Comics Workbook

An online magazine for comics makers

Posted in NewsTagged caleb orecchio, Eleanor Davis, Françoise Mouly, joyce farmer, katie fricas, laila milevski, Rachel Masilamani, sally ingraham, vanessa davis, zoe taylor

Sally Ingraham

Posted on July 14, 2017

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Rowhouse Residency Report – Ian Densford

Comics WorkbookJuly 1, 2018Residency Reports / School UpdatesIan Densford is a cartoonist based in New York state. He joined us in Pittsburgh for a weeklong Comics Workbook Rowhouse Residency in July of 2017. Here are his thoughts about visiting the city and his Rowhouse Residency experience. ———————————————————————————————— Ian Densford here: The Rowhouse Residency is great opportunity to get away from the all your distractions and focus on your work. You will be exposed to excellent comics, find interesting reading material on subjects like sacred geometry and interviews with cartoonists, and you will hold interesting conversations with both Frank & Sally, as they are both passionate, intelligent, and creative. You will learn new skills, discover new influences, and talk about comics history in contrast to today’s sphere. In the summer of 2017, from August 23-26, I briefly held a room at the Rowhouse Residency in Pittsburgh, PA. I drove seven hours from the NYC area, and it was a hot week! I shared the house with fellow Comics Workbook Correspondence alum Andrew White, and we spent our time drawing, talking with Frank & Sally, and diving into books from Frank’s unique collection. I came to the residency with a halfway-finished project called Trench Dogs, a collection of first hand accounts from soldiers in World War One. It was something that had originally been created for the Comics Workbook tumblr around 2015, a simple 16 page mini that was now becoming a 180 page book, so it felt like completing the circle to me. During my time there, I inked about 16 pages of naval warfare, big steel hulks exploding and sinking, full of sailors. It was some pretty dark stuff. I can still vividly recall being hunched over a lamplit desk, on one of those hot nights with the fan on, inking the creepy submarine interiors from a reference image. I loved it. Pittsburgh is a strange land, the steep tree covered hills and countless stairs amongst the winding rivers and old buildings. The Residency is a two story rowhouse on a small street by the train tracks. Since I had a large project to focus on, I mostly chose to lock myself in, though the Residency is essentially tailored to your wishes, including exercises and lessons if you want. But the city has alot of great exploring to offer. Sally and Frank also provided occasional outings in the city, such as a visit to Copacetic Comics, or the pool if its hot; and while I was there the library held a special talk with Jim Rugg and Ed Piskor that we attended. During these excursions, the conversations we had were in depth and revealing, everyone had so much experience and knowledge, and those were some of my favorite moments. Frank is indeed a wealth of knowledge, and understands a great deal about the craft and its history up until now. Ask him about numerology, its great. I really connected with Sally too, we had a lot of similar interests and inspiration, and I really appreciated having her voice and insight alongside Frank during my final critique. During that final critique, as we discussed all kinds of things, Frank suggested I share certain details about my creative process. Here is my attempt to do so: I was going for a handmade look, so I inked with a single 1 size brush, and the pages are close to 1:1 ratio with the final print size. I prefer to work on pages together as a two page spread on a single sheet. Trench Dogs was drawn on 11 x 17 watercolor paper, using Frank’s layout template to make sure every page had good balance and movement throughout the spread. I copy each panel from my sketches, but I do not trace. I find tracing makes things very stiff and lifeless, I prefer artists that have some movement and excitement in their line work, so I aspire towards that. I like to keep the pencil drawing very loose, with few details, blocking in the space and characters with simple boxes and circles mostly, very basic “puppet-like” figures, making sure everything has enough room to breathe. Frank thought this aspect was important to mention: I save the actual “drawing” for the inking part of the process, I enjoy the spontaneity and mark making. Its ok to be messy, its fun, plus I like being able to see the artists hand in the work. I used watercolors to paint everything, I love how quick and messy they are, the soft colors and texture. With everything colored in the appropriate solid, I would go back and do two layers of shadows. One layer was dark blue and applied everywhere, the second was dark purple and only applied to the foreground. This helped pull my foreground elements towards the front, because they were darker with a second shadow color, plus the warmer tones of the purple come forward while the cooler ones get pushed back. I was also conscious of my overall color key, and tried to make each section have different tones, so there is a progression of color through the story. After scanning a page, I would add a layer of white highlights in photoshop here and there, which helped the foreground stand out even more, and would focus the eye on certain important details. I also did my sound effects on the same overlaying white layer, which was a nice pop, as it was the only true white on the page. Drawing from reference was great, and almost every panel had at least one ref picture to go along with it. Deciding how to turn everything “toonsy” was a fun challenge, to simplify and reduce to lumpy shapes. I like how drawings by John Pham or Ben Sears look like simple little clay sculptures, with nice curves, and characters like Andrea Falkas, and the carefree linework of Gipi. I chose animal people as a nod to Art Spiegelman, but reaching back to Richard Scarry’s Busy Town and PD Eastman’s Go Dog Go, with strong influences from Herge’s TinTin and Miyazaki’s Dream Diary Hobby Magazine war comics. Animal type was a fun way to distinguish the different armies, but you also feel a different kind of pity for these animal people, I think. That is all I have for this report. I had a blast, got a lot of drawing accomplished, expanded my knowledge and influences, and learned more than I expected. This has been Ian Densford, signing off. ———————————————————————————————— Trench Dogs by Ian Densford will debut at NY Comic Con 2018 – find it at the Dead Reckoning table and in stores after Sept. 15th 2018. 184 pages, color, $18.95 – you can preorder it from Dead Reckoning HERE (use Discount Code FALL18 to get 25% off!) ———————————————————————————————— Ian Densford is a cartoonist living in New York state with his wife, Tae, and their son, Anderson. When not animating on the computer, or drawing in his sketchbook, you can find him frolicking in the nearby forest and rocky hillsides. ———————————————————————————————— For more information about the Comics Workbook Rowhouse Residency visit this page or email santoroschoolATgmail Share this page: [...]

Richard Diebenkorn’s Sketchbooks at the Cantor Museum

Comics WorkbookJanuary 15, 2017EssaysJesse Rimler reports on the Richard Diebenkorn Sketchbook show that hung at the Cantor Arts Center at Stanford University last summer. ————————————————————————————————— The painter Richard Diebenkorn (1922-1993) is probably best known for his abstracts, especially his large Ocean Park series. He also painted from life, and is included in the group of artists now known as the Bay Area Figurative movement, along with Elmer Bischoff, David Park and Joan Brown, among others. These painters moved in and out of abstraction while never abandoning the figure and landscapes as subjects. The Cantor Museum recently acquired 29 of Diebenkorn’s sketchbooks. My favorite works by Diebenkorn are his prints and drawings, so I was excited to see these up close. Plus, as someone who keeps a sketchbook and has spent the last several years trying to learn how to draw better, I’m always curious to see anyone’s sketchbook and raw drawing style. It turns out there isn’t much difference between Diebenkorn’s sketchbook drawings and his etchings – he had a lively, spontaneous line and an unfailing sense of composition no matter the medium or size. Here are few of my favorites from this great collection: Though these are worth seeing in person, one cool thing is that the Cantor has scanned all of his sketchbooks and put them online HERE. This exhibit made me think about the general use of a sketchbook. Diebenkorn called his sketchbook his “portable studio,” and it’s clear he took drawing in these beatup spiralbounds as seriously as he did etching on a copper plate or painting on a canvas. I think some comics makers, myself included, tend to treat their sketchbooks as something completely different from their final art. The idea of closing the gap between the two is appealing to me, and Diebenkorn’s example is inspiring. On the practical side, I liked how Diebenkorn used fairly inexpensive sketchbooks, often with a low page count. He felt free to glop on gouache or use heavy ink washes, and so almost always used one side of the page. This was exciting to me, as I’ve found the use of a pricey, bound, moleskin-style sketchbook to be a little inhibiting. It’s nice to work with a pad with few pages – if you dislike the run you’ve been on in your current sketchbook, you’re not tied to it for very long. I also love the look of the old Strathmore books. I went out and got a bunch of Strathmore drawing pads. The covers aren’t as nice these days but the size and lack of pretense freed me up a bit. These little ones are 4 bucks and have pretty good off-white paper. At 24 pages, I filled several up pretty quickly. Satisfying! Here are a few of my recent sketches: ————————————————————————————————— Jesse Rimler makes comics in the Bay Area. You can see more of his sketches and comics by following him on Instagram – @rimblecomics. His submission to the Comics Workbook Composition Competition can be seen HERE. Share this page: [...]

03/23/2017

Sally IngrahamMarch 22, 2017NewsSam Ombiri on the art you consume vs. the art you make – and Sally with news updates from Ronald Wimberly, Tee Franklin, America Chavez, Zora Neale Hurston, Richie Pope, and Rick Mays. ————————————————————————————————— Sam Ombiri here: I like this idea that the work one is interacting with is different from the work that is being made. I remember first hearing of this from Markus Popp/Oval talking about how he mostly listens to death metal for this somewhat vague reason. Maybe it’s just my memory being foggy. Then the next time I heard it was from Frank Santoro specifying that what he was interested in making wasn’t necessarily what he read. Then I heard it from CF expressed in a nearly similar manner – I can’t remember whether he was talking about his music or his comics, so I’ll just make the assumption that he was talking about his comics as well as music. Another time I heard this idea was when Brian Chippendale, who kind of hilariously said that if someone were to give him a comic that was done snake style, he would be frustrated and confused and say something like “Why don’t you just make the panels go in order!? Just why?” I heard Sammy Harkham say something like the media you consume can be really important to the work you’re making. Anya Davidson cited some work that I can’t remember and said it gave her a huge boost of confidence and the ability to resume in the place she was in. CF once or twice expressed his complete distaste for forcing work to head a certain direction, or a specific route. He likened it to trying to be such a good host you end up being a bad host. I think that might go along with his comment of making what he’s interested in making. I think I heard him once say that when he draws he aims for his experiments to end in failure. I heard Dash Shaw say something similar – that he’s more into making immature works that constantly, clumsily reinvent themselves, and often fail. I feel what Sammy said expresses the effect media has. I once heard him say that he thinks when someone sees violence on the screen it affects them. This seemed like more than the obvious statement. It was like as much as people felt the violence on screen affected them, supposedly Sammy felt the effect was bigger than they imagined. (As a side-note Jesse Moynihan wrote this super cool thing on violence, though it’s going a different place than what I think Sammy might have been saying.) Sammy also talks about how sadness is a better experience when it’s not blatant tears being shown, but rather something that feels like it is following the character, regardless of expression. – Sam Ombiri ————————————————————————————————— Sally here: There is a fantastic interview on The Comics Reporter with Ronald Wimberly – originally conducted as part of Tom Spurgeon’s annual Holiday Interview series, but posted just recently. Having met Ron myself last month, and having spoken to him casually about his comics making (and the state of the world, etc.) I find myself nodding along to Tom’s opening statements about Ron: “Ronald Wimberly is an artist and comics-maker with as high a ceiling as they come. His prodigious skill set as displayed on the page is matched by a formidable ability to explain, dissect and present to others his strategies and reasons-why when making art. Just his influences, what Wimberly is looking at and processing at any single time, could fuel a week of lectures. I greatly enjoy looking at his comics pages, and knowing the amount of effort channeled into them is a thrill.“ The interview mostly digs into Prince of Cats, which Image Comics re-released last fall in a new format. The book is an intriguing riff on Romeo & Juliet, and so Ron and Tom talk Shakespeare, tragedy, acting, and Tybalt, who is the focus of the story. “SPURGEON: You end with Tybalt… that’s a brutal ending if you end with Tybalt. Romeo and Juliet can be interpreted as rich kids falling prey to what’s soaked into the bones of Verona. It just happens that these two kids… and suddenly now it’s news. The earlier deaths are just as tragic as one where we see the romance. It’s a fatalistic idea; it’s even reinforced by the meta in that we are super-sure Tybalt dies in any incarnation of this story. It’s grim. It’s a serious way of looking at that world. The basic course of the narrative is reinforced. But man. WIMBERLY: If someone feels sad about Tybalt, I think that’s good, because he didn’t get that opportunity originally. He was a plot point. If anything, maybe I can contribute to one of the intents of the original. Depending how it’s performed or staged it can have that element. But usually not. In the prologues, it’s set out. It says the same thing. It tells you what’s going to happen. For this beef of the ages to rest, there has to have been a sacrifice. What my point is that the sacrifice continues to happen, and the beef doesn’t stop. I’m sure in the case of Romeo and Juliet, those two houses… a generation passes… we all know Italy is a bunch of warring — it’s still a bunch of warring states! Right? At the end of the day, it’s senseless. But the life that’s led isn’t necessarily senseless. The light on it can be humane. It can add value to it. That’s the difference between an existentialist and a nihilist right? In showing it, looking at it, living it, there’s some value to it.“ Read the rest of the interview HERE. Get a copy of Prince of Cats from Copacetic Comics – HERE. ————————————————————————————————— From writer Tee Franklin, who created #BlackComicsMonth in 2015, comes the project Bingo Love – “the black queer love story that the world needs”. From an article about the comic on The Huffington Post: ” “It’s rare in the comic industry to have two black women leads, especially written by a disabled, queer black woman,” she said. “Now to have these protagonists queer and older? This will never happen in the comics industry unless someone does it on their own.” “ Tee Franklin is therefor doing it on her own – with the help of a creative team that consists of artist Jenn St-Onge, colorist Joy San, letterer Cardinal Rae, and editor Erica Schultz, and a Kickstarter that has already raised $25, 998. She hopes to put the comic out later this year. Check out the Bingo Love Kickstarter HERE. Read more about the comic an Tee Franklin HERE. ————————————————————————————————— The Guardian writes about America Chavez – AKA unmasked avenger Miss America – for their ‘the month in comics” feature. “Marvel has finally realized her potential as a standalone hero: this month’s America #1 launches Chavez as the headliner of her own ongoing comic series. Taking time out from team-ups, she has enrolled at Sotomayor University, an advanced campus that includes a Department of Radical Women & Intergalactic Indigenous Peoples and a Fifth Element-obsessed sorority called the Leelumultipass Phi Theta Betas. Before long, she is teleporting through time and space to ace a tricky homework paper, in the process offering a fairly definitive position on the morality of punching Nazis.“ The article writer Graeme Virtue credits all this “exuberance” to the “atypical” creative team behind the comic: artist Joe Quinones (of Marvel’s Howard the Duck) and making her comics debut, writer Gabby Rivera – “the young, queer Latina author of YA novel Juliet Takes a Breath“. ” “I’ve always dreamt up wild, powerful and carefree superheroes that look like me and my family,” Rivera recently told the Washington Post: “Thick, brown, goofy, beautiful.” “ Read more about the comic HERE. ————————————————————————————————— Hillary Brown of Paste Magazine interviews Peter Bagge about his new book Fire!!: The Zora Neale Hurston Story. The comic (which was colored by Bagge’s wife, Joanne) is his second biography of a “cranky” woman. (Previously he told the story of Margaret Sanger, who founded Planned Parenthood). “Paste: How does it feel to make a shift toward biographic nonfiction at this point in your career? You’re a veteran cartoonist and you’ve suddenly produced two books of relatively scholarly biographical nonfiction in a row. Peter Bagge: I’ve grown tired of both writing and reading fiction, for one thing. It’s a common old-age affliction! I have less patience reading made-up stuff these days. Reality is far more fascinating. And I’ve been writing nonfiction (including biographical) comics for the past 20 years or so. They’ve just taken a more ambitious turn lately.“ Read the rest of the interview HERE. HERE is a review of the book on the Toronto Star. ————————————————————————————————— Richie Pope just announced that he has a new comic in the upcoming anthology Shortbox #4. It’s called Super Itis and he describes it like this on Instagram: “A tired construction worker gets stuck in a dream made entirely of the soul food he ate for lunch.“ Pre-order Shortbox #4 HERE – ships in May. ————————————————————————————————— Frank Santoro is auctioning artwork by his childhood friend and mentor, comics artist Rick Mays. These are original comics pages from projects like Spider-Man Ultimate Vol. 3 #2, and Spidey Loves MJ #13 – all proceeds will go to Mr. Mays. Check out the auction HERE. ————————————————————————————————— Blinkers – 3-23-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 3-23-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 3-23-2017 – by Caleb Orecchio Share this page: [...]

09/08/2017

Sally IngrahamSeptember 7, 2017NewsSally here with new work from Hannah K. Lee, and Sheree Domingo, plus other comics and news! ———————————————————————————————— I was excited to perused the advanced review PDF of Hannah K. Lee‘s book debut, coming out from Koyama Press next week. Language Barrier collects several of Hannah’s zines and comics, as well as a new piece. The design of the book looks beautiful, from the end papers, to the full color comics and the scans of zines (I really like the aesthetic of scans of existing books, for some reason!) The new comic is great (no spoilers allowed yet) and it’s nice to revisit some of the riso printed zines that Hannah made in 2012/2014 which are long out of print. I love her Shoes Over Bills zine, which is contained in this collection, and is a striking visual game of balance between wants and needs… Hannah’s work as a commercial illustrator and letterer comes into play nicely in this collection. I like when the text in a comic or zine is as much an artistic and visually stimulating part of the work as the drawings are, and Hannah definitely plays with her words in these pieces. Check out more of Hannah K. Lee’s work HERE, and keep an eye out for her book in shops around Sept. 12th 2017, or at the Koyama Press table at SPX next week! ———————————————————————————————— Electrocomics (Ulli Lust’s online comics publishing platform) just released a comic by Sheree Domingo called Omegawolf (above). You can download the comic HERE. I like Sheree’s use of watercolors, with a 3 color palette and no blackline. The story is about a brief connection between a boy and a wild “omegawolf”. You can find more of Sheree’s work HERE. ———————————————————————————————— Women Who Draw organized an international art project last month, which Topic recently compiled and published. “On August 13, 2017, at precisely 12:00 pm Eastern Standard Time, 88 artists all over the world stopped what they were doing, looked up, and drew the sky. What each artist saw was unique to the time, the weather, and the place. The locations ranged from Tel Aviv to Brooklyn, Buenos Aires to rural Georgia. Some saw different hues of blue. Some saw black, pink, or gray. Some saw stars or clouds or fog or rain. Here it was summer. There it was night. In one place a fire left a heavy brown haze. Whatever sky the artist saw, they captured it on paper in their own unique style. They were, at that exact moment, separate skies. But when we view these drawings together, they become one far-stretching, simultaneous world view. They become a portrait of one shared sky.” —Wendy MacNaughton and Julia Rothman, co-founders of Women Who Draw See the entire One Sky project HERE. ———————————————————————————————— Boundless by Jillian Tamaki is reviewed on the LA Review of Books – HERE. Paste Magazine‘s “Required Reading: Comics” roundup for the week reminded me that I want to read Bombshells United #1, which is written by Marguerite Bennett and drawn by Marguerite Sauvage, and just came out. The A.V. Club took a look at a preview copy recently, which you can check out HERE. Arianna Margulis‘ Instagram comic But Like Maybe is something of a phenomenon, earning her a nod from The New Yorker this week. There’s a review of Anna Haifisch‘s new book Drifter in the German Art Magazine – read it here. Ulli Lust is having a book release party in Berlin this month – here are details for the party on Sept. 10th 2017 – and here’s a look at Ulli’s new book courtesy of Lauren Weinstein! Liana Finck explores “who does a story belong to?” when it comes to loved ones, and making comics about them – on Topic, HERE. ———————————————————————————————— Suzy and Cecil – 9-8-2017 – by Sally Ingraham ———————————————————————————————— Share this page: [...]

11/26/2018

Caleb OrecchioNovember 26, 2018NewsCaleb Orecchio here with the newest Love and Rockets release. ————————————————————————————————— Los Bros’ latest issue of Love and Rockets is here. Volume 4, No. 6 (or, as the front-page editorial notes, no. 84 overall). Each new release of L&R is an event in my house. Every issue to my estimation is worth its own weight in gold. Usually a satisfying 35 to 45 minute read. Pure joy. I don’t have much to say about the issue that wouldn’t reiterate what I’ve wrote about Gilbert and Jaime before. I simply see each issue as required reading. Although, I have to say, I am hit with the reality that, with the more cartoonists I meet, not everyone is reading the series religiously (!). Actually, I certainly understand why many don’t read it. For one, the long history and continuity of the title can be extremely daunting. For two, well, I will not show my hand but rather assume that everyone has their reasons. Regardless, this comic is the cornerstone of the alt-comics movement. Without L&R, there is no Fantaraphics as we know it today. Period. Something else I have noticed is that, due to the lack of cartoonists reading L&R, particularly the books from this millennium, cartoonists kind of “pretend” to read it. “Yes yes of course Love and Rockets is important. Yes I love Hopey. And uh Glory. Right? Jaime was really nice to me when I met him.” This is just a theory, but I think cartoonists love to say they read L&R like they love to say they never read Building Stories. There is pride in both. As if reading long, difficult works is something they are above. These are just some thoughts I had while reading the new issue of Love and Rockets. Cheers! ————————————————————————————————— Cement Mixer – 11-26-18 – by Caleb Orecchio Share this page: [...]

07/14/2017

Posted on July 14, 2017 by Sally Ingraham

Sally here today with Rachel Masilamani, Joyce Farmer, Eleanor Davis, Zoe Taylor, Katie Fricas, and much more news and comics!

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Rachel Masilamani offers a new comic on the LA Review of Books, one of a series of 20 ” “literary addresses” commissioned by the Smithsonian Asian Pacific American Center and the Association for Asian American Studies, as part of the Center’s 20th anniversary celebration and its July 2017 Smithsonian Asian American Literature Festival.” It’s pretty gut-wrenching, swiftly bringing into focus the realities of an interracial family in a post-Trump world. Read the rest of the story HERE.

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The incredible Joyce Farmer joined the Virtual Memories show recently and talked about her experiences as an underground comics legend – “The ’60s were a time of explosive interaction and learning of radical ideas. The thing was, I thought they were sensible, not radical.” She’s been involved in comics since 1972, and was instrumental in game-changing works like Abortion Eve, and Tits and Clits Comix. Always controversial but uncompromising, Joyce talks about her adventuresome life and her latest comic, Special Exits – listen HERE.

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Eleanor Davis has been working with the Bronx Freedom Fund (which pays bail for folks who can’t afford it) and StoryCorps, adapting interviews with some of the BFF’s clients into comics.

You can see the rest of the story above and two other stories she did HERE.

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Philippe Leblanc reviews Zoe Taylor‘s Joyride on The Comics Beat –

“I loved how this comic made me work to untangle its mystery, how I had to read it multiple times to make sense of its ambiguity, its ending and its meaning. It’s like watching a David Lynch film and piecing it’s meanings only to have it crystallized on a second viewing. It’s about escaping, multiple types of escapes, whether from the personal, the social or the emotional. Our protagonist flees from herself, flees the constricting social norms of a party, flees friendship. It’s about finding something through that escape, revenge, love, or a purpose. There’s also an exploration of how time flows in a moving vehicle and how this can be displayed in comic format. There’s a lot to unpack in this comic.

This comic looks gorgeous. Taylor’s art is minimalist, using only a handful of lines are enough to depict a woman, or a car and yet, it’s all you need. It’s enough details to give you all the details you need, a woman’s slight look of disdain, the party guests look of confusion, the tears of a woman after an accident. The paper stock also contributes to this minimalist style. It’s a very lightweight paper, not quite newsprint, but not much heavier either. It gives the whole book a feeling of lightness.“

Read the rest of the review HERE.

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Katie Fricas reports via comics on Rei Kawakubo’s new show for Comme des Garçons – “possibly the punkest show ever put on by the Metropolitan Museum’s Costume Institute.” Check it out on Hyperallergic – HERE.

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Also On the Spider Web

Alex Hoffman of Sequential State has been speaking to Laila Milevski this week about Enter, Holy Pilgrim, her comic with Ley Lines, and other work – more HERE.
Francoise Mouly and Nadja Spiegelman are on Episode 222 of the RiLY podcast, talking about Resist!, the importance of print, and forging your own kind of patriotism – listen HERE.
Vanessa Davis has a new comic on Topic, titled Customer Service – read it HERE.
Keiler Roberts talks Sunburning with Smash Pages – HERE.
Tom Spurgeon via The Comics Reporter keeps turning me on to new comics makers – just yesterday, Margreet de Heer, and Nicky Minus.

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Suzy and Cecil – 7-14-2017 – by Sally Ingraham

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Joanie and Jordie – 7-14-2017 – by Caleb Orecchio

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Comics Workbook

An online magazine for comics makers

Posted in NewsTagged caleb orecchio, Eleanor Davis, Françoise Mouly, joyce farmer, katie fricas, laila milevski, Rachel Masilamani, sally ingraham, vanessa davis, zoe taylor

Sally Ingraham

Posted on July 14, 2017

Explore

12/22/2017

Sally IngrahamDecember 21, 2017NewsSally here with Chris Ware and Caitlin McGurk’s incredible CXC 2017 interview, Ed Piskor’s X-Men Grand Design, Aidan Koch x 2 for the week, and much more! ————————————————————————————————— I have been dying for the CXC 2017 interview between Chris Ware and Caitlin McGurk (who was interviewing who, in the end?) to be put online, and it’s finally up on The Wexner Center for the Arts website. You can listen to the full interview HERE. Adam Griffiths masterfully broke down his impressions of this talk, and it’s worth revisiting – find it in his CXC 2017 report HERE. Here’s the best bit: “We as an audience are becoming redundant in order to allow Ware to mirror the brain’s experience of memory for us. Where did Ware get the concept of “comics as an art of memory?” Why in fact, Ware states, rather meekly, he got it from a paper that his stagemate, Caitlin McGurk wrote! The room warms to Ware as the surprised McGurk, suddenly joyful, becomes flustered and confused, flushed and slightly embarrassed. Ware has delivered his sweet, sweet punchline… The agreement that Ware has set us up for here is that we’ve been having a discussion about McGurk, not Ware, since we began, and that we will now remember, “Comics are an art of memory,” in all its redundant, charitable, pitiable human glory. Too clean!” Caitlin herself wrote recently on social media: “Back in September I had the privilege of interviewing Chris Ware (by his request!) in front of a sold-out theater at Wexner Center for the Arts as part of Cartoon Crossroads Columbus. This was one of the most exciting and terrifying experiences of my professional life, but about halfway through there was a moment in the interview that made it genuinely life-changing for me. I am overwhelming grateful not just for Chris’s work, but for his generosity, kindness, and support.” This interview is one of my favorite memories from the past year, simply as an audience member, so take the time to give it a listen and prepare to have your mind messed with and your heart warmed. ————————————————————————————————— I’m so excited about Ed Piskor’s X-Men Grand Design! #1 came out on Wednesday of this week, and I tried to be early to Ed’s signing at Phantom of the Attic, but there was already a lengthy line. The comic sold out within an hour. In fact, if you didn’t pick up a copy on Wednesday you might have to wait for the reprint, as I think the issue is sold out everywhere! And it’s really, really good. I couldn’t help myself, and I wrote the gushing review, as an Ed Piskor AND an X-Men fan, which you can read here on Comics Workbook. About the comic itself I wrote: “The comic is a remarkable formalist masterclass. The 4-tier variations are unusual, especially the tall thin panels, and very exciting, keeping pace with the quick action of the story while harking back to comics from past ages, including the 1940’s. The use of color coding riffs on things Piskor did in Hip Hop Family Tree, but is utilized even more perfectly here (Magneto’s purple powers, Professor Xavier’s psychic communication, and especially the use of bright white in otherwise full color/sepia-toned pages, as a sort of guideline through the story). Piskor’s take on the characters are fun and feel right, and many of the pages are really beautiful, due to content and execution.” And then perhaps even more remarkable is the legacy of Ed Piskor and his work: “It’s worth mentioning that Piskor is from Pittsburgh, the city of bridges. With this project he has become a new bridge in his own right, spanning the divide between alternative and mainstream comics, between Fantagraphics and Marvel. No one has ever really done both – or at least not successfully. From his humble beginnings – self-publishing Wizzywig, and creating markets where there were none, putting work out online like Hip Hop Family Tree before getting noticed by Fantagraphics – until now, Piskor has operated with a true DIY spirit and worked really, really hard everyday at his craft. With this dedication and drive he developed unique projects, and built a fan base in the alternative comics scene that is rivaled by few. Now with Piskor’s work on X-Men Grand Design, those fans will follow him over to mainstream comics, and similarly the potential for fans of X-Men to start picking up Hip Hop Family Tree and other alternative comics is huge. This is Piskor as the bridge, creating new comics readers and fanning the flames of a struggling market. This is good news for every comics maker in the industry today.” Read the whole review HERE. For another look at the comic and the thoughts of Ed Piskor himself, check out this interview on The Comics Beat, conducted by Al Frost. ————————————————————————————————— Austin Lanari writes about the work of Aidan Koch over on Foggy at Best. The article is called Between Geometry and Gesture: (Some of) The Work of Aidan Koch, and it more specifically digs into After Nothing Comes, which collects a series of zines from across several years (Koyama Press, 2016). Lanari begins by saying: “The work of Aidan Koch stands out to me among a lot of other work because I believe you can read a single Aidan Koch comic and understand, in a deep way, what she’s all about. Other work that makes a strong first impression for me does so through its novelty or virtuosity. But reading Koch, I notice two things: that I feel like I’m part of the creative process in an intimate way and that I feel like she’s really onto something.” Read the whole article HERE. ————————————————————————————————— Other Comics News of Note Laura Park is profiled on Hyperallergic and talks about her autobiographical work and her “exhibition connected to her three-week residency at the Columbus Museum of Art“. The show is up at the Museum through Feb. 11th 2018. Read about it HERE. Henry Chamberlain interviews Hillary Chute about her new book Why Comics? From Underground to Everywhere over on Comics Grinder. Read it HERE. Pittsburgh’s The ToonSeum gets a write-up on SyFy Wire with a focus on the current show Wonder Woman: Visions, which features the work of Trina Robbins and many local female artists. Check it out HERE. Emil Ferris‘ My Favorite Thing is Monsters tops the 2017 PW Graphic Novel Critics Poll. Read about it HERE. ————————————————————————————————— The Winter Semester of thee Santoro Correspondence Course for Comic Book Makers starts January 16th 2018! 8 weeks – 500 bux – coaching for as long as you need. The course is hard, but Frank will push your comics making practice to a new level, getting you to think about timing and color in new ways. His experience and ideas have influenced the likes of Connor Willumsen, Michael DeForge, and Simon Hanselmann (quote “I consider Frank Santoro to be my L. Ron Hubbard”) among many others. Dig into something new in the new year! Full details and how to apply can be found HERE. ————————————————————————————————— Comics Workbook’s Daily News is taking a holiday break the week of Dec. 25-29! Our news team will return, refreshed, on January 1st 2018. Happy Holidays from all of us here at Comics Workbook! ————————————————————————————————— Suzy and Cecil – 12-22-2017 – by Gabriella Tito Share this page: [...]

Tac au Tac

Juan FernándezSeptember 18, 2017ResourcesFrom the late 1960s to the mid-1970s, Jean Frappat presented a show that was a joy to watch, Tac au Tac. Based on the concept of exquisite corpses so dear to the surrealists, the show generally set up two, three or even four cartoonists to compete in a friendly drawing match. The concept was simple, efficient, and allowed for many variations: A huge, blank white page and cartoonists equipped with just a simple marker. A theme was proposed (ex. invasion or pursuit), sometimes a visual starting point (simple line, spiral, circle), and the authors improvised, either collaboratively with their peers, or in a duel facing off against their opponents. The result was often far more than a juxtaposition of drawings, it was often a real visual dialogue between cartoonists. The tone of the rare commentaries by Jean Frappat gives an old-fashioned charm to these shows. It is a nice way to casually watch some of the greatest French cartoonists: Franquin, Uderzo, Moebius, Druillet, Roba , Bretecher, and Gotlib. Interestingly, there was a season recorded in New York in the fall of 1972, with guest artists Jim Steranko, Bernie Wrighston, Burne Hogarth, Neal Adams, Joe Kubert and John Buscema who wound up facing off against Gir, Druillet, Forest and Gigi from France. The INA (Institut national de l’audiovisuel) has posted on its site about one hundred Tac Au Tac programs. Below you will find a convenient index of those programs so you can dig in and watch. -Juan August 14, 1969 : Pouzet/Morez against Faizant/Gus August 22, 1969 : Piem against Maurice Henry September 1, 1969 : Philippe/Gébé against Fred/Gotlib September 26, 1969 : (Michel Douay, Mose, Tetsu and Piem) then (Urs, Philippe, Cardon and Jean By) December 15, 1969 : Laville/Soulas against Pichon/Barbe December 22, 1969 : Philippe, Urs, Cardon and Jean By July 5, 1971 : Franquin, Morris, Roba and Peyo July 19, 1971 : Piem, Mose, Trez and Rauch se piègent July 26, 1971 : (Urs, Philippe, Blachon and Jean By) then (Soulas, Laville, Pichon and Barbe) August 2, 1971 : Gotlib, Uderzo, Fred and Gébé August 9, 1971 : (Philippe, Urs, Blachon and Jean By) then (Piem, Trez, Rauch and Mose) August 16, 1971 : (Pichon, Laville, Soulas, Barbe) then (Piem, Trez, Rauch and Mose) August 30, 1971 : Barbe, Pichon, Laville and Soulas September 6, 1971 : Franquin, Morris, Roba and Peyo se piègent September 13, 1971 : (Alexis and Alessandrini) then (Gébé, Cardon, Siné and Philippe) September 20, 1971 : Siné, Philippe, Cardon and Gébé September 27, 1971 : Alexis, Fred, Gotlib and Alessandrini October 11, 1971 : (Piem, Urs, Pichat and Mose) then (Franquin, Morris, Roba and Peyo) October 18, 1971 : Gébé, Philippe and Cardon trap Siné October 25, 1971 : Exquisite Corpse with Gébé, Topor, Bretécher and Cardon November 15, 1971 : Caricatures by Ricord and Mulatier November 22, 1971 : Siné, Desclozeaux, Picha and Puig Rosado play and draw with food. November 29, 1971 : Franquin, Forest, Gigi and Druillet December 6, 1971 : (Gébé, Cardon, Philippe and Siné) then (Siné, Puig Rosado, Picha and Desclozeaux) December 13, 1971 : Franquin, Morris, Roba and Peyo December 20, 1971 : Franquin, Forest, Gigi and Druillet December 27, 1971 : The animals refused from Noah’s arc according to Giraud, Gotlib, Mandryka and Alexis January 8, 1972 :Exquisite Corpse with Cardon, Faizant, Tim and Ghertman January 22, 1972 : Giraud, Gotlib, Alexis and Mandryka February 5, 1972 : Jacques Faizant, Tim, Cardon and Alain Ghertman February 19, 1972 : Bretécher, Barbe, Laville and Loup February 26. 1972 : Druillet, Enric Sio, Buzzelli and Forest March 4, 1972 : Franquin, Bretécher, Uderzo and Fournier March 18, 1972 : Fred, Gébé, Soulas and Philippe March 25, 1972 : Druillet, Enric Sio, Buzzelli and Forest April 1, 1972 : (Piem, Cardon, Siné and Topor) then (Ricord, Mulatier, Solo and Gibo) April 29, 1972 : Jean Giraud faces of Jijé in 4 situations, with Hugo Pratt and Jean-Claude Forest as onlookers May 11, 1972 : Forest faces Hugo Pratt under the scrutiny of Jijé and Giraud May 13, 1972 : Horror with Guido Crepax, Esteban Maroto and Thé Tjong-Khing May 20, 1972 : Jean Giraud challenges Hugo Pratt under the scrutiny of Jijé and Jean-Claude Forest May 27, 1972 : Exquisite Corpse with Cardon, Gébé and Gourmelin June 3, 1972 : Piem, Siné, Cardon and Topor June 18, 1972 : Franquin/Roba against Brétecher/Gotlib June 24, 1972 : The theme of gas inspires Cardon, Gébé and Gourmelin September 16, 1972 : Jean-Claude Forest, Jim Steranko and Robert Gigi on a boat in New York (1) September 30, 1972 : Neal Adams, Joe Kubert and Jean Giraud October 7, 1972 : Exquisite Corpse between Bretécher, Johnny Hart and Parker Brant (no sound) October 14, 1972 : Burne Hogarth, Philippe Druillet and John Buscema in New York October 21, 1972 : Neal Adams, Joe Kubert and Jean Giraud October 28, 1972 : Mike Kaluta, Bernie Wrightson, Forest and Druillet in New York November 4, 1972 : Jean-Claude Forest, Jim Steranko and Robert Gigi on a boat in New York (2 November 25, 1972 : Fred, Gébé, Soulas and Philippe December 2, 1972 : Tillieux, Jidéhem, Morris and Brétécher December 9, 1972 : Piem and Siné December 16, 1972 : Piem against Siné December 23, 1972 : Desclozeaux and Puig Rosado drawing dreams December 30,1972 : Dali Special (without drawing) July 29, 1973 : Bretécher, Fred, Soulas, Gourmelin, Desclozeaux and Serre August 5, 1973 : Exquisite Corpse with Laville and Barbe August 26, 1973 : Serre, Cardon and Gourmelin (without sound) September 2, 1973 : caricatures by Ricord and Mulatier September 9, 1973 : childhood by Cardon, Serre and Gourmelin September 15, 1973 : Exquisite Corpse with Jean-Claude Forest and Gourmelin September 22, 1973 :Exquisite Corpse with Tim, Cardon, Desclozeaux and Faizant September 29, 1973 : Tim, Cardon, Jacques Faizant and Desclozeaux July 26, 1975 :Exquisite Corpse between Greg/Dany and Goscinny/Uderzo August 2, 1975 : Piem against Siné August 9, 1975 : Gourmelin, Cardon and Forest August 23, 1975 : Serre against Christian Broutin August 30, 1975 : Piem, Wiaz, Tim and Maja September 6, 1975 : caricatures with Ricord and Mulatier September 13, 1975 : The Storm Forest, Cardon and Gourmelin September 20, 1975 : Bretécher/Gotlib against Giraud/Druillet September 27, 1975 : Christian Broutin and Claude Serre improvising October 4, 1975 : Buzzelli, Peter Foldes and Thé Tjong-Khing October 11, 1975 : Maja, Piem, Tim and Wiaz October 18, 1975 : Christian Broutin against Claude Serre Share this page: [...]

02/15/2017

Juan FernándezFebruary 15, 2017los Cómics / NewsJuan José con un poquito sobre Carla Berrocal; el fanzine de Chicks on Cómics de Argentina; lo nuevo de Berliac; #GRAFBCN2017; Gerardo Vilches; Desiree Rodriguez and #BeingLatinxInComics; La Polola on hiatus. Cómics y noticias que me han llamado la atención esta semana: Ya viene, ya llega. #GRAFBCN2017 a la vuelta de la esquina. GRAF is coming to Barcelona. Take note: they’ve has announced several workshops for their March 3-5 comics festival in Barcelona. Among them is a master class con Natacha Bustos y Javi Rodríguez. Sign up for their talleres HERE. Carla Berrocal, ha retratado la crónica negra de Madrid en La ciudad en viñetas, que se puede ver en CentroCentro Cibeles de Madrid hasta el 12 de abril. 150 chicas participaron con cómics sobre Arte, en el fanzine de Chicks on Cómics de Argentina. Ya se puede leer el Fanzine a la Carta! Berliac’s got some new comics on Vice – Asian Food Store Junkies – S01-E02 A match made in heaven, or the opposite? You decide… Gerardo Vilches, (uno de mis mis criticos preferidos!) ha compartido su repaso d lo mejor de 2016 (sí: el 15 de febrero de 2017) “Better late than never!” #slowcooking #greatcooking Desiree Rodriguez is compiling the work of the contemporary Latinx comics making community in North America, all together under #BeingLatinxInComics. Check it out and get hep to these artists, writers and critics. Know someone she should add? Want to add yourself? Here’s the submission form. Para que sepan: La Polola Podcast is on hiatus! Vacation is vacation. As Sol Díaz Castillo y Marcela Trujillo gear up for their new season they have a contest going while on vacation! Draw your favorite song and catch up with the podcast! It’s always a fun, relaxing and enlightening listen. If you haven’t tuned in to La Polola just yet, Póngale Play. ————————————————————————————————— En Venta: The Art of Vanesa R. Del Rey. La gran Vanesa R. Del Rey le ha dado permiso a Comics Workbook para publicar unas selecciónes de sus cuadernos de bocetos. Hemos diseñado esta publicación para que parezca uno de esos libros de de artistas los años 80. Arte y Entrevista. El texto es una transcripción de la entrevista que hicimos con Vanesa cuando visito la Residencia Rowhouse en 2016. Vanesa es un artista impresionante y inigualable. Puedes comprar tu copia AQUI.Order a copy of The Art of Vanesa R. Del Rey HERE. Frank Santoro, el director de Comics Workbook, nos cuenta un poquito sobre sus experiencias con Vanesa: Me encontré por primera vez con VRDR en un festival de cómics en Toronto (TCAF) en 2014. Había empezado a hacer comics profesionalmente después de un período como un animadora. Fui Sorprendido por su la capacidad de ser como un camaleón de cambiar de estilos, y por su puesto le pedí ver más de sus obras. Desenterró pilas de cuadernos de dibujos de sus días en Cuba, cuando estudiaba el realismo soviético y de trabajaba con George Pratt, maestro de cómics pintados. La educación de Vanesa como artista hace el balance suavemente entre los niveles alto y bajo del arte, así como los valores estéticos del este y el oeste. Es una base asombrosa. Ella es, a la vez, consciente de la historia del arte, la historia de los cómics y la historia de la animación de una manera NUEVA que casi parecía imposible hace quince o veinte años. Debo admitir como un estudiante y fan de cómics que se enfocan en la mezcla de “alto y bajo” y en ” los cómics pintados” — Nunca he visto tal mezcla de habilidades al nivel de VRDR. Feroz. Imparable. Un competidor feroz. Michael Jordan-esque? ¿Es eso posible en la fabricación de cómic? Siempre he dicho que habría un “invasor vertical” en los cómics que podría emplear el “naturalismo” de la escuela de Noel Sickles / Alex Toth pero que podría pintar como una Alice Neel o una Jenny Saville. Creo que “el invasor” ha llegado en forma de Vanesa R. Del Rey. Puedes comprar tu copia AQUI. Sigan a Vanesa por Instagram – @vrdelrey – y http://vrdelrey.com/ Suzy and Cecil – 2-15-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 2-15-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 2-15-2017 – by Juan Fernandez Share this page: [...]

Charlottetown Comics Club

Comics WorkbookJanuary 22, 2017School UpdatesTyler Landry shares thoughts on running a weekly comics club in Charlottetown, Prince Edward Island, Canada – a Comics Workbook “satellite school”! ————————————————————————————————— I’ve been running the Charlottetown Comics Club (CCC) weekly, since the spring of 2016. At first in my home with a few trusted friends, then we moved to a public place – the back room of a local comic shop, Lightning Bolt Comics, where anyone and everyone is welcome to join. I sought to model this club on a few basic ideals. First, the continued development and expansion (for myself, and members) of the foundation of comics-making skills I learned through Frank Santoro’s Correspondence Course, and, by extension, the inundation of ideas, influences, and examples flowing through Comics Workbook. Second, to gather locally operating cartoonists (of all levels and persuasions), who often toil in silence/obscurity at home, in a place where we can feel comfortable working and growing alongside each other, for mutual benefit and general good feels. Some members come and go, some are very consistent. This can make group activities challenging, especially where things carry over from one week to the next, but I’ve managed to run a handful of pretty successful exercises so far. We do some smaller warmups and drills, as well as some larger/longer projects with full-on story card development. There are also members who bring their own bread-and-butter comics work, or projects they’re already knee-deep in, and just draw away among their peers. I encourage everyone to bring in their own work, new and old, and also to share comics they like (or don’t like) with the group. Discussing these things can only make us smarter and ultimately more demanding of the quality and caliber of the content we seek to read and create in comics. This is so important. At its core, this club upholds the methods and values that I’ve been taught, and seeks to grow and share them with the wider community here. I strongly believe that this kind of “part-of-the-total-package”, modular thinking is key to creating, editing, and clearly executing good comics. I pull from any and all sources I can find value in, and there are endless examples, but Comics Workbook is solid. There’s tangible proof in the CW pudding. This way of thinking, and the use of these methods has enabled me to focus my ideas and raw skills into actual complete comics – something that used to be very hit/miss for me. I wouldn’t be doing the work I’m doing now if this door hadn’t been opened. I’m passionate to a fault about comics being THE medium for storytelling, beautiful artwork, and expression of ideas. I don’t know nearly as much as I should about the history of comics, or its major/middle/minor players, but I’m seeking that knowledge, always. I want to participate in the realization of the expanding potential of this medium, and this club is another way in which I, and its other members, can do just that. ————————————————————————————————— Tyler will continue to share work by members of the club, bios of these Prince Edward Island cartoonists, and details about the projects the CCC complete. If you are interested in joining the club please email santoroschoolATgmail and we will put you in touch with Tyler. ————————————————————————————————— Tyler Landry is a graduate of the Santoro Correspondence Course for Comic Book Makers. His recent comics includes Vile 1: Cowards Hole, Vile 2: Lonesome, and Hermit Crab Real Estate. Get copies of his work HERE. Check out work in progress and other cool stuff by Tyler HERE. Keep up with the Charlottetown Comics Club via Tyler’s Instagram – @clavcity. Share this page: [...]

06/01/2016

Juan FernándezJune 1, 2016NewsJuan Fernandez here with Tim Hensley in THE DIAZ ARCHIVE;Gran bola de helado by Conxita Herrero; 2nd Lady’s Comics Encontro in Brazil; Pablo Guerra por Ángel Castaño Gusmán; New Work from Power Paola; Spain’s first graphic novel, Tito y Tif. On the site: New in the DIAZ ARCHIVE: http://comicsworkbook.com/the-hensley-interview/ http://comicsworkbook.com/tim-hensley-draws-l-b-jeff-jeffries-from-rear-window/ ————————————————————————————————— Off the site: Gran bola de helado (Conxita Herrero) Gerardo V. reviews Conxita Herrero‘s exciting new work published by Apa-Apa in Barcelona, Gran Bola De Helado over at Entrecomics.com. Gerardo Vilches: …Conxita builds a minimalist style of naked lines, perfect for representing a world that feels vibrantly present , reflecting the concerns and way of life of Millenials today. An almost perfect synthesis between the hermetically tight and intimate, which crystallizes in small stories that depart from the literary density of the graphic novel tradition to conquer a far more unexplored terrain : the purely graphic . (..) In stripping down her their stories, Herrero sharpens them, and they reach us in more effective ways: some of the hit you in ways that only a drawing can. At times, it is reminiscent of the works of Yuichi Yokoyama and shares Yokoyama’s ability to show the world around us from a perspective that deforms and makes it fascinating. (Translated by Juan Fernandez) ————————————————————————————————— Mark your Calendar: 2nd Lady’s Comics Encontro, 29-31 July in Belo Horizonte Following the great success of first Encontro in October 2014 (an event that happened through crowdfunding, the first in Latin America on women and comics), the Lady’s Comics collective in Brazil is organizing a three day free festival with more than 30 guests, 5 workshops and display of the work by the Chicks on Comics collective. The theme of this second gathering will be The First Voyage. The programming of this entire encontro is aimed at women’s empowerment and serves as a reflection of women’s massive participation in all the creative processes in the ninth art. Conhece aquele branco que dá na hora de criar e não sabe o que fazer? Aquela dúvida sobre como participar de uma feira ou publicar em uma editora? E tirar o tal ISBN? Como montar e apresentar um portifólio? E para os educadores, como podemos usar os quadrinhos na escola? Cada caminho, com diferentes visões, desde o independente até mainstream, serão apresentados pelas artistas, produtoras de eventos, editoras e profissionais da área. Tudo isso visando o empoderamento feminino e a reflexão sobre a participação das mulheres em todos os processos criativos das HQs. Here’s the video they put together when organizing the first Encontro so you can see what they’re about. Check out their YouTube and their website channel to feast your eyes on their tireless work. ————————————————————————————————— Entrevista de Pablo Guerra por Ángel Castaño Gusmán Nice interview over at Revista Arcadia with Pablo Guerra, one of the co-organizers of the Colombian comics festival, Entreviñetas, about his comics writing process and the state of Colombian comics making. Ángel Castaño Guzmaán: In your role of editor and critic of comics, what are the obsessions that run across the work of comics makers nationally? What is the state of the Colombian graphic novel? Pablo Guerra: The national production of comics continues to respond, generally, to small niches of readers. In that sense, its not easy to find recurring themes further than preoccupations with how to survive and grow in a cultural milieu that, although more open than in previous decades, continues to treat comics as foreign matter. The Colombian graphic novel is a young phenomenon a still all the participants in the chain (creators, readers, editors, book sellers, journalists) are in the process of learning and experimentation. I hope that the path we still have to take continues to provide us with interesting works and authors that feel more and more comfortable with the form and that they begin to communicate among themselves. On top of that, it is important that, until now, the domestic production of comics continue to be the progonist in our discussions of the cultural panorama of our country. One of the greatest set backs in previous decades has been that international comics were very popular while those made in Colombia were practically all glossed over. (translated by Juan Fernandez) ————————————————————————————————— New Work from Power Paola Todo va a estar bien (Editorial Catalonia) This collects the autobiographic work that Power Paola began releasing online in 2013. Read a chapter for a real taste of Paola’s work: El Viaje. It is available for purchase via Editorial Catalonia in Santiago, Chile. Virus Tropical (2dcloud) This was just debuted at TCAF and will soon be available for purchase via 2dcloud’s website. Here’s a micro review by Kim of goodcomicsbykim.tumblr.com to whet your appetite. my short review on Virus Tropical by @powerpaola @2dcloud. i want more of her works!! #comics pic.twitter.com/qqlO1U37Qt — kim (@therealkim__) May 19, 2016 ————————————————————————————————— Spain’s first graphic novel, Tito y Tif to be Republished Published in 1915, Tito and Tif by Joaquín Xaudaró, the first Spanish comic book is now being republished by Ediciones Taulas. The story of a pharmacist and his dog, in the thralls of a surreal adventure, Tito and Tif originally appeared serialized in 4 page installments in Spanish newspapers. While it’s true that there were many “comic books” in Spain before because the publishing of Tito and Tif, all were nothing more than collections of short stories. There were no comics that picked up a single long story and followed it through from beginning, to middle and end. That’s where this book comes in. In the end, this book is 108 pages of cartooning, that all serve to tell one story. This volume is thus the first graphic novel published in Spain . And that was more than 100 years ago. RTVE.es has a wonderfully in depth look at this collection worth your time that explores the historical context of Xaudaró’s work and the elements that set Tito y Tif apart from comics of its time. ————————————————————————————————— hasta la proxima 😉 -Juan Share this page: [...]

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