04/26/2017

Empezamos el día con Gloria Rivera; Minchō Magazine; Carlos Reyes y Carla Berrocal, JM Beà; Gerardo Vilches sobre Jack Kirby; Sol Díaz Castillo y Marcela Trujillo; Christian Matas, Victor Puchalski; y los tebeos de Comics Workbook.

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Here on the site, Gloria Rivera reflects on the comics that her parents devoured during their childhood in Mexico. Lots of great reflections and covers to comics you never knew existed, for you gringos!

Gloria Rivera: I’ve been meaning to write something about these comics since I found out about them a year ago. Before this I never knew my parents read comics in their youth. They both grew up in Mexico (b. 1964 and 1966) in small pueblos, and left their houses at 14 and 19 to work.

I was so curious as to what interested them enough as kids to capture their attention week after week. What captivated them had to actually interest the town as a whole in order to be read. They explained that children in the pueblos were poor and could only afford an issue here and there, and swapping comics with other kids was the only way they could finish the adventures.

Even more removed – they paid to read to whichever child in the pueblo had the issue they needed to read next. For reference of the sort of social ecosystem my parents grew up in, my father herded sheep on a mountain and my mother was from a poor family of 5, leaving her house at 14 to work at an orphanage. Their childhood has eluded me most of my life, and I was curious as to the kind of stories that would be popular to humble roots like theirs.

Read it all HERE.

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Dive into this interview with Minchō Magazine over on the DrawFolio blog. The art and illustration culture digest of a magazine that swirls high and lo and makes you go, woah. Chief editors, Natalia Giménez and Francisco Carrasco are one hell of a dynamic duo:

Who’s behind Minchō? Tell us about the founding team and collaborators.

The founding team of Minchō are Francisco Carrasco, who graduated in Fine Arts in AKI ArtEZ (Enschede, Holland), and was editor at the illustration Magazine Linea Curve, and Natalia Giménez, Art Historian specialized in contemporary art with a wide experience in teaching and cultural management. But when we talk about team, we must talk about our wide network of collaborators. Minchō is a reality because technology enabled us to connect with great professionals from all over the globe, and because of their personal bet and effort, and also our romanticism (and sometimes lack of pragmatism) that keeps us learning and growing strong.

What is your production process? How is each issue of Minchō cooked and built?

Despite what it may seem after seeing the careful design, bilingual edition, and international distribution, everything except printing and sewing is done at home! So we could say the “cooking” of each issue is almost a literal thing, as each issue is created both in the office and while we are cooking spaghetti on our home’s kitchen.

Aside of working together, we are a couple, so we live in a non-stop brainstorming. Each issue is impatiently created from a continous questioning and our need to share our views on illustration and graphic design. On this personal “vomit” that we call Minchō, you will find a lot of our passions, mainly about contemporary art and independent publishing.

We have also been organizing the stuff we want to show, making each issue thematic, and linking the different sections of Minchō (illustration, animation, comic, design, or children albums) to the cultural present with humor, psychedelia or forklore representation as the conducting thread.

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

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Blinkers – 4-26-2017 – by Jack Brougham

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Suzy and Cecil – 4-26-2017 – by Gabriella Tito

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Joanie and Jordie – 4-26-2017 – by Caleb Orecchio

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