Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged caleb orecchio, jack brougham, jaun fernandez, sally ingraham

Juan Fernández

Posted on March 7, 2017March 8, 2017

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11/29/2016

Aaron CockleNovember 28, 2016NewsAaron here today with the Micro-Press run-down; RESIST! Reminder; a look at Formalism and Historicity; Marlene Frontera; Gerhard Richter; CALA; O Correspondence Course, My Correspondence Course! ————————————————————————————————— Micro-Press Yearbook Robyn Chapman has released her third annual review of micro-presses. This one recaps 2015, which seems like such a quaint time as we stare down the last days of 2016. These books have been invaluable in assessing and giving some perspective to the current small-publishing comics landscape. ————————————————————————————————— RESIST! RESIST! will be published as a special issue of Gabe Fowler’s tabloid newspaper, Smoke Signal. We are aiming to make the print version an all-women issue though we’ll remain open-minded and we will consider all submissions. 30,000 copies will be distributed for free on Inauguration Day, January 20, 2017, in Washington D.C. Further distribution will occur at the Women’s March on January 21st and throughout the United States. It is guest-edited by Françoise Mouly, art editor of The New Yorker, and writer Nadja Spiegelman. The site is updated on a daily basis, so be sure to check back, and please consider submitting work. ————————————————————————————————— “authoritarianism,” “proto-Fascis,” and a “seizure of state power” Paul Mullan reviews Benjamin H.D. Buchloh’s Formalism and Historicity: Models and Methods in Twentieth-Century Art at the Red Wedge Magazine blog: The initial analysis of neo-expressionism was weighted towards its national(ist) origins, whether German or Italian, given, again, fears of a new, continental “authoritarianism” and “proto-Fascis.” However, the analysis by 1984 is more weighted towards the painting’s engagement with abex, US abstract expressionism. The relation between the US and Europe is here explicitly characterized as “colonialized.” Abex had arisen by the end of the Second World War, and the dominant military and economic position of the US – given the destruction of much of Europe and Japan – allowed for a strong cultural position as well throughout the 1950s and early 1960s. (See the histories of CIA support for art exhibitions that traveled globally, as instruments in Cold War propaganda.) The real, objective conditions that can provide an explanatory framework for this change should be evident. There was a new primary political contradiction developing on the ground: the mass movement – spanning multiple, national borders – against the “euromissiles” and new, US imperialist offensive. ————————————————————————————————— I Go Go Back and Forth Marlene Frontera will be launching her new risograph book of illustrations this Wednesday, November 30, 6-8pm at Picture Room, 236 Mulberry Street, NYC. Drawing inspiration from a childhood picture book in which a girl is seen next to a rippling pond that grows as the pages progress, Frontera documents the evolution of a single drawing at different stages. Working alongside Jeremy Jams and Dominic Fortunato of Soft City Printing, Frontera captures the subtle construction of an illustration, filling space with environment around her centric female character. This beautiful risograph book is an edition of 200, and was printed in Brooklyn by Soft City Printing. ————————————————————————————————— ‘Looked at in this way, all that I am trying to do in each picture is to bring together the most disparate and mutually contradictory elements, alive and viable, in the greatest possible freedom. No paradises.’ An interview with Benjamin H. D. Buchloh and Gerhard Richter from 2009, via the MIT Press: BB: So, in 1966, when you started to paint nonfigurative pictures, Color Charts, did that also have something to do with a head-on confrontation with minimal art? Was that another conflict situation, a rejection of American dominance, or was it through an evolutionary process of your own, rooted in the immediate, local context here in Düsseldorf? Was it through meeting Palermo, perhaps? GR: Yes, it certainly did have something to do with Palermo and his interests, and later with minimal art as well; but when I painted my first Color Charts in 1966, that had more to do with pop art. They were copies of paint sample cards, and what was effective about them was that they were directed against the efforts of the neoconstructivists, Albers and the rest. ————————————————————————————————— Comic Arts Los Angeles 2016 ————————————————————————————————— The Winter Semester of the Santoro Correspondence Course for Comic Book Makers Starts December 29, 2016. 8 week course, $500, 10 spots available, apply by December 13, 2016 and get $100 off course fee. Share this page: [...]

05/12/2016

HarrisonMay 12, 2016NewsMaple syrup and guts for the Daily News Recap of May 12, 2016. ————————————————————————————————— RVA in the TDot Hey ya’ll, Cameron here with a pre-Toronto Comic Arts Festival news special. Real busy here, gearing up for TCAF . Last year I did a Richmond, Virginia Line Up for SPX. This year a few of us got into TCAF so I’d like to make a little round up of the marvelous people who will be there! Melissa Duffy! A lovely comic artist who always knows how to take our mind to mysterious parts of thought. Website Tumblr Catch her at TABLE 237! Kyle Katterjohn! Mysteriously creating in the depths of Richmond, he always come up with the most compelling characters and ideas. Website Tumblr Catch him around the same table with Melissa! TABLE 237! Tres Dean! A local writer in the area who loves, loves, loves wrestling more than anyone I know. Check out some of the comics he’s written! Gumroad – Twitter Also at the table with Melissa and Kyle! Chris Visions! I’m sure you’ve heard of this dude before! Just an anomaly at art, and one of the best dancers ive met, no seriously, dont challenge him in a dance off. Website – Tumblr – Twitter TABLE 265! Cathryn Virginia! Her compelling illustrations will suck you in and have you wondering “like how.. but wait, woaaaah.” She’s always creating such vibrant ideas and images. Website Tumblr Twitter TABLE 231! Richie Pope! A fellow friend who is always challenging the medium no matter what it is. Also if you wanna learn about rap and hip hop, this is your dude. Website Tumblr Twitter TABLE 231! Cameron W. Nicholson (myself) I’m cool, hip, and won’t stop till I get to direct 8 movies. Then maybe I’ll become a football player. For now though i’m going to keep throwing animation, comics and illustrations at you! Website Tumblr Twitter TABLE 231! There are too many nice things I can say about each and every one of these great people. Come by the tables and say hi, get a hi-five, or even a hug. We’re all in this together to make comics and be amazing people! Hope to see ya’ll there! -Cameron Share this page: [...]

12/07/2016

Juan FernándezDecember 7, 2016los Cómics / NewsJuan con un poquito sobre Frank Santoro sobre El Arte Art of Vanesa R. Del Rey;Feria del Trueque y El Garaje Festival de fanzines y editoriales independientes; Gerardo Vilches reseño “Nubes de talco”, de Amanda Baeza; Suzy y Cecil; el semestre de invierno del Santoro Correspondence Course for Comic Book Makers . ————————————————————————————————— ⚡ Miami, FL – 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. 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, quien estudió con George Pratt y quien a dibujado con Grant Morrison. Estamos ofreciendo compras adelantadas a un precio reducido. Sigan a Vanesa por Instagram – @vrdelrey – y http://vrdelrey.com/ Le pedimos a nuestro director, Frank Santoro que nos contara un poquito sobre la fuerza feroz y imparable que es Vanesa R. Del Rey. FS: “Vanesa, I’m quite taken aback by your sheer technical ability which seems to be married to a poetic sensibility. There’s a lightness there. Sometimes illustrators with that ability get heavy-handed. Yet you manage the push-pull between these two sides of yourself–because you’re like a samurai. The humble samurai.” VRDR: “It’s about trying to remember that. I can get all this praise, I can get all these amazing responses from strangers, but at the end of the day—I’m still a student. I’m still learning. The crown doesn’t fit. The crown should never fit.” Este intercambio viene de una entrevista que Frank hizo con Vanesa R. Del Rey, que occurio en la Residencia de Comics Workbook en Pittsburgh, PA USA. 2016. FS: 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¡ ————————————————————————————————— ⚡ Medellín, Colombia – Feria del Trueque y El Garaje Festival El sábado que viene, el 17 de diciembre desde el mediodía hasta 7:00 p.m. el Exploratorio abre sus puertas para la 2a edición de la Feria del Trueque en donde la confianza es la única moneda (social) necesaria, en unión con el Festival de Editoriales Independientes que traerá más de 25 proyectos editoriales locales e internacionales. Cuando el dinero escasea, las personas usan su creatividad para satisfacer sus necesidades y deseos, y esto se traduce en intercambios directos o trueques, mercados de redistribución y estilos de vida colaborativos. Con esta premisa Compartir Medellín, El Garaje y el Exploratorio del Parque Explora invitan a todas las personas a participar de la 2a edición de la Feria del Trueque y el Festival de Editoriales Independientes que se realizará el sábado 17 de diciembre de 12:00 a 7:00 p.m. el Exploratorio. En la Feria del Trueque podrás intercambiar objetos, alimentos, servicios y saberes sin intermediarios, hasta tu tiempo, y sin involucrar dinero. En muchas comunidades esta es una manera de cubrir las necesidades básicas, que permite fortalecer los lazos de solidaridad y amistad entre las personas. Esta Feria tendrá un lugar muy especial para que las niñas y los niños participen. En el chiquitrueque podrán intercambiar juguetes, películas, ropa, libros y todo tipo de objetos que ya no utilicen y que quieran intercambiar. Este espacio les permitirá de manera vivencial hablar de economías solidarias y del re-uso como forma de cuidar el planeta. ————————————————————————————————— ⚡ Madrid, España – Nubes de talco, de Amanda Baeza Ayer, Gerardo Vilches reseño “Nubes de talco”, de Amanda Baeza. Publicado por Fulgencio Pimentel. Over on his WatcherBlog! Baeza, que gracias a Fulgencio Pimentel ha publicado su primer libro en castellano al tiempo que visitaba el GRAF e impartía un taller de dibujo, ofrece en Nubes de talco muchas cosas interesantes. La primera es, sin duda, un estilo definido, una voz pura y original pero ya plenamente hecha y al mismo tiempo en evolución. Pero —lo estamos aprendiendo aún— tener un «estilo definido» en el cómic contemporáneo no significa dibujar siempre igual. Muy al contrario, Baeza muta constantemente en función de la pieza y sus necesidades específicas, y el «estilo» hay que encontrarlo en cuestiones enos obvias: la cualidad moldeable de las formas, muchas veces masas de color puro sin delimitar por líneas, los rostros esquemáticos, la ruptura de la representación naturalista del espacio… Pero ese lenguaje se plasma con gramáticas diferentes, con técnicas diferentes. Siempre se mantiene una constante en su narración, que es igualmente antinaturalista. Es decir, lo que se cuenta no es una reconstrucción de su recuerdo como si la estuviera reproduciendo de un modo objetivo, desde fuera, siguiendo un modelo de narración neutro y cinematográfico. Las escenas no responden a una lógica, porque Baeza parte de una certeza que muchos otros autores autobiográficos soslayan: los hechos tal y como sucedieron se han perdido para siempre y son irrecuperables. ¿Qué queda, entonces? Las emociones, las imágenes deformadas tras años de anidar en nuestro cerebro, a veces algo inconexas. Baeza no reconstruye lo que pasó, sino la impronta que dejó en ella. Es una autobiografía emocional, por inventar algún palabro que alcance a explicar un poco su trabajo. ————————————————————————————————— ⚡ Pittsburgh, PA – El comienzo de Suzy y Cecil Suzy y Cecil es una tira diaria, creada por varias estudiantes de Comics Workbook. Pueden seguir sus aventuras y su amistad en instagram: @Suzy_and_Cecil. ————————————————————————————————— ⚡️Comics Workbook ha anunciado el semestre de invierno del Santoro Correspondence Course for Comic Book Makers – el curso empieza Dec. 29th 2016! Curso de 8 semanas – 500 dolares – 10 estudiantes – presentate para el curso antes del Dec. 13th 2016 y recibiras un descuento de $100! Email santoroschoolATgmail for more details. Direcciones para la Solicitud de Ingreso al Santoro School : -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. Manda tu solicitud a: santoroschoolATgmail ————————————————————————————————— hasta la proxima! Juan Share this page: [...]

Art Trip: Comics With O’Keeffe

Sally IngrahamMay 19, 2016Art Trip / EssaysI’m standing in the Georgia O’Keeffe Museum in Santa Fe, NM, staring at an index card in startled delight. It holds O’Keeffe’s notes for a large painting she made in 1963, and it hangs beside that painting, nicely framed. A famous index card. I glance around at the other folks in the gallery, looking for some shared excitement. People circle, pressing earbuds into their heads so that the audio tour they downloaded to their smart phones can inform them about the stuff on the walls. They don’t seem impressed by the index card. I can’t stop staring at it. “Look!” I want to say, “It’s a panel! From a comic! Look everyone!” I was drawn to Georgia O’Keeffe’s paintings of flowers and desert landscapes as a kid. Her love for New Mexico resonated with my own longing for that land, so when I traveled through Santa Fe in 2006, the Georgia O’Keeffe Museum was at the top of my list of stops. I liked the flowers and the landscapes and the bleached white bones back then. Ten years later I am in this museum again, and now it is O’Keeffe’s tiny pencil drawings that pull me in. The sketches that prefaced paintings. First-take watercolor nudes that are mostly splashes of color. Small paintings that seem to be missing their black lines. That index card. Most of what I’m drawn to is work O’Keeffe did when she lived in Canyon, Texas, between 1916-1918. This period is considered the prelude to her career, the formative years when she really began to develop her abstractions. She was not quite 30. A little series she did of Palo Duro Canyon almost makes me cry. The simple, quick strokes seem similar to drawings I have made of the New Mexican landscapes around Santa Fe. I’m the same age that O’Keeffe was when she made them, and – this is “The Land of Enchantment” after all – I suddenly feel strongly connected to her spirit. I whip some index cards out of my bag and copy the series. For a minute, it’s like I’m there on the edge of the canyon with her, drawing in the sunshine… And I’m looking at her stuff and seeing comics, yes. That’s where my brain lives constantly, these days. The index card is a panel for a comic. The Palo Duro Canyon drawings aren’t a series – they’re a sequence. Her paintings without lines prove how lively comics can look without being pinned down by traditional inks. Her small “notes” for larger paintings tell me the story I’m truly interested in. “Colors and shapes make a more definite statement than words,” O’Keeffe wrote in 1976. Especially when they take on the shapes and colors of comics. The statement that O’Keeffe’s work is making to me is reflective of what’s in my own head and heart, but that’s the uniquely fluid exchange between a creator and and the person experiencing the creation. I went to the museum because I’m about to leave New Mexico and it seemed necessary to “check in with Georgia”. I expected to see her flowers and cattle skulls and cottonwood trees in front of blue mesas, and feel somewhat wistful about the land I’m leaving behind. Instead I discovered the comics in her work, and made the peculiar realization that my move back to the East Coast right now puts me on a similar path to the one O’Keeffe took when she left Canyon, TX, to move to New York City. The world recognized her as an artist to be reckon with there. Who knows what will happen to me? I left the museum feeling the opposite of wistful. After all, I had spent the afternoon drawing comics with O’Keeffe – just two gals, jotting down the world in quick, sure strokes, on simple – yet powerful – index cards. I’ll never leave home without them! ————————————————————————————————— (Palo Duro Canyon, TX, a few days later, standing in roughly the same spot that Georgia O’Keeffe stood to make her pencil drawings 100 years ago, perhaps to the day. Funny ol’world.) ————————————————————————————————— Art Trip is a series that features reflections on art and comics, and the adventures that transform those who seek it out. Experience more on Comics Workbook soon. ————————————————————————————————— Sally Ingraham makes comics wherever she ends up, and is currently making them (on index cards) as she moves from Santa Fe, NM, to Pittsburgh, PA. You can see her work HERE. Share this page: [...]

08/01/2018

Juan FernándezAugust 1, 2018los Cómics / NewsNo news for today. I’m home with a sick cat on my lap. On the local front, The Pittsburgh Comics Salon meets tonight at Kaibur Coffee in Polish Hill. Audra Stang and I will be leading Pittsburghers in some comics calisthenics exercises. It’s always a good time – coffee, shop talk, solidarity. Commodity form as community form. If you’re around, come on out. More info here. On the personal front, my sweet baby boy cat Boris, who is only 6, has been sick for the past month and a half. We’ve gotten some medical attention for the little guy, but after all the time in ER, no diagnosis. He is eating a little more, is a little more active, but is still not back to his normal self. You can imagine how frustrating that can be. I’d never had a cat until Boris and this kind of thing is devastating. I’ve been thinking about KING-CAT #75, the issue that John Porcellino dedicated to the life story of his beloved cat Maisie Kukoc, who lived with him for 15 years. In a lot of ways it prepared me for this kind of love and pain. For today, just a photo of the guy. -Juan Share this page: [...]

03/08/2017

Posted on March 7, 2017March 8, 2017 by Juan Fernández

Empezamos el dia con Sol Diaz; Miguel A. Giner y Cristina Durán; Vanesa R. Del Rey; Chicks on Comics;#GRAFBCN2017; Alvaro Ortiz; Fran Meneses and the ugly side; Billar de letras new comics club y los tebeos del dia!

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Cómics y noticias que me han llamado la atención esta semana:

Sol Diaz – spotlighted over on Es Mi Fiesta y lanza un nuevo libro: La historia ilustrada de un embarazo.
Miguel A. Giner and Cristina Durán tell the story of the adoption of their daughter in their latest comic, Una Posibilidad Entre Mil. They talk shop over on RTVE3’s La Hora Del Bocadillo + there’s a fresh interview with Miguel A. Giner and Cristina Durán on their new book over at Bilbao24Horas.
Constantine #3-4 original art by the great Vanesa R. Del Rey available NOW over on Cadence Comics Art Gallery. Don’t miss your chance to own some of the action.
CHICAS DE COMICS/CHICKS ON COMICS Siete mujeres historietistas de distintas partes del mundo expusieron sus trabajos en la Fundación Proa de la ciudad de Buenos Aires. Nice interviews and video documentation of the exhibition over on Argentina’s TV Publica. (Start at 34:00)
#GRAFBCN2017 took place this weekend and it was a whirlwind in Barcelona. From the ground + el #GRAFBCN2017 en pocas palabras según Pepo Pérez + the fine folks at @underbrain just published a juicy video recap of the fest! You can watch it HERE.
@Kikeinfame picks back up with his tradition of interview comics makers – this time around, take a tour of Alvaro Ortiz’ tebeoteca y mas!

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Billar de Letras esta poniendo en marcha un club de novela gráfica y cómic donde, de la mano de Gerardo Vilches, codirector de CuCo y una de las personas que mejor conoce el mundo del cómic en España, una vez al mes se analizará de manera exhaustiva una obra para descubrir sus mecanismos narrativos y desentrañar los recursos gráficos empleados por su autor. Nuestra intención es mostrar la gran riqueza del lenguaje del cómic y sus posibilidades narrativas, a través de la lectura crítica de obras que ya forman parte del canon de la novela gráfica.

En las últimas décadas, el cómic ha experimentado un gran crecimiento como medio artístico, de forma que sus posbilidades narrativas y estéticas se están desarrollando en obras de extraordinaria calidad.

En la web de Billar de letras tenéis toda la información para inscribiros.

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Fran Meneses, Chilean comics maker and illustrator in England, gets real with the ugly side of freelance life.
Really nice, honest lens that invites us to dispel the glorification of work-a-holism in the freelance life. It gets unhealthy fast, if unchecked and the glamour that gets associated with it winds up being destructive and causes a lot of silence and erasure of the honest struggle.

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The Spring Semester of the Santoro Correspondence Course for Comic Book Makers started March 7th! There is a rolling start date for this semester of the course, so we will continue taking applications beyond that date.

The course is 8 weeks long – 500 bux – payment plans are available.

More details can be found HERE – or email santoroschoolATgmail to apply.

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Blinkers – 3-8-2017 – by Jack Brougham

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Suzy and Cecil – 3-8-2017 – by Sally Ingraham

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Joanie and Jordie – 3-8-2017 – by Caleb Orecchio

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Cozytown – 3-8-2017 – by Juan Fernandez

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Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged caleb orecchio, jack brougham, jaun fernandez, sally ingraham

Juan Fernández

Posted on March 7, 2017March 8, 2017

Explore

06/14/2017

Juan FernándezJune 14, 2017los Cómics / NewsEmpezamos el día con Alexis Ziritt, Fabian Rangel Jr.; Power Paola; La Polola;Vincente Jose Cociña; Tenderete Fest 14; Casa Ajena; Begoña García-Alén; Sol Díaz; y los tebeos de Comics Workbook! ————————————————————————————————— To celebrate the arrival of Alexis Ziritt and Fabian Rangel Jr.’s, return to North American bookshelves with the hardcover graphic novel, Tarantula. Vault of Midnight Detroit hit up Alexis with some questions about Tarantula: Vault of Midnight: What can you tell us about Tarantula and the inspirations for its concept? Alexis Ziritt: Tarantula is our love letter to pulp comics. Around 2006 I found some Argentian fotonovelas (a form of sequential storytelling that uses photographs) online. These were based on strong female characters fighting crime and dressing up like super heroes, but also I am a big fan of pulp and golden age comics and was able to find a bunch of comics from the 40’s with super heroines. VoM: Your art has a very retro vibe to it and seems inspired by more than just other artists, but also movies, music, and pop culture in general. Who and what are some of the biggest influences on your style? AZ: Sam Hiti, Jordi Bernet, Go Nagai, Steranko, Blade Runner, Forbidden World, Galaxy of Terror, Star Crash, Tokyo Drifter, Spaghetti Westerns, Fantomas, Judex, Doom Metal, Synth Wave, Goblin, Zombi… Read it all HERE. ————————————————————————————————— Power Paola: In-Situ en Correos Cuando alguien me quiere mandar algo por correo a Argentina sufro, porque hay que perder un día de tu vida haciendo el trámite, además te cobran por recibirlo. Así que la última vez que fui decidí hacer un cómic in-situ para que cuando a alguien me pida mi dirección para enviarme un regalito acá le pueda explicar por qué no. – Power Paola Léanlo todo de este cómic AQUI. ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con el gran dibujante Vincente Jose Cociña acerca de su camino creativo, de su relación con la poesía, sus libros y proyectos de dibujo en diferentes áreas y mucho más. Este fin de semana Valencia celebra Tenderete Fest 14, el festival de autoedición gráfica y sonora por excelencia de Valencia. Participan una tonelada de artistas que son de todos lados del mundo Colombia y Alemania… Prepárate. Plop! Galéria ha compartido un trozito de la exposición Casa Ajena, de Mathias Sielfeld, Nico González, Matías Prado y Pablo Luebert. Denle un vistazo. Breixo Harguindey de 13 Millones de Naves reseña Nuevas Estructuras firmado por Begoña García-Alén, “uno de los cómics más revolucionarios del año”. Denle un vistazo a SPACE RIDERS: GALAXY OF BRUTALITY #2 en este preview! Fabian Rangel Jr. y Alexis Ziritt lógran algo maravilloso con esta edicion. Pueden ver la entretenida entrevista que Carlos Reyes le hizo a Sol Díaz en un nuevo VIÑETAS DEL FIN DEL MUNDO. ————————————————————————————————— Blinkers – 6-14-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 6-14-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-14-2017 – by Caleb Orecchio Share this page: [...]

11/23/2016

Juan FernándezNovember 23, 2016los Cómics / NewsJuan con un poquito sobre María Luque; Alexis Ziritt y sus comisiones en COLOR; Dea y Diego, Los Bravú; Arte Original de Vanesa R. Del Rey; Latinx Artists To Take Over Southern California Art Scene In 2017. ————————————————————————————————— Antes que todo: Amantes de los cómics, les tengo DOS preguntas: Cuales artistas latinoamericanos debemos estar leyendo en los estados unidos hoy en dia? Enseñanos las joyas de tus scenes! Latinoamérica, quien esta a la vanguardia de vuestros cómics? Dejenme sus opiniones en los commentarios! ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ⚡ ————————————————————————————————— ⚡ Hace unos días aparecío una nueva web de crítica, http://www.revistakamandi.com/. ¡Tiene muy, pero muy buena pinta! Articulos, critica y entrevistas. Hasta tiene un manifesto – para que sepas que estan serios 😉 ⚡ Buenos Aires, Argentina – Entrevista con Maria Luque Turnes: Viniendo de una formación artística, dudo que la historieta estuviera en el programa. ¿Cómo te enfrentaste al desafío de narrar dibujando? Luque: Y…al principio me asustaba un montón, me daba mucho miedo. Me acuerdo que me junté con José Sainz y le comenté que quería empezar a hacer historietas, pero que no tenía ni idea de cómo encararlo, más allá de algunas pruebas y ensayos que estaba haciendo. Yo estaba mirando Persépolis y Virus Tropical , pero nada más. José se rió un montón y me contestó: “María, de izquierda a derecha y de arriba a abajo”. También creo que todo ese desconocimiento me sirvió, porque no tenía prejuicios. Traté de no pensarlo tanto, porque si me ponía a analizar paso por paso, me congelaba. ⚡ Anda ya, dale un vistazo al mundo de Maria Luque con Amadeo Gandolfo! Jump into the nitty gritty about Luque’s first long form work, La Mano del Pintor (The Painter’s Hand): La Mano del Pintor es la primera novela gráfica de María Luque. En realidad, si nos ponemos un poco estrictos, es casi el primer comic largo publicado en gran tirada por la autora, quién viene hace años realizando fanzines de diversas longitudes, participando en recopilaciones y realizando ilustraciones para revistas y libros para niños. En primer lugar, es particular entonces su elección: primera obra en solitario editada de forma “convencional”, novela gráfica, libro, esfuerzo y lectura de largo aliento, intento en definitiva de construir a partir de ladrillos, con notoria ambición. Otro detalle: no fue serializado, sino publicado de una sola vez y concebido así, sin cortes, con los capítulos pensados como capítulos y no como episodios concatenados que luego serán combinados. Última cosa importante: fue financiado a través de un idea.me (el Kickstarter local), en una campaña que se demostró muy exitosa y seductora como ejemplo para emprendimientos similares a futuro, aunque tampoco podamos aseverar que las condiciones que lo hicieron posible sean reproducibles. ————————————————————————————————— ⚡ Miami, Florida Alexis Ziritt is offering color commissions again! Just 5 spots left. 1 character. 11×17 Bristol paper. Spray paint and markers. $120. ————————————————————————————————— ⚡ Santiago de Compostela, España: Entrevista con Los Bravú Bañate en las ideas y las imagenes del duo creativo,Los Bravú (Dea y Diego). Aïda Camprubí ha organizado esta entrevista “across the grid” – ideas flotando, esperando tu vista, very cool: Home! Entrad, entrad, que os invitan este par de guapazos, Dea y Diego, Los Bravú desde 2012. Tienen el arte en el cuerpo, frente a la cámara y tras los pinceles. Husmear en su obra gráfica, plástica y fotográfica es como encresparse el dedo índice dándole al scroll. Da igual por donde empieces, la linealidad es aleatoria y está sobrevalorada. Wi-fi gratis sin limite de megas, conéctate donde y cuando quieras, la historia habrá empezado antes de que llegues, pero tendrás delante su mejor frame. Ellos son los selectors, tú déjate mecer por el scroll. No hay que buscarle el sentido a todo, no si no quieres. ————————————————————————————————— the Still after the Storm ⚡ Los Angeles, California: The one and only, Vanesa R. Del Rey has conjured up some fantastic #Constantine original art! Available for purchase over at Cadence Comic Art. Hop on over and take a look at Vanesa’s gloriously expressive figures and study her brush work. See something you like, buy it. There’ nothing like the gift of art and there’s no one quite like Vanesa. ————————————————————————————————— ⚡ Latin American And Latinx Artists To Take Over Southern California Art Scene In 2017 A massive initiative will celebrate the influence of long-overlooked artists in California. This is wild and huge news over on the Huffington Post for us here in the United States: In 2017, a massive art initiative called “Pacific Standard Time: LA/LA” will explore the influence of Latin American and Latinx artists on Southern California with a sprawling series of exhibitions taking over more than 60 venues across Los Angeles, Santa Barbara, San Diego and other California destinations. The initiative will shine a spotlight on the many individuals and movements whose artistic visions traversed language barriers and geographic boundaries to share stories, challenge beliefs and create a visual vocabulary for future generations. Just as there is no typical Latin American or Latinx person, the interconnected exhibitions will show that there is no single definition of Latin American or Latinx art. In this article, arts writer, Priscilla Frank, has compiled a very small selection of the artists coming to “LA/LA” in 2017. Learn their names. ————————————————————————————————— ⚡️Comics Workbook ha anunciado el semestre de invierno del Santoro Correspondence Course for Comic Book Makers – el curso empieza Dec. 29th 2016! Curso de 8 semanas – 500 dolares – 10 estudiantes – presentate para el curso antes del Dec. 13th 2016 y recibiras un descuento de $100! Email santoroschoolATgmail for more details. Direcciones para la Solicitud de Ingreso al Santoro School : -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. Manda tus solicitudes a: santoroschoolATgmail 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: [...]

06/12/2017

Caleb OrecchioJune 12, 2017NewsCaleb Orecchio here with some thoughts on Brighter Than You Think: Ten Short Works by Alan Moore—plus some links ————————————————————————————————— Though Alan Moore has not really drawn a comic since the late 70’s, he is so obviously the auteur of the comics he writes that I am tempted to consider him a “cartoonist.” I mean, not really, but I think a more articulate, alternate-dimension version of myself could make a strong case for that designation. Regardless of the artist, Moore’s comics have an undeniable feel and pace, even when drawn by a sub-par cartoonist—AND is never out-shined by a particularly excellent cartoonist. The latest installment of Uncivilized Books’ “Critical Cartoons” series, Brighter Than You Think: Ten Short Works by Alan Moore with essays by Marc Sobel, has been my in-between-other-readings book for about a month now. I like not reading it all the way through at once because 1.) it is a collection of short stories over almost 20 years so it makes sense to pace myself, and 2.) Moore’s work is just too damn dense to swallow in one sitting. If you add Marc Sobel’s essays that follow each comic, you’re looking at a very annotated and involved effort that requires time for thinking and reflection with each story. Something I find very interesting about Moore is his awareness of the artist. He seems to know how to “use” an artist better than any writer I know of, which, to me, aids him in diversifying the types of stories he can tell. He uses them like a solo cartoonist might pick a color to evoke mood, or use a certain brush to evoke a certain era of comics’ past. Using an artist like Mark Beyer can help to abstract a story and give it a heightened sense of reality and playfulness, whereas using an artist like Stephen Bissette can help ground a story to real-life and make a comic more like a documentary. If you’re writing a story for Peter Bagge, the writing is funny and whimsical (Moore’s ability to write comedy is WAY under appreciated in my opinion); and you write strange stories of flight and fantasy for Rick Veitch. I always found his collaboration with Melinda Gebbie, “This Is Information” (a “reaction” comic to 9/11), to be very interesting. Moore wisely keeps character at arm’s length and is communicating in symbols and metaphors; and Gebbie’s art is key because she can draw cartoony caricatures, she can draw realistic rendering of hands clasping in desperation, or she can precisely and patiently draw a falling house of cards (harder than you think). The breadth and nuance of her skills matches the breadth and nuance of emotions Alan Moore implements in this story about a devastating and monumental event. There’s so much I could say about Moore, and there’s so much people have already said. If I were a better writer I could better explain the value of such a great contributor to comics clearer. The best I can really do is point you to the work, and right now I’m pointing you to Brighter Than You Think. Go grab a copy at Uncivilized Books’ website. ————————————————————————————————— if you don’t know, now you know There were several links I was hoping to share today, but came to find out Sally covered most of them here on Friday (I was involved with my sisters wedding all weekend so I’m a few days behind). Go back and check out Sally’s post if you haven’t already, featuring good stuff from Trina Robbins, Jillian Tamaki, Eleanor Davis, and more. Adam West, Batman star and icon to, I’m sure, more than a few comics fans, has died at age 88. Anita Gates has an obituary over at The New York Times. I thought Chris Mautner expressed the brilliance of Alan Moore’s Providence quite well in this article on The Smart Set. The way he briefly-yet-impressively articulates Jacen Burrows’ contribution to the work was overdue I think. The Panic Fables by Alejandro Jodorowski have finally been collected and translated to English. Get a copy from Copacetic Comics. The legendary Steve Ditko is still at it, and you can contribute to his latest Kickstarter (though the goal was met very rapidly with plenty of days still to go) to get a copy of the new Mr. A which marks the 50th anniversary of the character. ————————————————————————————————— Blinkers – 6-12-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 6-12-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 6-12-2017 – by Caleb Orecchio Share this page: [...]

Tim Hensley Draws L.B. “JEFF” JEFFRIES from REAR WINDOW

Chris Anthony DiazMay 27, 2016The Diaz Archivetim hensley’s portrayal of jimmy stewart as L.B. “JEFF” JEFFRIES in alfred hitchcock’s REAR WINDOW (1954, USA) for my ILLUSTRATED MOMENTS IN CINEMA/TELEVISION collection. the illustration was done in april 2016 Share this page: [...]

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