Comics Workbook

An online magazine for comics makers

Juan Fernández

Posted on April 18, 2018April 18, 2018

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01/02/2018

Aaron CockleJanuary 1, 2018NewsAaron here today with the New York Comics & Picture-Story Symposium Schedule; Käthe Kollwitz and Sue Coe; Whit Taylor; Imagined Communities, Nationalism & Violence ————————————————————————————————— The 2018 schedule of the Ben Katchor-organized New York Comics & Picture-Story Symposium has been posted. This line-up looks great, including presentations by Joe McCullough (on Steve Ditko), Julia Gfrörer, Eleanor Davis, Keren Katz, and Matthew Thurber. ————————————————————————————————— ALL GOOD ART IS POLITICAL: Käthe Kollwitz and Sue Coe At Galerie St. Etienne until February until February 10, 2018. ALL GOOD ART IS POLITICAL: Käthe Kollwitz and Sue Coe will present more than 30 drawings and prints by Kollwitz (1867-1945) and more than 30 paintings, drawings, and prints by Coe (b. 1951). The exhibition borrows its title from writer Toni Morrison, who once noted, “All good art is political! The ones that try hard not to be political are political by saying, ‘We love the status quo.’” The exhibition coincides with the publication of a book of woodcuts by Sue Coe entitled The Animals’ Vegan Manifesto (OR Books, New York and London). Despite their differences in background – Kollwitz was born in East Prussia in the 19th century and lived in Berlin, Germany; Coe is an American born in the U.K. and living in upstate New York – both artists share a career-defining attraction to social issues, undergirded by the belief that art can inspire constructive change. Each is considered among the most important political artists of her time, unmatched in her fearless approach to profoundly difficult subject matter, unerring humanity and eloquence, and an uncanny ability to disturb the viewer’s complacency. ————————————————————————————————— Alternative to Avocado Toast for 2017 Whit Taylor at the NY-er. ————————————————————————————————— Imagined Communities, Nationalism & Violence At Rubber Factory until January 31, 2018. Benedict Anderson’s seminal text “Imagined Communities” investigates the origins of Nationalism as a modern condition and serves as the starting point for our group exhibition. From the influence of rationalist secularism to the conception of homogenous, empty time, Anderson outlines the convergence of factors which led to nationhood as a vehicle for the creation of meaning and ultimately self-sacrifice. As Nationalism is revitalized through increasingly extreme rhetoric whether it is nativism or protectionism, the exhibition explores this new wave of anxiety around nation-hood and ways nation-ness is constructed. Whether it is through the oblique nature of our informational channels which function as echo chambers reminiscent of the earliest ways Nationalism spread through print media or the conflation of meaning with sacrifice, it is clear that there are precedents for how Nationalism as a construct has led to and sustained cycles of violence. ————————————————————————————————— 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. ————————————————————————————————— Vision Box – 1-2-2017 – by Cameron Arthur Share this page: [...]

09/07/2016

Juan FernándezSeptember 7, 2016los Cómics / NewsJuan con tus noticias sobre los cómics en Latinoamérica Y España! Entreviñetas 2016, un preview de Tokio Zombie, de Yusaku Hanakuma;Mireia Pérez reseña Grandes Preguntas de Anders Nilsen;Tetas Tristes – Convocatoria de Septiembre; el nuevo libro de Connor Willumsen, Portraits. ————————————————————————————————— Felicitaciones a TODOS los que crearon y sometieron sus cómics al concurso concurso de composición de este año ! Los Resultados: Primer Lugar– $500 premio en efectivo : Cameron Nicholson – For a Lack of Better Words Segundo Lugar – $250 en crédito a Copacetic Comics: Shee Phon – I Know It’s Not About Me, But I Don’t Want To Die Tercer Lugar – $100 en crédito a Copacetic Comics: Cameron Arthur – Oasis Mención de Honor – $50 en crédito a Big Planet Comics: Lisa Wilkinson – The Last Time I Saw Tate; Janne Marie Dauer – Blame It On the Night Moves; Luke Howard – Extragalactic; Niall Breen – Śūnyatā Premio Especial– $25 en crédito a Copacetic Comics: Lina Madöry – Reflection No Prize Shout Out!: Jillian Fleck – I Got A Job; Phillip Dokes – Falling Felictationes a los ganadores y a todos que compitieron. ————————————————————————————————— Entreviñetas 2016 ¡Pronto comienza la séptima temporada de Entreviñetas en Colombia! El #FestivalEntreviñetas2016 tendrá a Bogotá y Medellín como sedes. Preparate y tomate un paseo visual por los invitados al Festial 2016. Brecht Vandenbroucke (Bélgica), Michael DeForge (Canadá), Olivier Kugler (Alemania), Elenio Pico (Argentina), Aidan Koch (Estados Unidos), Zane Zlemeša (Letonia), Inés Estrada (México), Diana Ojeda (Colombia), Sole Otero (Argentina), Pablo Guerra (Colombia), Marco Tóxico (Bolivia), Hernán Sansone (Argentina), Olea (Chile), Phoebe Gloeckner (Estados Unidos), Benjamin Dix (Reino Unido), ICINORI (Francia), Alexandra Zsigmond (Estados Unidos), Puño (España), Miguel Gallardo (España), Cabizbaja (Colombia), David Avend (Colombia), Jean Paul Zapata (Colombia) Si el cómic es lo que te apasiona y vives en Latinoamérica, no se lo pueden perder! ————————————————————————————————— Tokio Zombie Heta Uma en España! Podeis leer las primeras páginas de Tokio Zombie, de Yusaku Hanakuma, en exclusiva en Canino Mag. Tokyo Zombie es el nuevo lanzamiento de la editorial de tebeos española más asilvestrada e inclasificable del panorama nacional, Autsaider Comics. El principal representante del estilo de manga heta-uma (malo pero bueno), Yusaku Hanakuma, presenta su obra más popular (fue llevada al cine en 2005), rebosante de zombis, sangre y sexo incorrecto. Tenemos el primer capítulo en exclusiva para ti. ————————————————————————————————— Gorriones y Conejos Mireia Pérez nos ofrece su reseña de la obra maestral de Anders Nilsen, Grandes Preguntas (Fulgencio Pimentel, 2011) en forma vlog. Una de las más grandes obras de la literatura universal. “Grandes Preguntas” de Anders Nilsen. También hablo sobre “Watership Down” de Richard Adams. AQUÍ podéis leer un artículo que escribí sobre el tema donde desarrollo un poco más su semenjanzas. ————————————————————————————————— Tetas Tristes – Convocatoria de Septiembre Si alguna vez has deseado crear alguna obra autobiografica, colectivo de cómics feminista, Tetas Tristes les presentan la oportunidad! El póder lo encontramos escribiendo, y dibujando. A dibujar chicas! Hola, la nueva convocatoria para el mes de Septiembre es dibujar un cómic con cosas que te de #vergüenza hacer en la realidad. Muchas veces una/e se limita a “”dejarse ser”“ tal cual es por vergüenza o pena, como le dicen en México. Las invitamos a dibujar esas cosas vergonzosas que hacemos por torpes o no hacemos por parecer finas/elegantes jajaja Rompamos las reglas. Envía tus aportes a tetastristes@gmail.com ————————————————————————————————— Llego la Melancolía La obra más reciente de Simon Hanselmann, Melancolía ya esta disponible en España! Esto es, por supuesta gracias a la editorial, Fulgencio Pimentel. Puedes aprender un poquito mas sobre esta nueva entrada en su serie de antihumor, Megg, Mogg y Buho en http://www.fulgenciopimentel.com/. Melancolía es la última entrega de la serie de antihumor de la década y Simon Hanselmann la estrella del nuevo cómic independiente internacional. Quienes disfrutaron de Hechizo total, Bahía de San Búho o Hail Satan! ya pueden prepararse para una descarga aún mayor de abulia, hastío y desesperación. Porque Melancolía es el “libro negro” de Simon Hanselmann. Lidiar con la depresión sin más aliados que el abuso de estupefacientes, la comida basura, una acuciante frustración sexual y un mando a distancia solo puede convertir la vida en una fiesta. ————————————————————————————————— Portraits – Connor Willumsen. Este libro de 16 páginas bellamente impreso (por WestCan – que también imprimio el Manual de la Escuela Santoro) de retratos del gran Connor Willumsen está disponible para pre-pedido. De momento, sólo ofrecemos pre-pedidos para los Estados Unidos. Ofreceremos pre -pedidos para pedidos fuera de EEUU después de que mandemos el libro a los impresores. Dalé click AQUI para pedir tu pre-order! http://auction.comicsworkbook.com/2016/08/18/portraits-by-connor-willumsen-pre-order/ ————————————————————————————————— hasta la proxima! JF Share this page: [...]

03/10/2017

Sally IngrahamMarch 9, 2017NewsSally here with comics by Leslie Stein, Tyler Cohen, Anna Krzton, Posy Simmonds, and Martha Thomases, plus other interesting news and events to wrap up your week! ————————————————————————————————— I read Gemma Bovery this week, the comic Posy Simmonds based on Madam Bovery which originally ran as a weekly strip in The Guardian (concluding in 1999, leaving it’s readers inconsolable, apparently.) Simmonds’ way of combining text with comics is quite marvelous, and astonishingly well done. As a reviewer wrote back in 2000: “Simmonds has, in this sense, two kinds of blank paper staring at her every morning, and she should be honoured for filling them so perfectly, with such a combination of daring and what looks like effortlessness.” – Nicholas Lezard for The Guardian The book is wildly entertaining, with wonderful pacing and characterizations – which comes from both Posy’s drawing chops and her storytelling. Read the rest of Nicholas Lezard’s excellent review HERE. I highly recommend this and Posy Simmonds’ other graphic novel, Tamara Drewe (which was also serialized in The Guardian.) I went down a Posy Simmonds rabbit hole after finished Gemma Bovery, and resurfaced with this terrific piece of research and writing about the strip that started it all for her – The Silent Three – which was published weekly in The Guardian from 1977-87. The strip was collected but the collections haven’t been reprinted, despite Posy’s continuing popularity (both her graphic novels were turned into very well received films). It’s nice then that on the blog Sunday Comics Debt there are scans of a dozen of Posy’s strips, and the writer’s thoughts on the development and content of the work. Good stuff – check it out HERE. His only real complaint is that at times the strips are SO British they can be mysterious to an American reader! Here’s a recent interview with Posy Simmonds, now in her 70’s and not slowing down a bit – she was a judge at this year’s Angoulême festival, and is currently working on a new book. Here also is a peak into some of her sketchbooks. And there ends THAT rabbit hole for the moment! ————————————————————————————————— I’ve also been reading Dakota North Investigations this week. It was a short series from 1986 written by Martha Thomases and drawn by Tony Salmons. I’ve gotten a kick out of it – I always enjoy a smart, badass investigator who has rad style, and Martha Thomases script is pretty engaging. She mentions the series much later in her regular column on ComicMix: “Over the years, Dakota North has appeared in a few other comics, most recently in Daredevil. These takes are interesting, but they are not my story. No one has ever really understood what I was trying to do with the character. They see her as another tough broad action figure, and that’s a part of her. I modeled her physically on a friend of mine, who had the height and the hair and the beauty to capture the attention of those in any room she entered. But Dakota’s also a woman trying to win her father’s approval while she pushes him away, that tug-of-war adult children have with their parents.“ Although 20 years passed between her script for Dakota North and the next time Martha wrote for comics, she kept busy with other writing and research. She still writes regularly about comics for ComicMix, and will go so far as to say “Everything I need to know, I learned from superhero comics.“ ————————————————————————————————— Just Indie Comics shares three short comics by Polish cartoonist Anna Krztoń. “These three stories depict only some of the many nuances of her cartooning, starting with the realism we find both in Constant Sorrow and Early Mornings, similar for mood and topic to First Weeks, a self-published mini-comic I briefly reviewed in this Misunderstanding Comics episode (only in Italian, sorry). Room of My Own is instead a different work, less narrative and more impressionistic, an example of a dreamy mood, abstract and naive, that is an essential feature of Krztoń’s comics.” – Gabriele Di Fazio Check out the comics HERE. ————————————————————————————————— Leslie Stein returns to VICE with 1994 – wherein she “falls in and out of love with Green Day, and goes to a barbershop quartet convention.” The first part is above, the rest is HERE. ————————————————————————————————— Tyler Cohen‘s comic Evident Truths is on MUTHA Magazine – it was originally published as part of PEN Illustrated’s State of Emergency feature: #ArtistsResist. Read the whole thing HERE. ————————————————————————————————— High Tide Line Check out this cool event on Monday if you’re anywhere near The Strand Bookstore in NYC – I’m Drawn This Way: Cartoonists on Cartooning – details HERE. It’s the launch of Pénélope Bagieu’s new book, and a discussion with panelists Natalie Andrewson, Katie Skelly, Julia Gfrörer, and Whit Taylor, moderated by Meg Lemke of the Brooklyn Book Festival, PEN America, and MUTHA Magazine. The Comics Journal just published an interview with Sophie Yanow, who is a very busy lady these days – maintaining her status as one of the best non-fiction comics makers while also teaching and doing translation work – more HERE. Disa Wallander has a comics shop, full of her Sparkle zines and plenty of sarcasm – HERE. The Chicago Reader has a nice feature about Trina Robbins and her past and future work – read it HERE. She says the East Village Other strip Gentle’s Tripout created by “Panzika” was her inspiration for making her own comics – after she made the startling discovery that this favorite strip was actually drawn by a woman (underground cartoonist Nancy Burton)! Since we’re on the topic now, here’s an interview from last year with Nancy Burton on The Comics Journal. Santoro Correspondence Course for Comic Book Makers alum Mary Shyne has a comic on The Nib – Trumpian Timekeeping. “ISIS, weirdly, has not been defeated yet.“ Rob Clough wrote about Cathy Johnson‘s Gorgeous recently – review HERE. ————————————————————————————————— We are diving into a busy 2nd year of the Comics Workbook Rowhouse Residency. Gabriella Tito is here this week, already our 4th resident of 2017, and we are starting a wait list for the summer months. It’s amazing and exciting to have these aspiring and professional cartoonists alike come to work on comics in Pittsburgh, plugging into our vibrant local scene, and infusing it with fresh energy. Interested in joining us for a week or more? Email santoroschool@gmail.com to learn how to apply. There are still openings in April and May, with that wait list available for the summer months. After a break for show season we will be picking up scheduling once again in late October. 500 bux for a week and a life-changing experience. Read some of our Residency Reports HERE. Email santoroschool@gmail.com for more info. ————————————————————————————————— Blinkers – 3-10-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 3-10-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 3-10-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 3-10-2017 – by Juan Fernandez Share this page: [...]

04/19/2016

Aaron CockleApril 18, 2016NewsAustin English/Gulag Casual; Lyra Hill/Three Performances; Annie Mok/Cicadas; the Sol Lewitt Collection; Data-Driven-Storytelling-Intersection-Numbers-Narrative; CW Benefit Auction Continues —————————————————————————— Gulag Casual with Austin English Austin English will be talking about his new collection at this evening’s New York Comics & Picture-story Symposium, Tuesday, April 19, 2016 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. —————————————————————————— Lyra Hill Performance @ SAIC From the SAIC blog: ‘Comics artist and filmmaker Lyra Hill produces spectacular performances that mix psychedelia with fantastic tales of self-discovery, the body, and the mysteries of nature. She uses multiple film projectors, looping audio effects, and pulsating hand-drawn images to create super-sensory environments of light, color, and sound. For this event she will present three pieces, including Breathe With Cube (2015) a ‘comedy trance’ featuring an anaglyphic 3D cube that pulsates, grows, and splits in two; Cat Tongue (2014) a tale of sexual exploration and heavy machinery; and a new piece, created especially for the Gene Siskel Film Center, that meditates on “the end” with drawings animated by three alternating slide projectors. 2014–16, USA, multiple formats, ca 60 min + discussion.’ —————————————————————————— Annie Mok @ Rookie Mag —————————————————————————— Drawing Dialogues: Selections from the Sol LeWitt Collection @ Drawing Center (April 15-June 12) An exhibition featuring over 100 works by more than 60 artists from Lewitt’s collection. Works above by Hanne Darboven and Jan Dibbets. —————————————————————————— Data-driven Storytelling ‘Storytelling is a fundamentally important marketing discipline.’ It’s OK if you throw up a little in your mouth as you read through this. —————————————————————————— The Comics Workbook Rowhouse Residency Fundraiser Auction Continues Share this page: [...]

11/03/2017

Sally IngrahamNovember 2, 2017NewsSally here with Mickey Z in FORGE.; political cartoonists in Africa, the UK, and the US; a reminder to watch She Draws Comics – and more! ————————————————————————————————— The new issue of FORGE. is out, and it is quite amazing – it is huge, for starters. More artists, more cities, more pages than ever before. Matthew James-Wilson, who single-handedly makes the magazine, recently quit a full-time job at VICE, so the theme of Issue 17 – Risk – seemed especially apt for him. He seems to have gone off the deep end with this issue – but in a good way! Here’s a brief idea of what it includes: “Issue 17: Risk includes submissions by Sarah Mason, Leesh Adamerovich, Corrinne James, Jessica Pettway, Brian Ejar, Louise Reimer, Alexa Viscius, Will Dereume, Graham Lister, Ross Jackson, Chris Nordahl, Sophia Schultz, Melisa Cola, Sander Ettema, Alexander Laird, and Disa Wallander. This issue also includes interviews with cartoonist, Mickey Zacchilli, Dustin Payseur of Beach Fossils, photographer, Laurence Philomene, show promoter and booker, Yiwei Meng, and Rene Contreras of Viva! Presents. Issue 17 features comics by Patrick Kyle, Becca Tobin, and Patrick Edell in its OP-ED section. Lastly, Issue 17 also includes the FORGE. Summer Review, documenting several concerts and events that took place in New York, Los Angeles, and Providence during Summer 2017.“ You can read the whole thing online HERE. Among the things I’m excited about with this issue is the TWENTY PAGE LONG interview with Mickey Z (one spread shown above, complete with an appearance by Bread). I just read it at high speed (there are lots of pictures!) and will have to go back to actually digest it, but I must say that Mickey Z proves to be a constant source of inspiration to me. She’s like a complete package of creative forces, doing a lot of different things at once – but only the things that make her happy and hold her interest. Comics, printing, jujitsu, massage therapy, video games – whatever she wants to do. In this interview she mentions that she’s actually “anti-productivity” at the moment, which I find compelling. You’ll have to explore her reasoning. There’s a bunch of other good stuff in this issue, so take some time with it – and kudos to Matthew James-Wilson for getting it out there! (Be sure to check out Mickey Z’s current comics project – Space Academy – available to read online HERE.) ————————————————————————————————— Abraham Riesman released his list on Vulture of the 8 Best Comics to Read (and One Comics Movie to Watch) in November. On the list is Leslie Stein‘s new comic Present, Julie Maroh‘s Body Music (which I wasn’t aware of, oops!) and the new version of Runaways, written by beloved YA novelist Rainbow Rowell. Abraham also reports that Netflix has added the 2014 film She Makes Comics this month, so schedule a movie night and invite your friends over to listen to some of comics’ female heavyweights talk about the industry and their place in it. Check out the list and it’s other offerings HERE. ————————————————————————————————— I was perusing a list from 2016 of Africa’s top 10 cartoonists and came across the names of Doaa Eladl (Egypt’s most famous female cartoonist), Siham Zebiri (an Algerian cartoonist), and Nadia Khiari (Tunisian creator of the character Willis). All 3 women are political cartoonists, and as such they often face difficulties in their countries that are only exacerbated by their sex. However they all continue to work, draw, and speak out about topics that are important to them, from female genital mutilation (Doaa Eladl), to immigration (Siham Zebiri), to male guardianship (Nadia Khiari). Here is a sampling of work by each of these radical women: I have been repeatedly reminded recently that political cartooning is an ancient art form, and remains an important (and somewhat terrifying) space for artistic expression. I listened to Signe Wilkinson (the Pulitzer Prize-winning editorial cartoonist) speak at CXC in September, and she talked about “the trenches” in a way that gave me goosebumps. For herself and other political/editorial cartoonists, reality includes the possibility of bombed offices, arrest and lengthy imprisonment, and a regular, brutal dose of spite, malice, and outrage. You have to be pretty tough to deal with that, and pretty resilient, to find the power within to turn that harsh edge, somewhat, so that you can engage with people on a humorous level. I really admire and respect Signe, and Ann Telnaes, (who spoke about her similar work and experiences at CXC last year), and of course the African female cartoonists I’ve mentioned here, who are wielding their pencils and brushes in defense and celebration of themselves and the things they love. Here’s a recent comic by Signe Wilkinson – check out more of her work on GoComics. ————————————————————————————————— In related news, the BBC recently published an article by Becky Morton about the “boys club” of political cartooning in the UK. Not surprisingly, there are only 6 full-time editorial cartoonists employed by national newspapers in the UK, and none of them are women. Becky Morton details why, and digs up a wealth of female cartoonists who have resorted (willingly or grudgingly) to publishing their comics online or outside of national media. Read the article HERE. ————————————————————————————————— Not Last and Not Least Kevin Bramer reviews Jenny Zervakis‘ The Complete Strange Growths on Optical Sloth – calling it a “remarkable achievement”. Marnie Galloway has a new comic up on Mutha Magazine – read part 1 of Burrow HERE. Tom Spurgeon reviews The Wendy Project by Veronica Fish and Melissa Jane Osborne on The Comics Reporter. Marc Sobel interviews Ulli Lust for The Comics Journal and discusses her new book, Voices in the Dark, and how comics are a “musical medium” to her – read it HERE. ————————————————————————————————— Suzy and Cecil – 11-3-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 11-3-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown- 11-3-2017 – by Juan Fernandez Share this page: [...]

04/18/2018

Posted on April 18, 2018April 18, 2018 by Juan Fernández

BRÍGIDA, Quique Alcatena, Elisa McCausland + TEBEOSFERA, y Alexis Ziritt!

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Los cómics y las noticias que me han llamado la atención esta semana:
~ en Español y “sometimes in English” ~

Este viernes, 20 de abril, a las 19 hrs. en PLOP Galeria se lanza BRÍGIDA, revista de historietas hechas por mujeres de Sol Díaz, Marcela Trujillo, Isabel Molina , Catalina Mendoza, Karina Cocq, Paloma Valdivia, Katherine Supnem, Pati Aguilera y Sol Undurraga entre otras!

Quieren saber más? Sol Díaz charlo con Belén Roca Urrutia de el Desconcierto sobre el nacimiento y el crecimiento de BRÍGIDA.

¿Cómo se crea el proyecto “BRÍGIDA”?

Es una inquietud que compartimos, desde hace un tiempo, con el equipo editorial de la revista. Nos hemos dado cuenta, en el día a día como ilustradoras, que el dibujo es un medio muy mirado en menos por el resto de las expresiones artísticas. Hay dos prejuicios muy arraigados en la gente, que impiden que se acerquen, siquiera, a conocer más sobre lo que está pasando: el primero, que “los monos” son cosa de niños. La ilustración, por el contrario, no puede ser más transversal. En estos días no es tanto, pero siempre al dibujo se le da esta connotación infantil; el segundo tiene que ver con las historietas y los superhéroes. Siempre con historias fantásticas, siempre con la mina tetona… estilos de dibujo y narraciones que, personalmente, no me llaman la atención. Muy masculinizado todo.

Con “Brígida” queremos desmontar estos prejuicios y mostrar que hay harto trabajo, hecho por mujeres, cada una con su propio rollo. El primer número incluye el trabajo de Margarita Valdés, Magdalena Armstrong, Camila Barrales, Catalina Bustos, Karina Cocq, Otto, Sofía Flores, Amanda Mijangos, Florencia Olivos, Paloma Valdivia, Sol Undurraga, Katherine Supnem y Arolas Uribe,además de las colaboraciones de las cuatro editoras: Isabel Molina, Pati Aguilera, Marcela Trujillo y yo.

Léanlo todo AQUI!

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Quique Alcatena, H. P. Lovecraft: Bestiario. Buenos Aires: Ediciones del Zorro Rojo.

LA IMAGINACIÓN AL PODER. ENTREVISTA CON QUIQUE ALCATENA

Hoy les invito léer la segunda parte de la entrevista al Quique Alcatena en Revista Kamandi. Hablaron en profundidad de su paso por la industria estadounidense, su desencanto con la maquinaria norteamericana, sus colaboraciones con los guionistas y sus proyectos actuales…

Léanlo todo AQUI.

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Les presento n° 6 de la revista TEBEOSFERA , con un dossier monográfico coordinado por Elisa McCausland sobre del tema “CÓMIC Y FEMINISMO”. Es un a coleccíon maravillosa de ensayos!

Léanlo todo AQUI.

Last but not least, exciting things are happening in the world of Alexis Ziritt…
Check out this update from his Artist Shop! (It’s”all over” the place 😉 )

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Suzy and Cecil – 4-18-2018 – by Sally Ingraham

– – – – – – –

Joanie and Jordie – 4-18-2018 – by Caleb Orecchio

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Comics Workbook

An online magazine for comics makers

Posted in los Cómics, News

Juan Fernández

Posted on April 18, 2018April 18, 2018

Explore

08/17/2017

Sally IngrahamAugust 17, 2017NewsSally here with work by Indian cartoonists Sarnath Banerjee, and Appupen – plus a few other comics news notes! ———————————————————————————————— A recent Comics Workbook Rowhouse resident – Javed Haque – brought along a copy of Corridor by Sarnath Banerjee to show us. This comic has been loudly touted as India’s first graphic novel – a masterful publicity move, which, although it is untrue, helped get international eyes on the book and brought good attention and energy to the alt-comics scene in India. The River of Stories by Orijit Sen was published in 1994, and is actually the first Indian graphic novel. Corridor, created by Sarnath Banerjee in 2004, it is set in contemporary Delhi and follows the adventures of 4 characters. At the center of the group is Jehangir Rangoonwala, something of a Socrates wannabe who owns the second hand bookshop where the other characters meet and mingle. Brighu is searching for rare books and maybe an even rarer love. Digital Dutta meanders among his own dreams and ambitions, but makes little progress. Shintu is recently married, and quite caught up in keeping his domestic life spicy. Written and drawn by Sarnath Banerjee (who grew up in Calcutta and Delhi in the 70’s) the artwork is a mixture of black and white drawings, color work, and collage. Banerjee captures Delhi street life and “the psyche of middle-class India” deftly, and with compassionate humor. He has gone on to publish 3 more comics – The Barn Owl’s Wondrous Capers (2007), The Harappa Files (2011), and All Quiet in Vikaspuri (2016). In a great interview from last year on Guernica Magazine, Sarnath Banerjee talks about how he came to make Corridor. He was more of a documentary film maker, but through a string of small miracles he received a version of the McArthur Genius Award, and suddenly had to produce the graphic novel he had accidentally pitched. He actually went to Orijit Sen (who if you recall made India’s true first graphic novel) in the hope that Sen would draw the stories Banerjee had written. He got encouragement and support, but not an artist. So he drew Corridor himself. “I started at the deep end. I learned while writing the book. I started drawing all the time after that. Like a maniac. My ex-wife recently told me that when she was cleaning up our house she found trunks—I had forgotten about this—trunks and trunks full of notebooks on which every surface had been drawn. I drew everything. I drew toasters, air conditioners, chairs, people and flowers. I was a maniac. I drew, drew, drew, drew, drew. And that’s how I learned. Purely by doing. In Japan there’s a phrase for it, it’s called aware karada, which basically means learning through your body. You practice something to the point where you don’t think anymore about it. It just comes out. The brain and hand barrier is absolutely taken out. So I think now I don’t think about my drawing at all. It just comes the way it comes. Another thing that was good about working in this entirely new medium—new to India at least—and not getting published was that it makes you learn everything from scratch. Which is why I feel that every graphic novelist from India—Amruta Patil, Vishwajyoti Ghosh, Orijit Sen, Appupen—is phenomenally original.“ I highly recommend reading the rest of this interview. Banerjee is a very thoughtful and interesting person and there is a crash course on Indian comics, film, and other pop culture to be had just by perusing this conversation. Read it HERE. I’ll be tracking down Banerjee’s other comics asap – and also looking for Orijit Sen’s comic. Sen has been making a ruckus lately with politically charged artwork – a recent article about his work and life can be found HERE. While I’m at it, I may as well link you up to the other comics makers Banerjee mentioned above – here’s Amruta Patil; Vishwajyoti Ghosh – an interview on TCJ; and Appupen. ———————————————————————————————— My research sucked me in and I discovered this comic by Appupen – Dedshort #7: The Ring of the Lord, originally published on Brainded. Appupen wrote: “This classic story has stood the test of time in Halahala. You can clearly see their influence on some popular stories of our world.” More on Appupen, from his website: “Appupen is a comics creator, visual artist and musician who tells stories from a mythical world called Halahala. Armed with a skewed view of the world and a sarcastic bite, he is a unique voice in Indian comics and comics in general. God recently appeared to him and said he needs to push out his comics more and hence this effort. Please help him.” As per this stated mission, there are tons more comics on his site – check them out HERE. ———————————————————————————————— Other News of Note Unaiza Ali Barlas, a 20-year-old Lahore-based cartoonist, has been officially named in the Guinness Book of World Records for creating the world’s longest strip. Her strip is 267.38 metres (877 feet) long! More details HERE. Tara Betts is interviewed on LA Review of Books – she is the editor of the anthology The Beiging of America: Personal Narratives About Being Mixed Race in the Twenty-First Century (which includes work by Pittsburgh cartoonist Rachel Masilamani) – interview HERE. ———————————————————————————————— Suzy and Cecil – 8-17-2017 – by Sally Ingraham ———————————————————————————————— Joanie and Jordie – 8-17-2017 – by Caleb Orecchio Share this page: [...]

A Studio Visit with Steven Weissman

Chris Anthony DiazJune 6, 2016The Diaz ArchiveBe on the lookout for Steven’s upcoming book LOOKING FOR AMERICA’S DOG from FANTAGRAPHICS this September, and the awesome BUTTER AND BLOOD from RETROFIT is out now. And you can purchase original art and merch directly from Steven. Photos taken in Little Armenia, Los Angeles, Thursday, May 19 2016 and color by Graham Willcox. Thanks Steven! Share this page: [...]

Printing Comics – by R. M. Rhodes

Comics WorkbookJuly 27, 2017EssaysA common topic of conversation among Those Who Remember is the age of the comics medium. Was Richard Occault’s Yellow Kid really the first comic? Or does that honor belong to Rodolphe Töpffer’s goofy satires? Or does it go back even further than that? And how does the Bayeux Tapestry fit into all of this? The answer to all of these questions is “marketing.” It was in the best interests of the New York newspapers to trumpet that the Yellow Kid was the first of its kind because they were fighting over who got to print it – it was that popular. It’s in the best interests of Francophone historians to promote a local Swiss artist who published in French back in the mid-1800s. And the Bayeux Tapestry is an outlier, lovingly handcrafted propaganda. Honestly, any question of what “was the first comic?” must, almost by default, ask the question “what is comics?” What are the elements that must be present for something to be considered “comics”? From there, the theory goes, it’s just a matter of going through the material until you find the earliest example of something that meets those criteria. The reality is much messier than the theory. I am currently working my way through a copy of The Early Cartoon Strip by David Kunzle, subtitled Narrative Strips and Picture Stories in the European Broadsheet from c.1450 through 1825. (Why I just discovered the existence of a book that was published the year I was born is a mystery for the ages.) Kunzle did a comprehensive deep dive of archives of European art and offered up a consistent definition of the comic strip: There must be a sequence of separate images There must be a preponderance of image over text The medium in which the strip appears and for which it is originally intended must be reproducible, that is, in printed form, a mass medium The sequence must tell a story which is both moral and topical Kunzle starts the introduction to his book with what has become a cliché, but wasn’t in 1973 – the discussion of how comic strips aren’t always funny, so it’s a misnomer. They shouldn’t be called comics, but they are. I believe that’s the underlying reasoning for the fourth criteria for what makes up comics (now and then). Because it really doesn’t make sense that the subject matter or kind of story being told has anything to do with whether something should or should not be considered a comic. You would not argue that a novel is not a novel because the story is a comedy, or vice versa – so why should a comic that had no moral or topic relevance be excluded? Kunzle gives a decent justification that provides a filter that could narrow his search – and thus, his results. But his premise was laughable in 1973 and is laughable today. “Whether it is considered morally harmful or morally useful, progressive or reactionary, the modern comic strip has undeniably strong moral content.” Strong disagreement. But limiting what gets labelled comics due to tone and/or intent ignores the versatility of the medium. Comics can – and should – be anything. One of the intriguing things about Kunzle’s criteria is what’s missing – the lack of proscriptive about what kind of art is used to make the image. This ties in with criteria three – reproducible in a mass medium. Essentially, Kunzle’s research indicates that comics have been around since the introduction of the printing press in Western Europe. And, in the beginning, printing technology was so crude that there really wasn’t room to be picky about what kind of art it was to begin with – it all had to be converted to woodblocks for print anyway. But even a cursory glance at the exhaustively cataloged marginalia by monastic manuscript copyists indicates that cartooning was a well-established skill in the centuries long before the introduction of the printing press. Some of these even look like the Bayeux Tapestry, if you squint. The point being that cartooning and making comics are two distinct, separate skillsets. It is entirely possible to be a cartoonist without ever making comics and it is equally possible to make comics without using cartoons. Which makes this pedant grit his teeth every time someone says that they’re looking forward to seeing “all the cartoonists at SPX,” for example. This begs the question of whether the person making the statement cares about all of the rest of the comics creators in attendance or only cares about cartoonists? I think the requirement of mass reproducibility is the most interesting and least intuitive. It suggests that a solitary page of sequential art that has no intention of ever being sent to print is not really comics. It also suggests the paradoxical concept of copies with no originals – something that seems less and less absurd to artists who have grown up making and sharing their art entirely on the internet with files that can be perfectly replicated with little or no effort. Back in the day, when Kunzle was doing his research, the idea of an entirely digital medium was barely conceived of at Xerox PARC, but was a long way from being evenly distributed. As far as I’m concerned, the mass reproducibility requirement answers the initial question regarding the Bayeux Tapestry – it was never intended to be mass reproduced and, indeed, there was no way for it to be mass reproduced at the time of its creation. In fact, reproducing the entire Tapestry in its current medium would be a major undertaking now. I know from experience that it’s relatively straightforward – if time-consuming – to transform the contents of the Bayeux Tapestry into an eight panel grid. (The whole thing takes up about nine pages.) But that’s not the Bayeux Tapestry, exactly, is it? It’s designed to be read as a continuous strip 70 meters in length. So any faithful reproduction of it ought to be, by rights, in the original format – even a 70-meter-long printout would be a mediated version of the original and lack authenticity. Set aside the question of who would buy it (answer: collectors like me, who enjoy tracking down obscure works) – the real question is “who would have the wall space to display it?” Even the museum at Bayeux has to display the tapestry on three adjacent walls. Kunzle traces the improvements in printing technology as they progress through the centuries in Europe. What’s interesting is how these advances provided greater range and detail for the artists, but that the early works are just as effective as their later counterparts. It’s also interesting to note how similar in process and effect the earliest proto-comics are to the works of Lynd Ward, for example, who produced wordless illustrated novels with one woodblock print per page. In that way, Ward has a more direct connection to the earliest works than contemporary comics creators do today. Kunzle documents how the public’s affection for caricature in the late 18th century drove the adoption of etching over line engraving as a primary means of reproducing art. Engraving was William Hogarth’s medium and his works did a lot to define what engraving and sequential art were capable of. In some ways, caricature, a very informal art style, is a reaction to the excessive formality of Hogarth. One was stodgy and moralistic, the other was quick and simple. Kunzle notes that the emergence of etching…invited the addition of light washes in watercolor. “Sixpence plain, one shilling colored” is a phrase not found upon prints before the advent of caricature. Which begs the question of how Dirk Jansz van Santen became such a prominent and sought-after colorist of engraved prints a century before Hogarth. A major difference is that van Santen did intricate piecework. He hand-illustrated entire atlases, but these were very limited editions. His work could not be mass produced the same way that the original engravings could be. His work became a value add, simply by the nature of the fact that he did them. One of the first superstar colorists, really. By the late 18th century things had changed. JMW Turner did work coloring etchings for the local print-seller when he was a boy. Caricature required less precision to make, print, and color. Every step of the art process was much more accessible to talented (noble) amateurs instead being solely the purview of the trained working class professional infrastructure that had to grow up around the precision required from etchings. In 1787, a younger son of a baronet named Henry Banbury created a seven foot long strip called The Long Minuet as Danced at Bath. Later that year, he produced The Propagation of a Lie, which was only six feet long. These two pieces set of a craze for strips – mostly of much shorter, easier to copy, length. The parallels with the Bayeux Tapestry are obvious, but the medium, subject matter, and technical circumstances were radically different. Töpffer arrived towards the end of this wave of innovation and worked in a caricature style. This was mostly due to his poor eyesight, which kept him from doing the kind of detail work that he might have wanted to do. Töpffer’s innovation was not the caption with the art, nor with the strip arrangement, nor even panel borders, nor even the far more satiric subject matter. Really, Töpffer’s innovation was that he made books – several pages of sequential narrative that were themselves in sequence and had to be read together to make sense of the whole thing. To that point, sequences were constrained to a single page, with multiple strips stacked on top of each other. Or, in the case of Hogarth, they were a series of single page prints, suitable for framing. Sometimes, as in his Before and After series, Hogarth would mount two images on the same page side by side. But if you only wanted one page from his Rake’s Progress, for example, he would sell it to you and be satisfied that you will get the moral message. The rest of the pages made a good complement, but they were not necessary as a set to get the whole story, as it were. Töpffer’s innovation literally changed the context in which sequential art could be presented. Before it was pretty much restricted to single pages, sometimes as a collected set. It was probably inevitable that one branch of printing would collide with another, but Töpffer seems to be the first one to make that connection in a commercially viable context. Ironically, without the encouragement of Goethe, Töpffer probably would not have self-published his works – and even when he did, they were in limited print runs of no more than 500. He was widely pirated in his lifetime and the knock-offs sold far more than the originals ever did. By 1895, when Richard Outcault’s Yellow Kid first appeared in the strip Hogan’s Alley in Joseph Pulitzer’s New York World, and later William Randolph Hearst’s New York Journal. Stylistically, The Yellow Kid was nothing new, but the technology had advanced to the point where the comic could be printed in color, which is what made The Yellow Kid distinctive, and thus, desirable. Indeed, the popularity of the character meant that he appeared in one, then the other, then both newspapers at once until 1898. Certain American comics historians date the advent of the modern comic strip to Outcault, and they’re not wrong, just chauvinistic. Again, the emergence of better printing technology is really what is being acknowledged, not necessarily the content or the artistic style. Like I said at the beginning, it’s all marketing. The fact that one can trace the advances in printing technology through the history of printed visual narrative is pretty impressive. Frank Santoro is clearly on to something with his ongoing interrogation of Risograph printers. Contemporary comics creators have a large variety of choices they can make with regard to their approach to mass reproduction. Unfortunately, many choose the default option, without realizing that default means there are other options. These days, I make 16 page, 8-panel grid comics, which is not unusual. But mine are digitally printed, which is a quantum leap from old-school industrialized print-making – but digital printing suits the complex nature of my digitally-rendered artwork the best. And I make limited-edition, numbered print runs of 25, which pushes the edges of the intention of mass reproduction. There is no burning commercial demand for what I do, which makes 25 copies optimistic at best. But the limited print run calls back to the days of limited edition print sellers. My point being that if one is going to make choices, it’s important to know what those choices signify and what benefits come with each one. Knowing the history helps with that process. Share this page: [...]

12/08/2016

Sam OmbiriDecember 8, 2016NewsWe’re here today with Johnny Ryan escapades, Alexis Zirrit colors, George Herriman’s new biography, and notes on Box Brown via Adam Griffiths. ————————————————————————————————— Sam Ombiri here: For all those Johnny Ryan fans out there, there’s this fun podcast called Bone Zone hosted by Davey Johnson (sometimes), Randy Liedtke, and Brendon Walsh (https://www.youtube.com/watch?v=WmGAwNylqXA). It might get a little in jokey at times, so I don’t know how it sounds to a new listener. My favorite part in this episode was when they were calling a bunch of comic book shops and asking people if they had a bunch of imaginary titles. They would, at times,add little details here and there, so that the titles sounded more plausible. They would ask while trying to hold back laughter so most people couldn’t tell something was up, and there was a slight distortion in reality. They were greeted with skepticism – but then they’d add a small detail like “I think it was published by Oni press”, and then people who were familiar with Oni Press were suddenly way less skeptical. “We just got a bunch of Oni Press last week,” you’d hear the shopkeepers in the background yelling. “Yeah they’re asking for all these obscure titles – do we have Money Boys? or what was that other one? Cum Tuba?” To which Johnny would add, “Yeah, Cum Tuba by Chris Ware.” Then out of all this nonsense, this story about 3 brothers looking for comics, from a list that their sick dad had given them, constructs itself. At one point like 10 wild dogs begin chewing their sick dad’s comics. Some of these comics sound like a bunch of fun to draw – I’m really into drawing a comic called Money Boys, just basing off the multiple premises that come to mind when I hear the name. This episode of Bone Zone was also a good reminder of how I still need to read Prison Pit. There’s a lot of stuff that I always need to get to, but then I don’t. I like this thing that Brandon Graham (I think it was him) said – how, in comics, there’s just constantly great stuff being created, and that no one has all the time to read it all. He makes sure to note how you’d think he’d find it depressing, but it’s just the opposite for him. There’s always this thing of, when you discover something that possibly will be really rad, you want to preserve the little mystery of it. (Like how my listening to Chll Pll has been a nearly 2 year process, from it being recommended by a friend, to me listening to it slowly.) Maybe it’s a result of the immediacy of information in the internet, and “knowing” isn’t everything. Gary Panter said in this one talk that how physical mediums are fetishistic. I think that’s a good way of describing it, although I need to find a better word than “fetish” to describe things these days, just because of its modern definition – it only fits in the one context so then it’s forced to be used as a metaphor. This might not be a bad thing, especially for someone like Refn. I don’t know how to say this, but I’m reminded of how at the Oscars (which feel like a huge joke these days) when they present the animation awards, they use the extremely shallow depiction of animation – that you can “draw anything” and make anything happen, unlike in live action movies. It’s such awful thing to say. – Sam Ombiri ————————————————————————————————— Tyler Landry here, and it’s time to talk about Alexis Ziritt. Dude is a machine. Open up Space Riders at any page and feel your mind explode. BOOM! This is a serious action trip with all the trimmings, but what I want to focus on specifically is the colors. Flipping through my copy of Space Riders, a couple of things strike me, color-wise. First, this comic is vibrant. Every color that’s ever been imagined is in here somewhere. It’s fearless. The next thing that hits me is the way in which the colors CHANGE from page to page, spread to spread. Alexis uses different combos of straight palettes – where a suit is its own color, the flesh is its own color, the landscape is its own color, etc. But these are mixed with really intense moody scenes with light cast from viewscreens, explosions, or atmosphere. This is where the work really shines, in my opinion. Regardless of the approach, straight or moody, there’s great attention to how those colors help to move you through the work. Let’s look at some of this deep, moody shit: Both of these pages make extensive use of color as mood, and as focus. In the top image, the ship has taken damage, as has the morale of its crew – perfectly communicated with everything bathed in RED emergency lightning, punctuated with shots of YELLOW sparks. The crew members are only a slightly lightened version of that color, barely elevating them from their background. This helps bake the gravity of their situation into your brain as you read through the page. Then, as the discussion heats up, we’re treated to hints of GREEN glow from the viewer, exploding into a bigger viewscreen shot of a pile of angry aliens right outside – in GREEN. This color play from RED to GREEN = direct contrast, jarring change, intense move. On the bottom, again, an overall mood is set in hot PINK, but this one has a constant cool BLUE undertone, shown in the characters themselves, selectively. This creates a triangular slide, down which your eyes move, towards the edges…and it slams itself wide open in the YELLOW panel, where the characters heat up, and one darts across the page to meet the other in a devastating headbutt. Then, the scene pulls out and settles again, with nearly everything melting into the haunting PINK background – except for Capitan Peligro, cold and bold in BLUE, delivering a one-liner as tough as his nose-crushing blow in the previous panel. And – let’s not forget the burst and trickle of GREEN, reminding us just how significant this wound really is. – Tyler Landry Get a copy of Space Riders from Copacetic Comics – HERE. ————————————————————————————————— Sally here – The eagerly anticipated Krazy: George Herriman, A Life in Black and White by Michael Tisserand was released on Tuesday, Dec. 6th. Both the cartoonist and the biographer are originally from New Orleans, and a passing interest in George Herriman turned into a 10 year research project for Michael Tisserand after Hurricane Katrina nearly destroyed their city. ” “I had to teach myself to be an historian,” Tisserand said. “I didn’t anticipate the amount of difficulty it would be finding Herriman’s work.” Like a snake handler, Tisserand uncoils the confusing racial politics of New Orleans in the Jim Crow era, where the descendants of slaves and the descendants of so-called free people of color suffered segregation, discrimination and violence at the hands of the white population. As Tisserand explains, when Herriman was 10 years old, his parents fled the South for a new beginning in California, where personal reinvention was possible. As Tisserand wrote, “Herriman was a black man born in New Orleans.” But upon reaching the Pacific, Herriman’s parents “had obscured their identity and ‘passed’ for white.” Had they not done so, Tisserand points out, the creator of the immeasurably influential Krazy Kat cartoon could never have received the classical education that he did, found work in major American newspapers, or bought a home in the Hollywood Hills, owing to universal racism.” – via NOLA.com Read the rest of the above article about the book HERE. There’s another good piece in Gambit, HERE. And The Wall Street Journal names Krazy Kat the “most ingenious strip of the 20th century“. In addition, there is a great “Konversation” with Michael Tisserand over on The Comics Journal – check it out HERE. ————————————————————————————————— Adam Griffiths interviewed Box Brown recently for his ‘Zine Tree” series. They talk about Brown’s work (his newest book is Tetris: The Games People Play) and how he chooses his stories. AG: Three works of yours, Andre the Giant, Powerman, and Tetris, all seem to grapple with the theme of unconventionality, aspiration and conformity? If you agree with that to any such degree, how would you say you choose the stories that you tell? BB: I think that’s been my life experience. I identified with Andre as the person that had to operate on the outskirts of life. I think he felt like he was an outsider. I think for the early part of my life I felt that way a lot. Of course in high school but then I kind of still suffered from identity issues into my 20’s. It wasn’t until I discovered making comics that I discovered who I was. Until then I never felt like I fit in, but outwardly strangely I had figured out how to fit in. It just always felt like an odd fit. Read the rest of the interview HERE. Adam Griffiths is a cartoonist from the D.C. area who will be joining us at the Rowhouse in Pittsburgh for a Residency early next year. Be sure to check out more of his work HERE. ————————————————————————————————— 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. Email santoroschoolATgmail for more details! ————————————————————————————————— Suzy and Cecil – 12-8-2016 – by Sally Ingraham Share this page: [...]

09/05/2017

Aaron CockleSeptember 4, 2017NewsAaron Cockle here today with Comics Carousel; Anders Nilsen’s new book; Josh Bayer returns to the New York Comics & Picture-story Symposium; Workshops at SPX ————————————————————————————————— ————————————————————————————————— ‘But those books were both black and white. Color kind of forces your hand regarding borders.’ Paste Magazine has a nice piece about Anders Nilsen’s new book, Tongues, and the process that went into its making. “Panel design and structure matter a lot to me. I did a bit of teaching from 2012 to 2015 or so and one of the things I found myself focusing on with certain students was how panels work and what happens to storytelling when they change in various ways. Some cartoonists do great things with a simple grid. My two biggest comics influences, Hergé and Chester Brown, use very simple panel structures in their comics, and they were brilliant with it. But I can’t keep from playing around with panels. Partly it’s because I find measuring out rectangles very boring, but it’s also, I think, partly because I studied painting, and so I can’t help but think about the visual composition of a page as more than just a collection of rectangles. It was something I wanted to explore in this book from the outset and so this small sketch is my original idea for how to structure the panels in this opening dream sequence.” ————————————————————————————————— Josh Bayer, Adam McGovern and guests, Sept. 5, 2017 at 7pm The 190th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, Sept. 5, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Josh Bayer, Adam McGovern and guests on All Time Comics All Time Comics is a comic-book series that resists categorization. Part modern reworking of Bronze age comics superhero aesthetics, part a Mad Magazine-like Gonzo attempt to sidestep and weave that aesthetic back on itself. Published by Fantagraphcs, All Time Comics has created a space for a dialogue between older veteran creators like Herb Trimpe and Al Milgrom and younger Alternative Comics mainstays like Ben Marra and Noah Van Sciver. Join Josh Bayer in a lively discussion with comics writer/historian Adam McGovern. (Panel may include special guest artist/writers, schedules permitting). Josh Bayer is the author of Raw Power and Theth from Retrofit Comics, the editor of the Suspect Device Comics anthology series, as well as 2016’s The Black Hood. His work’s been selected for The Best American Comics series in 2016 and 2017. He is the founder of his own “Comics Are The Enemy Press” and he is currently releasing his All Time Comics imprint from Fantagraphics. ————————————————————————————————— Comics Workbook Cartoon Workshops If you’re planning to be at the upcoming Small Press Expo in Bethesda, MD, please consider attending one or all of the workshops the CW will be conducting: ————————————————————————————————— 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. ———————————————————————————————— A Cosmic Journey – 9-5-2017 – by Cameron Arthur ———————————————————————————————— Suzy and Cecil – 9-5-2017 – by Gabriella Tito ———————————————————————————————— Joanie and Jordie – 9-5-2017 – by Caleb Orecchio Share this page: [...]

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