Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged gabriella tito, jack brougham

Juan Fernández

Posted on May 24, 2017May 24, 2017

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08/21/2017

Caleb OrecchioAugust 20, 2017NewsCaleb Orecchio here with your Monday edition of the Daily News with some thoughts on drawing sparked by Eleanor Davis and the reputable discipline of Leslie Stein and Gary Panter–and remember not to go blind looking at the eclipse ———————————————————————————————— Recently, a friend of mine lent me Eleanor Davis’ recent Koyama Press release, You & A Bike & A Road. I read it on Tumblr when she was serializing it live (I think) as she embarked on her cross-country bike adventure which the book illustrates; but I never really took the time to notice how immediate the drawing is. From what I understand, these pages were drawn first take as she was making her way through her journey, like a diary, which is really impressive. The drawings are sparse and noodley, yet feel perfectly complete–and they teem with a pertinent energy. Last time I was in Pittsburgh, Frank Santoro talked a lot about Gary Panter and how he draws constantly. Even while you’re having a conversation, he’s just drawing away, “He’s just someone who draws all the time no matter what.” On the most recent episode of Greg Hunter’s “Comics Decalogue,” Katie Skelly talks about going to a bar with Leslie Stein and Gary Panter and, basically confirming Frank’s story, that both Stein and Panter drew while conversing the entire time they were hanging out. I think this idea of being a “drawer” is often lost on most cartoonists. I mean, we all draw, right? But how many of us REALLY draw all the time–and how many of us can draw in any other way than our “style?” Now, I’m not throwing shade to style, but I think it’s worth thinking about. When I was going to school for graphic design, the designer Timothy Goodman came to talk to us and one of his big statements I took away from his lecture was, “Don’t have a style.” His reasoning mostly pertained to the idea that having a style will basically hinder your creativity. Now, most cartoonists are not being asked to create an ad in 3 hours for Time Magazine like a highly in-demand designer like Goodman, BUT can anyone really argue that style often does limit the kind of stories a cartoonist can make? In fact, most styles can even limit a cartoonist to a demographic–speaking strictly, and generally, in marketing terms. What am I getting at? I’m not trying to preach or sound like I have THE answers, but what I like about Davis’ recent book is the fact that it is drawn. It’s not inked with a brush with every stroke carefully crafted and feathered. It’s just drawn. Ever seen a Brian Chippendale comic? He just draws them (mostly). Crumb? Moebius? (Conflict of interest warning:) Frank Santoro? Just drawn. I like “professionally” inked comics and comics where traditional craft is essential, but there is an immediacy that is stripped at every step of the process. It’s like going acoustic, once you add a drum kit, you have to turn up the volume on everything else and the intimacy gradually is drowned out. I’m working out these thoughts as I go–thanks for reading. Next week–Kirby’s 100th birthday:) ———————————————————————————————— yikes! I’ve been so pumped about drawing and Kirby’s 100th that I almost forgot other comics existed in the world. Here are some links I found after I came back to our reality. Don’t miss that eclipse. Here, everyone is going to be talking about this so get your info about the eclipse. If you want more info, try a google search. Yo, today is Marie Severin’s birthday. You know who Marie Severin is right? Get acquainted. Heroes punching Nazis has becoming a particularly pertinent topic lately. Speaking of Kirby, I’m suspicious of the new highly hyped-up Mister Miracle comic, but maybe it’s good–who knows. ———————————————————————————————— Suzy and Cecil – 8-21-2017 – by Sally Ingraham ———————————————————————————————— Joanie and Jordie – 8-21-2017 – by Caleb Orecchio Share this page: [...]

08/23/2017

Juan FernándezAugust 23, 2017los Cómics / NewsEmpezamos el día con “Notas al pie” de Nacha Vollenweider; Elisa McCausland sobre la politica de Kate Evans y Catherine Meurisse; Vanesa R. Del Rey; Brian Sanchez; Andrea Galazina; Guerra de Soda de Jazmin Varela; FERIA RARA; y los tebeos de Cómics Workbook! ————————————————————————————————— Pablo Turnes escribe sobre Notas al pie de Nacha Vollenweider en Revista Kamandi. Nacha Vollenweider nació en 1983 en Río Cuarto, Córdoba, el último año de la dictadura militar que hizo de uno de sus tíos (Ignacio Manuel “El Corcho” Cisneros, militante montonero) uno de los 30.000 detenidos-desaparecidos, marca indeleble del país. Nacha (Ignacia) comparte nombre con aquel otro presente en su ausencia, cuyo rostro – entre otros – se multiplica en la casa de la abuela, una Madre de Plaza de Mayo, la Vasca. La autora carga con esa herencia familiar, que es expuesta como introducción a Notas al pie de forma sintética y didáctica, pero por sobre todo sincera, sin sobre explicaciones ni efectismos. Es una declaración identitaria y, por lo tanto, también política. Un salto nos traslada a Alemania – Hamburgo, más específicamente – donde Vollenweider reside desde hace algunos años junto a su pareja Carina (Chini), con quien se va a casar. El diálogo entre las dos, en lo que sería el “presente” del relato, siempre se produce arriba del tren. A partir de esos intercambios surgen recuerdos, reflexiones, vidas que se cruzan, se acercan y se alejan – y se extinguen – como las vías férreas. A la idea del movimiento y el traslado se le une la de lo rizomático: todo gira mientras va haciendo su propio camino en múltiples direcciones a la vez. Léanlo todo AQUI. ————————————————————————————————— Judaísmo + Robots Gigantes + Angustias adolescentes = El robot gigante del rabino – Una nueva historieta de Brian Janchez ————————————————————————————————— Andrea Galaxina necesita tus fanzines: ¡Hola! He empezado a colaborar con la Biblioteca de Mujeres de Madrid llevando el departamento de fanzines. De momento no contamos con una grandísimo número de fanzines en los fondos de la Biblioteca ¡pero eso tiene que cambiar! Por eso hago un llamamiento desde aquí para que te animes a donar tus fanzines y que estos formen parte de la gran iniciativa que es la Biblioteca de Mujeres. Aquí os dejo toda la información sobre por qué y cómo donar tus fanzines. Por supuesto estoy a vuestra disposición para solucionar cualquier duda que podáis tener, tan solo tenéis que escribirme un email a bombasparadesayunar(a)gmail.com y os contestaré encantada. Puedes saber más sobre la Biblioteca de Mujeres consultando estos enlaces. Catálogo e información general: http://www.mujerpalabra.net/bibliotecademujeres/index.htm Artículo sobre la BdM: http://ctxt.es/es/20170524/Culturas/12929/biblioteca-mujeres-fondo-libros-ctxt.htm ¡Difunde y Comparte este flyer a todas las autoras de fanzines que conozcas! [Puedes descargarte el flyer aquí: https://goo.gl/ukvBRB] ————————————————————————————————— Este fin de semana en Chile:FERIA RARA – 26 – 27 de agosto – la FERIA RARA en el maravilloso lugar de Axolote Matta, Santa Rosa 955, Santiago. Bandas – Editoriales – Sellos – Ilustradores y más ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: ¿Qué hace que un cómic sea político? Elisa McCausland explora la propuestas recientementes de Kate Evans con La Rosa Roja y Catherine Meurisse con La Levedad. Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Sofía Flores y Catalina Cartagena, dos amigas dibujantes que han recorrido su carrera juntas, desde la música, las escuelas de arte, química, ilustración, la publicación de sus historias, fanzines y mucho más. Nos mostrarán sus ideas, secretos y animales guías. BEYOND REDLANDS: THE COMIC ART OF VANESA R. DEL REY – Over in the UK, Vanesa R. Del Rey will have my original pages and sketchbooks on display at Orbital Comics for a September exhibition. Brits, this is for you to drool at and be inspired by! Anteayer empezó la venta anticipada de “Guerra de soda”, el primer libro de Jazmin Varela que va a publicar la editorial Maten Al Mensajero. “Persecuciones en bici, divorcios, veranos con los abuelos, piojos. En “Guerra de soda”, Jazmín Varela es una niña tramposa y sensible que atraviesa como puede los pequeños espantos de la infancia. Construida a sí misma en el terreno mutante del fanzine, logra un retrato áspero y festivo sin engolosinarse en la clausura total de lo autobiográfico y estirando lo anecdótico a sus costados más reveladores. Para Jazmín, la niñez es un lugar más problemático que idílico donde los cambios, la negligencia de los adultos, el dolor y la incomodidad conviven naturalmente con los cumpleaños, los recreos y las piletas. Batallas que cuando se es niño parecen gigantes e igual de significativas, como llegar al club con la malla equivocada o acostumbrarse a una nueva configuración familiar. ¿A quién le importan? Si el día puede terminar comiendo un helado con doble cono y bañado en lluvia de rocklets.” Andrea Guzmán, periodista cultural y amiga de las comiquitas. Vino Joven: “Justin Green y el surgimiento del cómic autobiográfico”, un artículo de Irene Costa Mendia en CuCo 1. ———————————————————————————————————— Suzy and Cecil – 8-23-2017 – by Sally Ingraham ———————————————————————————————————— Joanie and Jordie – 8-23-2017 – by Caleb Orecchio Share this page: [...]

04/01/2016

Juan FernándezApril 1, 2016NewsJuan Fernandez here with your weekend comics news fix. It’s been a busy week, I’ve been doing a lot of kids comics classes and have a lot on my plate personally this weekend with the all weekend long action of PIX here in Pittsburgh. Readings, workshops, exhibitors, panels. OOf, gotta remember to stay hydrated and caffeinated. (Field notes from youth workshops to come in future posts). There’ll be loads of comics folks doing it to it in NYC for the Society of Illustrator’s MOCCA Fest, but I’ll amped to be focusing on things on the home front in Pittsburgh. Can’t say I’m not a little bummed that I can’t attend the programming that the Society is putting together this year! If you’re in the area, you’re going to want to pop by. But if you’re near Pittsburgh, you’ll want to know that Comics Workbook is doing a full day of programming during the Expo this weekend. Hands on instruction and training in the first installment of our Danger Room Workshop Series. ————————————————————————————————— Pittsburgh Independent Comics Expo Details Tonight there will be two Pre-PIX events (no fooling’!) Bill Griffith fans will want to know that, in addition to his being a special guest of PIX 2016, he will also be doing a presentation at The ToonSeum the night before, starting at 7pm at Bricolage, a few doors down from The ToonSeum: 45 Years of Zippy the Pinhead: An Evening with Bill Griffith. Nice interview with Griffith up at the Pittsburgh Post-Gazette. Read it here. AND, running from 7pm to 11pm at Lili Cafe (downstairs from The Copacetic Comics Co.) it’s The Pre-PIX Comix Reading Extravaganza! Here’s a chance to get a jump start on the PIX 2016 festivities! ————————————————————————————————— Official DANGER ROOM 001 Schedule: April 2nd, 2016 Drawing without Drawing: Explore the power of color of and form in comics// 11:30 PM // 2nd Floor Classroom DO BE DO: A 1 Hour Comics Publication to be drawn, scanned, printed, bound. // 12:30 PM // 2nd Floor Classroom The Architecture of Time and Space – Composing Comics with Frank Santoro// 1:30 PM // 2nd Floor Classroom Paper Jazz – Comics, storyboards, concept art, same difference: it’s all writing. // 2:30 PM // 2nd Floor Classroom Bill Griffith’s Drawing Workshop – That’s right, learn how to draw from the Legendary Underground comics artist creator of Zippy the Pinhead. // 3:30 PM // Lower Level Classroom I’ll be co-facilitating all the workshops throughout the day. RSVP Here. ————————————————————————————————— Berliac’s latest “TANGRAM” is Berliac’s contribution for the anthology “Abstraction and Comics”, edited by Aarnoud Rommens, Pablo Turnes and Bjorn-Olav Dozo, and published by PULg, (Université de Liège, Belgium), for their ACME series. It’s online now and a real formalist treat. If you’re looking for inspiration by seeing how someone masterfully composes comics within constraints (in this case the forms of the Chinese tangram puzzle), look no further. Read it here. ————————————————————————————————— Alt Comix II – LIVE Tonight the Alt Comics crew is gathering to put on a night of readings and performances at NYC’s American Medium (424 Gates Ave. Brooklyn.) More info here. Hosted by 2dcloud x Aidan Koch there’ll be presentations and performances by: Kayla Guthrie. Claire Christerson. Austin English. Sarah Ferrick. Julia Gfrörer. Barkev Gulesserian aka Bernard Herman. Aidan Koch. Blaise Larmee. Nikholis Planck. Gina Wynbrandt. ————————————————————————————————— Womens’ Comix History Over at the Comics Journal, there’s a nice, chunky piece put together by Alex Dueben that records an oral history of the publication, Wimmen’s Comix. As anecdotes contain the juiciest nuggets, the most vivid images, the most important memories, this is required reading. Lotsa hard work went into this one, “assembled from a series of interviews with M.K. Brown, Nancy Burton (aka, “Hurricane Nancy”), Jennifer Camper, Leslie Ewing, Joyce Farmer, Mary Fleener, Shary Flenniken, Lora Fountain, Phoebe Gloeckner, Roberta Gregory, Joan Hilty, Aline Kominsky-Crumb, Meredith Kurtzman, Caryn Leschen, Lisa Lyons, Lee Marrs, Barbara Mendes, Patricia Moodian, Diane Noomin, Trina Robbins, Sharon Rudahl, Carol Tyler, and Rebecca Wilson conducted by phone, skype, google chat, and e-mail in 2015 and 2016.” Read it all here. ————————————————————————————————— Retrofit Kickstarter: Big Push Retrofit Comics is entering the last week on their Kickstarter campaign! Take a gander at their list of artists, and you’ll immediately recognize the publisher to be a general force for greatness in the comics community. The crop of books they’re currently publishing is particularly spectacular. It includes titles by the likes of James Kochalka (Elf Cat in Love), the first Cartoonist Laureate of Vermont. Eleanor Davis has an offering (Libby’s Dad), and Kaeleigh Forsyth and Alabaster Pizzo teamed up on Hellbound (here’s a process post from them about the “raw material” the book was sourced from). Also among the comics that may get loosed on the world, should the Kickstarter make it to the stretch goals, are works by Anya Davidson and Tyler Landry. Pretty rad. Please support Retrofit Comics by pitching some funds their way, or helping to spread the word. Check out the Kickstarter HERE! Push it to the limit. ————————————————————————————————— Remembering Jess Johnson As yesterday was Transgender Day of Visibility, it’s a good day to think of Jess Johnson who sadly left the world last Sunday. If you have a chance, I urge you to take some time to dig into Johnson’s life and work, whether it’s by taking a moment to listen to this Ink Studs interview from 2013 or by digging into the collections of Matterhorn, the online venture that she put online. Despite never having been collected in a durable format, there’s hope that Johnson’s memory will live on by sharing this unique, idiosyncratic, and darkly funny body of work. Share this page: [...]

10/20/2016

Sally IngrahamOctober 20, 2016NewsSam Ombiri is here today with some thoughts on his experience at the Pittsburgh Zine Fair, and then Sally Ingraham rounds up some other happenings in the greater comics community! ————————————————————————————————— thank you for attending the 2016 #pittsburghzinefair! we had almost 700 attendees this year, our largest turnout ever! another big thanks to our exhibitors, sponsors, and partners. watch this space for upcoming events soon! #zines #pittsburgh pic credit: @annesleyadventures A photo posted by Pittsburgh Zine Fair (@pittsburghzinefair) on Oct 16, 2016 at 6:49pm PDT Sam Ombiri was helping run the Pittsburgh Comics Salon table at the zine fair this past weekend. He writes: The Pittsburgh Zine Fair was a lot of fun, it was a such great environment. There was a constant wave of sound the whole time I was there. I’d try to make out what people were talking about from a small distance, but I guess that’s not how it works. I like how one person doesn’t see what the other sees – I maybe see person 1 and 3, but because I’m moving along too quickly I totally miss person 2. So I could think I found the coolest zines, but someone else shows me that’s not the case. This one guy’s book was about being in a place where someone else had previously left their mark there, and his fascination of the ghost like quality that comes with someone else being there before he’s there – but as he said, “I’m trying to avoid being didactic about it.” His name was Alex Lukas. I dig his marks, I wish I browsed more of his stuff, he has really cool work on his website. I talked to him a bit, then I went back to my table, then I went back to buy a book from him, then I gave him one of my zines (without intention of trading,) to which he generously gave me three, and then I walked away. He wanted to have a lot of ambiguity in the work, so that the readers draw their own conclusions to it – altogether irrelevant from his intentions. I started to think about what Alex’s intention was for his pictures of, say, rocks with chalk drawn on them by some mysterious people (who we don’t know what they looked like, their way of life, or their concerns – we know about them themselves through the marks that they left). In my view, the marks on the rocks were fueled by boredom, and the ones who drew it were moving their hands before they themselves realized they were moving their hands, and something else altogether powerful was moving through this, and that power is there in those marks they made. With that mark they left there’s not too much concern about design or maybe there was concern with design. So, Alex’s work, or at least the book, makes you think it’s design oriented. I guess this happens because Alex has designed the book, but the people who leave their marks not so much. There’s a couple of photographs of graffiti and signs, but he wasn’t taking a picture just because it just looked cool, I think. This will most likely be the only way we have of knowing them instead of seeing their face or hearing their voice. Then on top of that Alex copied the pattern on security envelopes and added them to confuse you as the reader, to my understanding it was just for having an effect there, but he said it also served in adding ambiguity. There was other people I got great stuff from as well – I did not leave dissatisfied, far from it. – Sam Ombiri ————————————————————————————————— Frank, Aidan Koch, and Connor Willumsen made it safely back from the U.K. earlier this week, after a wildly successful trip to The Lakes International Comic Art Festival in Kendal. Frank scribbled some thoughts about the show on the plane home, and we have shared them here on the site. A taster: “One of the current riffs about comics festivals is that many different shows exist within the show. Meaning, you can go to SPX and not even see everything or miss your friends completely – whereas in years past you could lap the room each hour and see everything and everyone there. LICAF is different insomuch as it is not situated centrally in a hotel or a convention center. So what happens is that one has their interactions in the town of Kendal itself. The Brewery Arts Centre provides ample space to host everyone and the short walk to the Clock Tower is where I found myself most often running into friendly faces – friends and strangers alike. It was very pleasant, I thought, especially because it was so unlike what we are used to in the States and specific to the town of Kendal.” – Frank Santoro Read the rest of the report HERE. ————————————————————————————————— Cartoon Crossroads Columbus for the Comics Workbook team – in one minute! Full festival report coming Friday, thanks to Whit Taylor – stay tuned! #comicsworkbook #cxc2016 A video posted by Comics Workbook (@comicsworkbook) on Oct 19, 2016 at 2:20pm PDT The rest of the team was in Ohio last weekend for Cartoon Crossroads Columbus – Whit Taylor will provide a full report for us soon – meanwhile you can get a taste of the show above! ————————————————————————————————— Alyssa Berg led a workshop for Comics Workbook at CXC, and as I was cleaning up afterward I noticed that attendee Phil Dokes had left his pages behind – check it out: ————————————————————————————————— #Repost @madegibbs with @repostapp ・・・ Ronald Wimberly at CMA, ey! A video posted by Ronald Wimberly (@ronaldwimberly) on Oct 18, 2016 at 6:16pm PDT Ronald Wimberly is the 2016 graphic-novelist-in-residence at the Columbus Museum of Art – over 100 pieces of his art will hang in the museum through this coming February, and he will be staying at the Thurber House through the end of this month working on his own projects and hanging out with high school students in the Young Writers’ Studio program. He got a lot of hype over the weekend of CXC, of course, and the Columbus Dispatch wrote a nice piece about him and the residency program. ————————————————————————————————— Copacetic Comics is hosting an auction of some SUPER scarce or rare Michael DeForge items – check it out HERE! ————————————————————————————————— P.S. A video about the Pittsburgh Zine Fair by Dan Scullin: Share this page: [...]

02/26/2018

Caleb OrecchioFebruary 26, 2018NewsCaleb Orecchio here with more on Barry Windsor-Smith, and other news. ————————————————————————————————— It’s just another Saturday morning in the big city. June 9th, 1973. Eastbound 26th Street is blocked by two refrigerator trucks who stalled at the Lexington intersection. Horns resound in fury. Barry Smith looks up from the desk he’s working at to see the commotion. His mind starts to swirl. The window from the apartment looking over New York City becomes a vision of sublime psychedelia. Cosmic phenomena burst forth displaying a beautiful array of heavenly bodies, he can see lightyears away. Smith feels a nudge to his perceived center. This was the second time in 24-hours Smith had experienced this happening. He will have a much more intense revelation tomorrow. It’s springtime in London, 1966. Barry Smith and a friend are strolling across a field, a couple and their dog walk just ahead. The dog turns and barks. Everyone looks over their shoulder. Above the field hovers a UFO. Smith can just make out the details of the underside’s tubes and ducts, shadowed by the blinding light emitting from the cluster of lights that blazed from the center. The ship rises and eventually disappears to the west. Everyone left the scene without a word. Five years later in 1971, Smith’s aforementioned friend tells our hero about a dream he had recently. He describes the spaceship he and Smith saw in 1966. Our hero is unable to tell him that it wasn’t a dream. Back to 1973. It’s Sunday, or it was Sunday June 10th, 1973. Smith has had his third vision in as many days. In fact, the encounter lasted into the next morning. It’s now Monday, almost 4:00 am. His body is rendered completely and utterly exhausted. He can hardly stand. He stumbles from the studio, down the stairs and into the streets of New York in 1973 on the corner of 26th Street and Lexington Avenue. Two men are fighting just outside the door. A cop car wails past them, making them scarce. Smith heads for home just a couple blocks down. Every ounce of strength the experience left him with sustains his balance as he heaves one foot in front of the other. Just short of a football field from his destination, two men emerge from the shadows. One brandishes a knife. In an act of sheer survival, our hero emits a barbaric and violent scream—charging headlong towards his foe. The would-be assailants step aside, letting our hero pass in peace. In the summer of 1973, Smith was no longer the regular artist on the Marvel comic book series he had started with Roy Thomas, Conan the Barbarian; but he was working on an adaption of “Red Nails,” the last Conan story by Robert E. Howard, for the new Marvel magazine Savage Tales. On top of this, he was adapting, for the same mag, Howard’s poem, “Cimmeria.” Not to mention helping his friend and studio-mate with concepts for advertisements for big-name clients. Stories of June 1973 taken from Opus Volume 1 by Barry Windsor-Smith. UFO story from Streetwise, an anthology of autobio comics; Smith’s story is called “UFO POV.” ————————————————————————————————— if you don’t know, now you know Frank Santoro is blind-auctioning a copy of Fantastic Four #52, first appearance of Black Panther, on this very site. It’s for a good cause, follow the link for details. Bill Boichel, proprietor of Copacetic Comics here in Pittsburgh, is interviewed on local podcast, The Gross Street Podcast. Alex Dueben interviews David Collier at TCJ.com. I’ve been going back to this CBR.com preview of the first volume of Inside Moebius until I come up with the funds to hold it in my hands. ————————————————————————————————— Suzy and Cecil – 2-26-2018 – by Sally Ingraham ————————————————————————————————— Share this page: [...]

05/24/2017

Posted on May 24, 2017May 24, 2017 by Juan Fernández

Empezamos el día con Miguel B. Nuñez; el cómic más allá de la narración; La Polola; Felipe Muhr; Carla Berrocal; Jason; Elizabeth Casillas; 9 Chismes; Bas; Gilbert Shelton y los tebeos de Comics Workbook.
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Sílvia Aymí entrevista a Miguel B. Núñez sobre la 2ª entrega de Heavy:

-¡Hey, ho! Perdón por la broma, es que no sé cómo se saludan los heavys. Porque ¿tú eres heavy?

Todos éramos pibes y pibas entonces. O troncos y troncas y colegas. Así que con un “¿qué pasa, pibe?” nos metemos de lleno en faena. Yo soy rockero. Es lo que siempre he sido desde la primera vez que escuché rock en una radio siendo aún un niño. Y el heavy es una parte muy importante del rock y de mi vida. Me enganchó esa manera directa de conectar con los que crecíamos en la periferia de una gran ciudad, de mediados de los setenta a finales de los ochenta que es lo que me tocó vivir y de lo que puedo hablar. Me metí de lleno en el rock duro cuando descubrí a Barón Rojo. Luego alguien me grabó en cinta el directo de Leño del 81, con coros de Luz Casal, su primer disco salió un año después y me hice muy fan suyo también. Antes de irse alejando del rock. La cosa es que escuchaba ese disco una y mil veces. Me sigue pareciendo una maravilla. Rosendo cantaba “puede salir el sol” y de alguna manera, te aliviaba de un presente oscuro y un futuro incierto. También sentías eso cuando escuchabas “Al rojo vivo” de Barón Rojo, otro directo imprescindible en mi educación músical y emocional. Como ser heavy, para mí, es parte de ser rockero, soy heavy también.

Léanlo aqui!

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Notas sobre el cómic más allá de la narración – Horacio Muñoz Fernández

El cómic ha abandonado, gracias al trabajo de algunos dibujantes como Yuichi Yokoyama, Patrick Kyle, Gabriel Corbera, Richard McGuire, Irkus (M) Ziberio o Begoña Gacía-Alén, el régimen representativo que privilegiaba la narración y la fábula para adentrarse en un régimen estético caracterizado por un principio de estructuración que tiende a ser más semántica y narrativamente autónomo. Estos dibujantes han descubierto que el valor estético del cómic no tiene que depender de su contenido narrativo, y que «lo visual no es siempre un querer decir que se hace efectivo mediante un dar-que-ver».

Liberando al dibujo y a la viñeta de su sometimiento a la narrativa y a los textos redundantes que reafirmaban el significado de las imágenes, estos nuevos dibujantes nos descubren que además de una poética aristotélica existe una de la imagen y de los signos que se caracteriza por su densidad, su ambigüedad, su incertidumbre, y que más allá del lenguaje y de la narración existen espacios de sentido y de visualidad que no necesitan ser mejorados por la palabra.

Léanlo aqui!

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

Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con el gran dibujante Felipe Muhr acerca de su trabajo, estudios, inspiración y visión del cómic en chile, a partir de su reciente participación en el pasado MOCCA Fest de Nueva York, como uno de los encargados de llevar una mesa de historieta chilena al festival.
–“Epigrafías”, creado por la ilustradora Carla Berrocal y la poeta Natalie Clifford ha sido reseñado en Hay una lesbiana en mi sopa.
El gran noruego, Jason, hizo el Camino de Santiago y ahora cuenta sus peripecias con su habitual estilo y humor. Elizabeth Casillas les cuenta…
Autsaidercomics acaba de publicar 9 Chismes de Santiago Lorenzo iluminado por Mireia Pérez. Dale un vistazo!
Bas: la representante de las autoras en el TBO, ha sido entrevistada por Elisa McCausland.
Gilbert Shelton ha hablado con Eduardo Bravo para Yorokobu Magazine! Para que sepan, al padre de los ‘Freak Brothers’ no le mola dibujar…

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Take thee Santoro Correspondence Course for Comic Book Makers this summer! 8 weeks – $500 bux – the best comics coaching around. More details HERE.

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Blinkers – 5-24-2017 – by Jack Brougham

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Suzy and Cecil – 5-24-2017 – by Gabriella Tito

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Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged gabriella tito, jack brougham

Juan Fernández

Posted on May 24, 2017May 24, 2017

Explore

08/09/2018

Caleb OrecchioAugust 9, 2018NewsCaleb Orecchio here briefly comparing my old comics with Trevor Von Eeden’s. ————————————————————————————————— I was flipping through my dad’s childhood copy of Black Lightning no. 10. Look at how professional Von Eeden’s work was at eighteen. It’s good, good enough to be published by DC. The work looks Golden Age-y at times due to the artist’s unwieldy ambition combined with solid, albeit still developing, drawing chops. I enjoyed this elephant charging scene. Hahahaha! I horse laugh when I consider the comics I was making at eighteen! Oh look, here’s one from my vault. This is from my high school newspaper. Probably late 2010 to early-2011. Don’t laugh. ————————————————————————————————— Cement Mixer – 8-9-18 – by Caleb Orecchio Share this page: [...]

08/02/2018

Caleb OrecchioAugust 2, 2018NewsCaleb Orecchio here with a Kirby and Toth collab! ————————————————————————————————— Look! At New Dimension Comics in Elwood City the other day, I found this comic I didn’t know existed! Did you? I mean, it’s really not that great of a comic. Neither genius shines particularly bright here, and the inker is nothing short of BORING! That’s okay. I just like looking at this spread and seeing both cartoonists side by side. Just the idea of it. Plus Kirby drawing his old team! The Challengers of the Unknown were kind of the beta stage for the Fantastic Four if you think about it. I can’t help but assume Toth was re-drawing some of his pages that were probably originally Jack’s for the finicky DC editorial staff. You know? Surprisingly they kept Kirby’s Superman face. Was Swan too busy to “fix” it? That’s the beauty of the back issue bins folks. After three hours you tend to run out of gas and start to feel hungry and depressed but, once you have recovered, you realize how happy you are that you spent the day this way. Right? Right! Especially when you find gold such as this! ————————————————————————————————— Cement Mixer – 8-2-18 – by Caleb Orecchio Share this page: [...]

3/03/2016

HarrisonMarch 3, 2016News “This wasn’t universally true of the comic book industry, but it was true enough for long enough in this country to inhibit the medium’s growth to full potential. Oddly, in the 1980s, a compensatory effort to make comic books more appealing to older readers erred in another direction by supposing that “mature themes” would enable comics to grow up. Although that’s probably valid to some extent, the notion too frequently took flight by mistakenly equating “social issues” or “personality portrayal” with “mature themes.” – R.C. Harvey on the Economics of Comics Connor Willumsen is looking to supplement the cost of a move by taking commissions and selling original drawings. If you’re interested email him at mail@connorwillumsen.com. Also Sarah Ferrick and Connor talk about their work on We Should Be Friends Podcast below. [soundcloud url=”https://api.soundcloud.com/tracks/247971503″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] Will Tempest just uploaded part 4 of his series Massive Crustacean. Artist GG continues with parts 20-22 of her series These Days. If you like her work support it on Paypal or Patreon. Illustrator and Animator Jonathan Djob Nkondo (a.k.a. Absenteism) uploaded this excerpt a few months back from his series Square 1. Not sure if there is going to be second printing for Square 1 but these web pieces are good too. Unrelated, but here’s a song for a rainy day. Share this page: [...]

Comics Workbook Composition Competition 2017

Frank SantoroJuly 24, 2017Santoro Schoolthee SANTORO CORRESPONDENCE COURSE and thee Comics Workbook Rowhouse Residency presents thee COMICS WORKBOOK COMPOSITION COMPETITION 2017 ———————————————————————————————— 1st place – A week-long Comics Workbook Rowhouse Residency (valued at $500 – travel and expenses not included) 2nd place – $250 credit at Copacetic Comics 3rd place – $100 credit at Copacetic Comics plus four $50 honorable mention prizes from Big Planet Comics ———————————————————————————————— Create a 16 page signature comic book narrative to the specifications below ———————————————————————————————— DEADLINE: Tuesday, September 5th 2017 at 11:59 pm NYC time ———————————————————————————————— HERE and HERE and HERE and HERE are last four years if you haven’t heard of the contest. HERE are all of the 2016 contest entries. This isn’t a scam, silly. ———————————————————————————————— Here are the 2017 composition competition specs: Contest take 1 from Frank Santoro on Vimeo. PAY ATTENTION! Watch the video above! Take an 11×17 inch piece of paper and cut it down to 10 1/4 x 13 1/2 inches. Fold this piece of paper in half. Measure in 3/8ths of an inch from the top and the sides, and 3/8ths of an inch in on both sides of the center fold. Measure in 3/4s of an inch from the bottom. This will make two 6 x 9 inch live areas on your 10 1/4 x 13 1/2 inch paper – as you can see in the example below. Watch the video for clarity. Make three equal “landscape” oriented tiers on each live area. Make copies of this “spread”. Do your layouts at this size. PAY ATTENTION! ***Draw your original artwork at 10 x 15 inches. Use 11×17 inch paper – make a 10×15 inch live area on the paper. Measure in 1/4 inch on each side and a 1/4 inch from the top to situate your 10×15 inch live area within the 11×17 inch paper. See video. The top tier and the bottom tier must have two 5×5 panels. The center tier may be open completely to make one 5×10 inch panel or two 5×5 inch panels. Again see video for clarity. The top tier and the bottom tier MUST have two panels. The center tier may have one panel or two. You may use the 6-panel grid throughout the entire 14-page story but one of the pages MUST have an open center panel. All of the pages may have an open center panel. Each page will have either 5 or 6 panels. Watch THIS video and THIS video for context. Pay attention to the parts about opening up the center. Also read Layout Workbook 1 and 2 for more info about traditional North American comic book proportions. You may break up your panels like this: 14 pages and two covers. Meaning seven spreads and a front and back cover. A 16 page signature. Work may be in color OR black and white – OR – a combination of both. International students must use the same specs. No complaining. It is recommended that you draw the pages on 11×17 paper with a 10×15 inch live area. It is recommended that you print your comic at traditional North American comic book size – which is 6 3/4 x 10 1/4. Again, see video. THE STORY MUST BE COMPLETE. SERIAL INSTALLMENTS of a longer narrative ARE NOT ELIGIBLE. THE STORY MUST BE NEW. IF YOU REPURPOSE AN OLD STORY THAT HAS ALREADY BEEN PUBLISHED YOU WILL BE DISQUALIFIED. Consider this an exercise in short story writing. I think the 16 page signature is ideal to contain a short story. Adaptations of existing works are not eligible. Like, you can’t copy a sequence from a movie. To submit your comic to the composition: Photograph or scan your pages and post them on your tumblr AS SPREADS. If you don’t have a tumblr – make one just for this contest. No exceptions! No complaining! Post the front cover as the lead image and the back cover as the final image and put your name and the title of the work in the text field and that it is for the Comics Workbook Composition Competition 2017. Email me – santoroschoolATgmailDOTcom – that you have posted your entry to your tumblr and give me a direct link to the post – and I will reblog it on to the comicsworkbook tumblr. I will be posting them – reblogging them – on comicsworkbook as they come in. The good, the bad, and the ugly. I will, however, only be posting stories that stick to the RULES. If you don’t follow the rules, I will not reblog the story and you won’t be eligible for the prizes. I will reblog them as quickly as I can and keep the list of entries updated – if you do not see your entry right away do not panic – I will make every effort to keep the list up to date but as long as you get your entry submitted correctly via email before the deadline your work will be in the competition. Last year we had over 100 entries and near the end things were hectic – so be patient. Any questions about the competition – please email me – do not leave a comment on this post – I will not reply here. Just email me. The competition is open to all. You do not have to be a former student of mine. Former students of mine ARE eligible to compete, as are winners of previous competitions. Again, if you have any questions about the rules please ask. Better to ask and be safe than to be mad when I disqualify you over some missed detail. Seriously. Work may be in color OR black and white – OR – a combination of both. You MAY have panel gutters. You MAY work digitally. And you MAY work as a team. Remember! Email me – santoroschoolATgmailDOTcom – that you have posted your entry to your tumblr – I will reblog it. DEADLINE is Tuesday, September 5th 2017 at 11:59 pm NYC time Winners will be announced the following week. Please share this announcement GOOD LUCK! signed Frank Santoro Share this page: [...]

07/05/2017

Juan FernándezJuly 5, 2017los Cómics / NewsJuan here. In observation of Venezuela’s Independence day, no news for today. Instead I offer you an opportunity to look into and reflect on the reality of life in my homeland, Venezuela. We’ll be back in action, with everything you need to know about Latin American comics making next week! Behind the Protests in Caracas (VICE) Grocery Shopping during Venezuela’s Food Shortage (VICE) El dia a dia en Venzuela (Reddit) Venezuela is Starving (WSJ) “Una Guerra Ajena” (Luis Manuel Aguana) Venezuela declared it’s independence from Spain on July 5, 1811. July 5, 1811 – July 5, 2017. 205 years, the blink of an eye. ———————————————————————————————— Suzy and Cecil – 7-5-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 7-5-2017 – by Caleb Orecchio Share this page: [...]

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