Fumetto 2016; Begoña García-Alén’s El Espectador; Dr Fausto Fanzine 10; Daryl Seitchik’s Missy for sale; a first look at Tim Hensley’s Sir Alfred No. 3 ; Al Jarnow & Edwin Rostron.


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Lorenzo Mattoti presenting Oltremai – Photo by Monica Tarocco
Live Music/Live Drawing – Photo by Monica Tarocco
UNDERGROUND – Joe Sacco Exhibit – Photo by Monica Tarocco


 Fumetto, one of Europe’s leading international comics festivals wrapped up this past weekend in Luzern, Switzerland. Celebrating its 25th anniversary, the festivities lasted from April 16-24. Among the many guests this year were Lorenzo Mattoti, Joost Swarte, Gabrielle Bell, Caroline Sury, Fremok, Max and Ben Katchor. Fumetto has captured glimpses of all the lectures, workshops, pop-up studios, gallery exhibitions, market places, and parties in a recently posted archive of photos.  (If you want to get lost into the nitty gritty of the social media coverage of Fumetto, explore Fumetto’s social media wall here.)

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Franz Suess

Among all of the goings on this year was Fumetto’s annual competition exhibition. The theme this year was “Temptation”.  View the winning entries from the 2016 competition here. For those of you really hungry for more of Fumetto’s competitions, you can read all of the winning entries from 2014 and 2015.



(the spectator)
The fourth installment of Begoña Garcia-Alen‘s El Espectador (the spectator) is now up over on TikTok cómics. Her spectator series is a nice collection of work that explores the idea of observation and reflection. It’s done in a playful, formalist Koch/CF hybrid.
Check it out here.




Dr Fausto
The 10th edition of the Colombian publication, the Dr Fausto Fanzine is here! This edition comes out thanks to the support of Editorial Universidad de Caldas. Ya llegó! It’s now available in cities throughout Colombia, starting in Bogotá. This is issue features 10 cartoonists from Colombia, Argentina and Chile:

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Missy by Daryl Seitchik

Digital Missy
Daryl Seitchik has collected and made all of her issues of her comic Missy available digitally over on gumroad. Check it out. The first one’s free 😉




Comics Movie Tie-in
Fantagraphics has just shared a detailed look at Tim Hensley’s latest book, Sir Alfred No. 3. It’s beautiful stuff, full o hyucks.

Sir Alfred No. 3 is an oblique biography of the world’s most famous film director, Alfred Hitchcock. In fact, despite being numbered “No. 3,” no other issues exist. The comic book is composed of multiple gag strips based on anecdotes found in tomes of film lore in the public library and used book shops. As Hensley’s previous work Wally Gropius referenced the ’60s teenager genre, Sir Alfred pays homage to ’50s personality comics and movie tie-ins. It ends up being something of a cross between Marge Buell’s Tubby, who bears an unforeseen resemblance to the famous director, and Miss Beverly Hills of Hollywood.

Have a closer look at the book over on Fantagraphics’ site.



Asymmetric Navigations
Take a walk and join Al Jarnow in conversation with Edwin Rostron over on Edge of Frame as they reflect on his life of creation that has move seamlessly across artistic mediums. Paintings, animations sculptures, software, exhibits – his ideas have taken every form you can imagine. Tune into his frequency for a little energy and inspiration.

EoF: In the documentary Asymmetric Cycles you describe your process onCelestial Navigation as “setting up an experimental environment in which I could more or less improv and riff off of different ideas to do with time, the passage of time and the passage of light.” Was this typical of how you worked with your animations? Did this kind of experimental process relate to how you worked as a painter? Was there a lot of material generated through this kind of process that didn’t make the cut?

AJ: Yes, always! In painting as in film, the process has always been a dialogue. What happens with the first stroke is a determining factor in what happens with the next. An experiment is an act in which you don’t know the outcome. It’s a learning process. You might have expectations and anticipate your results, but those can color your results. In film, a lot of snippets ended up on my cutting room floor (or at least in cans still stored in my attic). In painting, pieces ended up in re-cycling, painted over, cut in half, and again stored in my attic studio.


Have a good one and see you soon. Here’s one some reverie for the road.

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