many people make you feel? Have you had anything like that happen before?

CE: So, honesty I didn’t think anyone would show up. I was giving out tickets, it’ll be fun, people will show up. I thought only 5 people would be there. There were 50 and I was blown away. I couldn’t draw the number. Security was like you have to shut it down, and I was “just a second!” They were sweet and waiting, and then said you have to shut it down. I was so blown away, I have no idea what’s going on in the real world. I was so excited and so nervous. One of the best things about that was one of my fans was a long time supporter and comes by my booth every year. She came by and was in the crowd, got one of the last minute tickets. They shut me down, and I pulled the winning ticket, and it was for her. I was so excited because she had told me that she had the worst day. Someone in her life passed away, she lost her bag, and other bad stuff. Randomly, it happened to be her and she won. She started to cry, and said it was the best thing that has happened. She said she needed this. Sometimes you just need a win. She thought she had missed the raffle, but because it took so long to pull the ticket, she was there in time. She didn’t miss it, she won. I started crying. The fact that I could do that, to make someone’s day better, I got emotional. It means so much. I don’t know what’s going on in the real world, but that I could make someone cry with joy. I’m glad that Comic Con almost shut me down.

LG: I was right there, and I had no idea. I’ve always been able to go up and talk to you. You’ve always been so kind to give your time. To see how many people you have effected in your illustration or the time you have given, I think there are tons of people who couldn’t have made it, but would have. Will you be doing another giveaway drawing or something like this again this year that security will be okay with?

CE: Well I was thinking, since I can’t do a raffle, but a drawing. People will be able to draw to win an original drawing. Last year I had a bunch of extra mini prints. I might have those there. I do have an original that people can draw to win.

LG: I noticed on your website, I don’t see LA Comic-Con (a.k.a. Comikaze). The first time I fell in love with your work was at LA Comic-Con in 2014 when you made the Stan Lee poster and I’ve seen you there ever since, so I’m curious are you attending this year? Is it because it’s being called “LA Comic-Con”, has something about it changed?

CE: It’s nothing nefarious. I dropped out of a lot of my appearances because last year I did 16 appearances and it just to much. I got offered a lot this year, but I literally can’t. At some point I had to say no to several cons. Like the Palm Springs Comic Con, there were so many. This year I halved my appearances so I could spend more time working. I love Regina, who runs LA Comic-Con. I love her. She is one of my favorite people, but I need to actually pull back. The convention I am appearing at in Los Angeles as a guest is Designer Con. I’m pretty stoked, it’s going to be my last appearance of the year. I really love Designer Con. All the great designers are there. Greg Simkin, Tara’s there. Everyone is there. It’s like a family reunion. I know I haven’t been doing that show as long as the others, but it’s just so much fun and I get to spend time with everyone. Huck Gee is going to be there, and it’s my send off show. I wish I could do them all. If you learn how to clone me, please let me know. I need multiple clones.

LG: This has been absolutely fantastic. Comic Con is on the horizon, and I know you have a lot of work to do. So absolutely thank you! Getting to know you a little better has been a real honor. Thank you so much.

CE: Thank you, and I forward to sharing stories with you, when I see you at the show!

Camilla d’Errico will be attending Comic-Con San Diego July 18th – 22nd and you can find her and her exclusives at her personal booth (#4723):
There is a New Secret Book that is coming to the booth (Hint: It’s colorful and funny!)

The “Coniversary” collector’s set, hand embellished limited edition fine art prints, and limited edition hard enamel pin release.

New release “Pop Manga Coloring Book – Mermaids and Other Sea Creatures”.

Camilla d’Errico Events are:
live-painting at Holbein booth (#5104) on Saturday at 11am, demonstrating techniques from her how-to-paint book “Pop Painting” and taking Q&A with fans.

Signing at Dark Horse Comics booth (#2615) on Thursday, 19th at 11am-11:45am, fans who wait in line can get a free signed-exclusive poster.

Additionally, if you’d like to connect with Camilla, you can by reaching her on @camilladerrico @helmetgirls or using #camilladerrico on Twitter!

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