Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged Daniel Jiménez, jordie bellaire, Judith Gociol, Klari Moreno, Lorenzo Montatore, Sindy Elefante, vanesa r. del rey, womansplaining, Women Write About Comics

Juan Fernández

Posted on May 9, 2018May 9, 2018

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07/27/2017

Sally IngrahamJuly 27, 2017NewsSam Ombiri on Gabrielle Bell’s Everything is Flammable – plus other comics and news! —————————————————————————————————— Sam Ombiri here: The reason for my enthusiasm for Everything Is Flammable by Gabrielle Bell is hard to pin down – but I’ll try! I liked how everything flows without interruptions. There’s a seamless transition between what’s going on in her head and what’s happening around her, in what’s treated by her as her reality. She doesn’t treat any incoming moment with more reverence than the last. I got a surprising amount from the book – I just expected to have some fun reading another Gabrielle Bell book, but I kept feeling a lot from panel to panel. I’d read it and keep reading it, and I’d savor it. Gabrielle throws you these incredibly insightful things about life, but they are given no more weight than what was happening earlier. What’s great is that they are open ended insights – ones that you as the reader continue to work out as her stories continue. There’s a part in book where Gabrielle is saying how she is wanting to go see if her Mom is alright after a house fire, but it’s so that she can be a hero – it’s really funny and speaks to the spirit of the book, that spirit of celebrating these minor victories. I’m addicted to reading them. The quests aren’t minor, but the triumphs aren’t a bigger event than those small, small moments of failure we might experience. Everything moment is given the same weight as far as the way they are portrayed. The stories in the comic aren’t desperate to build for “a moment”. For example, Gabrielle may have a part where she’s about to check on her mother after an accident happened, and she says “And I have to admit my own selfishness in wanting to go. First, to draw comics about it…” This attitude doesn’t show, exclusively, an attempt to exploit every possible event. Gabrielle tells very little and conveys a lot. Take the little things you love about people – you don’t have to escape into fantasizing and romanticizing these things about people. You don’t have to look too far to find them, every detail in life doesn’t always lead to a climatic ending. It’s consistent in Gabrielle Bell’s fiction and her auto bio that she seems uninterested in big endings or big conclusions, based on the work I’ve read. I think, as a result, there’s more of what I can believe in the reality that Gabrielle Bell portrays. Related to this: I’m thinking of Gabrielle’s segment in Tokyo! – the Interior Design part directed by Michel Gondry. In contrast to the rest of Gondry’s filmography, it felt like the most nuanced and layered portrayal of this certain (for lack of a better term) mysterious nature of life. Even Gondry commented, and this might be him speaking as a comics maker himself, on how much Gabrielle can convey in just one panel. – Sam Ombiri Get a copy of Everything is Flammable by Gabrielle Bell HERE. —————————————————————————————————— 7-27-2017 – by Sam Ombiri on the eve of Microsoft Paint’s passing – more info HERE —————————————————————————————————— Sally here – Ronald Wimberly did some character designs (above) recently for LeSean Thomas’ new animated short Children of Ether. The Blerdgurl writes: “What I think makes Thomas’ Children of Ether so significant is that not only is he an African-American artist and director who worked exclusively with a Japanese team to create Children of Ether, the main character, Rhonda, is also woman of color, a rare image in the world of anime.“ Read more HERE. —————————————————————————————————— Above is an excerpt from a comic about Abdi, part of a 14 comic series about various Somalian people published by PositiveNegative. “In collaboration with the Open Society Foundations (OSF) we produced a series of fourteen comics, based on personal testimonies, that highlight integration issues of the Somali communities across seven cities of Europe – London, Leicester, Amsterdam, Copenhagen, Malmo, Oslo and Helsinki. The focus of the project was to accompany the OSF policy research on the same subjects and locations and to engage a wide, general audience and challenge negative media stereotyping of the Somali community.“ Read all of the comics HERE. Read about the Somali diaspora HERE. —————————————————————————————————— It’s the most wonderful time of the year! Thee Comics Workbook Composition Competition 2017 has been announced! This year it’s a riff on the 6-panel grid, in the traditional North American comic book size – but with a twist! Full details HERE. —————————————————————————————————— Suzy and Cecil – 7-27-2017 – by Gabriella Tito —————————————————————————————————— Joanie and Jordie – 7-27-2017 – by Caleb Orecchio Share this page: [...]

09/28/2017

Sally IngrahamSeptember 27, 2017NewsSam Ombiri takes a look at the anthology Warmer, and Sally brings a CXC events update and other comics and news. ————————————————————————————————— Sam Ombiri here: When I was at SPX I bought a copy of Warmer from Madeleine Witt and Andrew White. A Lot of the time whenever I pick up an anthology, the anthology seems to be having an identity crisis. It is really trying to convince me that it’s something it’s not, as if the anthology is insecure about the area it occupies. If not insecure, then it’s probably going to be insular. This insecurity I project onto the anthologies I pick up comes from the extreme fear of mediocrity that most anthologies suffer from. Whenever someone is really desperate to surpass this mediocrity, they don’t have to go too far to do so. This desperation and insecurity really turns me off as the reader, and I’d rather just read the comics without considering them in an anthology altogether. My first and lasting impression of Warmer was that it didn’t suffer from any of that! “Complacency” is the last word I’d use to describe the anthology – especially with the subject matter being tackled (climate change). It doesn’t feel like it’s “tackling an issue” as much as remaining in this space where we’re humans who are experiencing this deterioration in ourselves. Meanwhile, so is the planet, and this can be seen in things we do that are altogether unrelated to what we might do to perpetuate the pollution of the environment. There’s no complacency in the book, just people trying to fight against that urge to be complacent both in their art and in their lives. Whenever something is contrived, which is rare in the book, it doesn’t work against the anthology because the following strip will have a good response to it. This shows the strength in numbers that can come out of an anthology, beyond having an easy way to access a variety of work – the strip before and after can strengthen the work. Some of these comics I wouldn’t read or engage with properly, if I wasn’t reading them in Warmer. For example, the first two strips are immensely enticing. They’re followed by this strip that seems out of place. The author of this strip (William Cardini) isn’t in any rush to make a connection between the style being utilized and the words being utilized. I just found myself, as a reader, really wanting that connection. The strip also confused me tonally because of this whole vibe I had been set up for from the first and second strip (which are by Caitlin Skaalrud and Tor Brant respectively). The second strip had a more familiar looking 4 panel structure that suggested a punchline would be waiting for me at the fourth panel, but instead it beautifully invoke a longing for things to set right. Much like the first strip. Then on the third strip I get this goofy looking face, seemingly drawn by someone who I mistakenly imagine to be a gag cartoonist. I mistakenly read the tongue sticking out of the character drawn as a character mocking me for having this other expectation. Then I read more and discovered that while doing poetry comics, one can feel the inclination to jump into expression sooner than warranted, but it’s not the case at all with this book. The third strip was actually fantastic and it speaks to both the contributors of this anthology and the curation of Madeleine and Andrew. In this whole book, the images and words further each other really well, and it’s wonderfully curated to accommodate the reader in the best way from beginning to the end. – Sam Ombiri Keep an eye out for this anthology in the next few weeks – Andrew and Madeleine are fulfilling the Kickstarter and sold out of the copies they brought to SPX a few weeks ago! However, Andrew says Warmer will be for sale online asap – so stay tuned. ————————————————————————————————— Sally here! Comics Workbook and Connor Willumsen are coming to Cartoon Crossroads Columbus this weekend (Sept. 28-Oct. 1st)! Workshops with Connor will be almost every hour on Saturday and Sunday. “The educational workshops hosted by Pittsburgh’s Comics Workbook focus on visual theory applied in practical fashion to any kind of comics making a cartoonist can imagine and can benefit any way a student of the form might wish to improve. This year’s special host is the remarkable visual talent Connor Willumsen, with guest-star teachers dropping in and out throughout the weekend. Walk-ins welcome.” Full schedule can be found HERE! ————————————————————————————————— Just had to share the above drawing, made by Connor Willumsen during his weeklong stay in Pittsburgh between SPX and touring for Koyama Press, and his upcoming stint at CXC. For the baseball fans out there. Check out Connor’s new book from Koyama Press – the incredible Anti-Gone, which you can get a copy of HERE. ————————————————————————————————— Jacob Khepler, “the publisher of Mothers News“, has started a new blog. So far he’s written about the zine shown above by Edie Fake, Family Circus, and books by Pushkin and Rimboud – something for everyone! Check out 100% Publishing HERE and be sure to bookmark it so you can keep up with one of the finest writers around. ————————————————————————————————— The fall semester of thee Santoro Correspondence Course for Comic Book Makers starts October 1st 2017. 8 weeks of comics instruction that will bang your practice into shape – 500 bux. Full details about the course and how to apply can be found HERE. ————————————————————————————————— 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. ————————————————————————————————— Suzy and Cecil – 9-28-2017 – by Sally Ingraham Share this page: [...]

10/19/2016

Juan FernándezOctober 19, 2016los Cómics / NewsJuan con un poquito sobre: las aventuras de Daniel Jiménez, La llegada de La Liga Zine Fest y Gerardo Vilches sobre «Animal Collective»! ————————————————————————————————— ⚡Daniel Jiménez escribe sobre sus experiencias como gestor y editor. En mi cabeza, después de diez años de vaivenes al frente de la revista Larva y siete dirigiendo el Festival Entreviñetas, una palabra se levanta como trampolín para abreviar la distancia entre tantos aprendizajes y errores: terquedad. Y es esa misma palabra la que me sirve para abrazar todas las expectativas e ideas (muchas de ellas inconclusas) acerca de eso que llamamos industrias culturales o, para irse más lejos y abrazar ancho, economía creativa. En Colombia, el ejercicio constante, decidido y sensible de la gestión cultural es un terreno escabroso, mutante e incómodo, que requiere una combinación kamikaze de valentía y velocidad, de osadía y tentación por el fracaso. La administración de la industria cultural, con todo y su aura de inspiración y seducción, cuenta con una financiación escasa, poca capacitación, reducidos interlocutores, una malinterpretación de la acción cultural en muchos niveles, un parco prestigio y ligerísimos apoyos privados que, en gran medida, solo funcionan dentro de la acostumbrada lógica de la “palanca”. ⚡La Liga – Zine Fest en NYC ✿FESTIVAL HIGHLIGHTING LATINX ZINE MAKERS✿ in conjuction with New Latin Wave 2016 www.newlatinwave.com Quien estará? La Liga Zine, Purple Pony, Stephanie Rodriguez Comics, La Chamba Press, No Shame Distro, Sula Collective, Kat Fajardo, Jenoris Caba , Tijuana Zine Fest, nico acosta, Cósmica La Liga es una plataforma en línea que muestra las muchas maneras por las cuales lxs latinxs/chicanxs/latinoamericanxs están diseccionando sus identidades culturales a través de diferentes medios de autoexpresión. Tratamos de resaltar como des-occidentalizan las diferentes areas de la vida. Además, reconocemos que la latinidad es una construcción social y que la comunidad latinx no es un monolito y por lo tanto tratamos de subrayar su diversidad. ⚡Gerardo Vilches visita «Animal Collective», en Madrid. El pasado 29 de septiembre se inauguró en el Centro Centro de Cibeles de Madrid una exposición titulada«Animal Collective», comisariada por César Sánchez y Alberto García Marcos de la editorial Fulgencio Pimentel. Se trata de una panorámica del cómic de vanguardia y la autoedición del continente europeo, que pude visitar el pasado martes por la mañana, aprovechando que en ese momento no suele haber muchos visitantes. En los siguientes párrafos os cuento mis impresiones. Las fotografías que aparecen son mías —y se nota; pido perdón por la pésima calidad, pero espero que al menos sirvan para que os hagáis una idea de la exposición. ————————————————————————————————— Echa un vistazo a este medallón estilo Pompeii! “Le encargué a la gran Airi Maeno que hiciera unos medallones de plata con sede fuera de mis dibujos. Este dibujo viende de mi libro Pompeii. Es algo que puedo imaginar que alguien se pondría hace dos mil años. Un simple medallón de un ser querido. Un retrato. Algo permanente para desafiar a la desaparición”. – Frank Santoro Puedes comprar uno aquí! Share this page: [...]

Meter, Geometry and Comic Form

Comics WorkbookJuly 31, 2017Essaysby Jackie Kirby Above, I have taken the opening couplet of Andrew Marvell’s “To His Coy Mistress” (1681) scanned and annotated by Phillip Hobsbaum in Metre, Rhythm, and Verse Form (1996) and translated it into an 8-panel grid spread using values of red as a accentual tool. Approaching comics with the assumption that they are or can be included within the scope of poetic practice, one is brought to draw a connection between the formal structures through which time and meaning are manifested on the page: in the comic, geometry and the grid; and in the poem, meter and verse form. Here, I will present what could generously be called “notes” towards a theory of meter and geometry. I apologize now for the inevitable imperfection of the metaphor, but I find this to be an important and positive aspect of the connection between the two, rather than a caveat negating any use the metaphor may provide. Meter is the method of measuring verse by counting elements of it. It is a primarily mathematical system; it was called “numbers” by the Classical poets. Most often, the poet is counting syllables, as many languages exist primarily as a succession of syllables. Through different uses of meter, different methods of counting and measuring, different patterns of arrangement, writers create prosody, or a system of language. Within each language there exist many theories of organization, each of which is catered to both the language the writer uses and the purpose for which she wishes to use it. English poetry uses an accentual-syllabic metrical system, where the units being counted are syllables, and their pattern is defined by the arrangement of more or less strongly emphasized, or accented, syllables. Other languages use different systems. Languages which do not accentuate as strongly, such as French, will use something more akin to a purely syllabic meter, where forms are defined by the counting of syllables and ordering of numbers. This was also used by Ancient Irish and Welsh poets. Classical Greek and Latin poets based their prosody on the number of syllables and the length of time it takes to speak each syllable, creating patterns by arranging longer and shorter syllables. This is all to say, meter is a tool that must be developed accounting for the idiosyncrasies of the language in which one wishes to write. By looking at the metrical forms used by poets across different languages, and restructuring them for use in the language of comics, one can produce comic forms with increased complexity without decreasing (and perhaps even increasing) their legibility. In an initial attempt at translating verse form to comic form let us equate syllables with panels, and spreads with lines. Each row of panels will represent a metrical foot. Stress is produced relationally, and in comics one can use size, color, density, and a myriad of other visual techniques to “stress” a panel. The actual size of each panel per “foot” or row is up to your own discretion but I prefer to use a more qualitative than quantitative approach to my “comics scansion.” The first verse form I’d like to look at is dactylic hexameter, or Homer’s verse. It is the verse used in the Iliad and Odyssey, and later in Latin by Ovid and Virgil. Its historical use has equated it with the most grandiose poetic narratives, and cues a reader that she is reading a grand epic. Dactylic refers to the primary foot pattern of the poem, a dactyl being a long or stressed syllable followed by 2 short or unstressed syllables, while hexameter refers to the number of feet per line, which is 6 in this case (as opposed to pentameter , tetrameter , etc.). Using the system of translation previously established, a “dactylic hexameter” comic, would consist of spreads with 6 rows of 3 panels each, with the primary pattern being to stress the first panel of each row. Visually, this can easily lead us to a spread of 2 pages using a 9-panel grid. Another notable element of Homer’s verse is that the third and sixth feet may be spondees rather than dactyls. A spondee is a foot composed of 2 equally weighted syllables. This could provide a spread looking something like this. Alternatively, one could equate the panel to a metrical foot, and the page to a line. This would produce 6-panel grids, with each spread serving as a couplet. These are only a few different, relatively conservative, attempts at translating a single poetic verse form into comics. These are not prescriptions as to what certain meters must look like in comics, but demonstrations of the ways meter and verse form can be used to develop a prosody of comics. There is such a plethora of verse forms, all with their own particular uses that can be translated into comics. As shown in the Marvell scansion above, the 8-panel grid is quite suited for translating iambic tetrameter, which is used most commonly in the ballad form. This connection could lead to all sorts of comics practices or translated ballads. The harmony of a metered line is based on the same mathematical principals that produce visual harmony in geometric patterns. For instance, the sonnet, one of the most commonly used poetic forms, consisted originally of an octave (8-line stanza) followed by a sestet (6-line stanza). Poetry scholars have connected this with the golden ratio (8/5) with an extra line added to complete an even-numbered rhyme scheme. I have annoyed (to say the least) a number of English department chairs by insisting that poetry is simply linguistic mathematics. Certainly it’s (a bit) more than that, but much of poetics is applied mathematics, just as comics are. ————————————————————————————————————— Jackie Kirby is a poet and comics maker living in New York City. A recent graduate from The New School with a BA in Cultural Studies, she has been making comics and writing poetry seriously for three years. Check out work by Jackie on her website, and follow her on Instagram. Read Jackie’s Comics Workbook Rowhouse Residency Report for more thoughts on comics and poetry. Share this page: [...]

10/06/2016

Sally IngrahamOctober 6, 2016NewsSam Ombiri kicks off the day with thoughts on Paul Chan, Beckett, and the power of a “side project”. Sally Ingraham adds some insights from Kerry James Marshall and a Comics Workbook events and happenings roundup. ————————————————————————————————— Sam here: Paul Chan quit making art in 2008 because, as he put it, “I’ve had it”. I’m really not prepared or qualified to talk about Paul Chan’s work so I guess I’ll just somewhat graze over how, or why, he quit. (I’ll re-appropriate what Paul was referring to in an interview – in an attempt to arrive to a point for my own purposes. Some of it he said, but some of it is my fictional version of Paul Chan.) Paul Chan said that the artists that he’s admired follow the route of what we imagine we want. Since what we want is always changing, one expression of this can be found in quitting, like Duchamp did, or taking a break, like Beckett supposedly did with Waiting for Godot. I heard from Paul that Waiting for Godot was a vacation for Beckett, before finishing up the trilogy of novels he was working on. Godot is his most famous work, and furthermore he’s more famous as a playwright than as a novelist. I think I prefer Beckett’s novels (which I’ve barely read, I’m like ⅓ through Molloy) to his plays (which I’ve also barely read). That is not to necessarily say that his novels are automatically better since the medium dictates automatic superiority. What I think, rather, is that development takes place from that change of one pace to another. This can take place when dealing with the same medium – even the same genre, even the same story – but in changing the approach, or having less concern/anxiety dictating one’s work. What I imagine is that after Beckett returned to finishing the trilogy, he had grown in another aspect he didn’t fully realize. This change is present whether he’s doing plays or novels. I guess what I get out of all this is: the power of a side project, or side preoccupation, has power that shouldn’t be underestimated. This totally reminds me of of how Dash Shaw told Sam Alden to just stop working on 8th Grade, and then Sam really benefited from that. He says it at one point in this video: Jesse Moynihan also says something cool at one point in this video about changing your work, and pursuing growth. –Sam Ombiri ————————————————————————————————— When Sam Ombiri isn’t reading Beckett or researching Paul Chan, he can often be found hanging out with other cartoonists in Pittsburgh (above) – and we look forward to sharing some of the comics projects (side projects or otherwise!) that he’s been working on via Comics Workbook soon. ————————————————————————————————— The Chicago Tribune recently had a great conversation with Kerry James Marshall about the history and future of black superheroes. Marshall, whose career retrospective is bound for the Metropolitan Museum of Art’s new Met Breuer in New York City, has been collecting comics since he was a child – and he has dozens of carefully cataloged binders full of comics that document the experiences of black characters or casts. He has spent a long time watching and thinking about the evolution of black superheroes, and the storytelling pendulum that swings between exploitation and inclusion. “The majority of black characters are stand-ins for white characters that exist. Or sidekicks. The scope of their narratives is small. They were asked “to fix the black psyche” before engaging the world. “Unlike a Spider-Man, you didn’t have black teens burdened by power they might acquire.” “ Marshall has at least one solution to this: “...black artists should create original characters, fresh superheroes, removed from the Marvel and DC universes. Talking to African-American comic book artists, you often hear a common theme: Ashley A. Woods, the Chatham native and on-the-rise artist-writer behind indie favorite “Niobe: She is Life,” told me she decided early on to take full ownership of her characters, otherwise “you’re stuck being asked to do black versions of what exists.” Jiba Molei Anderson, a longtime Chicago comic artist whose work is often based in African mythologies, said: “I’m creating my own legacy — I don’t need to create a black Batman, I need to create my brand.” ” – via The Chicago Tribune Read the rest of this article HERE. (via The Comics Reporter) Check out some of Jiba Molei Anderson’s work HERE. Read more about Ashley A. Woods and Niobe: She is Life HERE. ————————————————————————————————— Chris Visions is in NYC this week for the New York Comic Con – check him out at table T3B! NYC, we outchea!!! See ya’ll tomorrow for Comic Con 2016, table T3B— and look out for more awesome photos and video from @tylerqtucker #art #comics #nycc A photo posted by Chris Visions (@chrisvisions) on Oct 5, 2016 at 4:42pm PDT ————————————————————————————————— If you haven’t gotten a chance to dig into the footage of Cameron Weston Nicholson‘s SPX workshop yet, here’s your reminder! Check it out HERE. ————————————————————————————————— Comics Workbook is heading to the UK for The Lakes International Comic Art Festival and to Columbus, OH, for Cartoon Crossroads Columbus next week. Hang out with Frank Santoro, Aidan Koch, Connor Willumsen in the UK – more details HERE. The team in Ohio will be doing workshops next weekend, and you can sign up in advance to get a seat – details HERE. Advanced signups will end Friday, October 7th, 2016. ————————————————————————————————— There is still time to get a bid in on the Michael DeForge drawings that we have up for auction – details HERE. Have you seen the recent collaboration between Frank Santoro and master jeweler Airi Maeno? Check out the Pompeii Medallion HERE. Help us get Connor Willumsen to The Lakes International Comic Art Festival – this way please! Share this page: [...]

05/09/2018

Posted on May 9, 2018May 9, 2018 by Juan Fernández

Women Write About Comics, Vanesa R. Del Rey y Jordie Bellaire, Judith Gociol, Sindy Elefante, Daniel Jiménez, Klari Moreno y Lorenzo Montatore

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

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Worth your time (& money): Women Write About Comics are raising funds to solve some tech issues. @womenoncomics is important for comics criticism and not a voice I’d like to see disappear. If you have a few spare dollars, I’m sure they’d appreciate them.

The cost of moving WWAC to a new host, including all the background work to transfer seven years worth of archives, is more than we can handle on our own, so we’re asking for your help to get us over that initial hump. Our transition will also involve designing a layout that can handle the site.

Donate today.

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¿Ya escucharon la cuarta entrega de #Womansplaining? Es sobre el papel de la mujer en el cómic colombiano y latinoamericano y tiene como invitados a Judith Gociol, Sindy Elefante, Daniel Jiménez – una conversación super, pero super enriquecedora.

Tal vez uno de los nichos más permeados con la percepción de que eso “es cosa de hombres” es el cómic. Tal vez porque para muchos las historietas se limitan al universo de los superhéroes, o porque la idea del “comiquero” es la de un chico que se reúne con sus amigos a dibujar y a tomar cerveza. Sin embargo, desde hace algunos años, nombres como Power Paola, Sindy Elefante o Sofía La Watson han comenzado a sonar dentro de la escena editorial, no solo local sino también internacional. En este capítulo de Womansplaining hablamos con Sindy Elefante, autora de la novela gráfica Elefantes en el cuarto, con Judith Gociol, coordinadora del archivo de cómic de la Biblioteca Nacional de Argentina y con Daniel Jiménez, director de Entreviñetas sobre las diferentes maneras en las que la mujer hace parte del mundo del cómic. Una conversación sobre la rabiosa Helga, la esposa de Olafo, la hipersexual Yayita, la idea de que los cómics hechos por mujeres solo pueden ser autobiográficos y el importante papel de la mujer dentro de un universo en donde la autogestión es fundamental.

Escúchenlo AQUI.

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Muy informativa e interesante esta reseña sobre Redlands de Vanesa R. Del Rey y Jordie Bellaire en español, échale un vistazo: Tres brujas. La historia de todas las mujeres desde la Antigüedad. Sangre. Fuego. Venganza. Justicia. La sociedad contemplando su propio retrato de Dorian Gray.

Establecido, pues, que las mujeres son las grandes destructoras y desestabilizadoras del mundo de los hombres, entramos por fin a hablar de Redlands, el primer tebeo guionizado por la colorista Jordie Bellaire (apoyada para desarrollar la historia por la ex-editora y amante de los batidos Heather Antos), e ilustrado por la dibujante cubana y valor en alza Vanesa R. del Rey. Desde las primeras páginas de esta serie queda establecido que las autoras han abrazado por completo todos los prejuicios y afrentas históricas contra la mujer y les han dado la vuelta para transformarlas en literales fuerzas de la naturaleza, encarnadas en tres mujeres muy diferentes.

Léanlo todo AQUI.

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En Revista Cactus 29, Klari Moreno se transmuta en Lorenzo Montatore en su entrevista dibujada. Estupendo. 100%.

Léanlo la entrevista AQUI.

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Suzy and Cecil – 5-9-2018 – by Gabriella Tito

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Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged Daniel Jiménez, jordie bellaire, Judith Gociol, Klari Moreno, Lorenzo Montatore, Sindy Elefante, vanesa r. del rey, womansplaining, Women Write About Comics

Juan Fernández

Posted on May 9, 2018May 9, 2018

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Bill Griffith Searching for Beatnik Comics

Juan FernándezApril 7, 2016EssaysBill Griffith Searching for Beatnik Comics at COPACETIC COMICS PITTSBURGH PA USA – Shot and Edited by John Kelly Share this page: [...]

06/08/2018

Sally IngrahamJune 7, 2018NewsSally here with comics and news from Gabrielle Bell, GG, Liana Finck, Summer Pierre, Paula Puiupo, and more! ———————————————————————————— I missed a week of internet due to traveling in New Mexico without a computer, but the rest of the world didn’t skip a beat so there are a ton of comics and news bites to share with you good folks as you head into your weekend. Let’s dig in! Gabrielle Bell has a comic up on The New Yorker titled That’s What I Get for Trying to Find Love on Tinder. See the whole thing HERE. Speaking of Liana Finck, she also has a recent comic on The New Yorker – Meet the Commenters! – which details the cool stuff people say to her when she posts her autobio comics online… HERE. ———————————————————————————— It’s been a minute since I checked out the 4Panel Project – above is a recent one by GG. In the last few weeks alone there have also been comics by Julia Wertz, Hannah K. Lee, Keiler Roberts, and Daryl Seitchik. ———————————————————————————— Summer Pierre has a busy blog where she posts a lot of her comics – above is the latest in her series Paper Pencil Life. Check out more comics HERE. She has also been working on the series of haiku comics – her most recent one (#38 out of 50 she has planned) is not yet on the blog, but you can catch it on Summer’s Instagram – HERE. ———————————————————————————— Paula Puiupo has a new comic out called Gume – see a spread from it above, and learn more about it HERE. Paula recently updated and redid her whole website, so be sure to check it out and see a lot more of her work. Paula Puiupo is originally from Lisbon, and now lives and works in São Paulo. ———————————————————————————— Nnedi Okorafor is going to continue writing for comics, teaming up with artist Tana Ford once again on a new 4-part series coming from Dark Horse’s Berger Books imprint, titled LaGuardia. More details are available at The Comics Beat – HERE. ———————————————————————————— After Dinner Mints Fiona Smyth‘s new collection Somnambulance (from Koyama Press, 2018) is reviewed at Four Color Apocalypse, and The Toronto Star. The collaboration between Anne Elizabeth Moore and Melissa Mendes is examined by Alex Dueben on The Comics Journal – HERE. The discussion about Olivia Jaimes and her take on the comic strip Nancy continues. Jessica Campbell‘s latest comic for Hyperallergic is HERE. ———————————————————————————— Suzy and Cecil – 6-8-2018 – by Sally Ingraham Share this page: [...]

Sean Ford’s SHADOW HILLS

Chris Anthony DiazJuly 9, 2016The Diaz ArchiveSHADOW HILLS 1-8 by Sean Ford in new square format versions. Looking forward to the conclusion in issue 9, due out this fall and a forthcoming book collection of the series! Photo of Sean Ford taken at CAB 2014 and colored by Graham Willcox Share this page: [...]

07/20/2018

Sally IngrahamJuly 19, 2018NewsSally Ingraham here with a look at Lale Westvind’s Grip Vol. 1! ————————————————————————————————— I am usually swept along by Lale Westvind‘s work, but her latest comic – Grip Vol. 1 – swept me away. It “grips” you immediately, as your eye catches sight of the bright screen-printed cover and the lovely risograph interiors. The rise of riso printing has brought a wealth of pretty books, but a pretty book does not always equal a great comic. Lale’s voracious drawing style and the way she bends the comics medium to her will is in this case thrillingly complimented by the work of Chicago-based Perfectly Acceptable Press. Lale’s storytelling is particularly good in this comic. It begins with a transformative encounter with a force that sets the hands of the protagonist in motion. Her hands remain the focus of the story throughout, visually and thematically. She moves from one adventure to another, from one job to the next, meeting people and traveling, and her hands manipulate and influence what happens around her both at her will and perhaps against it. Without words and using only a few written sound effects, Lale Westvind crafts a moving tribute to working women, a wild celebration of female power and skill. Whether sorting mail, serving tables, piloting aircraft, traversing mountain heights, or sharing long significant eye-contact, the women in Lale’s comic are moving, building, holding the world together while tearing it apart. Although there is no regular rhythm in the structure of the panels, there are a lot of interesting design choices from spread to spread. There are visual rhymes and mirroring that I find satisfying, and a color scheme that balances and harmonizes with the lines. Grip Vol. 1 mixes reality with fantasy in a way that feels familiar to me. It’s like Lale got inside my head – and likely the heads of many women – and illustrated how the work of the moment, the task at hand, is transformed by the inner fantasies and landscapes of the heart, the joyous and violent riot of thought that leads to action or survival. Whether physically or metaphorically, often getting a grip and keeping it becomes the only motion that really matters. Recommended. Get a copy of the comic HERE! ————————————————————————————————— Suzy and Cecil – 7-20-2018 – by Sally Ingraham Share this page: [...]

06/10/2016

Sally IngrahamJune 10, 2016NewsFrom Sally to you – interviews, reviews, and Rowhouse mischief. Dig in! ————————————————————————————————— The Rowhouse had a special guest this week – samurai ninja badass cartoonist Lale Westvind stopped by on her way to CAKE in Chicago. She spent an evening digging into Frank’s library, and somehow simultaneously drew four pages of a new comic, all the while sharing stories about her cross-country motorcycle adventures. You can catch up with her yourself at CAKE this weekend (table 42b), or if you’re not in Chicago, check out a nicely coincidental interview with Lale here on the Comics Workbook site – follow the link below. http://comicsworkbook.com/lale-westvind-sometimes-an-overgrown-golf-course-will-do/ ————————————————————————————————— Speaking of CAKE, there are lots of brilliant books debuting at the show. I’m particularly excited about Hip Hop Family Tree Vol. 4 by Ed Piskor. Here’s the whole list! ————————————————————————————————— Over on The Comics Journal RJ Casey reviewed Ben Sears‘ new book Night Air (Koyama Press, 2016). “I’m nostalgic for things not beholden to nostalgia. I want to read adventure comics without the guilt of knowing that the original creators died flat broke and drowning in menacing legalese. I want to laugh at jokes that aren’t slathered in sanctimonious pandering. Frankly, I’m on the lookout for fun comics with no icky strings attached. So thank goodness for Night Air.” – RJ Casey Read the whole review HERE. ————————————————————————————————— The Comics Beat has a review of Melissa Mendes‘ Lou (Oily Comics). John Seven writes: “Mendes presents a full picture of this family’s life, working with multiple perspectives in reaction to the possibility of getting a puppy, as well as Lou’s hang-outs in an abandoned theater with her buddies, the shady dealings that Eddie encounters at the pizza place, and the mother’s reminiscence of the simpler, more intimate life with her husband before her children came along. Mendes brings all these pieces together to present a family as a form of super organism that can be jolted or made buoyant be the way separate parts of its life fester or expand. The mundanity of a new puppy can bounce up against the desperate actions of a criminal to create the family dynamic.“ Read the rest of the review HERE. ————————————————————————————————— Around the Comics Workbook HQ, we’re still processing the successful first official residency that took place last week. Mahmoud Hashemi, one of the two fellows who joined us, sent us a detailed report of his experience which we will share more of soon. For the moment, here’s the light touch, in Mahmoud’s words: “From May 28th to June 2nd, 2016, I visited Pittsburgh, Pennsylvania. I went to work with Frank Santoro on Matt Conway’s game Homemake. Overall it was a great vacation because it wasn’t your typical beachside retreat. Rather, it was mounting an effort to renew creativity and productivity on Matt Conway’s longstanding project, Homemake. … Frank’s own creative methods have a focus on systems, especially jazz-inspired rhythmic systems, making them an exceptional fit with Homemake‘s motivations and goals. I was skeptical at first, but it worked wonders. This effectiveness may have been magnified because half of Homemake‘s vision was disparate moments, a grab bag of mental notes about certain aesthetics. This method allowed Matt to express all his thoughts and editors, like me and Frank, to come through, see the patterns a reader would want to see, and develop the most coherent narrative. Everyone wins.” Look for more from Mahmoud and Matt and Frank on the exceptional days they spent together here on Comics Workbook soon! ————————————————————————————————— Have a great weekend folks! – Sally Share this page: [...]

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