Empezamos el día con Sofía Álvarez Watson; Ramón Esono; Begoña García-Alén; Mohammad Barrangi; Inés Estrada; Berliac; La Polola; La Primavera del Libro y los tebeos de Cómics Workbook!


La Watson y uno de sus participantes de Medellín en Amor dibujado. FOTO: MANUEL CARTAGENA

Dibujar el amor es el trabajo de Sofía Álvarez Watson

Juan David Umaña Gallego nos cuenta en El Colombiano:

“Llegué a Medellín con 105 anécdotas recogidas entre Buenos Aires y Bogotá. De aquí me llevaré unas 10 y luego estaré en Quito para después regresar a Buenos Aires y decidir qué hacer con ellas”, dice la ilustradora.

Una de esas historias, la primera en realidad, relata como dos enamorados decidieron encontrarse en una estación de tren, pero con tal mala fortuna que cada uno se ubicó en una entrada diferente esperándose por más de una hora. Después de esperar ese tiempo los dos decidieron ir a la puerta contraria y se encontraron. Un inicio romántico para una historia que no termina bien.


– Ramón Esono en la Bienal de Curitiba, donde presentó su obra ‘218: Catalina en el País de las Maravillas’. –

Ramón Esono, a la cárcel por dibujar contra Obiang

Ramón Esono sigue en la cárcel y nosotros seguimos pendientes de su estado. Dibujar no es delito.

Ramón Esono lleva en la prisión de Black Beach, Malabo (Guinea Ecuatorial), desde el 16 de septiembre, sin que los cargos contra él ni los motivos que han provocado esa detención estén muy justificados. Las autoridades del régimen de Teodoro Obiang apuntan a un supuesto delito por blanqueo de capitales, pero se intuye que las razones reales obedecen a un castigo por las críticas que Esono realiza desde su actividad artística, principalmente como ilustrador.


Los cómics y las noticias que me han llamado la atención esta semana:


Suzy and Cecil – 10-18-2017 – by Sally Ingraham


Cozytown – 10-18-2017 – by Juan Fernandez [1][2]


Joanie and Jordie – 10-18-2017 – by Caleb Orecchio



Reflections on the existing comics festival paradigm in the United States + your daily strips from Comics Workbook! 


Juan hereExpanding the Festival Tool Kit – 2017 has been floating around the internet since Monday and people have been chiming in their thoughts, reflecting on the existing comics festival paradigm. Warts and all. Seeing as how the goal of this post on Comics Workbook was to start a conversation, I’d like to keep that conversation going today.

I just came back from CXC 2017 and I am still bathing in its warmth. It’s a good feeling. As I do around this time of the year, I’ve been thinking about the future of comics events in America. How we move into that future.

I’m typing out loud, so forgive me for dreaming too big.

Comics, as we engage with them today in the United States’ existing festival ecosystem, are facing a cultural choking point.

There’s a huge role that comics can and should be playing in broader cultural discussions. But they’re not and our Festivals have something to do with this.

It’s 2017 and it is essential to reframe the discussion of comics shows. Comics making and comics reading practices need more breathing room. To grow. To continue expanding. We need to nurture interdisciplinary approaches to experiencing comics.

We need our festivals to make this their guiding principle.

Read it here.


Rob Clough has posted his reflections on CXC over on The Comics Journal. They touch on many of the things I bring up in the Toolkit, with the focus being on CXC. Check it out:

This gets to the heart of what should make a successful comics show. Whatever local resources are available, make sure to use them. If you have a good local comics scene, make sure to include it. If there are beautiful or unusual venues available, take advantage of them. If there’s a local university nearby interested in comics, get their support. If the organizers have ways to incorporate arts other than comics, by all means one should do this. Mixing music, zines, video games, photography, or other arts into the event has been successful for many. Programming should be more than a distraction; it should be carefully considered and the heart of your show. Keep your ambitions low to start, don’t look to make money, and consider getting sponsorships and/or crowdfunding to cover your costs instead of passing it on to the artists and attendees.

Below are some thoughts I’d like to highlight from comments here and over on Facebook. They’re loose and scattered but they offer good starting points to several discussions:

  • Hold shows in a nice bar with some music, have a big comic car rally and everyone pull up and sell them out of the trunk of your car, have it at a train station, We keep talking about people reading comics more, well, it we’re only selling them in the same old places, what do we expect. Make it more a part of society, not just social media.
    Phil Dokes
  • The Caption Show in the U.K. had the kind of format you’re talking about, you’re free to interact, go to workshops, listen to talks and hangout in the bar and at the end of the show you get a wad of cash from sales at the big mutual table. I went twice and it was beautiful. Location was a big part of it, on the banks of the river in Oxford, England.
  • The fear on the part of an organizer of of course is of course that comics makers won’t attend a festival that they are not tabling at. It’s too foreign a concept to many comics makers. They might balk at the idea of having to be involved with programming as opposed to hand selling their books. So, one idea proposed is to make the exhibition aspect of the fest to be geared towards book debuts. The festival becomes an event for press. In such an ecosystem, everyone in local and national press knows that if they want to interview artists, this is where they do it. Like a “Comics-Cannes”. CXC is doing this well, already in its third year. While it’s true that SPX is where a lot of people shoot to debut books, that’s not the focus in the market place. For the most part it’s a free for all. If a festival handled this in a way that was considered across the board… that’d be interesting. – Juan Fernandez
  • Two of the big keys for the future: 1. shows held in places with academic institutions willing to help fund aspects of the show; 2. shows held in places with city councils that earmark money toward the arts.
    Rob Clough
  • One other thing that I wrote about in my upcoming article that I think Juan would agree with–simply cloning the flea market +/- some programming model in every city ignores the unique resources that those cities might have available. When putting on a show, it’s important to tap into every local resource possible, be it a library, a university, a unique venue, a blended arts scene, a vibrant downtown, a monthly art walk, a great local comics shop, etc.
    Rob Clough
  • creating better transparency about the application process. Some shows are great about this, but others are inconsistent in their messaging. Of course this is tied in to Juan’s point about how a show deals with increased applications and growth.
    – Whit Taylor
  •  I think that The Projects’ “show store” idea (was) a good one, but anecdotally at least 1-2 of the guests felt like they missed out on the part where they interact with the fans/may have had softer sales because of this.The Projects wasn’t really “about” selling books- more about getting artists in dialog and collaboration, but I do feel like something similar that also had dedicated signing times might be a good balance.
    Zack Soto
  • After reading the article, I’d have to say that the only reason Short Run wasn’t singled out as part of the way of the future is that the author hasn’t attended. They are fast becoming the hub of the Seattle scene because of their year long programming and outreach.
    I also think it’s weird that TCAF is listed as “the future” (I agree in many ways) but TCAF is just as much a flea market show about collecting the hot new books by the hot new creators as any other show. Maybe more than most!
    Zack Soto
  • That’s a good point about the confusion with seeing TCAF as the future – It’s confusing because it has one of the “hottest” show room floors for buying books out of most show imo – for me the future oriented aspect is the programmatic one with TCAF – In the ways that they link up with cultural embassies from different countries to put together exhibitions and to bring guests to the show + use the city as a campus. CAB does this too but their center of gravity has hovered close to the gymnasium flea market + the gaming/comics/cartooning programming – and the educational panels earlier in the week. There’s also the aspect of how the programming starts up a month or so in advance with happenings across Toronto and then builds up steam for the main weeekend.
    Juan Fernandez
  • It would be awesome if someday there was a grand database indexing each individual archive. So if I typed in “Supermonster 12”, it would tell me which archives had physical copies, and where digital copies existed. So much art has disappeared from my generation of cartoonists (1987-2000, roughly), the last generation prior to the internet. That’s why projects like John P. collecting Jenny Zervakis’ book are so important.
    Rob Clough
  • I think every good show should consider having a gallery space associated with it. The Laura Park show associated with CXC was eye-opening, but it doesn’t have to be in a formal institution. We did this at DICE, and while it got a little clunky, it helped connect people with original art in a indirect, non-transactional manner. (And people could sell art if they wanted.)
    Rob Clough

What do you think?

Suzy and Cecil – 10-11-2017 – by Gabriella Tito


Cozytown – 10-11-2017 – by Juan Fernandez


Caleb Orecchio – 10-11-2017 – by Caleb Orecchio

Expanding the Festival Toolkit – 2017

Juan here: I just came back from CXC 2017 and I am still bathing in its warmth. It’s a good feeling. As I do around this time of the year, I’ve been thinking about the future of comics events in America. How we move into that future. I’m typing out loud, so forgive me for dreaming too big.

Comics, as we engage with them today in the United States’ existing festival ecosystem, are facing a cultural choking point. There’s a huge role that comics can and should be playing in broader cultural discussions.

But they’re not and our Festivals have something to do with this. It’s 2017 and it is essential to reframe the discussion of comics shows.

Comics making and comics reading practices need more breathing room. To grow. To continue expanding. We need to nurture interdisciplinary approaches to experiencing comics.

We need our festivals to make this their guiding principle.

Comics making no longer needs to be limited to being a collectible, genre-oriented narrative art form. It’s time that it be seen as a mode of communication with breadth and depth, that can survive in any kind of market-driven cultural ecosystem. We need to celebrate the cartoonists and comics for whom the craft is but one aspect of their life’s work. Not just the cartoonists’ cartoonists.

Our festivals can do that.

What do we want?

  • To bring together cartoonists from across the country and the world.
  • To bring together a hungry readership from the host city.
  • To create a physical space that inspires comics making practices across generations.
  • To nurture a space that honors the work, thought, and spirits of those participating.

What are kinds of things are we getting?

  • SPX
    • The US’s  premier small press show. This is where many publishers seek to release their comics. There’s an insularity to this show that is both a boon and a curse. Pro: Easy access to artists and publishers that you want to meet + ensures great attendance at workshops and panels during the festival. Con: It seems limited in developing to be more than a weekend style, old school comic-con celebration. Has been developing deeper, promising ties with the Library of Congress, but those ties haven’t appeared to have programmatic effects. This show has rock solid attendance of folks from the D.C. and Maryland area, along with people from around the United States.
  • CXC
    • Historically focused, it seeks to fold in the public into a conversation about the mediums past, present, and future. The sales aspect of this show isn’t fully developed as it is only in its third year. Its host city hasn’t trained its audience yet. Has a deep, fully integrated connection with a robust institution (Billy Ireland Cartoon Library & Museum) that supports the cartooning arts year round.
    • You can find and buy “the good stuff” here. These shows happen in dense metropolis’ like NYC, LA, London, Madrid and the like. This is where you find pioneering work sprinkled from table to table. These shows don’t have a massive overhead of complex programming (though they may have some) that takes center stage for the fest. They’re zine fairs and art book fairs on steroids.
  • Regional Zine Fairs – Paperjazz/Pittsburgh Zine Fair
    • These are the backbone of a broad self-publishing ecosystem. They do best when the cost of entry is low and when they have a community focus. The stakes are low and the focus has historically been on self-authorization above authorial prestige. These have limited capacity of growth before they lose their petri-dish identity.

How do we get there?

First off, identify the kind of show that you are trying to make. Is it a zine fair? Is it an international festival? Is it a regional show? Focus on making it the best version of that kind of show as possible. Everyone tends to go bigger and bigger and bigger, associating that growth with success. When you pursue growth as a primary indicator of success festivals wind up either growing unsustainably and burning out or losing their ability to focus on their intended vision becoming amorphous blobs.

Here are the nuts and bolts of something that’s been taking form across the discussions that I’ve been having recently.

Hear me out.

  • Centralize Sales

Our current system is embarrassingly inefficient. It is an ineffective use of getting tens of dozens of skilled comics makers and storytellers in one city for a week or weekend. No more exhibitors expected to stand behind tables hawking wares. Nowadays with everyone behind tables, people are barely interacting. There’s a vital cross-pollination that just doesn’t happen.

What does it look like when a show does away with the flea market model?
One thought is that you establish a festival shop.

You get an experienced comics retailer to run the shop. You have them hire a trusted staff. You pay that staff. The shop gets a cut. 30/70. In a model like this, it costs you no money to have your work available.

Under this new kind of model, if you are a guest you sign up to be involved in citywide comics programming. Signings, gallery exhibitions, lectures, workshops. This is the kind of thing that you get Arts and Cultural councils involved in. You sign up because you want to be part of the programming.

With a model like this, you free up the artists and suddenly new horizons open up. Among those horizons are sources for financing. Imagine collaborating with a city’s municipal parks: guided bike tours where throughout the tour you make stops, learn about the city while doing landscape drawings and comics strips of the experience… A series of readings at a bookstore. Gallery exhibitions. Movie screenings at an arthouse theater. There are so many venues that would be amenable to programming: libraries, universities, community centers, theaters, bookstores, parks… Most of these venues have programming budgets that could fund materials and labor for artists.

  • Programming Throughout the Year

When all of your programming happens over a weekend, you’re banking a lot of things to the lineup to ensure good attendance over the course of 2-3 days. That’s a lot of stress. This winds up putting a lot of pressure on media marketing for your event. There will always be this stress, but you can alleviate that pressure by ensuring that your festival’s work is on people’s radar throughout the year.

Spread the festival’s programming across the year. Small happenings can go a long way.

Readings, comics salons, artist lectures, residencies. Have your festival lead small local pop up book fairs during gallery crawls. Collaborate with the local zine fair. Do monthly lectures in collaboration with the local art school. Organize a monthly reading group with your local library.

A festival will naturally have deep connections with publishers and artists and can provide a huge service to libraries, schools, cities, theaters and the like. You can help them develop their programming and they can help foot the bill of an artist’s materials, lodging, and travel.

Have the festival be the city’s comics aggregator. If anyone thinks about comics in your city, you’d do well to have them associate the festival with the art form.

  • Limited guests

Imagine this: You bring 4 special guests.

A comics journalist, an art comics maker, a storyboard artist, a memoirist. They all have unique expertise. Not only in their craft but in the subject matter that they work with on the regular. Pair the journalist up with a panel of other journalists from the host city and have a discussion on geopolitical instability in the middle east. Bring the art comics maker and have them do a performance with a dance troupe. Record a conversation between the memoirist and an archival libraries memoir specialist, get the storyboard artist to discuss their work with paleontologists.

You organize community programming around those specific guests. You look at their strengths and their areas of expertise.

You show your city that comics are a pathway to expertise.

Why limit the number?
For maximum impact. You want to foster a cultural conversation across your city that is not diluted by droves of artists. Anyone who is interested in comics in your city will experience the perspectives of those invited. Together. Rather than seeing a list of 80 exhibitors and only engaging with 7 of those artists an attendee will in some way or another experience all the invited guests. You suddenly have a city’s local community on the same page. They’ve heard the same talks. They’ve seen the same demonstrations. Those artists impacts ripple out through that local area with much greater intensity. This is effective.

It is more cost-effective. You can focus on certain artists and pair them up with institutions that wish to fund your activities. You get way more bang for your buck from your programming. Your programming funds your festival and it pays the artists an equitable wage.
Can this be more challenging than charging admission and charging exhibitors + selling ad space? Yes, a little more challenging, but far more promising.

Of course, all this can and should be co-programmed with local artists. Your local artists will be the beating heart of this cultural project as time progresses. You are building a cultural institution that is fostering the arts, with a focus on comics and cartooning. This allows for an international and regional dialogue to develop organically among makers and readers tied to where you’re at.

Who will be able to do this work? Few working cartoonists will be able to do this. This kind of work becomes a full-time job and if you’re coming at it with comics money, nothings going to happen. Which is why it is essential to reframe this discussion of comics shows.

No more glorified flea markets.

Honestly, I don’t care what books are new by this year’s hot new young cartoonists. That kind of thought just keeps you in a headspace of exploitation and commodity creation.

I want more people to be reading and making more comics thanks to these festivals. Helping people engage on all sides of the comics equation as reader, advocate and creator is the way to go. It’s good for society. (More elaborate arguments on that in the future, this is Comics Workbook so you can just take it as an assumption of that as an organizational belief.)

Autoptic in Minneapolis has had these kinds of aspirations, but because it has primarily steered by working cartoonists but that show is still trying to find its rhythm and flow.

Just as many comics makers and cartoonists find ways to diversify their personal income, organizers should do the same. What kind of cultural value can you generate to find support in your city or state?

Festivals like Entreviñetas in Colombia and TCAF in Toronto are the future. Period. If you’re not up to date on the incredible work that is being done in Colombia, check out Frank’s tour diary from 3 years ago. And then hop on over to their site.  TCAF too.

Some of you are in the trenches already. Thank you.
The rest of us? Let’s get to work.

The Blonde Woman – Aidan Koch

The Blonde Woman // Space Face Books //  $12.00

Aidan Koch is currently at the forefront of efforts to bring painterly values to comics.  Continuing a tradition with forebears including Jeffrey Jones, Jon J Muth and Frank Santoro, Ms. Koch creates comics in which the content is to be found as much through the process of representation as in that which is being represented.  The Blonde Woman is a 48 page, full color, graphic novella, originally printed & perfect bound in a numbered edition of 500 with the assistance of one of the last grants from the Xeric Foundation. It is now available through Space Face Books.

The story, as such, is one of doubling, of seeing oneself (or not) in the other, of the projection of subject onto object and the gleaning of awareness that this process offers.  As is often the case in narratives such as this, the artist renders her hard won insights unto the reader of the work, who receives illumination, while the characters portrayed remain in the dark.

That said, the primary benefits on offer here are æsthetic.  Ms. Koch is forging a unique synthesis of the values of classical drawing and painting with those of contemporary cartooning, and The Blonde Woman is the most substantial embodiment of this synthesis she has produced thus far.  Well worth a look for anyone who like to extend their appreciations in either direction.


Empezamos el día con Daniel Blanco; José Muñoz y Maria Luque; Inés Estrada; Rodrigo la Hoz; #GRAFMAD2017 y los tebeos de Cómics Workbook!


Juan here: Well, folks, made it through the gauntlet. I had a brilliant time at CXC as Jenn Lisa and Sean Knickerbocker’s hype man & dutiful assistant. Comics Workbook held it down and got the good word into the hands of Columbus aplenty through workshops, back issues and conversations. It’s great to have a crew like Comics Workbook where we’ll have a core crew running programming and officially representing (Frank Santoro, Sally Ingraham, Audra Stang, Caleb Orecchio, and Connor Willumsen) while also having “agents” floating around the festival. It was good to be in the company of folks like Aaron Cockle, Kurt Ankeny, Adam Griffiths, Marina Harkness. All of us doing our thing.

A huge thank you to the CXC staff and volunteers for helping establish a show that best honors cartoonists and building a deep city wide infrastructure. Most specifically, I’d like to thank the CXC Executive committee, the people who make this show what it is and tirelessly keep it going–Jeff Smith, Lucy Caswell, Vijaya Iyer, Kathleen Glosan, Tom Spurgeon and Melody Reed.

Got to catch up with the great Iona Woolmington. Hearts on fire for her. Picked up fresh Comics School USA #8 from Kevin Huizenga. Can’t wait to sink my teeth into his notes. Watched Kat Fajardo receive the CXC emerging talent and felt the waves of excitement. Still running on that energy. Talked autobio comics with Breena Nuñez. Watched Jenn Lisa find kindred spirits at this show talking autobio and DIY and talking about the garbage aspects of the intersection of ego and publishing. This is a big deal for me and her. Good stuff.

CXC 2018 is 9/27-9/30. Thursday through Sunday. Mark your calendars and make your pilgrimage to Columbus.

Stay tuned for my annual Expanding the Festival Tool Kit post. After bathing in the warmth of CXC and swimming through a year of shows and festivals, I’ve got lots of thoughts. And I hope you do too, so chime in.

Tonight in Pittsburgh we’ve got our monthly comics salon:

If you’re in Pittsburgh, be sure to stop by for some drawing exercises, coffee, shop talk, and solidarity. Tonight we’ll be riffing off of Connor Willumsen’s latest workshops, focusing on distilling action, observation and dialogue into their essential bits across tight but flexible architectures of the page. We’ll be guided by the principles he’s developed over the past couple of years, most visible in his latest work, Anti-Gone, published by Koyama Press.

Anyway here’s the usual comics gold I bring you every week from Latin America and Spain. A little lighter a haul than usual, but just as shiny.
*Turn on your translation devices*


Los cómics y las noticias que me han llamado la atención esta semana:


Joanie and Jordie -10-04-2017- by Caleb Orecchio


Suzy and Cecil – 10-4-2017 – by Sally Ingraham



Empezamos el día con Andrea Galazina; El Publicadero en Manizales; Maria Luque y los tebeos de Cómics Workbook!


Juan here: I’ve been blasting through this fall and am running on empty – OOF- the usual SPX circus, organizing the Pittsburgh Zine Fair, scheming for Cartoon Crossroads Columbus (CXC) + organizing press conferences, handling catering and other administrative craziness at the day job at the Arts Council have me running ragged. I know, I know, no complaining, no complaining. It’s all good stuff and the haul will be over come October 12th. Just wanted to let you know how I’m doing .

Anyway here’s the usual comics gold I bring you every week from Latin America and Spain. A little lighter a haul than usual, but just as shiny.
*Turn on your translation devices*


Andrea Galacina acaba de publicar “¡PUEDO DECIR LO QUE QUIERA! ¡PUEDO HACER LO QUE QUIERA! UNA GENEALOGÍA INCOMPLETA DEL FANZINE HECHO POR CHICAS“, una autoedición sobre el contexto del fanzine feminista en España. La fundadora de BOMBAS PARA DESAYUNAR también da algunos detalles del próximoPICHI FEST y habla sobre el DEPARTAMENTO DE FANZINES de la biblioteca de Mujeres. Ana Flecha les ofrece todos los detalles en esta entrevista en Madriz.com

Léanlo todo AQUI.


¿Ya están listos para el Publicadero en Manizales, Colombia? Acá la programación. Todas las actividades son gratuitas: 


Las estampas de color de María Luque – Entrevista

“Usa el color como Matisse y los espacios de sus dibujos parecen salidos de algún sueño naíf. Le gusta viajar, los gatos y perseguir a extraños en los museos para luego consignarlos en su libreta de dibujo.” – Andrea Uribe Yepes

En la casa de familia Luque en Rosario, Argentina, hay un daguerrotipo de su abuelo Teodosio Luque. Es un cuadro de un señor solemne de barba larga y cara de serio que asustaba a todos. María recuerda que de pequeña el cuadro rodaba por la casa: lo escondían en el baño, debajo de las camas. Cree que ese daguerrotipo lo hizo Cándido López, uno de sus artistas favoritos y de los únicos que manejaban la técnica por la zona. Esto es importante porque cuando empezó la Guerra de la Triple Alianza, su abuelo Teodosio fue enviado como médico y Cándido como soldado. Esa proximidad fue la que generó curiosidad en María y la historia de la cual partió su primera novela gráfica: La mano del pintor (2016).

Léanlo todo AQUI.


Frank Santoro made a comic book about his parents and now he needs help making a handbound copy of the book for each of them. It’s a good story. Check out the Indiegogo campaign HERE – or if you want to contribute via PayPal, look at the campaign HERE.


The fall semester of thee Santoro Correspondence Course for Comic Book Makers starts October 1st 2017. 8 weeks of comics instruction that will bang your practice into shape – 500 bux. Full details about the course and how to apply can be found HERE.


Suzy and Cecil – 9-27-2017 – by Gabriella Tito



Empezamos el día con Amanda Baeza; Entreviñetas 8; Marco Toxico en La Polola; José Muñoz y Maria Luque; Gaspar Pujadas y Rodrigo Vargas;#GRAFMAD2017; Mireia Pérez entrevista a Richard McGuire;  y los tebeos de Cómics Workbook!


Amanda Baeza y las canciones dibujadas

Gabriela Blanco nos invita a reflexionar sobre Su obra de narraciones autobiográficas en El Espectador.

Sus historias son fragmentadas, alejadas de la estructura secuencial y más cercanas a la simultaneidad, y lo son porque responden a una representación de sus recuerdos, desde adentro, sin inicio, nudo y desenlace ordenados, así como recordamos todos. Su intención es lograr hacer sentir al lector lo mismo que ella sintió en aquellos instantes, ponerlo en su lugar. Le importa más el qué representó para ella que lo que realmente sucedió. Y es en ese punto donde Amanda emerge como vanguardia: cuando modifica las formas convencionales para contar historias y las reajusta a lo que realmente le interesa contar, porque cree en la empatía como un recurso más poderoso de conexión con el otro que la ficción misma.

Léanlo todo AQUI.



La primera parte del gran festival Entreviñetas tendra lugar este fin de semana, del 20 al 24 de Septiembre.
Si todavia no lo saben, el Festival Entreviñetas es el evento del cómic y el dibujo más influyente en la escena latinoamericana contemporanea. No se pierdan toda la programación! Pueden ver los horarios AQUÍ. Talleres, ferias, charlas y entrevistas – habra de todo, sobre TODO!


Los cómics y las noticias que me han llamado la atención esta semana:


Suzy and Cecil – 9-20-2017 – by Gabriella Tito


Tac au Tac

Neal Adams, Moebius (Jean Giraud), Joe Kubert on TAC AU TAC – September 30th, 1972.

From 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.


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


Empezamos el día con Autoras de Tebeo de ayer y hoy; Bef, Decur y Paloma Valdivia en La Polola; Convocatoria El Publicadero 2017; Mónica Ceberia y Mireia Pérez; Muriel Bellini y los tebeos de Cómics Workbook!


Los cómics y las noticias que me han llamado la atención esta semana:


Suzy and Cecil – 8-30-2017 – by Sally Ingraham


Joanie and Jordie – 9-6-2017 – Caleb Orecchio


Empezamos el día con Carla Berrocal; Jueves Furioso de Dibujo; Simon Hanselmann; la Convocatoria de Voluntarios de Entreviñetas; La Polola con Brittany Tullis; Graficas Pro Aborto Libre; Alex Fito; Berliac  y los tebeos de Cómics Workbook!


 Sobre el Proceso de Trabajo – Carla Berrocal

Antes de nada, debo decir que no creo que exista un método de trabajo que sea bueno o malo o que sea el método definitivo. Creo, sencillamente, que existen miles de formasdistintas de afrontar un encargo, tantas como dibujantes. El mío es uno más de esos miles de métodos. No creo que sea el mejor ni de lejos, pero si que pienso que puede ser interesante compartirlo con vosotros. Siempre con la idea de establecer un diálogo y aprender cosas que puedan resultar interesantes para todos.

Así pues, ¿cómo trabajo? ¿cómo afronto un encargo?


Jueves Furioso de Dibujo con Virginia Abrigo

31/09 – 18:00-20:00
Plataforma Lavardén
Mendoza 1085, 2000 Rosario, Santa Fe


Simon Hanselmann: la vida no es bonita, ni siquiera en cómic 

En tiempos de Tumblr, de bloggers sobrevalorados, de fotos de perfil manipuladas por Photoshop y relaciones interpersonales supeditadas a una interfaz friendlyalgunos pensamos que una vuelta al existencialismo honesto y deprimente es algo casi necesario. Por eso nos gusta reivindicar a Simon Hanselmann. Y no es que estemos de acuerdo con eso de levantarnos cada mañana planteándonos la existencia entre lacrimosos accesos de frustración, no. No del todo. Pero en esto coincidimos: empieza a resultar imprescindible un poco de reality bite, una dosis medicinal de realidad sucia que levante la alfombra y deje al aire toda esa porquería que se ha ocultado debajo con insistencia. Porque, sin entrar en discursos grunges, es dolorosamente cierto que la realidad, aunque pretendamos lo contrario, no suele ser algo que pueda retocarse con un filtro trendy ni reconstruir recortando el trozo que queremos mostrar. A pesar de que podamos tener momentos felices, la felicidad no es una imagen y, por lo tanto, nunca podrá permanecer demasiado tiempo.

Léanlo todo en Literary Notes.


ENTREVIÑETAS, plataforma cultural colombiana, invita a todas las personas en Colombia con interés en donar su tiempo para ayudar en la navegación del #FESTIVALENTREVIÑETAS como Voluntarios de la *red viñetera*.

El voluntariado supone a menudo un desafío, pero significa también adquirir nuevos conocimientos y realizar actividades gratificantes. En el voluntariado no se recibe un pago y se entiende como una donación de tiempo y conocimiento para comprender y atender a los detalles que permitirán llevar el festival a buen puerto en sus sedes de este año:

Miércoles 20 al domingo 24 de septiembre 2017

Miércoles 11 al domingo 15 de octubre de 2017

Convocatoria de Voluntarios


Los cómics y las noticias que me han llamado la atención esta semana:


Suzy and Cecil – 8-30-2017 – by Gabriella Tito