Comics Workbook

An online magazine for comics makers

Posted in NewsTagged artificial intelligence, Blade Runner, CAKE, chicago alternative comics expo, DMCA, László Moholy-Nagy, lauren weinstein, Manuele Fior, Matt Madden, mike Dawson, neural networking, Oliver East, Peter Kuper, U.S. copyright law, vintage contemporaries

Aaron Cockle

Posted on June 6, 2016June 6, 2016

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San Diego Comic-Con International 2019

Chris Anthony DiazJuly 23, 2019Festivals and Shows / The Diaz ArchiveSan Diego Comic-Con International 2019, San Diego Convention Center, Exhibit Hall, Thursday, July 18, 2019 Share this page: [...]

07/04/2018

Juan FernándezJuly 4, 2018los Cómics / NewsEntrevista con Emil Ferris; Broken Pencil Zine Award Deadline Extended; the Airtight Garage in Galicia – – – – – – – – – – – – – – – – – – – – El Cómic como Reflejo y Abismo – Emil Ferris entrevistada Elisa McCausland, El Salto El formato del diario está muy ligado al género de la autoficción. ¿Hasta qué punto es Lo que más me gusta son los monstruos autoficción, un relato inspirado por tus vivencias personales? Es evidente que en mi novela gráfica hay mucho de autobiográfico, empezando por su ambientación en el Chicago donde nací y donde transcurrió mi infancia, como la de Karen, a finales de los años 70. Mucho de lo que cuento son cosas que me pasaron a mí por entonces o que le pasó a gente que conocí. También comparto muchos de los intereses de Karen, como su pasión por el terror, tanto cinematográfico y literario, como cuando adquirió un carácter muy pulp a través de las historietas y revistas de aquella época y décadas anteriores. Sin embargo, hay un dicho que me gusta recordar cuando se habla de estos temas, que viene a decir básicamente que no es importante que los hechos narrados en una ficción hayan sucedido o no, pero sí que la historia que reflejan sea verdadera, responda a una pulsión profunda, auténtica. En este sentido, la ficción funciona como un espejo que nos permite reconocernos a nosotros mismos, y también como un abismo que nos descubre aspectos de nuestra personalidad y la de otros que desconocíamos. También en lo que respecta al amor, ese monstruo tan extraño, que está en todo lo que somos y hacemos y que sin embargo es tan invisible y se le echa siempre tanto de menos. Por eso me gusta considerar la ficción como un remedio paliativo contra esa enfermedad tan difícil de abordar que llamamos la realidad. Puede sonar pretencioso, pero creo que, en definitiva, la ficción nos ofrece las armas para afrontar con ánimo la realidad. Las historias son nuestra fortaleza. Léanlo todo AQUI. – – – – – – – – – – – – – – – – – – – – The Broken Pencil Zine awards are open for submissions. This year the winner will recieve a free subscription to Zine-o-Matic. Lots of categories. $200 + other goodies for winners in each category. $25 to enter. DEADLINE TO ENTER THE ZINE AWARDS IS NOW JULY 15, 2018 Learn more. – – – – – – – – – – – – – – – – – – – – Comics Education: Galicia’s “Airtight Garage” Paula Castiñeira – ABC Galicia Galicia’s O Garaxe Hermético, established in 2012 is the first professional center of comic and illustration in Galicia. It offers up a relatively avant garde approach to comics education for Spain. Born in 2012 by the hand of cartoonist Kiko da Silva, who is also its director, this private school is a revolution in terms of the teaching model. When he started with the center, Da Silva brought together a team of friends and professionals of Galician illustration to organize a syllabus from scratch, with a very clear purpose: “To teach our profession in the most realistic way possible,” says the director.With an unconventional training and without evaluating the students with a numerical score – the works are classified as “not publishable”, “publishable” and “publishable collectible” -, what is intended is to show the students “what they are going to find later ». For this reason, apprentices receive classes not only on illustration and comics, but also on what they must do to dedicate themselves to it, from how to register for freelancers to how to make contracts with publishers so that they are not abusive. Learn more about O Garaxe Hermético, HERE. – – – – – – – – – – – – – – – – – – – – Cozytown – by Juan Fernandez – 07/04/2018 Share this page: [...]

02/08/2018

Comics WorkbookFebruary 7, 2018NewsSam Ombiri on Nick Drnaso’s Beverly – plus other comics and news! ————————————————————————————————— Sam Ombiri here: With Beverly, Nick Drnaso is clearly not making a story just to flex his muscles or impress us. Although there’s no mistake about it – this book is really impressive. However, all this – the complexity of the stories and the characters that are drawn mysteriously, in a sparse way – felt like it was done out of the necessity of being loyal to the ideas that Drnaso wanted to convey. Often in the book there’s a sense that Drnaso doesn’t let us look at the real problem that his characters seem to be vaguely aware of, instead blaming other red herrings, no matter how extreme they can end up being (like in the end of “Lil’ King”, which was easily my favorite story). Or for example, in the first story towards the end when a character named Tim walks into Rich’s office, Rich is upset, and we don’t ever find out the reason (at least as far as I know). I think the reason would make for a very unsatisfactory reading, and would really simplify things in a bad way. In “Virgin Mary”, Mary’s face is only shown at the beginning, and for the rest of the story it’s hidden. “Virgin Mary” is narrated like one of those crime investigation specials that air on TV, and this element kind of builds on something in an earlier story. In the second story, which is titled “The Saddest Story Never Told”, a character named Cara (who was subtly introduced in the first story) is watching an “advance copy” of a new Sitcom that is being test marketed. She is watching it with her mother, and the comic just becomes us watching the sitcom. Thankfully, it is not a gimmick that Nick Drnaso is implementing in an exploitative manner. That is to say, it’s beautifully mundane, but Drnaso isn’t just flexing his avant garde muscles at the expense of the story – he executes it with great simplicity. Because a TV is square and panels can be square, Drnaso just changes the size of the panels to match the TV, and the panel size remains consistent for the duration of the tape. The sitcom is really uninteresting and that’s what’s so great. It reveals a lot about the way Drnaso tells his stories. He isn’t rushing to brag about how cynical he can be, by being ironic and bashing how uninteresting the TV show is. Rather, he makes it interesting, but not too interesting, and I’m just speaking about the sitcom itself. Nevermind how Cara’s mother is desperately trying to project a more optimistic future for her and her children through this tape. The sitcom is actually engrossing! Drnaso somehow simultaneously conveys how uninteresting this sitcom is and makes it interesting. There’s actually an aspect to the way he draws that distantly seems to be uninteresting, but it’s not, in fact. It’s far from uninteresting. So later on in “Virgin Mary”, the way the story is narrated (again, like a crime investigation special) feels like a heightened reality, something that the TV show’s suburban dwellers usually watch, which ends up contributing to the way they see reality. That then becomes the story we are reading, both from the way it’s narrated and what’s happening in the story itself (innocent people are blamed for a kidnapping). To me, viewing the story this way automatically can be attributed to how in “The Saddest Story Never Told” there was a very little to indicate the difference between what was TV and what was real life. The only information I got, really, was that when it was TV sound was coming out of the panel instead of just being in the panel. “Virgin Mary” is such an amazing point in the book – it’s like a big cry being let out. And that’s just one part among six great stories. Nick Drnaso gives a very specific amount of detail, and the stories move along rather rapidly – my eyes automatically go from panel to panel, as the story is so clearly laid out. It might even be my hundredth time reading the story, but it keeps me engaged every time. I can jump into any section, and it’s just as easy for me to recapture the essence of each moment as when I read it the first time. It’s clear that Beverly was made to be enjoyable to read, and the success of the comic is, for lack of a better term, almost severe. It’s strengths are obvious when you read it, so I don’t need to go on praising it. You don’t have to believe the stories in the book, because the book believes them for you. – Sam Ombiri Get a copy of Beverly by Nick Drnaso HERE. Congratulations to Nick for winning the New Talent prize at the 2018 Angoulême International Comics Festival for the French edition of Beverly! Keep an eye out for Nick’s new book Sabrina, coming from Drawn & Quarterly in May. ————————————————————————————————— News of Note Shannon Wright drew the first Google Doodle of February, kicking off Black History Month with a celebration of Carter G. Woodson. Read about it HERE. Beyond the Longbox profiles Ronald Wimberly, who talks about the origins of his works, his thought process, and upcoming projects – HERE. There’s an interview with Robb Armstrong (creator of the comic strip JumpStart, one of the most widely-syndicated strips by an African-American author ever) on The Sentinel. Read it HERE. Check out this interesting article about the Peanuts character Franklin – it covers the backstory of his introduction to the strip by Charles Schulz, and his continuing history. ————————————————————————————————— Joanie and Jordie – 2-8-2018 – by Caleb Orecchio Share this page: [...]

02/19/2016

Sally IngrahamFebruary 19, 2016NewsRight out of the gate on a Friday – Connor Willumsen has a new comic up on Study Group! Sweet Love is the last chocolate in the box, leftover from Valentines Day revels. A sticky treat for modern lovers wrapped in pink and red. READ IT HERE. Connor’s past work includes Calgary: Death Milks a Cow, which punched us in the gut with it’s visual detail and fierce movement. On the move himself, Connor is hoping to supplement the cost of his transit – “I am currently selling drawings, accepting commissions, skype portraits, etc. email mail@connorwillumsen.com for all inquiries – thanks” You can find an extensive list of Connor’s work HERE. Check it out! The Comic Book Legal Defense Fund is celebrating Black History Month by spotlighting Black comics makers and cartoonists “who made significant contributions to free expression“. It’s high time to learn about Larry Fuller – Larry Fuller—a.k.a. A. Christian White—with his quick wit, eye for innovation, and keen sense of opportunity is regarded as one of the indisputable kings of the 1970s underground comix movement. From Ebon to White Whore Funnies, Fuller wrote comics, drew comics, published comics, and would become one of the premier businessmen in an industry characterized by its fast, loose, and decidedly un-business-like attitude that arose out of the aftermath of the 1954 Comics Code. Fuller’s ability to effectively use satire to comment upon social issues such as race and sexuality would make him an influential and important icon not only in the Black, but also the LGBTQ comics communities. Read all about Larry Fuller HERE! The world is losing Sparkplug Books…! This news hurts the heart… Virginia Paine wrote on the Sparkplug blog: It is with mixed feelings that I must announce that I will be shutting down Sparkplug this year. I appreciate the opportunities that running Sparkplug has given me and the wonderful people it has introduced me to. I know Sparkplug means a lot to many people and I want to assure you this is not a decision I’ve made lightly. Read the rest of her letter HERE, and see what amazing stuff this publisher still has to offer for the next few months HERE. Don’t mess around – value and support for as long as you can a part of the community that meant a lot to so many. Hey look! It’s an excerpt from Luke Pearson’s comic in š! #24 ‘Urban Jungle’. These Latvian comics anthologies bring together comics makers from around the world, and their latest offering – due to be released on February 23rd – looks like mad fun. Pre-order it HERE. Frank recently caught up with Wayne Wise at Phantom of the Attic in Pittsburgh, PA, to get the low down on how Wayne became one of the first Xeric Grant recipients. During the grant’s long cycle (1992-2012) over $3,000,000 was awarded to comic book makers and non-profits. Pretty brilliant! Check out the video below. Keep up with Wayne Wise over on his blog – Notes From the Playground – and get a taste of his comic Grey Legacy Tales HERE. (You can also get to know him better and hear more great stories via this episode of The AP Collection hosted by another cool Pittsburgh artist, Genevieve Barbee.) Check out the web comic Lovely’s (story so far HERE), now on it’s 10th episode on Pulp Deluxe HERE. LOVELY’S is a graphic novel / cookbook in the making, by Val Gallardo and Jonathan Beaton. The story follows a group of old friends who haven’t seen each other since they graduated from art school. Older but none the wiser, the ‘Brush Monkeys’ are reunited after they all receive an invitation to dinner from the mysterious philanthropist and burger tycoon Bingo Lovelett, owner of the Lovely’s Heavenly Burgers empire. New pages every Sunday 6 p.m GMT+1 Weird and funny, like all reunions of old friends should be, this comic is worth following. There’s a mystery to be solved after all…! A new collaborative comic from Zach Mason & G.W. Duncanson – Team-Up Comic #3, pictured above – just rolled into town! G. W. Duncanson has a history of these team up comics and they’re all interesting in their own right. Check out Team-Up Comic #1, made with Laurie Piña – and Team-Up Comic #2, made with Karissa Sakumoto. And finally, the fountain of knowledge is running over – another video from Bill Boichel and Comics Workbook, this time dishing up Melody by Sylvia Rancourt. You’re going to want to drop whatever you’re doing and get yourself a copy after watching this! Share this page: [...]

Comic Arts Los Angeles 2016

Chris Anthony DiazDecember 14, 2016The Diaz ArchiveComic Arts Los Angeles 2016 (CALA) at Think Tank Gallery, Sunday, December 4, 2016, Los Angeles. All photos colored by Graham Willcox Downtown Los Angeles fashion districtLisa HanawaltInés Estrada and Hellen JoHope Larson Arlin Ortiz and Kris MukaiChris PitzerRyan Cecil SmithRyan Cecil Smith risograph printRyan Cecil Smith risograph mini-comicsBenjamin UrkowitzSam AldenPatrick CrottyPatrick Crotty and Valentin SeicheKevin CzapSophie YanowBen Sears and Dustin Harbin (bottom right) Dustin HarbinDustin Harbin Ric Carrasquillo Share this page: [...]

06/07/2016

Posted on June 6, 2016June 6, 2016 by Aaron Cockle

Aaron Cockle with Oliver East Comics; C.A.K.E. 2016; Moholy-Nagy; Exercises in Style; 5,000 km per second; Peter Kuper; Vintage Vintage Contemporaries; AI DMCA

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CW’s Featured Comics continues this week with Oliver East’s Cottonopolis, from 2014-2015.

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Chicago Alternative Comics Expo (CAKE)
Saturday-Sunday, June 11-12, 2016, 11am–6pm
Center on Halsted, 3656 N Halsted, Chicago IL USA
FREE and open to the public!

Panels & Workshops

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László Moholy-Nagy at the Guggenheim

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Matt Madden on Exercises in Style

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Lauren Weinstein and Mike Dawson on Manuele Fior’s 5,000 km per second

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Peter Kuper Deconstructing Comics

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Vintage Vintage Contemporaries
For book art nerds, a look at the line of Vintage Contemporaries softcovers from the 1980’s-1990’s, cover designer Lorraine Louie, lots of books, author quotes, lots of process, over at the Talking Covers blog.

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Do Androids Dream of Androids Dreaming of Electric Sheep?
Last week, Warner Bros. issued a DMCA takedown notice to the video streaming website Vimeo. The notice concerned a pretty standard list of illegally uploaded files from media properties Warner owns the copyright to — including episodes of Friends and Pretty Little Liars, as well as two uploads featuring footage from the Ridley Scott movie Blade Runner. Just a routine example of copyright infringement, right? Not exactly. Warner Bros. had just made a fascinating mistake. Some of the Blade Runner footage — which Warner has since reinstated — wasn’t actually Blade Runner footage. Or, rather, it was, but not in any form the world had ever seen. Instead, it was part of a unique machine-learned encoding project, one that had attempted to reconstruct the classic Philip K. Dick android fable from a pile of disassembled data.
-via Aja Romano at Vox

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Comics Workbook

An online magazine for comics makers

Aaron Cockle

Posted on June 6, 2016June 6, 2016

Explore

10/08/2018

Caleb OrecchioOctober 8, 2018NewsCaleb Orecchio here with some brief initial thoughts on Andrew White’s Yearly 2018. ————————————————————————————————— What follows are some initial thoughts on Andrew White’s comic, Yearly 2018. I will write a more in-depth review later on. Yearly 2018 glorifies minutia. Every panel smolders and melts into quiet moments that are psalms of contemplation. There is pleasure in merely flipping through the book. Beautiful, soft colors make an arrangement of bloomed flowers that you can look at for hours. White’s compositional choices give the book weight. Each spread has something to offer separate from the stories they are part of. You can look at the spreads in any order you like and you will come out on the other end experiencing the whole without undermining the books integrity. White seems very comfortable, I see no hesitation in his cartooning. Yearly 2018 is the start of a new brilliant comic I will look forward to every year. More on this comic later. 10/08/2018 – by Niall Breen Share this page: [...]

07/05/2018

Sally IngrahamJuly 5, 2018NewsSally here with new Italian interviews and commentary on Frank Santoro’s Pompeii! ————————————————————————————————— Noman Alani has an interview with Frank up on C4 Comic, part of the C4 Chatter column. The interview was conducted during the Naples Comicon 2018. Here is part of the interview: C4C: How was the choice of Pompeii created to set your comic book? FS: I was living in New York during the attack on the Twin Towers of September 11th. When the planes hit the buildings we were all motionless to stare at the scene. I remember that by the time the towers collapsed and an immense cloud of smoke rose, I thought that we could relive an experience similar to that in Pompeii. Obviously it didn’t happen, but it left me thinking for a long time. Some time after I visited the ruins of Pompeii and so I decided to tell something about where I come from and that is such a powerful concentrate of stories and sensations different for every visitor. In my intentions, at a time when everyone was facing the world of graphic novels, it was also to create a product accessible to all and not hermetic and in this the fact of talking about one of the most famous archaeological sites in the world was definitely helpful. I could concentrate so much more on what I wanted to tell seriously, behind the costumes and facts that are known there were people with their stories and there was the pathos. Read the whole interview HERE! Also on C4 Comic there is a review of Pompei by Luca Parri. Titled Pompei, between classic and theoretical experimentalism, it begins: Almost as if it were a virtual return to the homeland of Ameriana Memory, Pompeii of Frank Santoro lands on Italian soil five years after its original American publication. And we can only rejoice in knowing that a comic that treats an episode so tragic but at the same time founding of our cultural heritage, realized with wise love by a foreigner, has finally arrived in our bookstores. But it is not only for the engaging and convincing celebration of Classical culture Mediterranean (and Italian in particular) that this volume should be recognized as one of the most important comics of the Decade; The Book of Santoro is also fundamental for a theoretical-scientific progress within the Ninth art. The review continues: The research and the educational process to a markedly theoretical conception of the comic is a question which concerns and concerns Santoro both as a cartoonist but also and above all as theorist, scholar and teacher. Pompeiè therefore almost to be understood as a wise omni-comprehensive of all that the author has been able to collect and elaborate in several years of research and practice alternating three figures (the reader, the teacher and the author) until they are converged towards a single entity ; The individual parts communicate and coexist by influencing each other. All that the American has been able to learn about the harmonies, the rhythms and the emphasis that can be evoked in an unintentional way, but then meticulously and mathematically desired, recur in the Centoquarantaquattro pages of his comic strip. Read the whole review HERE. ————————————————————————————————— Thee Santoro Correspondence Course for Comic Book Makers Summer Session starts NOW! Floating start date! Apply anytime between now and July 12th 2018 to join the summer course. Email santoroschoolATgmail for more details. Ask about the Fall Course if now is too busy for you! The course is 8 weeks – 500 bux for 8 weeks plus access to Frank’s coaching for as long as you need. Payment plans are available. Put your summer to good use! Learn more about the Santoro Correspondence Course for Comic Book Makers HERE. ——————————————————————————— Suzy and Cecil – 7-4-2018 – by Sally Ingraham ——————————————————————————— Joanie and Jordie – 7-5-18 – by Caleb Orecchio Share this page: [...]

03/08/2018

Sally IngrahamMarch 7, 2018NewsSally here with Regine L. Sawyer, the “Black Pulp” exhibition, new work from Derick Jones, and more! ————————————————————————————————— Here’s a good article about the recent BAM Black Comix Expo, which features mini-interviews with a number of creators, among them Regine L. Sawyer (pictured above). She got into comics through X-Men. “It’s a series that had so many women—and particularly women of color—with characters like Storm or Psylocke or Jubilee. Storm just jumped out to me because she was so regal and strong and beautiful. She will forever be my favorite character because of those aspects of how she carried herself. I knew, This is for me. I have to create comics. I created my first series, The Rippers, when I was about 17 years old. I created it because there were books that I was seeing where I really didn’t like how women were portrayed. So I created a character named Rhiannon O’Cair who’s an intergalactic bounty hunter that’s accused of a crime she doesn’t remember committing. Do you feel like your identity, gender, or ethnicity made it difficult to break into the comics community? As a woman of color, starting out I wasn’t really considering who I was in that sense. I just felt that I was a writer—I had written comics and prose my whole life—and I just felt like I had something to give. So when I came into the community, and it became a “thing” that I was a woman and that I was black—it’s not that I wasn’t prepared for it, but I just felt like, “Oh man, are you serious?” I just really wanted people to read my books and not worry about what I looked like. When I realized that that was an issue a few years later, that’s when I founded Women in Comics and said, “OK, well if you’re going to look at me, you’re going to listen to me, too.” I had a lot to say about who I am and what is important to me. It’s so important that us as women of color have a say about how we’re portrayed in the media. So, now you can’t shut me up. Advertisement Do you feel excited about being in a fair that’s celebrating black creators? I feel very fortunate to be a part of this movement. I’ve been going to shows and doing this for about 12 years, so I’m just very happy to see so many people that are here at this particular show who are out supporting not only us, but getting excited for Black Panther. To see this turn out is really really amazing, and again, I’m so happy to be a part of the movement.“ Read the rest of the article HERE. ————————————————————————————————— There is an essay about the exhibition “Black Pulp” at the African American Museum in Philadelphia (through April 29the 2018) on Whyy. The exhibition showcases various forms of mass media, but there are a lot of comics involved, which is timely, considering the incredible success of Marvel’s The Black Panther film. One of the curators, Mark Gibson, remarked on what is interesting about that story in the context of more historic representation in comics and “pulp”. “It was significant for Gibson to see people like himself represented in comic books. “I’m 38, and thinking about what comics meant to me, I would analyze the black characters to see if they are believable,” he said. “That wasn’t the same as with white characters.” Gibson was impressed with the identity of the character. “He’s a black king from a country that has never been conquered by colonialism.” Previously, comics with black main characters or by African-American artists were often restricted to a Negro audience. “Torchy in Heartbeats” is a serial about the romantic and work life of a beautiful young Negro woman in the 50s. “All-Negro Comics” (1948) was an anthology comic book that included “Dew Dillies,” about baby Negro angels. In 1965, Dell published “Lobo,” a collector’s book about a black cowboy fugitive.” Read more about the “Black Pulp” exhibition HERE. ————————————————————————————————— New work by Derick Jones above – you can keep up with what he’s been drawing and thinking lately HERE. ————————————————————————————————— Vice offers a look at Jackie Ormes – read it HERE. And then read Nancy Goldstein’s Jackie Ormes: The First African-American Woman Cartoonist, which the article draws from, for the full story. HERE is a review of Incognegro: Renaissance #2 by Mat Johnson – look for this new series on the shelf at your comic book shops. The Knox News has an article about Oliver (“Ollie”) Wendel Harrington, one of the first black political cartoonists – HERE. Samir Barrett drew the character Static every single day in February – see the drawings HERE. Read about his project HERE. Ramon Esono Ebale, a cartoonist from Equatorial Guinea who was jailed 5 months ago while visiting his home country to renew his passport, has had all charges against him dropped – but he’s still in jail. Whit Taylor writes and Chris Kindred draws this comic for The Nib about how the Tuskegee Experiment made African-Americans distrust the medical system – HERE. ————————————————————————————————— Vision Box – 3-8-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 3-8-2018 – by Caleb Orecchio Share this page: [...]

03/16/2016

Juan FernándezMarch 16, 2016NewsDôme – Review Gabriele Di Fazio over at Just Indie Comics has a review of the production-as-performance anthology, Dôme. Dôme was published by French collective Lagon together with Breakdown Press, LIVE at Angouleme via risograph and then handbound in the presence of the majority of the featured artists. 40 pages 17 authors, this one is a doozy worth looking into! Read the review. Embellished by the idea of reiterating in the central pages an appendix of the different stories as single strips, Dôme is the best anthology of recent years thanks to the exceptional ability of the editors (Alexis Beauclair, Joe Kessler, Sammy Stein) to summarize in a few pages the greatest virtues of contemporary comics. If the eighth Kramers Ergot lacked an overall view, if Mould Map #3 over-indulged in an old-fashioned cyber aesthetics, if Volcan was a bit dispersive, Dôme in just 40 pages gives an example of a really rare aesthetic coherence. ————————————————————————————————— [soundcloud url=”https://api.soundcloud.com/tracks/247095998″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] Jillian Tamaki on Cavern of Secrets On this episode of Cavern of Secrets, Lauren Mitchell talks about turning 30 and nostalgia before speaking with Jillian Tamaki(This One Summer, SuperMutant Magic Academy). They cover the gamut: the curse of absolute freedom, life in Toronto compared to life in New York City, learning curves, “creative culture” and how money changes everything. ————————————————————————————————— On Not Being a Dick (Comics Criticism Realities) Kim O’Connor lays it out plain and simple over at Comics and Cola. I’m writing today because I think I know the answer to a question that comics types revisit every so often: Why aren’t there more people writing comics crit? Some of the reasons are universal. (There’s no money in it. There’s no real audience.) Others are huge, but not universal, like systemic racism and sexism. On top of all that there’s another, more nebulous obstacle that some of us experience, and that’s the fact that comics promotes a culture in which people feel way too comfortable acting like total dicks to complete strangers. I know what some of you are thinking. Kim, I can’t help but notice that you yourself are a total dick. No, my friend. You are mistaken. I am a bitch. Read her thoughts in full. ————————————————————————————————— Silent Treatment by Celine Loup Celine Loup has posted her contribution Laura Lannes’ Bad Boyfriends Zine. An alarmingly relatable story and comic. Many have been near similar scenarios. Celine Loup and the Anonymous writer take a stand and break this silence. A tough read that is brilliantly executed. Read Silent Treatment now. ————————————————————————————————— A History of Wingdings Something not so new but definitely worth taking a look at is the history of Wingdings. This one comes courtesy of Phil Edwards over at Vox. Read it! Often derided as a silly by product of corporate culture and the technosphere, there’s a lot more to the font than you think. Take some time and read it, you’re sure to learn something. Recommended for those of you interested in visual literacy and its evolution, especially as a product of reproduction technologies intersecting with modalities of human communication. “Emojis are like dingbats in being typographical symbols,” Bigelow says. “But they also hark back to the ancient concept of picture writing from which pictographic-ideographic-logographic Chinese characters and kanji evolved.” Chinese and Japanese writing came from pictures and, like today’s emojis, are ways of expressing our ideas and ourselves. Share this page: [...]

02/28/2018

Juan FernándezFebruary 28, 2018los Cómics / NewsJuan empieza el dia con la Casa Transparente de María Luque, los recreantes de Delius y más! ————————————————————————————————— La Vida en una Casa Transparente – Maria Luque En Revista Cactus, Elizabeth Casillas presenta la nueva novela grafica de la argentina, María Luque: La Vida en una Casa Transparente. Se trata de la vida nómada, sobre apropiarse de los “no lugares” y utilizarlos como fuente de inspiración: María Luque (Rosario, Argentina, 1983) acaba de publicar su última novela gráfica, Casa transparente, un relato autobiográfico en el que cuenta cómo, desde hace unos años, compagina su trabajo de ilustradora y dibujante de tebeos con cuidar las casa de sus amigos cuando se van de viaje. «Pago sus impuestos, riego las plantas y paseo sus perros. Todo el tiempo soy una vecina nueva, en algunas casas no llego a averiguar cuál es la mejor verdulería del barrio y en otras me quedo varios meses y hasta aprendo el nombre de las calles», explica Luque. Casa transparente llega a las librerías gracias a que la autora argentina se ha hecho con el I Premio de Novela Gráfica Ciudades Iberoamericanas que organiza la Unión de Ciudades Capitales Iberoamericanas (UCCI) junto al Ayuntamiento de Madrid y a la Editorial Sexto Piso. El jurado destacó la obra por su calidad, tanto en el dibujo como en el relato, valorando precisamente ese paso de la protagonista por distintas ciudades latinoamericanas –Luque recorre medio continente, de Buenos Aires a México, pasando por Cuzco o Bariloche– en una búsqueda de un espacio propio. Y aunque el jurado añade: «como le sucede a muchos y muchas jóvenes», esta novela gráfica no es necesariamente un relato generacional. Pueden léerlo todo AQUI. ————————————————————————————————— #GRAFBCN2018 Ya viene, ya llega. #GRAFBCN2018 a la vuelta de la esquina. GRAF is coming to Barcelona. Here’s all the info you need for #GRAFBCN2018‘s programming. March 2-4 at the wacky warehouse space, Fabra i Coats. It’s the ninth edition of the Festival so it should get pretty wild. You can sign up for workshops here: http://grafcomic.com/talleres ————————————————————————————————— Los Recreantes Delius (María Delia Lozupone) les ofrece un apunte sobre los “recreantes”* en el 2016. * los campamenteros del c.n.b.a. desde fines de los ’80 hasta ppios de los ’90. Todo en su blog. Delius: Durante el colegio secundario participé en la organización de campamentos para los alumnos, las actividades las organizábamos desde la “Comisión de Recreación” que tenía el centro de estudiantes en aquella época. Es una de las cosas que recuerdo con más alegría de mi paso por el C.N.B.A. Hace algunos años, los amigos de aquella época decidimos volver a reunirnos anualmente para pasar un fin de semana campamenteando, ahora como adultos. Posteo una historieta-apunte de uno que hicimos hace un año y medio, en el 2016, y un par de flyers de cuando decidimos volver a juntarnos, en el 2014. ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: ~ en Español ~ En el último #FanzineMagazine Paloma García Zúñiga habla de “Necrópolis del Este” y el gran MAX les cuenta su música para dibujar con Victor Coyote y Mireia Pérez. Escúchalo aquí. Acabamos de saber que el juicio a Ramón Esono ha sido fijado para hoy. Aquí puedes escuchar su caso, explica su mujer Eloisa Vaello Marco en La Hora del Bocadillo. Esteban Hernández charla en Cafe con Vistas sobre tebeos y su Moneda músical. ————————————————————————————————— Suzy and Cecil – 02-28-2018- by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 02-28-2018 – by Caleb Orecchio Share this page: [...]

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