Comics Workbook

An online magazine for comics makers

Posted in NewsTagged álvaro ortiz, Antonio Samudio, astiberri, berliac, Buño, Caravaggio, Desolation.exe, Martin Lopez Liam, Pedro Moura, Sindy Elefante, Sofia Alvarez, Thyssen-Bornemisza, Ulises Fariñas

Juan Fernández

Posted on June 22, 2016June 22, 2016

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06/19/2018

Aaron CockleJune 19, 2018NewsParadise Systems; NYer at SOI; Desert Island; Dank Meme Machine ————————————————————————————————— Paradise Systems on publishing and distributing underground Chinese comics Fei Liu spoke with R. Orion Martin about comics in China: says the biggest challenge with indie comics in China is the lack of a network of independent bookstores. To overcome that, many artists distribute their stories in the form of tiaoman 条漫(web based strip comics — which can sometimes be like fan works, not unlike doujinshi of Japanese manga that have amassed huge cult followings) — of which many comics Paradise Systems prints are reformatted in. Tiaoman comics are popular on social media sites like Douban, a media site for youth culture that’s “a little like Tumblr but with Rotten Tomato’s review function” which allows for cult-like analysis and adoration. The comic artists Paradise Systems publishes are already Douban celebrities and now also have WeChat pages, which is China’s more mainstream social media network — though, finding indie comics on WeChat is often harder because you have to find and friend people already invested in the culture to see the content. ————————————————————————————————— Funny Ladies at The New Yorker: Cartoonists Then and Now July 24-October 13, 2018, The Society of Illustrators in NYC, curated by Liza Donnelly. In art, when the standards for what is considered “good“ are broadened to include more approaches, it leads to more diversity of thought and more creativity. That’s what happened under Lee Lorenz and Harold Ross’ editorship. In addition, the increase of women cartoonists under their editorships happened during times of positive cultural change in attitudes towards women. This is happening now. As the result of an effort led by senior editor David Remnick and newly hired cartoon editor, Emma Allen, The New Yorker now has a greater percentage of women cartoonists than ever. This exhibition is a commemoration of some of the women who drew cartoons for The New Yorker past and present. It’s a celebration of their creativity and fortitude as they pushed past cultural stereotypes to create humor and offer the world laughter from all points of view. ————————————————————————————————— Neighborhood Joint: The ‘Punk Rock’ Comic Book Shop Beyond the meritocratic inventory system, Desert Island proselytizes offbeat creativity through its annual fall festival, Comic Arts Brooklyn, together with the Pratt Institute. It also publishes an all-illustration newspaper, which comes out a few times a year called “Smoke Signal,” now in its 29th issue. Copies of the publication, whose pages have carried works by Mad magazine legends alongside up-and-comers like Abby Jame, are free to customers. ————————————————————————————————— Dank Learning: Generating Memes Using Deep Neural Networks Via Abel L Peirson V and E Meltem Tolunay We introduce a novel meme generation system, which given any image can produce a humorous and relevant caption. Furthermore, the system can be conditioned on not only an image but also a user-defined label relating to the meme template, giving a handle to the user on meme content. The system uses a pretrained Inception-v3 network to return an image embedding which is passed to an attention-based deep-layer LSTM model producing the caption – inspired by the widely recognised Show and Tell Model. We implement a modified beam search to encourage diversity in the captions. We evaluate the quality of our model using perplexity and human assessment on both the quality of memes generated and whether they can be differentiated from real ones. Our model produces original memes that cannot on the whole be differentiated from real ones. ————————————————————————————————— 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! ————————————————————————————————— Vision Box – 6-19-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 6-19-18 – by Caleb Orecchio Share this page: [...]

02/10/2017

Sally IngrahamFebruary 9, 2017NewsSally here to finish the week with you – I’ve got work by Emil Ferris, Theora Kvitka, Valentine Gallardo, Iris Yan, and Lou Rogers to share, plus comics scholarship with Rebecca Wanzo and the debut of The Ladybroad Ledger – and much more! ————————————————————————————————— Emil Ferris‘s long-anticipated debut graphic novel is finally here. My Favorite Thing Is Monsters was a decade in the making, and then it quite literally got lost at sea last fall when “the entire 10,000-copy print run of the book was stuck on a cargo ship seized at the Panama Canal after the freight company, Hanjin, filed bankruptcy.” The A.V. Club reports: “The scope of Ferris’ story is huge as it juggles a murder mystery, family drama, psychological thriller, and love letter to classic pulp monsters while taking readers from Chicago to Nazi Germany, and the narrative is constantly surprising and hugely fulfilling.“ They have a 11-page preview of the book – check it out HERE. It will be officially released on February 15th (although Copacetic Comics already has copies!) I look forward to seeing this in person – the “intensely hatched linework” is not always my cup of tea, but the story sounds compelling and Emil Ferris is a very interesting person. In an exclusive for Chicago Magazine, Emil has shared more of her story. “Growing up in Uptown in the 1960s, Ferris was part of a diverse community of people who she says “operated outside the system.” Her neighbors included black migrants who traveled north during the Great Migration, white Appalachian miners living in abject poverty, and thousands of Native Americans who left their reservations in the wake of relocation programs. “There was an incredible beauty,” says Ferris. “These were people who suffered, but were strong. They were survivors.” “ Emil was a survivor as well – born with scoliosis she was immobile for much of her childhood. This led to a vision of herself as a wolf-girl and a fascination with monsters – both of which influenced the creation of her new book. The piece on Chicago Magazine includes a comic by Emil that details the “stranger-than-fiction saga” which led to My Favorite Thing Is Monsters. The first part is below – read the rest HERE. ————————————————————————————————— Meet Rebecca Wanzo, a comics scholar, associate professor of women, gender and sexuality studies in Arts & Sciences at Washington University in St. Louis, and associate director of the Center for the Humanities. She is also a founding board member of the Comics Studies Society (CSS), “the first professional organization for comics researchers in the United States.” Wow. Total badass. The Source, a publication of the Washington University in St. Louis recently sat down with Rebecca to talk about comics and education and scholarship. Her current book project – The Content of Our Caricature – brings up an interesting discussion about how African-Americans fit into a medium that has a deep history of caricature and excess. “Think about Charlie Brown, the way he’s drawn. The body is a sign. Comics depend on this language of exaggeration and excess. But it’s really easy for representations of black people to slip into racist caricature. How do you get away from caricature in a medium built upon it? But what’s more interesting to me is when black comic artists intentionally use caricature, and to what ends. Sam Milai, the great Pittsburgh Courier editorial cartoonist, whose archives are in the Billy Ireland Cartoon Library and Museum (where Wanzo is a board member) had a gorgeous, realist phenotype for black people he thought were doing good things, but sometimes used racist caricature for people he was criticizing. You see this consistently in black cartooning.“ They also get into the impetus behind forming the Comics Studies Society and what works Rebecca especially likes to teach. “I enjoy teaching excerpts from “Winmen’s Comix,” especially the early issues, which are really transgressive. Students assume representation gets more progressive over time, but that’s not necessarily true. For feminists, the 1970s were pretty radical!“ The rest of the interview is also interesting – check it out HERE. I’m very excited to see the debut issue of Inks, the CSS Journal coming out later this year, and will definitely be tracking down more of Rebecca Wanzo’s writing. ————————————————————————————————— In the tradition of Wimmen’s Comix and Strumpet and other collections of comics featuring women only comes The Ladybroad Ledger. It is a newsprint compilation that features 10 female-identifying artists and plenty of diverse subject matter. It is making it’s way into stores and libraries all across the state of Vermont. It was created by Stephanie Zuppo, a cartoonist based in Winooski, VT. There is a nice write-up about the first issue of The Ladybroad Ledger over on Seven Days. “These days, gender disparity in comics is declining, according to Zuppo… “It’s becoming more balanced, especially in alternative and indie comics,” she says. “Now, a lot of the major publishers are taking notice and hiring more women.” That doesn’t mean female cartoonists should kick back and declare victory any time soon, adds Zuppo. “I still think featuring women in comics is an important thing, and it should be done more often,” she asserts.“ Read the rest of the article HERE. Stephanie plans to release her publication twice a year. Check out more of her personal work HERE – and keep up with The Ladybroad Ledger HERE! ————————————————————————————————— Theora Kvitka is a Pittsburgh-based cartoonist who publishes the webcomic Urbanity Planet (above). It updates every Monday. Her work was featured in a roundup on The Guardian of comics throughout history that have looked at gentrification, from 1921 to 2016 – HERE. ————————————————————————————————— The Comics Beat featured the work of Valentine Gallardo as part of their A Year of Free Comics feature. You can read about Valentine’s Spellwich HERE – and you can read the whole comic on Vice – HERE. ————————————————————————————————— Check out the work of Iris Yan (above). She is a Brazilian-born Chinese cartoonist who has been publishing the webcomic Pigs in Maputo since 2010 – read more of it HERE. These comics appear almost daily – she also has longer form work which you can see HERE. ————————————————————————————————— I – Sally Ingraham – started a Patreon to help support my comics-related endeavors! I am focusing on developing a comics curriculum for girls, building a library of women’s comics, and researching and documenting women in the comics industry. The teaching part is especially rewarding and where I really am looking for help when it comes to the Patreon. I am working on putting more classes together and establishing a “comics tutoring” clientele, but as that grows I need some help making ends meet. Consider sending me $1 or $5 or $10 a month while I build this network and create a curriculum that has the potential to really change these young girls’ lives. I’m just trying to get more ladies to make and read comics – and once they’re on board for that, to makes spaces for their work to be seen and for them to be heard! It’s fun. It’s radical. It’s necessary. Join me on this journey – check out my Patreon HERE. Many thanks in advance! ————————————————————————————————— Pictured above are cartoons by suffragist cartoonist Lou Rogers in Judge Magazine in 1912 (left) and the original Wonder Woman artist H.G. Peters in 1943 (right). I’m in the middle of reading Jill Lepore’s terrific book The Secret History of Wonder Women, which I may write about later – but for now I just wanted to give a shoutout to Lou Rogers, who was a prolific editorial cartoonist in the early 20th century. She was very involved in the suffragist movement – and in a funny “role reversal” she eventually married her colorist, Howard Smith. The artist who designed Wonder Woman – H. G. Peters – worked at the same paper as Lou did for awhile. (Although I recommend reading The Secret History of Wonder Woman, if you can’t spare the time for 400+ pages you can get the “Cliff Notes” version via this Buzzfeed article: 8 Things You Won’t Believe About Wonder Woman’s Origins.) ————————————————————————————————— Biscuits and Gravy Sara Lautman has a comic on The Awl called The Smell – HERE. Liana Finck had a comic on The Awl a few weeks ago – For Love of the Unknown. Sacha Mardou looks at money in a new way with Murry Mint, for The Common Reader. ————————————————————————————————— Suzy and Cecil – 2-10-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 2-10-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 2-10-2017 – by Juan Fernandez Share this page: [...]

03/24/2016

HarrisonMarch 24, 2016News Comics news and Zyrtec packs for pollen season. Jillian Tamaki, Jeremy Sorese, K.L. Ricks, and Jen Lee creating work for Hazlitt magazine and The Comics Journal. Short abstract animation films from Japan by way of the U.S., and remembering the 5 footer. ————————————————————————————————— Hazlitt Magazine has become a prominent home for comic creators to publish various works online. Cartoonists/Illustrators Jeremy Sorese, Jillian Tamaki, and K.L. Ricks have been the past three updates in the comic sections. Check out the rest of the artists here, and if your an artist pitch to Hazlitt editors here. ————————————————————————————————— Thunder Paw creator Jen Lee has been a part of the Cartoonist’s Diary section on TCJ.com for the past few weeks. The inner question sections of these comics feel familiar, but the most striking part is how the negative space between the panels creates such a smooth reading experience. An extra block of space makes scrolling down feel natural instead of tedious. It’s also fun to see her characters drawn on top of photos and clever animaiton in some panels . One or two simple choices making comics on the web more fun to read. ————————————————————————————————— “I attended GEORAMA in tokyo this year, 2016, as a guest. I created a quick installation over the course of the festival. By using twelve separate canvases as individual frames of a sequence, i was able to create a loop of painted animation.” Caleb Wood is an independent animation filmmaker from Minnesota. Check out his other animation experiments with his film PLUMB below too. ————————————————————————————————— “Aiyyo Bo knows this (what?) and Bo knows that (what?) But Bo don’t know jack, cause Bo can’t rap Well whaddya know, the Di-Dawg, is first up to bat No batteries included, and no strings attached No holds barred, no time for move fakin Gots to get the loot so I can bring home the bacon” “Coming with more hits than the Braves and the Yankees Living mad phat like an over sized Bam-bi The wackest crews try to dis, it makes me laugh When my track record’s longer than a DC-20 aircraft So, next time that you think you want something here Make something deffer, take that garbage to St. Elsewhere” R.I.P. to a great artist. Read this and this. Share this page: [...]

05/30/2018

Juan FernándezMay 30, 2018los Cómics / NewsEntreviñetas + TCAF, Gutterfest #6, Ronald Wimberly, Laura Knetzger ————————————————————— Desde este año Entreviñetas inicia una alianza con TCAF. La alianza empieza con una primera convocatoria para que un autor canadiense trabaje con un autor colombiano en un cómic. The Toronto Comic Arts Festival (Toronto, Canada) and Entreviñetas Festival (Bogotá and Medellín, Colombia), in alliance with the Ministry of Culture of Colombia, are proud to announce the launch of the Blind Date project (Cita a ciegas). This collaborative creative project will support two comic artists — one from Canada, and one from Colombia — to create a shared digital graphic work over the course of one month, using the internet to develop the piece from their respective places of residency. The selected Canadian artist will receive $1000 CAD to support the creation of this work. The selected Colombian artist will receive 5 million Colombian pesos. Please see the detailed application for information about how to apply to participate. Léanlo todo AQUI. ————————————————————— GUTTERFEST #6 Lydia Metral saco fotos en Barcelona de La Festa de l’Autoedició – GUTTERFEST #6. Todos salieron guapitos. ————————————————————— Ronald Wimberly Revisits Island #15 – a critique of critique – The fact that the cover to Island, the first page of January, caused such a stir before many had read the interior pages is a testament to its power as a comment on the theater of identity and fame. In a way we all played out materially, what Dilraj put down in that magazine. The material reality of the lack of political subjectivity in the creative environment that produced, published, and critiqued that magazine was made apparent. Brandon Graham demonstrated his editorial blind spot and his lack of social intelligence in how he discussed the work. Many of the critics, myself among them, demonstrated a lack of political, historical, and critical subjectivity when we rushed to contribute our hot takes. One thing in particular that bothered me was a sentiment that these aesthetics would somehow be better if the author was black.; Dilraj Mann, as I understand, is south asian. I don’t ascribe to this. I think given the context we have to judge the aesthetics on their own. And if we are going to expand the subjectivity and say that people who were wounded by those aesthetics get a crack at using them, the fact that historically, the aesthetics of Sambo come from the depiction of a South Asian boy (I go into this history in LAAB#0), should also carry some weight. I mean, take a hard look at Mr. popo. Read it all HERE. ————————————————————— Laura K Plays 11: Legend of Mana Laura Knetzger offers up a comic on falling through the inscrutable margins in Legend of Mana for ZEAL on Medium! A satisfying little poetic reflection on another classic videogame. If you’re a fan if that unshakeable feeling of longing from certain mysterious fantasy games, you’ll know what Laura’s talking about… Additionally, Laura Knetzger’s put a bunch of diary comics and sketches on her patreon, so if you don’t already, it’s a great time to pledge! ————————————————————— Share this page: [...]

Comics Workbook Rowhouse Residency – Fundraising Video

Comics WorkbookSeptember 29, 2015School UpdatesCampaign video credits: Video by Michael Pisano | michaelpisano.com Soundtrack by DJ Thermos | facebook.com/DjThermos Share this page: [...]

06/22/2016

Posted on June 22, 2016June 22, 2016 by Juan Fernández

Juan Fernandez here with your weekly spanish language comics round up: Helen Jo & Jonny Negron in THE DIAZ ARCHIVE; Berliac’s DESOLATION.EXE;Sindy Elefante presenta CicloReaders no.1; Taller de GIF via Sofia Alvarez; Antonio Samudio; Martin Lopez Liam in CuCo; birth of BUÑO; Caravaggio Comics by Álvaro Ortiz.

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On the site: New in the Diaz Archive:

http://comicsworkbook.com/jonny-negron-draws-mr-freedom/

http://comicsworkbook.com/boy-by-hellen-jo/

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Off the site:

Pedro Moura on “DESOLATION.EXE”

Portuguese critic Pedro Moura has written an article about Berliac’s “DESOLATION.EXE”. Originally in portuguese, Berliac’s got a translation over on his site.

Pedro Moura: All stories refer to the same urban, post-industrial anguish that authors like Seiichi Hayashi, but also the Tsuge brothers, Shin’ichi Abe, Masahiko Matsumoto and Yoshihiro Tatsumi, among others, explore in their works. Stories of straightforward dramatic realism (thus approximating the etymological meaning of “gekiga”), focused on that which escapes through the cracks of economic and social wealth, warning us that the possible forms of happiness are not at all universal. Perhaps here lies the meaning of its title, with its extension “.exe”, that is, referring to something that can execute an action upon the “life” of a program. In this case, the desolation caused by poverty, by the alienation of labor, by the obsession of certain cultures with superficial pleasures, and by human isolation.

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Inaugural Ride-n-Draw in Bogotá

This weekend, Sindy Elefante is leading the inaugural ride for the “Cicloreaders” drawing club in Bogotá, Colombia. Get some pencils & paper, sunscreen & water and your bike for a wild ride drawing al fresco, experiencing Bogota’s savannah. More info over on their site. cicloreaders.com .

NOS GUSTAN LAS BICICLETAS PORQUE —COMO LOS LIBROS— NOS LLEVAN A DONDE QUEREMOS, PERO TAMBIÉN A DONDE NUNCA IMAGINAMOS LLEGAR.

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2nd GIF Workshop – THIS WEEKEND – Buenos Aires

Independent bookstore, PUNC LIBRERIA in Villa Crespo, Buenos Aires is hosting its second intensive GIF animation workshop this Saturday. It is hosted by Buenos Aires based cartoonist, Sofia Alvarez. If you are interested in honing your animation chops and would like to participate, send an email to punclibreria@gmail.com

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49293_1 — Cortesía Patricia Samudio y Ediciones Jaime Vargas/ ‘Ojo en dos cerrojos’/ Antonio Samudio

Los grabados de Antonio Samudio

Poets, Juan Manuel Roca y Santiago Mutis, have put together a collection of prints by the colombian expressionist painter and printmaker, Antonio Samudio‘s. Entitled,Los grabados de Antonio Samudio, it is comprised of 250 of his prints; woodcuts, lino, lithographs and engravings, Samudio’s worlds are now within reach. Samudio has created a body of work of really intriguing cartooning.
His images live in an interesting space of dynamism that is neither the hyperbolically expressive Lynd Ward nor the politcally muted like Botero. Cool stuff. The book should be available soon. For now Arcadia magazine has a nice gallery of several of his prints for you to see Colombian life through his eyes.

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Entrevista con Martinez Lopez Liam (2014)

This one’s a throwback to 2014, but it’s so in depth and chock full of great banter that I can’t help but share it. This is from the 3rd volume of Cuadernos de Cómic, the incisive latin american comics criticism magazine.

CuCo: Quizás lo que pasa es que tradicionalmente el cómic se ha orientado más a la acción que a la introspección psicológica, y a la hora de mostrar sentimientos o pensamientos los autores necesitáis generar nuevas maneras de hacer cómic.
MLL: De hecho Ware sí se ha acercado mucho al monó- logo interior sin usar la palabra, sólo con imágenes. Pero yo no quería ser Chris Ware, que ya está él ahí para eso. En Asterios Polyp [de Dave Mazzucchelli] hay una secuencia que me gusta mucho, casi al final. Es una secuencia de varias páginas en las que en la parte superior aparece el pensamiento de la mujer de Asterios y en la inferior él mismo haciendo cosas. De pronto ahí sentí esa introspección en la mente del personaje, pero mucho más abstracta. Y estaba usando igualmente el lenguaje secuencial para conseguirlo. En el cine de los últimos años se ha visto un recurso parecido: de repente ves a un personaje a través de una cámara, en silencio, simplemente ves su recorrido por un espacio determinado, sin acontecimientos… Tú tienes que intuir lo que está pensando el personaje. Creo que fue Deleuze el que decía que las disciplinas artísticas eran la intersección de dos conceptos que respondían a las problemáticas de la misma naturaleza del medio, así la pintura era la relación entre el color y el espacio, el cine entre tiempo y el espacio, entonces ¿cuál es o cuáles son los problemas del cómic?

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Caravaggio Comics

RTVE.es has a great look at Álvaro Ortiz’ Dos holandeses en Nápoles, a comic co-edited by the Thyssen-Bonemisza Museum and Astiberri. The book serves to complement the Thyssen-Bornemisza’s exhibit Caravaggio y los pintores del north, inaugurated this Tuesday, June 21st. Dos holandeses en Nápoles tells the story of Gerard Van Honthorst and Dirck Van Baburen, two dutch painters who traveled to Naples in search of Caravaggio. This 28 page full color comic will be in stores on July 1st. You can get a peek at the pages over at Astiberri’s site.

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Buno: A New Imprint (In Partnership With Magnetic Press)

Stateside: Ulises Fariñas & Magnetic Press has announced he’s starting a new comics publishing imprint called Buño. Looks like an exciting space for creator owned comics to really explore the space of fusion.

MAGNETIC PRESS: The first 3 titles to be published by BUÑO will be: LIGHT (written & illustrated by Rob Cham),CLOUDIA & REX (written by Ulises Fariñas & Erick Freitas, illustrated by Daniel Irizarri), and GUARDIAN FORCE DESIGN MANUAL (written & illustrated by Ulises Fariñas, inked by Mike Prezzato).

Alexander Lu over at Comics Beat has the whole story!

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hasta la proxima 😉
Juan

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Comics Workbook

An online magazine for comics makers

Juan Fernández

Posted on June 22, 2016June 22, 2016

Explore

10/5/2016

Juan FernándezOctober 5, 2016los Cómics / NewsJuan con: el tour de talleres de Comics Workbook; Rodrigo Elgueta y los Años de Allende; Natalia Silva en conversacíon con Sol Díaz Castillo y Marcela Trujillo; la llegada de Entreviñetas – Medellín; una venta paginas de Michael Deforge; Frank Santoro y el medallon de Pompeii. ————————————————————————————————— Comics Workbook participará en dos festivales la semana que viene: En el Reino Unido The Lakes International Comic Art Festival, Octubre 14-16. Frank Santoro, Aidan Koch, and Connor Willumsen en Kendal, UK. Buscános para y visita la mesa 67 en el Comics Clocktower para conocer a Oliver East y Jack Brougham, entre otros. Tendremos 3 talleres especiales, “Visual Poetry” con Aidan Koch, “The Hammer Party” con Connor Willumsen y “Composition Competition” con Frank Santoro. Las entradas para los eventos principales en el Festival Internacional de Lagos Arte cómico de este año están a la venta.ickets for the main events at this year’s Lakes International Comic Art Festival are on sale now. Visita nuestra página de eventos para más información.. En los Estados Unidos Cartoon Crossroads Columbus, October 13-16. Ofreciendo talleres y tendremos libros de venta. Júntate con la boca y dibujantes Alexa bar y Kurt Ankeny para disfrutar un fin de semana Juan llenísimo y de creación de cómics. Examinarémos el arte y la cuadricula, uniendo las pracitcas artísticas de Berg y Ankeny junto con la disciplina y el ritmo de la cuadricula, según lo principios establecidos por Frank Santoro. Cuatro horas a través de dos días, llenas de la exploración de una variedad de técnicas y métodos – que inspirarán el principiante, y desafiarán al dibujante avancado. Cómics como el jazz; cómics como la arquitectura; cómo una simple tarjeta de índice puede transformar su proceso de secuenciación y la narración. El horario completo del Festival CXC esta disponible AQUI. ————————————————————————————————— Una Entrevista Con Rodrigo Elgueta ¿Cómo ingresaste al mundo del cómic en Chile? Creo que se podría decir que el cómic es una actividad que me encanta, desde muy niño supe que iba a ser dibujante de cómic. Entre las cosas que me gustan de este mundo es que todos los dibujantes de historieta tenemos en común experiencias de niño, hay algo que nos conecta con ese mundo infantil que ha sobrevivido con el tiempo y que se manifiesta cuando uno hace historietas. Por ejemplo, a los siete años tengo el recuerdo concreto de una tarde especial, donde estaba dibujando personajes de Barrabases, en el cual dije “voy a ser dibujante”, y aquello me acompañó durante toda la vida. Más detalles sobre su libro Los Años de Allende – AQUI! Cuando el 4 de septiembre de 1970 Salvador Allende obtuvo el 36,2 por ciento de los votos que lo llevaron a ser presidente de la República, empezaron los mil días más intensos de la historia de Chile. El país fue un ejemplo inédito de socialismo popular democrático, con planes revolucionarios de igualdad, y al mismo tiempo un temido enclave marxista que amenazaba los privilegios, los negocios privados y los grandes capitales. Esta novela gráfica enseña con rigor los hechos políticos, los factores y actores que determinaron el fin de la vía chilena, a través de la mirada de un periodista norteamericano que llega a reportear un proceso y se encuentra con conspiraciones, efervescencia cultural y agitadas noches con una mujer fascinante. Muestra, así, las esperanzas y temores de los protagonistas de entonces, quienes vieron con pasión y dolor cómo se articulaba y destruía un experimento social único en el siglo XX. ————————————————————————————————— [soundcloud url=”https://api.soundcloud.com/tracks/285194140″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] Escucha la nueva edición de @lapololapodcast, un podcast del cómic femenino con Sol Díaz Castillo y Marcela Trujillo: En este capítulo las chicas conversan con la autora del libro “No abuses de este libro” Natalia Silva, alias Natichuleta. Conversamos acerca del abuso, de la violencia, los secretos, de cuales son los límites, cómo son los abusadores, cómo nos refugiamos en nosotros mismos y en el dibujo para darnos seguridad y sacar afuera estas experiencias. ————————————————————————————————— Entreviñetas – MEDELLÍN La segunda parte del gran festival Entreviñetas tendra lugar este fin de semana, del 6 al 9 de octubre. Si no lo saben ya, el Festival Entreviñetas es el evento del cómic y el dibujo más influyente en la escena latinoamericana contemporanea. No se pierdan toda la programación! Pueden ver los horarios AQUÍ. Talleres, ferias, charlas y entrevistas – habra de todo, sobre TODO! ————————————————————————————————— Tenemos una nueva subasta para compartir con ustedes! El gran Michael DeForge nos ha donado tres dibujos a beneficio de la escuela – cada dibujo es sobre una cartulina tamaño A4 en crayón. Son de 2014. Cada dibujo estará disponible por separado. Más detalles acerca de la subasta está aquí. ————————————————————————————————— 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! ————————————————————————————————— hasta la proxima! Juan Share this page: [...]

12/15/2016

Sally IngrahamDecember 15, 2016NewsToday we have Sam Ombiri on film director Robert Bresson, and Tyler Landry on Kyle Baker’s sequencing – plus more Kyle Baker news, Chris Diaz’s photos, Vanesa R. Del Rey’s new book, a comics education sampler, and new Suzy and Cecil. ————————————————————————————————— This is Sam Ombiri. I’m going to be talking more about the reappropriation of methods and style than the movies I talk about here, so I’m more than likely not going to do the films justice as I try to write about them. I watched Funny Games again not too long ago, and parts of it reminded me of Au Hasard Balthazar, which is the number one movie for me – but more importantly, Michael Haneke‘s direction compared to Robert Bresson‘s. I think the main antagonists are just people (or maybe a more appropriate term for them is forces) who purely inflict themselves on their victims. In Funny Games it was just maybe infliction rooted in the overbearing nature of politeness? Maybe? I think Balthazar was rooted in…haha…I don’t know, there’s too many places it goes for me to think about right now. I think the way Haneke used methods akin to Bresson’s weren’t on a (I can’t find a better word than this, I’m probably wrong as I say this) superficial level. Andrei Tarkovsky said “When people tell me during the shooting of my film that a certain scene is in a way reminiscent of Bresson–and this has happened–I will immediately change the approach to avoid any resemblance. If there’s such an influence, it doesn’t show on the surface of my work. This is an influence of a deeper nature. It’s a moral influence between artists, without which art cannot exist.” I was watching part two of Solaris – there were a couple of scenes where faces weren’t in the frame, but as people passed a doorway they’d caress it as they were passing by – to the same effect as when Bresson does it. I can safely say it was not an attempt to copy Bresson, it was just a moment passing by. Bresson said something like the way he films is based on how you pass someone on the street. I think the small scene in Solaris happened as result of just a coincidence of aims, and not so much attention, and reliability was placed not on the methods used in that scene, but instead on what was accomplished. Austin English was saying how for awhile he was a big fan of Hal Hartley, but because his new movies are still made in the same way, he feels that they’re lacking. I couldn’t agree more – whenever I see Hal Hartley’s movies (the few I’ve seen), it leaves a bit of bad taste in my mouth, the way he just uses Bresson’s methods. That’s just me though, and that is not to say it’s bad to reappropriate Bresson’s methods – many of my favorite directors have. I’m even typing about one of them right now. Sammy Harkham said something like how influence is like a shortcut to achieving something you previously wanted to do, but lacked the possible way to. I can’t conjure up a reason for why, but Austin’s frustration with the lack of change and advancement will do. At the root of Bresson there’s a lack of reliance on…what one would typically rely on. He says he doesn’t want to know where he’ll shoot, he doesn’t have professional actors. Maybe since Hal’s dad was a construction worker he’s doomed to make ‘em like he does. Frank Santoro was telling me how Jordan Crane and Kevin Huizenga were coincidentally both doing comics that were taking place over one night, but that one night was taking years to unfold. But pretty I’m sure that the comics aren’t great just because they take place over one night. I’m pretty sure if someone wanted to be on par with their work, they’d have to do more than make the story take place over one night. That’s what Hal Hartley is to me. Although I have to admit Amateur is a real fun movie. It reminds me of how in Please Say Something there’s a reference to the famous Funny Games remote scene. They don’t achieve the same thing, and it’s more than likely a different influence that prompted David OReilly to use that reference in that way – the Haneke influence in Please Say Something wouldn’t be that direct. (I can only guess) So then, what I saw between Au Hasard Balthazar and Funny Games was… I don’t know if I can write about it too well – but their similarities aren’t so direct except for the forces that afflict the people. – Sam Ombiri ————————————————————————————————— Tyler Landry here – let’s take a peek at some of Kyle Baker’s work. Deadpool doesn’t mean anything to me – but this sequence of Baker’s does. What’s striking me here is overall repetition + changed elements over time (panels). Same scene, same pile of bodies, same ornate backdrop – but slightly closer and with less active bodies across the sequence. As Deadpool reduces these guys to chum, the scene becomes more focused on a particular individual – and Deadpool’s attention on him too. He also gets smaller in the scene, and the chaos quiets down, enforcing his/the trajectory. I went on about color last week, buzzing over Space Riders, and although not my primary concern here, I have to give it a mention. Follow those REDs, watch’em boil down to see where the action goes. One more page I wanted to look at, just for its sheer compositional beauty, was this one from a Hawkman story. It’s stark, powerful, and crystal clear. Again, it’s about creating focus – guided by form, by color, by directionality, by connecting elements across the page. Among other things, Baker’s dealing with concentrations of “noise” VS simpler, more solitary forms. The top two panels are almost mirrored – the bird, the plane – balancing noise and larger forms. On the right, a heavier bird shape sorta scoops your view, and dumps you into the middle down below. The central panel is key in using the birds and Hawkman himself as silhouetted parallels, but focusing on him specifically – larger, darker – as the driving force in moving this one forward. He’s advancing to the right, but his body, and the angle of his sword, are turned to the lower left – which lends itself to comfortably directing your eye in the lower left panel. Then, look at the total slickness in which the line of the edge of that windshield slides right across the panel, hops over the co-pilot’s hat, and continues right along the hijacker’s bent arm, DIRECTLY into the pilot’s terrified face. Nice, dude. – Tyler Landry ————————————————————————————————— Sally Ingraham here – funny that Tyler should be thinking about Kyle Baker today, as I was just listening to a podcast with him over on RiYL. Taped at the New York Comic Con amid a great deal of bustle, the interview digs into the intricate hustle that has been life as a cartoonist for Baker. He offers up some good stories about being a business-minded artist, and shares the experiences and decisions that have allowed him to remain independent AND working for two and a half decades. Check it out HERE. (via TCJ.com) Here’s a 15 page preview of Kyle Baker’s Nat Turner (from a piece on Vulture published in 2008). Get a copy of the book and other comics by Kyle HERE. ————————————————————————————————— Chris Anthony Diaz – easily the best photographer working in the comics scene – has kept busy this autumn documenting festivals and special events all across the country, from Columbus, OH, to Seattle, WA, to Los Angeles, CA. He has updated The Diaz Archive, found here on Comics Workbook, with his recent adventures – check them out: Comic Arts Los Angeles 2016 The Fantagraphics 40th Anniversary Party Cartoon Crossroads Columbus 2016 Part II (part 1 can be found HERE). ————————————————————————————————— Check out The Art of Vanesa R. Del Rey – now available from Comics Workbook! Vanesa generously agreed to let us published selections from her sketchbooks, as well as excerpts from an interview she did at the Rowhouse last spring. She is an incredible talent, the “vertical invaider” that we’ve been looking for, and this book offers up a new look at her work, process, and passions. Get a copy HERE! ————————————————————————————————— Give the gift of comics education! The Santoro School Handbook is a great place to start – get a copy HERE. We are still accepting applications for the Winter Semester of the Santoro Correspondence Course for Comic Book Makers – details are HERE. Maybe you know someone who could benefit from one-on-one coaching? You won’t find a more passionate, or engaging teacher than Frank. Email us at santoroschoolATgmail to find out how you can help a friend or family member get in on the Correspondence Course. You can also check out the Rowhouse Residency program – perhaps the ideal gift for YOURSELF – a crash course in comics making for the newcomers, or a week of uninterupted time dedicated to making that comic you’ve always dreamed about. There are more details HERE – or email us to schedule your visit to Pittsburgh, PA, in 2017! ————————————————————————————————— Suzy and Cecil – 12/15/2016 – by Sally Ingraham Share this page: [...]

South Beloit, IL Scene Report

Frank SantoroNovember 13, 2011Riff Raff / Scene ReportsHey everybody – this week’s scene report is brought to you by the formidable John Porcellino. Johnny P could write scene reports for half the country cuz he’s probably been to your scene. And he probably made you feel like you aren’t doing enough – just by his example alone. And you know what? You probably aren’t. A real traveler if there ever was one – these days he calls South Beloit, Illinois home. Where? Yeah, I know. I had never heard of it either. INTERMISSION FUNNIES with MICHAEL DEFORGE South Beloit Scene Report By John Porcellino In November of 2010, after a series of unfortunate life choices, I found myself living in a small, semi-rural town on the Illinois-Wisconsin border– South Beloit (Pop. 8401). Longtime readers of my comics may recall that I’ve occasionally fantasized about living in some small, cheap, out-of-the-way town, where I could afford to focus on my art with few distractions and financial worries. Well, one thing I’ve learned by living in South Beloit: Be careful what you wish for! South Beloit is on the Illinois side, about 20 miles north of Rockford (once the state’s second largest city, now home to 12.1% unemployment), and about an hour south of Madison, Wisconsin. There are few cultural resources in South Beloit, aside from Miss Vikki’s Famous Ribs, and the Public Library, which features on its meager shelves six volumes of comic-related material (Complete Bone, and various how to draw Manga/Superheroes books). Luckily, the Rockford Library and the nearby Roscoe-Loves Park Library District both honor my hard-won South Beloit Library Card. The Rockford Library features a pretty nice array of comics in book form, including most of the output of Fantagraphics and IDW, Abrams, and the other usual suspects. They even have a copy of Perfect Example, though it’s locked away in the “Teen Use” chamber, which is only open during “hours in which teens may be expected to make use” of it (meaning 3PM to closing, weekdays), and which forbids adults from using it unless the materials within cannot be found elsewhere in the library stacks. Suffice it to say, I made much use of the Rockford Public Library during the endless winter of 2010-2011. The Roscoe Library has a couple shelves of comics-related material, mostly along the lines of “How to Draw Animals Manga Style,” with only a few titles actually devoted to comics to read, including a handful of Calvin and Hobbes collections, and the Don Martin Anthology. Loves Park (a Rockford suburb) fares better, with a decent selection of comics, as well as books on comics. Across the border in Beloit, Wisconsin, their new library building houses an excellent selection of comics, though, as an Illinois resident, I’m unable to check out materials there. There are no bookstores to speak of in the region, with the exception of the Beloit College Bookstore, which has a very small rack of the usual generic-looking manga. (The Borders in Rockford closed recently. There is a Barnes & Noble somewhere in a mall in Rockford, but I’ve yet to visit it.) There are, however, a number of comics specialty shops in the area. The ones I visit most frequently are Top Cut Comics in Loves Park, and AK Comics in Beloit. Top Cut Comics is a large storefront on North Second Street, the main north-south drag through Loves Park, heading into Rockford. It’s situated next to the local Salvation Army, and across from a liquor store with a delightful vintage neon sign (“House of Bottles”). When you walk in the door you face a small rack of new comics, as well as a selection of kid-friendly comics. The main space is divided into sections for comics, role-playing and board games, and action figures. Two side rooms, one with tables for gaming, and one that houses their extensive back issue collection, are located on the edges of the store. Along the wall, behind the counter, are collectible comics and colorful superhero branded T-shirts. There’s one store-long rack of recent pamphlet comics, one store-long shelf of miscellaneous trade paperbacks and collections, and a couple shelves devoted mainly to the DC/Marvel Archive/Masterworks hardcovers series, but with a smattering of other independent titles among them. The staff is always super nice. They even agreed to place a display of my comics on their counter, and have managed to sell a few here and there. I asked Mike, who I believe is the manager, if he had any news to relay to readers of the Journal website, and he mentioned just that the DC relaunch had done very well for them, that he had ordered extras of all titles, and had sold out of nearly everything. AK Comics, in Beloit, is located in a strip mall near the interstate, alongside a GNC, a shoe store, and a Staples. It’s a small shop, but clean, and well organized. The owner, David, has always been helpful and friendly, even pulling and holding some Marvel monster reprints from his stash at home for me because he knew I liked them. He also agreed to display a small selection of King-Cat titles on his counter, but unfortunately none have sold to date. The store features a rack or two of new pamphlet comics, a couple tables of back issues, and several shelves of paperback and hardcover superhero collections. A table in the center of the shop is reserved for gaming. There’s a wall of collectible comics behind the counter, and action figures and other paraphernalia line the remaining walls. When I asked David for news, he also replied that the DC relaunch had been a huge success, not only in terms of sales, but also in customer satisfaction, including a couple readers who were Marvel-Only before the relaunch. In my year in South Beloit I’ve managed to meet a few cartoonists with ties to the area. Kevin Singles was raised in Beloit, Wisconsin, attended the comics program at Savannah College of Art and Design, and currently resides in Austin, Texas. But he was in town for the summer, working on his debut book (for First Second), illustrating a hard-boiled comic called Head Games, written by the novelist Craig McDonald. He’s also been working on his own title, Tension. Then, a few weeks ago, I was wandering around downtown Beloit at night, looking in the windows of the College Bookstore, when I saw a flyer for, of all things, a signing by a graphic novelist! This I had to check out. I went down the following Saturday for the signing, by a South Beloit native (and, inexplicably, a Packers fan), Brent Schoonover. A graduate of Minneapolis College of Art and Design’s comics program (and currently a St. Paul resident) he was signing copies of his latest book, Mr. Murder Is Dead (Archaia Entertainment, written by Victor Quinaz). I shook his hand and said I couldn’t believe there was a cartoonist from South Beloit, and he said, “Yeah…” I have kind of half-jokingly suggested to a few friends here and there that I might try to organize the First Annual South Beloit Zine Fest– and the response has been overwhelmingly positive. If I do, come on out and visit. We’ll have lunch at Miss Vikki’s and talk about comic books. Share this page: [...]

10/02/2017

Caleb OrecchioOctober 2, 2017NewsCaleb Orecchio here with your Monday edition of the Daily News providing a CXC wrap-up. ———————————————————————————————— What a weekend. A long weekend. From September 28th to October 1st I attended Cartoon Crossroads Columbus with Comics Workbook, and I have no regrets. First I must thank Frank Santoro who, apart from being my favorite cartoonist, is the fearless leader of Comics Workbook –without whom, my experience of these festivals would be lacking any sense of purpose. Thanks Frank! Also have to thank Sally Ingraham who keeps me and the other kids in check and with things to do–she also serves as an inspiration of work ethic in comics. Next I should thank the CXC Executive committee, the people who make this show what it is and tirelessly keep the wheels going–Jeff Smith, Lucy Caswell, Vijaya Iyer, Kathleen Glosan, Tom Spurgeon and Melody Reed. Thanks for putting on such a great show. ———————————————————————————————— FIRST DAY–Thursday September 28th Got there in time to meet the rest of the Comics Workbook crew and see Kevin Huizenga’s talk about his use of time in comics. As you may have guessed, the talk was very in-depth and interesting. I thought it was cool that he remembers, vividly, drawing his first comic. He ran through his Ganges catalog and gave us examples of how he plays with time and how time has many different perspectives. You, dear reader, probably already know this, but he is extremely smart and I was really impressed with the amount of research that goes into each issue of Ganges. And so we, the CW crew hung out and around OSU campus and caught up with each other and generally palled around. The official CW caravan crew was Frank Santoro, Sally Ingraham, Connor Willumsen, Audra Stang, and Kurt Ankeny driving in from Pittsburgh–then myself who came in from Dayton, OH. We also saw the likes of Adam Griffith, Phil Dokes, Juan Fernandez, Jenn Lisa, and Aaron Cockle that weekend. Of course, how could I not mention the Billy Ireland. What you’ve heard is true. It’s amazing. Often, peoples hearts stop and their eyes get teary. I’ve written much on this before and so have others, so I won’t take up any more space on here about this subject. SECOND DAY–Friday September 29th First thing I saw was Leslie Stein’s tutorial on watercolor and other various materials she uses. Very fun lecture. Stein did great crowd work and was entertaining while she drew. I found it interesting just how much of an education this was for a lot of people in the audience who didn’t even know what a micron pen was(!). Side note, I think microns should die a quick and sudden death–but that’s just me. Audra, Kurt and I got lunch and hung out. They gave me some tips on drawing portraits–they are both very accomplished in this field, among others, and I am often quite jealous of their ability. At 3:00pm, was the Chris Ware spotlight moderated by Caitlin McGurk. My friends, you could not have seen a better talk. Chris Ware was, as usual, completely and utterly fantastic–funny, intelligent, self-deprecating–everything you’d ever want from the man. And Caitlin McGurk was an excellent interviewer, she could hold her own and her intellect matched Ware’s. In fact, Ware surprised her by mentioning how an article about memory that she wrote when she was nineteen, changed the way he thought about memory–the article was recommended by Chester Brown–and much of her ideas in that article made their way into Building Stories. Like I said, the interview was amazing, I could not be happier with the experience. Real quick, I’ll share one of the anecdotes that Ware shared about his daughter (when she was six)–I’m paraphrasing: Ware: Okay, Daddy has to go upstairs to work. Daughter: Daddy, you’re not going upstairs to work, you’re going upstairs to blame yourself. (Uncontrollable laughter by crowd) Then at 5:00pm comes The Billy Ireland Cartoon Library and Museum 40th Anniversary Reception. Got to spend quality time with Audra and Connor before the awards for Master Cartoonist and Transformative Cartoonist were awarded to Kyle Baker and Howard Cruse, respectively, by Tom Spurgeon and Jeff Smith. Before the awards were passed out, Jeff Smith gave a very touching thank you to all the staff, volunteers and sponsors of CXC. What was particularly touching was Smith’s thank you to Lucy Caswell–who was his mentor and, I think it’s fair to say, we would not know Jeff Smith as we know him today if not for Lucy. THIRD and FOURTH DAY–Saturday September 3oth—Sunday October 1st First day of Expo and Marketplace. Comics Workbook had our table next to Connor Willumsen’s which was nice. Frank ran both tables expertly. Watching him table, one learns the ropes. He’s certainly the best tabler I’ve seen–maybe only rivaled by his own mentor, Bill Boichel. People love going to Frank’s table and talking to him and commenting on “back issues” or anything that comes to mind. It was fun to see him talk to the likes of Rob Clough, Peter Bagge, Matt Fraction, Tom Spurgeon, Jeff Smith, etc. etc. People have such a respect for Frank. He’s the man. Connor Willumsen had workshops literally every hour while the library was open–AND he would occasionally come up to his table and draw sketches, sign and draw in his book–Anti-Gone, it’s amazing–for people. Connor’s amazing, dude can draw straight to ink like a master. I’d be mad at him if he wasn’t such a kind, thoughtful person. Speaking of Connor, he was on a panel with Jeff Smith, Peter Bagge, and Kyle Baker–three giants of comics and some of the most successful cartoonist fiscally and critically. Despite Connor’s relatively low-profile compared to these legends, Connor held his own and impressed everyone on the panel with his cartooning prowess (all three legends took a look at his book during the session) and his ability to hold an audience. Connor had a busy weekend and a tall tall mountain to climb–and he finished the race a mile in front of the pack. Frank says he’s the “starting center fielder” on the scene these days. Sally Ingraham took over for Connor during his aforementioned panel because he was double-booked and people still wanted to learn comics. Every time I want to complain about comics and how much it engulfs my life, I remember that Sally is a savage and never complains. She is ready to jump in whenever and wherever CW needs her–and is totally prepared. AND she still manages to make a daily comic. Audra Stang is a rising star. I heard critics mention her work multiple times throughout the weekend. People are starting to pay attention to her–and you should too. I have to mention how particularly fun the last CXC after-party at Pins Mechanical was. Evan Dorkin was the host and made everyone howl with laughter. When I arrived, Frank was holding a ping pong tournament where Dustin Harbin was the undisputed champ. We came in when he was battling the great JC Menu. Harbin has an interesting serve that is hard to keep track of, but it was no match for my past youth group skills. Once I came in to play–the pace changed. I never lost a game. Connor came close though–so did Dustin. It was fun–Frank had to bench me because I had beaten everyone and other people wanted to play. haha I say all this to brag about beating a bunch of great cartoonists at ping pong–it’s ridiculous. All in all, CXC was great. I love going because, 1.) it’s my hometown festival, and 2.) I haven’t been to show that has such a mix of camps and to see all those camps mingling is something to behold. And my comics sold pretty well so no complaints from me. Thanks again to everyone who makes CXC a great show, from the executive committee to the donors to the board of directors and volunteers. Thank you! And once again, thanks to Frank and Sally for their support of the Comics Workbook “kids” and our endeavors. -CO ———————————————————————————————— if you don’t know now you know Be sure to check out the great Bill Boichel’s review of John Hankiewicz’s Education on this very site. Latest Inkstuds interview is with Sophia Foster-Domino. Speaking of which, Annie Mok talks to Sophia Foster-Domino over at TCJ.com. Gina Wynbrandt is the latest guest on Comics Decalogue, also on TCJ. Latest Process Party guest is Christopher Sebela. ———————————————————————————————— Suzy and Cecil – 10-2-2017 – by Audra Stang Share this page: [...]

10/25/2017

Juan FernándezOctober 25, 2017los Cómics / NewsEmpezamos el día con Cristina Daura; La Polola; Begoña García-Alén; Inés Estrada; y los tebeos de Cómics Workbook! ————————————————————————————————— Cristina Daura y la Presencia del Cómic Participaste en el comic ‘’Todas Putas: los cuentos gráficos’’, además de un premio a Mejor autora revelación en el Salón Expocomic de 2015, ¿qué supuso éste encargo para ti? Disfrutar mucho del proyecto, fue algo que me apetecía hacer. Me dieron una historia muy oscura de dos páginas que transformé en 12 páginas de cómic. Agradezco mucho que Carla Berrocal pensara en mí para el libro. ¿Hay algún proyecto más de éste formato o parecido en el que estés trabajando? He leído que te traes entre manos una novela gráfica… Ese es el proyecto que está en standby continuo (risas). Se trataba de mi proyecto final de Ilustración que años más tarde enseñé a dos amigos, ellos me querían empujar a publicarlo. Pero claro, lo quería rehacer, y de tanto rehacer no salió. Cuando me propusieron publicarlo, yo estaba todavía trabajando a media jornada en otro empleo y a la vez intentando vivir de la ilustración. Y en ese momento la novela gráfica era el tipo de proyecto al que podía refugiarme y crear algo personal. Actualmente trabajo a tiempo completo de la ilustración y tampoco me deja tiempo para seguir con el proyecto. No descarto vender mi alma al diablo, aka una marca que pague un buen puñado de euros, y encontrar tiempo para terminarlo. Barcelona es una ciudad cara, tengo un alquiler que pagar, una cuota de autónomos que pagar, y otros gastos que poder cubrir. ¡Ah sí!, y recodar que tengo una vida, amigos, familia, etcétera. Si a todo esto le sumas que el cómic en España está vergonzosamente mal pagado y que no tengo tiempo para todo, te das cuenta que tienes que tomar decisiones. El cómic es de las cosas más infravaloradas en este país, que tan poco invierte en la cultura. Por suerte, todavía hay dibujantes y dibujantas que emergen o continúan dando lo mejor en el cómic nacional, entre ellos, Marc Torices, Conxita Herrero, Roberta Vázquez, Natacha Bustos, Clara Soriano, Carla Berrocal, Antonio Hitos, Lorenzo Montatore, José Jajaja, Roberto Massó, y un largo largo etcétera. Léanlo todo AQUI. ————————————————————————————————— “La Polola is creating a podcast” If you didn’t know already, La Polola is – THE Latin American comics podcast. They have been road testing their show for over a year now, having recorded over 50 episodes. Audio AND video. They are now passing the hat to make this a sustainable operation – tune in – support and get hep. FYI -La Polola is a comics podcast, created and conducted by Sol Díaz Castillo y Marcela Trujillo; two Chilean women who love to draw and have published many autobiographical and fiction comic books. Bored that the Chilean comic scene was led by men, they decided to open a space where the heads were us. They lead the forefront of documenting contemporary comics happenings across nations in Latin America. La Polola es un podcast de cómic femenino, creado y conducido por Sol Díaz y Maliki 4 ojos; dos chilenas que amamos dibujar y hemos publicado muchos libros de cómic autobiográficos y de ficción. Aburridas de que la escena del cómic chileno estuviese liderada por hombres, decidimos abrir un espacio donde las jefas fuéramos nosotras. Con la idea de incentivar al público a dibujar e ilustrar, nos juntamos una vez a la semana (en un café o en nuestras casas o talleres) y conversamos -con desayuno en la mesa- sobre el dibujo, el arte, la creatividad, los libros que nos gustan, los autor@s que admiramos y muchísimas cosas mas (la rabia, el miedo, la madre, los estereotipos, el embarazo, los viajes, etc) y en nuestro blog subimos las fotos de los libros que recomendamos. En la mayoría de los capítulos invitamos a conversar con nosotras a ilustrador@s, dibujantes y personas creativas de muchos ámbitos (cantantes, comediantes, filósofos, periodistas, astronautas, bomberos, etc). También ponemos canciones de músicos emergentes y recomendamos fanzines, novelas gráficas, series de TV, exposiciones y eventos de cómic. ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: Inés Estrada: “Millions of years of evolution for us to all be bored on our phones right now…” The last issue of her Alienation comic is now available from her webshop, Gatosaurio. If you haven’t picked up all previous 5 issues, you’d be remiss not to get all 6 for $25. Miguel A. Pérez-Gómez reseña Nuevas estructuras de Begoña García-Alén – el lector como constructor. Seis libreros colombianos hablan sobre las ventas del cómic, el nacimiento de autores locales y el Festival Entreviñetas en El Espectador. ————————————————————————————————— Suzy and Cecil – 10-25-2017 – by Gabriella Tito ————————————————————————————————— Cozytown – 10-25-2017- by Juan Fernandez ————————————————————————————————— Joanie and Jordie – 10-25-2017 – by Caleb Orecchio Share this page: [...]

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