Comics Workbook

An online magazine for comics makers

Juan Fernández

Posted on August 8, 2017

Explore

Kurt AnkenyJune 29, 2017Festivals and ShowsSo, for those of us in the indie comics circuit, the summer lull is upon us. Summer usually has very few indie-centered shows going on, even though the mainstream comicons are going full blast. The consensus is that generally, indie comics are more dependent on the college and art school crowd, and when they all go home for the summer, it’s hard to gather enough interested folks to hold a show. It seems awfully stupid to join an industry whose main customer base is one of the poorest and busiest groups of people in society, but here we are, at it again, hoping to make a buck. I enjoyed my spring season, though. First was PIX (Pittsburgh Indy Comix Expo) in Pittsburgh at the beginning of April, then I had CAKE (Chicago Alternative Comics Expo) in Chicago at the beginning of June, followed the very next weekend by the one-day MECAF (Maine Comics Arts Festival), in Portland, Maine. PIX was a lovely little show. Well, perhaps I shouldn’t call it little. It has a grand venue, and you can feel the aspirations Bill Boichel has for this show. Housed in the August Wilson Center for African American Culture, the space was beautiful and more than big enough. The crowd was steady and enthusiastic despite the quadruple-threat of: 1) a competing comics show in one of the Steel City’s immediate suburbs, 2) the Pirates’ home opener, 3) a HUGE anime/cosplay show just around the corner from PIX, and 4) the first absolutely glorious spring day, with temps in the 80s and barely a cloud in the sky. Proving that Bill and Copacetic Comics have tremendous pull, the guest list was full of heavy hitters: Anya Davidson, Jim Rugg, Ed Piskor, Lane Milburn, Connor Willumsen, Frank Santoro, Lale Westvind. Quite a line-up for a show this size. I got the chance to finally meet Connor in person, and we got to chat for a while as we drove through the rusted rat-maze that is Pittsburgh’s road system. I also got to meet the very talented Audra Stang. I crashed with the Comics Workbook crew, and it was especially nice that even though this was a one-day show, there was a bit of after partying and camaraderie. Next time I go to Pittsburgh, I need to finally arrange a couple hours of just me and Bill up in Copacetic. Bill is a comics oracle, and I need to drink from that fountain of knowledge. CAKE in Chicago is always a great time. The crowd is usually lively and in a spending mood, and the neighborhood of Boystown in north Chicago is a really lovely place. I got to meet and chat with Simon Hanselmann (though he did the vast majority of the chatting.) I was lucky enough to table with Tommi Parrish, who has had books published by Czap Books and 2D Cloud, and has a forthcoming book from Fantagraphics. They are an incredible artist, and I thoroughly enjoyed their Ley Lines volume on William Blake and Lydia Lunch. I’m very much looking forward to picking up their longer works. Also, a very lovely tablemate. Excellent at sharing snacks. Speaking of snacks, I also got to catch up with Alyssa Berg, who was tabling with the elusive Ron Rege, Jr. I met Alyssa at last year’s CXC (Cartoon Crossroads Columbus). Alyssa’s creating some really interesting works as she dives into the risograph process in an attempt to translate her mixed media comics into print forms that perhaps capture her vision a little better than scans of painted pages do. Really looking forward to what she comes up with during her SVA residency. I also got to table across the aisle from Kevin Czap and Cathy Johnson, who are two of my favorite people and a presence at nearly every show I’ve been to. Kevin, indie-comics’s self-styled Comics Mom, publishes a strong line of books that are heartfelt, thoughtful, and full of need-to-be-heard voices. Cathy is a fellow former Minnesotan living on the East Coast, making beautiful comics stories that are straight from the core of America. I caught up for a few minutes with Ben Passmore. At last year’s CAKE, Ben dropped off a black and white mini called Your Black Friend at my table. In the year since, Ben has become a household name in indie comics. He’s busy with books coming out in the fall, and suddenly has a bunch of illustration work. It makes me so happy to see that coming his way. I was very sad to see later that he, Kevin, Cathy, and others went to do their usual con karaoke on Saturday night and I missed it. I was exhausted from getting only a total of eight hours of sleep over the previous two nights, so after inviting myself along to a dinner with Kevin Huizenga, Tom Spurgeon, Rob Clough, Jenny Zervakis, Nick Drnaso, Noah Van Sciver, John Porcellino, and Dan Stafford, I headed to my friend Gene Ha’s house. Gene’s been working over the past year + on his own creator-owned book, Mae. It’s a great book, full of crazy detailed sci-fi-fantasy adventure that only Gene could pull off. It’s like he’s channeling the same spirit that moved him to produce the insane beauty of Top Ten with Alan Moore, but on his own story and possibly with more love and care. Dark Horse has been publishing it, but killed the book a couple of months ago along with a batch of other titles. While Gene has rights to everything, Dark Horse has printing rights to the first six issues, and those will be held by them until January 2019. Despite acclaim, a growing fan base, and being featured as the YA book of the summer at last week’s ALA Conference, Mae is now stuck in limbo unless someone else picks it up and continues it without rights to publish the first six issues for 18 months. Here’s hoping someone will take that chance! Sunday at CAKE was much better than Saturday, sales-wise for me. At the end of the day, I invited Alyssa to join Gene and me for dinner. Alyssa was keen to try the famous/infamous Chicago Deep Dish Pizza, so we headed over to the best spot in town. Over dinner, Gene and Alyssa and I had a great discussion about Alyssa’s work, her philosophy in creating, and how she likes to connect with readers through her books. Gene wowed Alyssa with some iPhone images of his work, and I was so pleased that these two friends of mine hit it off so well. Bravo, Chicago, and thanks for the heat wave! MECAF was the capper to my spring con season, on June 17. I saw Shelli Paroline and Dan Mazur, the brains behind Massachusetts Independent Comics Expo (MICE), and Shelli’s partner in comics and life, Braden Lamb. Shelli and Braden have just released a book with First Second called Making Scents, and they had a couple of copies at the show. The book is gorgeous from beginning to end because Shelli and Braden are top notch cartoonists. It annoys me no end that they are listed as if they were secondary partners on the cover. In fact, First Second has been annoying me in general lately. Their program of publishing everything in digest-or-smaller mini-volumes has been to the great detriment of works by great cartoonists like Paul Pope’s Battling Boy, and Christophe Blain’s Gus. Also, how are people supposed to look up the works of Christophe Blain and find Gus if he’s listed as “Chris Blain” in all the book data? I’ve had more than one CB store tell me they couldn’t find it because I’d forgotten that :01 had anglicized his name. Such weird choices by this imprint. Everyone I talk to about it is baffled by their approach. The show at MECAF was decent. A pretty good day. In fact, better than any single day of sales so far this year. Not bad for a library show which was blocked off by the Pride parade for half of the day. Coming this fall, I’ll be at CXC again, giving a talk in NYC at the New York Comics and Picture-Story Symposium at the Parsons School of Design at the invite of Ben Katchor, and also MICE, which is frequently the best show of the year for me. No dice in the SPX (Small Press Expo) lottery again this year, but I’m hoping to make an appearance at either CALA (Comic Arts Los Angeles) or CAB (Comic Arts Brooklyn) toward the end of the year. I’m continuing work on the science fiction graphic novel you may have seen thumbs for on my Instagram, and I’ll be shopping around a collection of short comics stories I’ve done over the past three years. Wish me luck on getting someone to pick that up. See you in the fall! Kurt ————————————————————————————————— Kurt Ankeny makes comics in Salem, MA – his most recent book is In Pieces: Someplace Which I Call Home. Share this page: [...]

08/05/2016

Sally IngrahamAugust 5, 2016NewsFriday, and what a week! Sally here to sift through it with you: I’ve got Audra Stang’s new comic, a bit more time spent with Caitlin McGurk (and Lucy Caswell for good measure!), interviews and words of wisdom from Marjane Satrapi, Emma Watson, Mari Naomi, Yumi Sakugawa, Andrea Tsurumi, and me (in a more official capacity than my usual Friday ramblings…) 1…2…3…GO! ————————————————————————————————— Audra Stang spent a very productive 3 days at the Comics Workbook Rowhouse Residency in Pittsburgh, PA, in July, and now she is serializing the comic she made during that time (first page pictured above). See what she has shared so far HERE and look for updates every Tuesday, Wednesday, and Thursday in August! ————————————————————————————————— I (Sally Ingraham) got interrupted the other day while I was working at the Rowhouse, by Frank Santoro and a camera crew, and ended up talking about teaching comics, researching comics, and my ideas about “comics roller derby”. Part One is above – watch Part Two HERE. Expect MUCH MORE from the Comics Workbook Roller Derby league soon…! ————————————————————————————————— Columbus Alive profiled Caitlin McGurk yesterday, and although CW correspondent Harrison Prince mentioned it in our Thursday news post, I wanted to spend a little more time with her. I think McGurk is an incredibly rad lady, and she’s following the sort of path through comics and library science that I aspire to. As the piece states: “Caitlin McGurk was destined to work in the comics industry. There were telltale signs during her childhood on Long Island. She remembers obsessively collecting and organizing comic book cards and admiring the pictures in the “Stations of the Cross” while waiting in the communion line at her Catholic church. “That was probably my first experience with sequential art because there these beautiful stained glass or carved images with a little bit of text,” McGurk said. “I’d study the image and read the text a thousand times.” Following high school, McGurk put out her own mini comics and zines and interned at an auction house where she catalogued – and fell in love with – underground comix (small press or self-published comic books). She interviewed famous cartoonists like Chester Brown for her senior college thesis on memory and consciousness in the graphic novel, and went on to obtain a master’s degree in library and information science from Long Island University.” Erica Thompson via Columbus Alive Caitlin McGurk is now an associate curator at the Billy Ireland Cartoon Library & Museum in Columbus, OH. There she is able to stay on target regarding one of her life goals – that is, making her own “…contribution to the world of comic scholarship…about celebrating the unsung history of women in comics.” One of McGurk’s recent pieces of comics scholarship was an in-depth look at the work of Etta Hulme (1923-2014), who was the chief editorial cartoonist for the Fort Worth Star-Telegram for 36 years. Caitlin McGurk writes: “During her long and industrious career, Etta provided a consistent voice in cartooning. Her path wasn’t always easy; she was one of the only women to be hired as a full-time newspaper cartoonist, and was frequently carped for her boldly liberal views in a conservative Texan town. Etta laughed off criticism and even threats; her endless wit and terrific determination are best illustrated by her daily cartoons.” – Caitlin McGurk via the Billy Ireland Cartoon Library & Museum Blog You can see pictures of some of the Etta Hulme collection that the BICLM hosts HERE, and read more of what McGurk wrote about her! It’s no coincidence that the Billy Ireland Cartoon Library & Museum employs incredible women like Caitlin McGurk – after all it was founded by the tremendous Lucy Shelton Caswell (pictured below during a recent interview – we’ll be keeping our ears peeled for it!) Here’s our fearless founder Lucy Shelton Caswell being interviewed today by WOSU about the life of Frank Higgs – Milton Caniff’s dear friend and inspiration for the Terry And The Pirates character “Dude Hennick” A photo posted by Billy Ireland Cartoon Library (@cartoonlibrary) on Aug 3, 2016 at 1:51pm PDT As Tom Spurgeon wrote in a 2014 interview with Caswell: “Caswell is an accomplished author about comics, and has done significant work in bringing cartoon art to bear in the teaching of history. My favorite comics-related moment of 2013 was the long, deserved moment of applause Caswell received during the Billy Ireland opening ceremony. The comics community owes her more than it can ever repay. She is a role-model for every non-creative to work in proximity to this great art form, and for everyone else besides.” – Tom Spurgeon via The Comics Reporter Spurgeon and Caswell dig deep into history and comics and the history of comics in the rest of the interview – check it out HERE. And keep Lucy Caswell on your radar – her work is nowhere near finished. ————————————————————————————————— There is an interesting interview over on Rookie with Yumi Sakugawa – Madeline Keyes-Levine asked her a series of questions and Yumi Sakugawa answered with “…magical, illustrated responses, featuring some cat friends, the pros of self-publishing (pictured above), and an exercise you can do to start meditating literally whenever you want.” Check out the whole thing HERE. ————————————————————————————————— Daniel Barron conducted an interview with Mari Naomi recently for Yay!LA Art and Culture Magazine, and things got intense. “Sometimes you need to cross the line to know where it is. That’s something I think about as I am seated for coffee with illustrator Mari Naomi. After an hour discussing her history and work I feel like I’ve said too much about myself, anxious to tiptoe back wherever the line is. Call it a testament to the honesty of her work, whose loose, confessional nature makes one desire to meet it in the middle.” – Daniel Barron Get to know them both, I guess, HERE. ————————————————————————————————— It really was a big week for women cartoonists, with at least two more items that we found for you. Andrea Tsurumi appeared on the Virtual Memories Show podcast with Gil Roth – “Rising comics star — don’t blame me, that’s what Publishers Weekly just called her — Andrea Tsurumi joins the show to talk about her new collection, Why Would You Do That? (Hic & Hoc Publications). We get into her off-kilter sense of humor and why I love it, why she chose that title, the most sadistic children’s book ever written and why she adapted it, the comics industry’s saving grace (it’s too small to fail), staged photos during the Civil War, the challenge of teaching comics, her attempt at a work/art/life balance, the comics, cartoons and picture books that influenced/warped her, why she left New York, the truth about cakes vs. pies, and more!” – Gil Roth Give it a listen HERE! Then of course there is the Emma Watson/Marjane Satrapi interview for Vogue that is making Harry Potter fans, at the very least, learn a thing or two about comics. And feminism. And Iran. It’s really quite good. “…I think it’s extremely important that we try to change our lives around ourselves. When I was 30 years old, I said, “I’m going to change this world,” and after 10 years, the world was changing me. I became a cynical person who did not believe in anything anymore. And so I said, “I am losing even myself,” and then decided “Okay, from now on I’m going to change myself, and if I change myself, I have changed a little bit of this world. I will try to be a better person.” I don’t always succeed in that because the nasty side of me is big, but I try . . . I try.” – Marjane Satrapi Read the rest HERE. ————————————————————————————————— Let’s keep up this pace, ladies! And the rest of you too of course. Don’t let the doldrums of summer get you. More comics news coming your way Monday – till then, cheers. – Sally Share this page: [...]

07/28/2016

HarrisonJuly 28, 2016NewsH*rris*n returns with news about various forms of pictures arranged in a sequence of boxes and the people who make them and read them. ————————————————————————————————— Help Out – Czap Books Hello hello! My name is Kevin Czap and I’m the Comics Mom, aka the publisher, of Czap Books(pronounced “chapbooks”). We’re a micro-press based in Providence, RI dedicated to publishing genre-defying comics that celebrate the poetic, the personal, and the weird. We’re turning to you to help us fund the production of our next three titles: Witchlight by Jessi Zabarsky; don’t tell me not to worry (i’ll worry all i want) by Kelly Kwang; and Egg Creme #1 by Liz Suburbia! Read on ————————————————————————————————— Out of Step Arts – Chris Visions Original Art for sale BUY ART Follow Chris Visions to stay up to date with what he’s up to: https://instagram.com/chrisvisions/ ————————————————————————————————— https://www.instagram.com/p/BIYlJQoANQj/ LOOK AT ART Salute to the RVA king prof_weston. ————————————————————————————————— Zeanie Weenies “We want to print your zine and put it inside VICE Magazine, so we’re giving you the next few weeks to download the Zean.it app, upload your finest 16 images into one print-ready publication, and hashtag #TCPOffensive. Then, a special panel of guest judges, including VICE photo editor Elizabeth Renstrom, The Creators Project’s Editor-in-Chief, Marina Garcia-Vasquez, and a super special guest judge TBA, will select the top zine, to be printed and distributed as an insert within the September Issue of VICE.” Sure. ————————————————————————————————— Ghosts and Flesh – Patrick McHale. Here’s the first half of an 8 page comic called “The Blood Ghoul” I did for a german comic anthology called “Mondo #4: Fear”. I did it right before i started work on the C.W. Stoneking music video for “The Zombie”, and used it as an opportunity to figure out the right style for that video (https://www.youtube.com/watch?v=LvNCGtZlQso) The color image at the top was a test; I had been hoping to color it, but I ran out of time. Same thing happened with the music video; I’d been hoping to color it, but just ran out of time. Oh well. I’m not sure of the best place to get the anthology, but seems like you can get it here: https://www.kwimbi.de/Kwimbi-Shop/Comics/Mondo-4-Fear.html Maybe someday i’ll post the rest of it. Oh, and maybe I’ll post a different comic that I ended up not using which was not scary at all. –Patrick McHale. ————————————————————————————————— ⚡️ ? “Let all the cosmos see reality, illusions will decompress ya dome.” Share this page: [...]

11/05/2018

Caleb OrecchioNovember 5, 2018NewsCaleb Orecchio here with another ancient comic strip. This time it’s Happy Hooligan by Frederick Opper. ————————————————————————————————— This seventh installment of Frederick Opper’s Happy Hooligan from the turn of the 20th Century is another strip I think about often. The olde platitude of the drunk Irish bum being carried away by the malevolent cop, the obstruction of the free spirit. The classic one-two of the vaudeville era. What makes this strip funny is the thought of work, or even hearing or reading the word “WORK,” is enough to throw our hero into a panic on the street. The idea is compounded by repetition and the seemingly infinite prisons-of-the-mind a tramp is prone to by avoiding “WORK.” There is a metaphor for cartoonists in here somewhere but I’ll leave it up to individual readers to find their own meaning in this. What I like about this strip is the aforementioned repetition. This is key in comic strip comedy (not to mention comics themselves), but today’s example is different from the kind of repetition found in Swinnerton’s strip from last week. The Swinnerton strip “held” the “shot” for the entirety of the drama, whereas this strip holds the “idea” for the joke until the punchline. The punchline simply serves as a “FIN” and indicates the audience should stand and clap now. The more interested I become in these early comic works the more I realize that these guys really did write the rules for comics. Yes yes I know this is a redundant statement, but it’s funny to me that these idea of repetition I’m obsessed with served as a comedic tool. To my point, you can’t repeat images unless there are multiple images, and when you sequence these multiple images you get a comic strip. I’m trying to say that our form was birthed in comedy and the tools and techniques we still use today were made to tell a joke. Make sense? I love comics. I like to ramble on and on about these things. Maybe I’m not saying anything new here, but I like thinking about these ideas. What are comics and how did we come to do what we do now? To find out you have to go back over one-hundred years. ————————————————————————————————— Cement Mixer – 11-05-18 – by Caleb Orecchio Share this page: [...]

Fumetto 2016!

Sally IngrahamApril 27, 2016Festivals and ShowsComics Workbook special correspondent Raúl Burgos Paredes brings us this exciting report from his trip to Fumetto on Saturday, April 23rd ————————————————————————————————— I had the pleasure of attending the Fumetto festival in Luzerne last Saturday. Although I would have liked to attend more days and for longer periods of time, personal constraints did not make it possible – nevertheless the experience I had was very rewarding. Knowing beforehand that my time in Luzerne would be limited, I planned ahead what I wanted to explore and left open the possibility for randomness. My main motivations were the “Small Press Heaven” and the exhibitions of Frémok and Lorenzo Mattotti. When I arrived at the festival’s main meeting point I headed directly to explore the Small Press Heaven. My first interaction was with the Latvian publiser kuš!. They publish a great deal of their books in small format, A6, which I find especially appealing. I treated myself to several of their mini kuš!, which are individual artists’ comics, and also to some of their regular numbers where they publish a large amount of artists in the same issue. Then I talked with the people of Stripburger (Slovenia), Kutikuti (Finland) and Centrala (Poland). They were all really friendly, and enthusiastic to discuss their publications and aims. All I can say is that the books I bought are all great discoveries because even if I had seen some of what they publish on the net, it can never be the same as having them in your hands in a neatly printed form. They’re all sometimes fun, at times odd, and overall very unique and highly recommendable. Afterwards I found out that there would be a panel discussion with Frémok’s artists Yvan Alagbé and Olivier Deprez. I impatiently headed there and listened to their talk, where they discussed the history of Frémok as a collective. They also gave details about their editorial concept, which is non hierarchical. They seek to incorporate the use of mixed techniques to have, as a result, works that depart from the classical comics style. Frémok’s works are highly poetic and experimental as well. For example, they talked about Match-Catch, which is a book that was made by some of Frémok’s people in collaboration with handicapped artists. Something I found quite interesting was their visible commitment to producing books that have a different kind of vision, a vision that clearly reflects artistic freedom. The moderator of the panel discussion inquired about how comfortable they were in financial terms, taking into account that the works of Frémok are not maybe bestsellers because of their style. Both Olivier and Yvan were emphatic in being both keen and confident to maintain their artistic freedom, not thinking too much about financial matters. For Yvan, it’s a chosen lifestyle, he prefers to be joyfully producing the work he does than maybe being more financially comfortable, but producing works that he would not feel like doing. This response was very much inspiring! Then I headed to the Fremok’s exhibition and reception. By the way, I did not know there would be one so I was quite happy to know that I would be able to interact more with the artists while having a glass of wine. This was a really fantastic exhibition where the works were smartly ordered to create a world of its own. I was delighted to see in original some of the works I appreciate the most. During the reception I could talk more in detail with Mr Alagbé about Match-Catch. He explained to me that they regarded handicapped people as independent artists of their own and that they were not imposing limits on them. He said that Frémok’s artists had to adapt to them and not the other way around. The result is a formidable book in which narrative is not linear and therefore, very dynamic. Personally, I’m not very much into narrative styles in general, I’ve always preferred to read a poetry book than a novel, and Frémok’s books are poetical imagery linked with sometimes poetic writing. I highly recommend école de la misère by Yvan Alagbé, coloforme by Etienne Beck, and plus si entente by Dominique Goblet and Kai Pffeifer. During the exhibition I also talked a little bit with Kai Pffeifer and I told him I was surprised to realize that the original works did not differ that much from their form in a the published book. He explained to me that first of all the editorial committee was formed by the artists themselves and that they placed high importance first, to the scanner, and second, to the printing process. He explained with great detail the complex printing process, but I can not tell you more about it because I forgot and it encompassed things I did not know. Then I headed to see Lorenzo Mattotti’s exhibition named Oltremai. Oltremai is another world of its own, all in black and white, populated by dark and ever moving characters. As you enter the exhibition room you sense you’re entering something special by starting to notice the soft and eerie music that accompanies the works. The imagery contained in it is fantastic, sometimes mythological, and an aspect that astonished me is the flow that can be felt in each individual work. The whole works do not follow a narrative and the pieces are nameless. The book of Oltremai, big and heavy, does good justice to the original works of the exhibition. Finally I headed to the train station to catch my train back home (Neuchâtel). To make my travel more enjoyable I started drawing some of my impressions of the festival. One of those drawings is my interpretation of Yvan Alagbé. To conclude, I would like to say that it was overall a very gratifying experience and I was very much pleased to interact with publishers and artists alike. Surely something to repeat in 2017! ————————————————————————————————— Raúl Burgos Paredes is a Mexican tripolar social scientist who has been living in Switzerland for the last 7 years. He finds time, in the midst of writing his dissertation, to explore his drawing abilities and enjoy all the comics he can find. You can see more of his work HERE. Share this page: [...]

08/09/2017

Posted on August 8, 2017 by Juan Fernández

Empezamos el día con Ediciones Hungría; Jordie Bellaire y Vanesa R. Del Rey con ‘Redlands’; El Incal; Edicions de Ponent; Desaplanar de Nick Sousanis; y los tebeos de Cómics Workbook!

—————————————————————————————————

Los cómics y las noticias que me han llamado la atención esta semana:

La pequeña editioral, Ediciones Hungria (Ciudad de México) han actualizado su página, pasen a echar un vistazo: edicioneshungria.com
Les gusta el horror? Les encantará la nueva serie de Jordie Bellaire y Vanesa R. Del Rey, ‘Redlands’. Las dos charlan con David Brooke de Adventures in Poor Taste sobre su colaboración.
Artículo en Valencia Plaza sobre la situación de los autores de Edicions de Ponent tras la muerte de editor Paco Camarasa. La posibilidad de una demanda colectiva y una posible venta de De Ponent
Fernando Sagaz reseña la excelente edición integral de el clásico: El Incal de Jodorowsky y Moebius.Una reseña veraniega en 13millonesdenaves.com!
“Universidades deveriam se abrir aos quadrinhos, diz autor de tese pioneira“- Nick Sousanis llega a Brasil con su tesis visual, Desaplanar! Ramón Vitral les ofrece su reseña en la Folha de Sao Paola.

—————————————————————————————————

Suzy and Cecil – 8-9-2017 – by Sally Ingraham

—————————————————————————————————

Share this page:

Comics Workbook

An online magazine for comics makers

Posted in los Cómics, News

Juan Fernández

Posted on August 8, 2017

Explore

07/13/2016

Juan FernándezJuly 13, 2016NewsJuan Fernandez here with your Spanish language comics news: alfabetización visual en el siglo 21; ¿Por qué las mujeres no escriben crítica?; editoriales colombianas que le apuestan a los dibujos; el recorrido de Power Paola por Suramérica; Julie Doucet traducida; Alexis Ziritt; novedades TIKTOK; Gerardo Vilches y el guión del comic. ————————————————————————————————— Ilustración sin fronteras. Clave de un siglo visual La Nacion explora la evolución del rol del dibujo y la alfabetización visual en el mundo del siglo 21. “La ilustración ha consolidado un lugar, en nuestra cultura y la del mundo entero, que no da señales de retroceso”, asegura Vik Arrieta, ilustradora, editora y una de las creadoras de Monoblock, firma que trabaja con la obra de ilustradores y artistas jóvenes (entre otros, Liniers, Power Paola, Ana San Felippo, Tute), plasmada en objetos de escritorio, ropa y decoración. “Creo que este movimiento se va a poder analizar mejor con el paso del tiempo, pero en mi opinión está vinculado a la explosión de la cultura visual que se vive a través de este nuevo ?espacio público discursivo’ que es Internet”, comenta, y destaca el modo en que Instagram y Facebook multiplicaron la exposición de la vida cotidiana. Desde luego, cuando hasta el modo en que se toma un café se comparte con una foto, todo el mundo anda buscando formas novedosas y visualmente atractivas para comunicar en las redes. “Y ésa es la esencia de la ilustración -continúa Arrieta-. Nos estamos volviendo, globalmente, ilustradores. Estamos naturalizando la ilustración como un nuevo lenguaje para este siglo.” ————————————————————————————————— TITIS, QUIERO ESCUCHAR VUESTRA OPINIÓN DE MIERDA – Elizabeth Casillas Elizabeth Casillas llama a las mujeres a trabajar en solidaridad sin miedo a enfrentar la escasez de mujeres en la crítica cultural. Este mes ha salido el sexto número de CuCo, cuadernos de cómic, una revista de estudio y crítica de cómic fundada en 2013 por Octavio Beares y Gerardo Vilches, en la que alguna vez he colaborado y con la que disfruto mucho. Para mi desolación, de nuevo, no había ninguna crítica firmada por una mujer. Ambos casos, muy distintos en forma y estilo, terminaban con el mismo resultado: cien por cien de hombres dando su opinión. Mi primer impulso fue hacer un llamamiento a todas las chicas para que nos pusiéramos las pilas, porque es evidente que faltan mujeres dando su opinión y analizando obras, y se abrió el debate. ¿Por qué las mujeres no escriben crítica? Alegamos falta de tiempo y algo de precariedad laboral, algo común independiente del género, pero también afloraron otros problemas propios de la mujer como el miedo histórico a dar nuestras opiniones, temor a que no nos tomen en serio, o falta de referentes debida a una fuerte tradición de testosterona en la prensa diciendo lo que está bien y lo que está mal. Me entristecí un poco, luego blasfemé. ————————————————————————————————— Una look a las Editoriales Colombianas enfocadas en los cómics Go have a look at some of the movers and the shakers in Colombias flourishing world of comics publishing. There’s something for everyone in this collection of publishers. Como hay gente a la que le gustan las pantallas de computador, hay otra que sigue amando al papel en todo el sentido de la palabra. Aquí le dejamos algunas editoriales colombianas que hacen novelas gráficas, fanzines y libros. ————————————————————————————————— FOSFATINA SP02 El Jardín Devastado / Los Incapaces Here’s a new split mini by Julia Huete and Oscar Raña by way of Ediciones Fosfatina that blends daily life with decadence in a turbulent swirl of magic. Exciting stuff! El Jardín Devastado / Los Incapaces de Julia Huete y Óscar Raña es un libro en formato split. Vida familiar y decadencia confluyen en un entorno mágico y turbio en el que los personajes deambulan víctimas de sus conflictos personales. Incestos, traiciones, secretos e infidelidades a lo largo de veinticuatro escenas harán que la sangre derramada entre los incapaces se mezcle con las lágrimas del jardín devastado. Veinticuatro escenas que conforman la vida de los devastados y de los incapaces. ————————————————————————————————— El viaje gráfico de Power Paola por Suramérica Isabela Ramirez nos cuenta del colorido diario de campo de Power Paoloa, Nos Vamos. Paola recorrio Suramérica durante dos años dibujando y escribiendo todas sus experiencias en sus libretas de apuntes. “Yo me fui editando poco a poco —explica Paola—. A lo largo de todo el recorrido hasta Lima (aunque ahí no terminó el viaje) estuve dibujando y escribiendo solamente lo que me parecía que debía dibujar. Mi edición no fue racional sino intuitiva. Todo es tal cual como es el cuaderno, no fue pensado”. ————————————————————————————————— TIKTOK cómics Profesor Buen Hombre y Perro Abandonado – Pablo Taladro Four Mathematicians – Gabri Molist ————————————————————————————————— Julie Doucet en la Revista Cactus Fulgencio Pimentel has collected and translated Julie Doucet’s comics from 1986 through 1993. To celebrate the arrival of a full force Doucet collection to the world Spanish language comics, Revista Cactus reflects on Doucet’s life. Apunta Emma Tinker en su ensayo Identidad y forma en los cómics alternativos que, como muchos surrealistas, Doucet no solo narra sus sueños, sino que en repetidas ocasiones se representa a sí misma como un doble alterando cualquier sentido de identificación clara entre la imagen y el artista y, como Frida Kahlo, repetidamente explora la abyección en relación con su propio cuerpo. Sin embargo, ella transforma esta humillación en una fuerza positiva, se apropia de la figura del doble con regocijo más que con miedo a la no-identidad. Aunque no será hasta años después cuando veremos cómo la dualidad de la canadiense muta para convertirse en una dicotomía entre la Doucet dibujante de cómic y la Doucet artista. Parte estas historias, junto a otras apariciones en fanzines y revistas, son las que ahora han sido publicadas en español por la editorial Fulgencio Pimentel en un volumen soberbio que recoge sus trabajos desde 1986 hasta 1993 y al que acompaña, a modo de fanzine, una pequeña grapa en la que se recogen declaraciones y anotaciones que la dibujante ha hecho a lo largo de los años y que resultan muy enriquecedoras a la hora de contextualizar la obra. ————————————————————————————————— Alexis Ziritt – Newly stocked shop! Check it out and bring some of Ziritt‘s blazing glory home. Original Art, Commisions, art, patches, comics, Shirts ————————————————————————————————— El Guion del Cómic – una Entrevista con Gerardo Vilches. Elizabeth Casillas and Gerardo Vilches have a great conversation about what it means to write comics. Lots of good insights into expanding the notions of what it means to “write”. The conversation revolves around Vilches’ recently published book of interviews with comics writers El Guion del Cómic. Ahora mismo estamos viendo un tipo de autor de cómic más experimental, ¿cómo crees que encaja ahí la figura de guionista? En el cómic más vanguardista, como explica David Muñoz en su entrevista, tampoco tiene mucho sentido la figura tradicional de un guionista, dado que, en realidad, muchas veces no hay historia como tal. Aunque personalmente creo que sería muy interesante la aparición de un guionista de vanguardia que realice este tipo de cómics en colaboración con dibujantes. Al menos para ver cómo trabajaría. Pero es verdad que es más complicado, porque cuando un autor se lanza a este tipo de cómic, lo hace porque quiere expresar su universo gráfico sin cortapisas. ¿Es posible la colaboración de un guionista en una obra formalista como la maravillosa La cueva de Begoña García-Alén? Es complicado. Centrándonos un poco en los guionistas que entrevistas, lo primero que me llama la atención, ¿qué pasa con las guionistas mujeres? Históricamente ha habido pocas mujeres dedicadas al cómic, que siempre ha sido un mundo muy masculino. Está el caso pionero de Armonía Rodríguez en Bruguera, que cumplía ese rol de “escritora para todo” que comentaba antes y realizó algunos guiones de cómic. Pero el resto de las mujeres autoras de cómic que yo conozco se dedicaron al dibujo. A partir de los años 70, con el cómic adulto, sucede algo parecido: la mayor parte de las veces, autoras como Marika Vila, Laura Pérez Vernetti o Montse Clavé dibujaron sobre guiones de hombres, o simplemente realizaron obras como autoras completas, que es la opción predilecta de las nuevas generaciones que se han ido incorporando al cómic en los últimos quince años. Hoy en día hay cada vez más mujeres realizando tebeos, pero como autoras completas o dibujantes. Hay algún caso, como Teresa Valero, que ha escrito algunos guiones, pero son excepciones. ————————————————————————————————— hasta la proxima, nenes! Juan Share this page: [...]

06/23/2017

Sally IngrahamJune 23, 2017NewsSally here with plenty of things to dig into this week – Jenny Zervakis’ The Complete Strange Growths; the new Warmer anthology; a lively discussion of “youth-comics”; and much more. ————————————————————————————————— The Complete Strange Growths 1991-1997 by Jenny Zervakis (lovingly published by John Porcellino via Spit and a Half Distro, 2017) is one of the best collections of comics that I have read in some time. The 13 issues capture the story arc of a few years of Jenny’s life, finding and illuminating incidental moments and making a world out of visits to botanical gardens, a trouble-making brother, the war-time Spam eaten by a Greek father, road trips, comic con visits, and fever dreams. The drawing isn’t interested in itself, it is merely a vessel there to hold and pour out stories – and therefore the drawing is full of life and perfect small details. The collection also captures the time it was made in and for – 90’s mini-comic culture, the rush of making and giving away zines on a regular basis, the fun of mailing a letter and a stamp to a maker and getting back their latest effort. Influenced by the work of Harvey Pekar, and an inspiration to the likes of John Porcellino, Jenny was riding some quality currents. In a way Strange Growths is also a comic that I feel like I’ve been searching for since I embarked on a study of alternative comics (and ones made by women, specifically). The poetry, the thoughtfulness, the desire to capture the mood of a moment…I was certain that there were women who were making work like this in the 90’s, who were making comics that weren’t as focused on the body and the blunt reality of being female. While I am interested in comics about sex, body image, and self-esteem, I’m even more interested in what the bus driver has to share, dreams about grandmothers, and interactions with nature. There is a different mystery and truth to discover there, and Jenny is tapped into that font of wisdom in a way that I aspire to. I loved The Complete Strange Growths, and put it immediately on my shelf next to Today Is the Last Day of the Rest of Your Life by Ulli Lust, Gast by Carol Swain, and One Hundred Demons by Lynda Barry. You can get a copy of the comic from Copacetic Comics, or from Spit and a Half. For a much less subjective review of the book, check out Rob Kirby’s thoughts over on The Comics Journal. ————————————————————————————————— Abraham Riesman writes about the rise of “youth-comics” on Vulture, citing them as the driving force behind sales and interest in the medium at the moment. “Eva Volin, a librarian based in Alameda, California, told me, “We’re in the middle of a graphic-novel renaissance inasmuch as not only are kids reading comics, but comics are being written for kids.” ” “At a glance, it all makes perfect sense. Why wouldn’t young readers gravitate toward a medium that can so brilliantly mix visuals and text in a way that makes a story relatively easy to digest? And why wouldn’t publishers cater to them? And yet, up until recently, there was a near-total disconnect between kids and comics.“ Riesman notes that the shift began with manga, the forever disdained comics medium which many (librarians) turned their noses up at. In a Twitter response to thoughts along these lines, Landry Q. Walker (creator of many “youth-comics”) affirmed that it was manga that made the difference – although the effect wasn’t felt immediately because…manga. “Over 15 years ago I spoke to a comics club at a high school – all girls. I talked about this at a panel at SDCC, and the crowd got angry. The consensus of the crowd was that these girls weren’t reading “real comics”. Just manga. And for some reason, this was “bad”. All those years of discussion on “how do we get girls to read comics”. They were, but apparently they were doing it “wrong”? WTF? It’s this failure to embrace trends that is choking the life out of the mainstream comics industry. The fear of change.“ It took the appearance of Bone by Jeff Smith and Babymouse by Jennifer L. Holm and her brother Matthew Holm to really start the engine in the mid-2000’s. Gene Luen Yang’s American Born Chinese was the first comic-book finalist for the National Book Award. And then came Raina. Abraham Riesman likens Raina Telgemeier to Elvis – and makes a good argument for it. Read the rest of his excellent article on the “youth-comics explosion” HERE. Over on The Comics Beat Heidi MacDonald is also looking at the numbers, and seeing similar trends in comics readership. She offers up the top 5 bestsellers on the Bookscan chart for last week: “1. BITCH PLANET, VOLUME 2: PRESIDENT BITCH 2. MY LESBIAN EXPERIENCE WITH LONELINESS 3. WONDER WOMAN VOL. 1: THE LIES 4. WONDER WOMAN VOL. 2: YEAR ONE 5. MARCH: BOOK ONE” Delving into the intricacies of each publication for a minute, and quoting Abraham Riesman’s article a bit, Heidi then offers up her own response (with me in the background waving pompoms and punching the air): “Let me spell it out for you: girls and women, black and white, cis and trans alike, are the driving force behind comics readership expansion. This has been happening for a while, but it’s a full on avalanche now. It’s also something I saw coming 25 years ago. (No one else is gonna pat me on the back so I gotta do it myself.) Seeing the devoted fandoms that female content-consumers developed for anything that interested them, ESPECIALLY genre material like paranormal romance, horror and fantasy – I had a hunch that once they turned their spotlight on comics, the full force of female fandom would bowl over the fragile shreds of male safe spaces like a Mack truck through a pile of empty Axe cartons. What does this shift mean? Well, for one thing, it means that Marvel–and DC too! – had better start paying attention to new readers instead of pandering to the dwindling ranks of AARP-card carrying pap-pap Bronze Agers. I mean, I know it’s hard to move beyond your own viewpoint, but business is business.“ Read the rest of Heidi’s thoughts HERE. As for me, I’m off to CCS in a week to attend a workshop/think-tank with New Yorker art editor Françoise Mouly, who among numerous other ventures, is the driving force behind the publishing company for early readers called Toon Books. I plan to spend a lot more time and energy thinking about this stuff and probably making comics for, and with kids in the future. ————————————————————————————————— The Huffington Post featured the comics anthology Warmer which is being edited by Madeleine Witt and Andrew White. “In an interview with HuffPost, White said, “As co-editors of Warmer, Madeleine and I wanted to make a book to offer comfort for those already fearful about climate change. So for the most part, Warmer doesn’t aim to convince anyone of anything. We imagined Warmer in part as a book that will function to encourage and support activists; to comfort those who, like ourselves, are wrestling with the grief of climate change.” “ There is an excerpt from the collection accompanying the feature, with comments from the makers. Check it out HERE. ————————————————————————————————— Noticed via Facebook – Caitlin McGurk was unpacking a new collection of art recently donated to the Billy Ireland Cartoon Library and Museum. “…incredible collection of original cartoon art just donated. Phoebe Gloeckner! Dori Seda! Carol Lay! Lynda Barry! Roberta Gregory! Mary Fleener! And more! 113 original pages by 15 amazing women.” “I could spend the rest of my career writing about the stuff in this collection that was just donated to The Billy Ireland Cartoon Library & Museum… maybe I will!” – Cairlin McGurk I smell a new exhibit, and it’s one I will be at the opening for…! ————————————————————————————————— Fish and Chips Bill Boichel reviews Boundless by Jillian Tamaki for the Copacetic Comics website – we’re sharing the review HERE on the site. BookRiot interviews Grace Ellis and Shae Beagle, creators of Moonstruck – HERE. Cory Doctorow reviews Emil Ferris‘ My Favorite Thing is Monsters on BoingBoing. The Comics Beat reviews new comics by Laura Kenins, Sophie Yanow, and Tyler Landry. Sacha Mardou recently revisited a comic from 2015 about her pregnancy – it originally appeared on Mutha Magazine, but is seen here on Narratively. ————————————————————————————————— Suzy and Cecil – 6-23-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-23-2017 – by Caleb Orecchio Share this page: [...]

CWCC 2017 Final Results

Sally IngrahamSeptember 11, 2017Santoro SchoolComics Workbook Composition Competition 2017 Winners Congratulations to all who created and submitted work for this contest. We really enjoyed reading each and every work. ———————————————————– FIRST PLACE – Weeklong Comics Workbook Rowhouse Residency ($500 value) Sienna Cittadino – Girl’s Bathroom ——————————————————— SECOND PLACE – $250 gift certificate at Copacetic Comics Chris Kohler – Living Room ——————————————————– THIRD PLACE – $100 gift certificate at Copacetic Comics Sara Sarmiento – Deep Clean ——————————————————- HONORABLE MENTIONS – $50 gift (each) at Big Planet Comics Jillian Fleck – Push Thru Louis Deux – Touristing Simon Reinhardt – Slow Theft Foxitalic – Hangover Haiku ———————————— It is our hope that all of the makers who participated in this contest have been TRANSFORMED in some way – artistically, personally, spiritually, and/or physically (improved eye-hand coordination? yes!) – by the time and energy dedicated to the creation of their submissions. Everyone who took part in this exercise has completed a hero’s journey. http://www.youtube.com/watch?v=kJwPIiUPfK4 —————————————————————————— The restrictions placed upon the contest entries were derived from The Santoro Correspondence Course for Comic Book Makers. It is my firmly held belief that restrictions such as the grid are ultimately freeing. I also believe that timing is the essential ingredient to making great comics. How do you study and practice timing in comics? You use the grid. Yadda yadda yadda. **Last year a deceptively small and simple grid inspired over a hundred artists to make comics for the contest. This year we returned to the traditional 6-panel grid, and far fewer creators rose to the challenge (I think because of the larger size, ultimately). The test here really became about the timing. The zigzag of the six panel grid is very different than the scrolling of the three panel grid. A good sense of timing is the essential ingredient which leads to stronger storytelling and the six panel grid is very particular. Also, the size that we recommended this year is what the pros used at Marvel and DC for over 25 years. “Print size layouts” and “twice up” originals. (It’s not quite “twice up” but that’s what it used too be called.) The 10 x 15 inch live area is much more work than last year’s smaller manga sized originals. So, something to think about: SCALE. And how scale changes how you make comics. The judging panel consisted of two men and three women from diverse backgrounds. Some were comics makers, some were comics readers and one was a “non-comics reader” – meaning this particular judge was not a comics initiate. Please see this post for information regarding this fall’s correspondence course. Thanks. – Frank Santoro Thank you to Copacetic Comics, Big Planet Comics and the judges for contributing their efforts and financial support to make this contest possible. And of course THANK YOU to everyone who participated. Please check out all of the entries below. A Period Of Transition by Phillip Dokes Allen by Doctopmaru (disqualified) Are You Ready by G.R. Lear Awash by John Hexer Bloodsuckers Love Me by Jackie Kirby Canto V by Amanda Hamilton Columbus is Going to be Awesome by John Cihon Deep Clean by Sara Sarmiento Eksistensens Jeger by Addley Walker Force Fields by Paul Frog Legs by MK Girl’s Bathroom by Sienna Cittadino Good Boy City by Jonathan Tune Hangover Haiku by Foxitalic Here Comes Racecar by Alexander Moser Here’s the Light by Tor Brandt Left Over Soup by The Formal Kid Living Room by Chris Kohler Look See by Kevin Zych Meaning by Mariana Yatsuda Ikuta Morbid Orbit by Alice Blank Mother by Evan M. Cohen (disqualified) Muse by Brandon Alexander Berry Noffi by Niall Breen Origen by Josh Bowron Overtimers by TimersTimers and K-Un Ping Pang by James Abbit Push Thru by Jillian Fleck Reaching Toward Open Sky by LM Bolger Sandbag Spectator by Jacob Breck (disqualified) Sea Saga by James Coats Shop Class by Donald Price Slow Theft by Simon Reinhardt Soft Swords by Sam Meister Sweet Marla by Alex Williams Ta Ka Ra Zu Ka by Antoine Medes Teaching English in Taiwan by Iris Yan Tech Sector Baseball by Moose The Room by Louise Aleksiejew To the Mountain, On Your Own, At Night by Tanya Guryel Tone Deaf by R.D. Addams Touristing by Louis Deux Two Girls and A Caricature by Ari S. Mulch When I Grow Up by James Wilson List of entries from 2016, 2015, 2014, 2013 Share this page: [...]

07/20/2018

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

05/24/2017

Juan FernándezMay 24, 2017los Cómics / NewsEmpezamos el día con Miguel B. Nuñez; el cómic más allá de la narración; La Polola; Felipe Muhr; Carla Berrocal; Jason; Elizabeth Casillas; 9 Chismes; Bas; Gilbert Shelton y los tebeos de Comics Workbook. ————————————————————————————————— Sílvia Aymí entrevista a Miguel B. Núñez sobre la 2ª entrega de Heavy: -¡Hey, ho! Perdón por la broma, es que no sé cómo se saludan los heavys. Porque ¿tú eres heavy? Todos éramos pibes y pibas entonces. O troncos y troncas y colegas. Así que con un “¿qué pasa, pibe?” nos metemos de lleno en faena. Yo soy rockero. Es lo que siempre he sido desde la primera vez que escuché rock en una radio siendo aún un niño. Y el heavy es una parte muy importante del rock y de mi vida. Me enganchó esa manera directa de conectar con los que crecíamos en la periferia de una gran ciudad, de mediados de los setenta a finales de los ochenta que es lo que me tocó vivir y de lo que puedo hablar. Me metí de lleno en el rock duro cuando descubrí a Barón Rojo. Luego alguien me grabó en cinta el directo de Leño del 81, con coros de Luz Casal, su primer disco salió un año después y me hice muy fan suyo también. Antes de irse alejando del rock. La cosa es que escuchaba ese disco una y mil veces. Me sigue pareciendo una maravilla. Rosendo cantaba “puede salir el sol” y de alguna manera, te aliviaba de un presente oscuro y un futuro incierto. También sentías eso cuando escuchabas “Al rojo vivo” de Barón Rojo, otro directo imprescindible en mi educación músical y emocional. Como ser heavy, para mí, es parte de ser rockero, soy heavy también. Léanlo aqui! ————————————————————————————————— Notas sobre el cómic más allá de la narración – Horacio Muñoz Fernández El cómic ha abandonado, gracias al trabajo de algunos dibujantes como Yuichi Yokoyama, Patrick Kyle, Gabriel Corbera, Richard McGuire, Irkus (M) Ziberio o Begoña Gacía-Alén, el régimen representativo que privilegiaba la narración y la fábula para adentrarse en un régimen estético caracterizado por un principio de estructuración que tiende a ser más semántica y narrativamente autónomo. Estos dibujantes han descubierto que el valor estético del cómic no tiene que depender de su contenido narrativo, y que «lo visual no es siempre un querer decir que se hace efectivo mediante un dar-que-ver». Liberando al dibujo y a la viñeta de su sometimiento a la narrativa y a los textos redundantes que reafirmaban el significado de las imágenes, estos nuevos dibujantes nos descubren que además de una poética aristotélica existe una de la imagen y de los signos que se caracteriza por su densidad, su ambigüedad, su incertidumbre, y que más allá del lenguaje y de la narración existen espacios de sentido y de visualidad que no necesitan ser mejorados por la palabra. Léanlo aqui! ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con el gran dibujante Felipe Muhr acerca de su trabajo, estudios, inspiración y visión del cómic en chile, a partir de su reciente participación en el pasado MOCCA Fest de Nueva York, como uno de los encargados de llevar una mesa de historieta chilena al festival. –“Epigrafías”, creado por la ilustradora Carla Berrocal y la poeta Natalie Clifford ha sido reseñado en Hay una lesbiana en mi sopa. El gran noruego, Jason, hizo el Camino de Santiago y ahora cuenta sus peripecias con su habitual estilo y humor. Elizabeth Casillas les cuenta… Autsaidercomics acaba de publicar 9 Chismes de Santiago Lorenzo iluminado por Mireia Pérez. Dale un vistazo! Bas: la representante de las autoras en el TBO, ha sido entrevistada por Elisa McCausland. Gilbert Shelton ha hablado con Eduardo Bravo para Yorokobu Magazine! Para que sepan, al padre de los ‘Freak Brothers’ no le mola dibujar… ————————————————————————————————— Take thee Santoro Correspondence Course for Comic Book Makers this summer! 8 weeks – $500 bux – the best comics coaching around. More details HERE. ————————————————————————————————— Blinkers – 5-24-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 5-24-2017 – by Gabriella Tito Share this page: [...]

Leave a Reply Cancel reply