Today we have Sam Ombiri with a new comic and his thoughts on rereading, Tyler Landry on the movement in Ronald Wimberly’s comic page layouts, new work by Chris Visions and Tanna Tucker, the POW! Womxn in Comics and Illustration exhibition, details on pre-ordering “The Art of Vanesa R. Del Rey” and your Santoro Correspondence Course reminder, plus the latest “Suzy and Cecil” strip.
ReRun – Sam Ombiri
Someone told me that, to them, rereading is like dreaming a dream you’ve had before. This person said it to me like it was something she often did. I’ve never experienced anything like that, where I have a “rerun” of a dream.
I could relate to the idea of rereading being like revising a place you’ve been before. I don’t think I can come up with one specific motivation behind rereading. It’s something people do with different motivations. Sometimes rereading is like visiting a place, a kind of copy of the original moment, with intentions maybe of recreating the original feeling.
Sometimes (while engaging with work in this manner) I find that I skip ahead to the best parts, then I feel like I’m betraying the re-creation, or maybe the form? I don’t know, but I feel like I’m doing something wrong. Sometimes it’s very fulfilling to read in this manner (of recreating the first reading), and sometimes reading work this way just ruins things. It can get really boring to just validate established feelings. Like really really really really boring. Or maybe not boring, just very bland. I think that’s why my short attention span kicks in, and I flip through mindlessly.
Sometimes after going through this I reproach rereading and suddenly what I’m reading is not “ruined”. It’s like if you can be anywhere you want but it’s too dissatisfying and too easy to be everywhere, so any moment you encounter ends up feeling like…unearned? Kind of like how easy it is to get information now. So then it helps to navigate more delicately (that’s probably the wrong word). – Sam Ombiri
This sequence shows the beginning of a violent altercation, with heavily weighted forward (left to right) movement, bringing your eye ever-closer to the focus, the point, the unmistakable K-T-T-T- sound of a box-cutter blade being pushed up…
At a glance, there’s a powerful “X” slash through this sequence. Corner to corner, face to action/face to action, crossing through the attacker’s antic. We can also interpret, by the facing direction, and the trajectory of character movement, an intention on Ronald’s part to guide our eye along certain lines. Through the 3 horizontal strips, we feel a rhythm to this motion as well – perfectly paced out in corresponding measures. Pink > blue, pink > blue, pink > bl-blue.
This next sequence acts like a ball, thrown across the page at first, then bouncing from one figure to another – still with diligent respect for a vertical stack of horizontal movement. I’ve focused mostly on characters, because they are the primarily active elements here, but this sequence leverages the content of its backgrounds beautifully for the assist.
Check out the train across the top panels, then the view of the platform in bright yellow in the middle section, hauling your eye heavily towards the bottom right chunk, where tension has been building. The details get smaller, tighter, more condensed, helping you FEEL that something’s about to go down. Different groupings of characters take on different palettes, and different tones to reinforce their presence, and to balance them against each other and their background content. – Tyler Landry
Sally Ingraham here with the news bites!
While we’re on the topic, get a copy of Ronald Wimberly’s Prince of Cats from Copacetic Comics (it’s not listed on the website yet, but you can order one over the phone – I can personally vouch for copies of the book being in the shop!)
From a recent NPR write-up on the book:
“…Wimberly is out to do something more than just combine elements from two compatible genres. He’s clearly aiming to translate the mechanics of hip hop composition into a visual form. In Prince of Cats‘ introduction, University of California media professor John Jennings calls Wimberly a “See-Jay:” Wielding his pen the way a DJ mixes, he mashes up wildly diverse elements into a fresh creation.” – Etelka Lehoczky for NPR.org
If you’re in the Oakland, CA, area be sure to check out the POW! Womxn in Comics & Illustration exhibition at Studio Grand. The opening reception is Dec. 2nd 2016.
From the exhibition description:
“Comics and illustrations have long been a popular art form, intended to reach the masses. They easily engage audiences by the use of humor, cliffhanging narratives, relatable stories, all through captivating visual narratives. Comics and illustrations have often portrayed womxn in a hyper-sexualized manner and have not shown more developed female characters. Much of this is due to the comic book industry which has historically profiled work written and created by men. POW! seeks to center womxn comics and illustrators who hold the pen and the narrative.
This Exhibition centers stories that concern womxn comics and illustrators offering transformative narratives, one where women characters—speaking of mental health struggles, struggles of poverty and survival, isolation, resiliency, sisterhood—are at the forefront. The POW! Exhibition and accompanying events offer a nurturing space of solidarity and healing, letting womxn know that they are not alone in their struggles and resiliency.“
I heard about the event from Tanna Tucker, an illustrator who is turning her focus increasingly towards comics. (She may join us in Pittsburgh next spring for a Rowhouse Residency!) Her recent ongoing projects include a 7-part fantasy comic with Mark Turner and Orpheus Forge Studios called Sea Wulfe – you can check it out HERE.
Here’s an “excerpt” from Tanna’s piece at the POW! exhibition:
Here’s Chris Visions dropping that hot fire!
Follow this link to get yourself one of these “visions in red” but don’t sleep on this – these pages are selling out fast.
Thee great Vanesa R. Del Rey has generously agreed to let Comics Workbook publish selections from her sketchbooks. We designed it to look like a 1980’s comic book artist’s art book. The text is a transcription of an interview she did at The Comics Workbook Rowhouse Residency in 2016. Vanesa is a once in a lifetime talent who studied with George Pratt and who has worked with Grant Morrison.
We are offering pre-orders now at a lower price than we will be offering the book for in the new year. Great stocking stuffer.
December 1st! That means you have 13 days left to get an application in for the Winter term of the Correspondence Course if you want that sweet “$100 off” discount! More details below.
The Winter Semester of the Santoro Correspondence Course for Comic Book Makers starts Dec. 29th 2016!
8 week course – 500 bux – 10 spots available – apply by Dec. 13th 2016 and get $100 off course fee!
More details can be found HERE – or email santoroschoolATgmail.
Santoro School Application guidelines:
-3 figure drawings done on blank 3 x 5 index cards
-3 landscape drawings done on blank 3 x 5 index cards
-3 still life drawings done on blank 3 x 5 cards
-draw in a contour line style – Think Matisse – no under-drawing – draw directly in ink
-just send small jpgs of images – dont post to your blog pls
-specific url links to any comics work you have done.
Send applications to: santoroschoolATgmail
The latest Suzy and Cecil strip by Gabriella Tito!
Suzy and Cecil is a collaborative daily comic strip project based on characters invented by Bill Boichel and Frank Santoro. It is primarily drawn by Gabriella Tito and Sally Ingraham, who are teammates in the Comics Workbook Roller Derby League. The strip is part of their continuing development as cartoonists – follow @suzy_and_cecil on Instagram to see the project unfold and keep an eye out for guest strips drawn by other Comics Workbook students and friends!