The Poor Patron - The Great Pastry Pet™ Campfire Sing-A-Long by Leila del Duca

The Poor Patron - The Great Pastry Pet™ Campfire Sing-A-Long by Leila del Duca


The Poor Patron is a project meant to loosen the everyday strictures of the client/artist relationship. The artist is welcomed to create work based on any MarninSaylor themes or imagery with no creative input, due within a "when it's done" deadline.

We are pleased to offer prints of our Poor Patron collaborations. This is the second in the series, titled The Great Pastry Pet™ Campfire Sing-A-Long by Portland-based comic artist Leila del Duca. This piece depicts a group of Pastry Pets™ gathered around a roaring campfire, singing songs of the great and terrible KIP.

This art is printed on high-quality, heavyweight, matte, archival paper, and measures 11"x17". Sold unframed, shipped rolled. Half the proceeds from the sale of these prints go directly to the artist.

Be sure to read our interview with Leila below.


When Thomas was a senior in high school, he was tasked by his school librarians to create a summer-reading propaganda pamphlet. The reverse was to have a sea of hands raised in excitement, reaching for the future knowledge a great book bestows. His attempts were laughable. The hands he drew looked like cheetos. As hard as he tried he failed again and again. Finally, he did what he should have done at the beginning. He asked Leila to do if for him. And fifteen minutes later the hands were done and the day was saved.

Leila is a surprising artist. She has no pretension. None. She is kindness and laughter floating above a deep pool of determination and talent. Though, Leila is no girl scout. She will catch you off-guard with a rude remark and leave you laughing till it hurts.

I have been lucky enough to know her and see her work blossom. She is now working with writer Joe Keatinge, co-creator of Popgun Anthologies, and colorist Owen Gieni on SHUTTER, an alterverse adventure comic. She has hit her stride and it’s only a matter of time before everyone takes notice.

You have always been working toward creative goals, whether it be music, pottery, painting, or drawing (and more, I'm sure!). From where does your creative compulsion spring?

My compulsion springs from boredom.

When I was growing up I didn't have many regular friends and my mom’s limited income meant few activities for us. My sisters and I had to create our own forms of entertainment. Eventually they lost interest in playing kid games with me, so I started spending more time reading, drawing, and imagining what I wanted to see, or have happen, in my life. I also began illustrating what I read in my fantasy and sci-fi novels.

I played french horn and trumpet in band class. I loved the social aspect of music, which I didn't get outside of school and I still play music today for the social part more than anything. During young adulthood, still bored and poor, I picked up sewing to make some of my own clothing. I took as many art classes as possible, including ceramics, and found that artistic creation was the easiest and most rewarding activity.

Given your varied interests, how did you decide to focus on comics?

The perfect blend of words and pictures made me choose them. I have loved comics since middle school but never thought of them as a viable career path. Illustration seemed more likely, so I went to the Rocky Mountain College of Art and Design for my BA. My love for comics grew at college, but my instructors did not encourage comic book craft. Only after meeting Zach Howard (Shaun of the DeadAlienOuter Orbit, and Wild Blue Yonder) did I think I could do it. He told me he made a comfortable living drawing comics, so I made the choice to put my oil paints away and work mainly with pencil and ink.

Why do you think your instructors discouraged comic illustration?

They didn't have much experience with professional comic book artists and never knew the comic book industry could be a career option. They did their best to mold the students into illustration professionals focusing on sub-categories where there was work and recognition, like book, editorial, and advertising.

All of my former professors know I'm doing comics for a living. I'm sure they couldn't be happier for me! There has only been positive reaction to my career choice.

What advice would you give to aspiring comic artists?

I know everyone says this, but ... just do it. Keep drawing. It took me ages to get to this point, and it will for you, too. Keep drawing. As long as you hang on, face your fears, stay ambitious, and look at your work with a critical eye, you are going to develop the artistic skills you want, and it will be worth it once you do! Keep drawing.

What can we expect to see from you in the future?

That is a tough question. Right now, I'm having so much fun drawing Shutter I can't imagine what else I could possibly want to do. I am still not confident that I am "in" the comic book industry. The coming year will be a test to see if readers and employers like my art enough to inquire about my work schedule. But whatever happens with job offers, Joe and I both have expressed the desire to always be working on some sort of comic project together. Shutter has already been such a positive experience that I've made a work buddy 4 lyfe. And I hope that Owen Gieni can always color my work, because DAMN that man is brilliant.

Alright. Now onto the final and most serious question. Holodeck date with Wesley. What do you wear?

Oh my god oh my god!! A date with Wesley!? What a dream! I'd be wearing a Starfleet uniform, of course, because I would also be smart and ambitious like him (so hawt!) and we'd get along so well because we'd talk about awesome science stuff and then we'd discover that there's something wrong with the crew and then we'd have to save the day WITH OUR BRAINS!!!! Best. Date. Ever.

Be sure to check out more of Leila's work on her site.

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