Aaron here today with Risography!, Kickstarter(s) of Note; Anthologies of Europa; The Necrophilic Landscape; Fax Art; Jacob Khepler.


John Pham

A p-shop airbrush set to “dissolve”
Frank Santoro continues to look at recent use and development of comics printed on Risograph machines. This time around he talks with John Pham:

[SANTORO] I’ve noticed risograph printers have “meet-ups,” little fairs and conventions. I imagine it is like any other subculture, however this one interests me because of the direct connection to book making. It reminds me of zine culture and comics fandom in a way. Can you speak to how risograph printers are different than other printers, beyond obvious differences in materials?

[PHAM] I’ve got a lot respect for the other Riso printers out there, folks like Mickey Z, Colour Code, George Wietor and Sarah McNeil. I’ll be the first to admit that I’m a really sloppy and brutal printer. Printing my books is one of the last steps in my process and at that point I’m usually pretty sleep deprived and grouchy. So I kinda just shove the books through the printer and try to troubleshoot as I go along. This sort of urgency probably creates its own aesthetic but I’m definitely not as knowledgeable or precise as a lot of the printers mentioned above. I think the differences between riso printers and other kinds of printers is pretty negligible, but they’re likely to be more inclined to focus on holistic book making than, say, just prints and covers.


Cover by Kevin Czap

Tiny Report and Retrofit Comics
2 contemporary comics institutions are currently Kickstarting publishing endeavors:

Yuichi Yokoyama


‘In this context, the works are comics, sequential art, visual narrative, comics-adjacent storytelling, informatics and some other lumpy labels for stuff that tells a story with pictures.’
Elsewhere on the CW site, Matt Rhodes writes about European comics anthologies:

Through the 1920s, there was a series of art journals and publications put out by various art groups in Europe: de Stilj, Dada, Cannibale, Le Couer, Cabaret Voltaire. Due to modern advances in printing technology, it is easier to self-publish zines with better production values. But it’s also interesting to note that the impulse to run an amateur publication of random stuff is perfectly normal. There’s a certain amount of debate regarding how and when the cartooning tradition in Western Europe became the comics tradition of Western Europe. Some point to the broadsheets of the 17 century that introduced the twin concepts of anthologies and episodic storytelling as a precursor to modern sequential art. But it’s more likely that comics as we know them grew up during the 19th Century. And anthologies were an important part of that maturation.


Tracy Auch

“No one would expect that these two figures are in fact a single man: the fearless detective Lucas Barrette.”
Greg Hunter reviews Tracy Auch’s excellent The Necrophilic Landscape over at TCJ:

Despite being, unrelentingly, an art comic, The Necrophilic Landscape isn’t shy about utilizing genre conventions. Pulpy, ironic narration describes the detective’s quest, the sort that would not have been on a ’40s radio serial: “No one would expect that these two figures are in fact a single man: the fearless detective Lucas Barrette.” (The detective, for his part, bears a sideways resemblance to McGruff the Crime Dog.) The children’s means of infiltrating the adult world echoes the comedy trope of two kids walking one atop the other in a single large coat. And the story’s dystopian trappings provide a context for Barrette’s fantastical procedure. But the most compelling generic element is one the story shares with horror: the protagonist, Barrette, stands for order and orthodoxy, with the story’s antagonists, the children, deviating from that orthodoxy—and readers are likely to empathize with the antagonists to a degree that the protagonist does not. (By the end of the comic, Barrett hasn’t assumed the role of villain, but he doesn’t have much of a defense to offer on behalf of the prevailing order.)


Fax Machines and Their Discontents
For those interested in showing dissatisfaction with the recent talk about the National Endowment for the Arts de-funding, and who are also able to access a fax machine, and who also want to be artistic about it, Claire Voon at Hyperallergic has a piece about organizations contacting United States Congresspeople via fax:

The process may sound archaic in 2017, but as Kathryn Schulz recently wrote for The New Yorker, faxes do reach congressional representatives. They get entered into a “constituent-management system” like any other message, and staffers will read each one. And as Schulz reported, personalized forms of material communication actually have more sway on a lawmaker’s opinion than a phone call. Faxing a message may take much more time — but that’s why services like Artifax are particularly handy for amplifying your concerns while adding a little creative flair to your political activism.

Fax by design studio Open


Jacob Khepler‘s run at the Outline has ended, but he has preserved the column he wrote weekly from Dec. 2016-April 2017 HERE. Never one to lose momentum, he is currently working on editing a Mothers News collection book among other projects.


A Cosmic Journey – 5-2-2017 – by Cameron Arthur


Suzy and Cecil – 5-2-2017 – by Gabriella Tito


Joanie and Jordie – 5-2-2017 – by Caleb Orecchio

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