Comics Workbook

An online magazine for comics makers

Posted in NewsTagged Anne Harnet Fish, carol tyler, congressman John lewis, drawn to purpose, emma rios, fiona smyth, library of congress, Liv Strömquist, nell Brinkley, Rina Ayuyang, rose o'neill, small press expo 2018

Sally Ingraham

Posted on September 21, 2018September 21, 2018

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8/22/2016

Juan FernándezAugust 22, 2016NewsJuan here with the latest over here at CW: Hernandez Brothers’ Rowhouse Residency Benefit Auction; Gabriella Tito’s HOMESICK; PORTRAITS by Connor Willumsen pre-orders; MORIYAMA’S DOG by Berliac; Sloane Leong’s MAPS TO THE SUN; Julia Gfrörer BLACK IS THE COLOR back in print; new STREET ANGEL from Jim Rugg; Ben Sears’ print sale. ——————————————————————————————————————— Los Bros Hernandez Benefit Auction You heard it hear first, folks, thee great Gilbert and Jaime Hernandez have generously donated art and comics to benefit the Comics Workbook Rowhouse Residency! Our auction runs through Saturday August 27th at 3pm. Get in on it while you can! ——————————————————————————————————————— Gabriella Tito revisiting Homesick I’m happy to announce that we are featuring Gabriella Tito’s Homesick on the site this week. Tito made Homesick for the first issue of Zona (Comics Workbook, January 2016), channeling her considerable drawing chops into a story of quiet exploration in black and white. During her recent Comics Workbook Rowhouse Residency, Gabriella revisited her comic in a unique way. She decided to color it, experimenting with different mediums ranging from airbrush to pencils, taking this burst of new energy directly to the printed pages of Frank Santoro’s personal copy. The results are quite amazing. We are thrilled to share those pages HERE! ——————————————————————————————————————— Portraits by Connor Willumsen Comics Workbook is very pleased to present a new book from Connor Willumsen – Portraits. Available now for pre-order – get your copy HERE! Connor is one of our original CW samurais. He will be joining Frank Santoro at The Lakes International Comic Arts Festival this fall, teaching workshops and sharing his process. Look for him there! ——————————————————————————————————————— Moriyama’s Dog – Berliac Berliac‘s got a new comic up on Vice! The printed version of Moriyama’s Dog was originally published Kus! #25: “Gaijin Mangaka”. ——————————————————————————————————————— Maps to the Sun – Sloane Leong Sloane Leong‘s got a new one for ya. It’s a short comic about two girls during a hot whirlwind of a summer. Leong knows how to make a comic breathe. Check it out, it’ll make your heart heavy. ——————————————————————————————————————— ————————————————————————————————— Black is the Color: Back in Print It’s true, Julia Gfrörer‘s Black is the Color is back in print from Fantagraphics Books! – to celebrate we have a review by Bill Boichel up on the site. Check out the video above for an in depth discussion from 2014 between Julia Gfrörer & Tucker Stone on Black is the Color at The Strand in NYC. ——————————————————————————————————————— Ben Sear’s Printsale Ben Sears’ is having a print sale on his site to cover some unexpected expenses. Here’s your chance to pick up some of his delicious prints for that special someone. For discounts, enter “printsale” at checkout. There’s so much to choose from when it comes to Sear’s art! ——————————————————————————————————————— until next time! JF Share this page: [...]

Sunday is a Good Day to Visit a Museum: Part One

Alyssa BergApril 28, 2016Art Trip / EssaysOn Sunday I visited The Rubin Museum of Art in NYC. The Rubin shows ancient to contemporary painting, sculpture, and ritual objects from the Himalayas and surrounding region with their permanent collection focusing on Tibetan art. My objective was to see the exhibit Please Altar Everything, work by avant-garde performance artist and musician (Throbbing Gristle, Psychic TV) Genesis Breyer P-Orridge. The exhibit includes installation, sculpture, sigils, altars and gold-leafed paintings. As I walked through the exhibit, I felt especially connected to the sculptural, tactile altarpieces (some with tags that said: please touch!) and sigils (used in spells and for manifesting). Both altars and sigils are creative acts steeped in ritual and devotion. After the Genesis show, I spent some solitary time in the Tibetan Buddhist Shrine Room, the highlight of another exhibit at The Rubin called Sacred Spaces. It is a contemplative space – dark, with drone-y Buddhist chanting and an altar filled with ornate objects of worship. I also had the chance to explore some of the permanent collection of the Rubin – statues of deities and paintings made with the most vibrant and saturated pigments. The visit to the Rubin brought my attention to ritual, meditation and devotion in artistic practice – in other people’s practice and my own. ————————————————————————————————— Part 1: Ritual in Preparing the Space/It’s the Simple Things The daily act of going to my desk and preparing the space is an important ritual. It is the practice before the practice, the thing I do before I do the thing I do. Is calling my studio area a sacred space too heavy-handed? Well, my hands are heavy holding all this Palo Santo and sage that l am burning to clear any bad vibrations from the aforementioned sacred space. Most of the time when I sit down at my drawing table, it’s a mess. Like, a ridiculous mess from the previous night. I’m often impressed by the chaos I can create in a short amount of time. I start drawing/painting with an organized and peaceful space but as I make what I’m making, I’m not thinking about my love of an organized and peaceful space. I’m grabbing, mixing color, crumpling pages, digging for scraps, sharpening my pencils letting the shavings lie where they fall, cutting/trimming with abandon, etc. By the end of the night when I’m finished working, I don’t have the will or desire to clean, but I usually have a finished page. The next day the act of cleaning and organizing is my pre-drawing ritual, a simple meditation. It is an act that requires care and attention but not a lot of thought. It’s gives me a moment to see, appreciate and take stock of my supplies, clean my brushes, file my scraps away and put pens & pencils back in their homes. By clearing the physical space I clear the mental/emotional/psychic space in preparation for a new blank page that lies ahead. Chaos/Calm ————————————————————————————————— Look for Part 2 of this ongoing series next week! ————————————————————————————————— Alyssa Berg makes comics in Brooklyn, NY. You can find her work HERE. Share this page: [...]

03/08/2016

Juan FernándezMarch 8, 2016NewsThey did it. 2dcloud reached their Kickstarter goal. It was a stretch but they had that long game. Art wins again. If you haven’t had a chance to check out the work that they are publishing i their upcoming season, I encourage you to check out their crowdfund campaign. There might be something right up your alley. Now in their twenty-eighth year, the Lambda Literary Awards have announced their nominations. The Lambda Literary Awards celebrate achievement in lesbian, gay, bisexual, and transgender (LGBT) writing for books published in 2015. The awards ceremony on June 6, 2016, will be held at the NYU Skirball Center for the Performing Arts (566 LaGuardia Pl, New York, NY 10012). It’s exciting to see the work that was chosen from the world of comics. Check out all the nominations here. LGBT Graphic Novels Curveball, Jeremy Sorese, Nobrow Honor Girl, Maggie Thrash, Candlewick Press The Less Than Epic Adventures of TJ & Amal, EK Weaver, Iron Circus Comics O Human Star: Volume One, Blue Delliquanti, Self-published Wuvable Oaf, Ed Luce, Fantagraphics Books NEW at SPIT AND A HALF!!! Lisa Carver, Ian Sundahl, and some great French imports from Editions Tanibis (in English and/or wordless!): Sylvie Fontaine and Paul Kirchner! All the good stuff over at www.spitandhalf.com. John P. is doing God’s work. Andrew White made a free PDF collection of his favorite among the one page comics he posted on Comics Workbook from 2012 to 2014. You can still read all 350 or so strips online, but Andrew thought it might be nice to have a pared down and easier to read version of the material available. Even if many of the strips are rough or haphazard, this was an important body of work through which I began to address some of the topics that are important in my comics today. I hope you like it. Nick Gazin chit chats with Peter Bagge over at VICE. While you’re at it, read up on the 5 Musical Urban Legends comics Bagge has done already for VICE. The series continues with the form that Bagge developed for Magnet Magzine. The Who, Mick Jagger, Chuck Berry, Michael Jackson and Prince. Who’s next?! Read the whole thing over on VICE. You never really learned how to draw, but your comics look great. Most people who try to make comics without learning to draw make garbage. How did you figure out the drawing style you have? Well, I can draw people and things that look like what I’m drawing while looking at it/them. But that bores me, and I assume it would bore the viewer of the results as well. So I prefer to draw from my mind’s eye, and I take my chances from there. I’m almost never happy with the results, though, so I have a hard time arguing with anyone who thinks my art looks awful. Initially, I was trying to duplicate the way old cartoons look, specifically ones directed by Bob Clampett. Later on, I was also mimicking early comics drawn by Harvey Kurtzman, in his old Hey Look! one-pagers and such. It’s a very polarizing drawing style, though. Goodreads has all these rave reviews ofWoman Rebel by all these woman’s studies majors who love the content of the book but give it three or four instead of five stars, simply because they can’t stand my art! Cartoonist and movie critic, Julian Lytle, sat down with Rocky Hadadi to talk 2015 Film on the most recent installment of Ignorant Bliss. This was recorded before the Oscars so there is a lot of talk about the nominees and a little TV talk. Good talk, good music, good banter. Listen in for a while. Chris Mautner took some time to write about Michael Deforge‘s latest work, Big Kids and the themes and story mechanisms in Deforge’s work more generally. Read on. Despite its small size, Big Kids manages to hold just about all of the ideas and themes DeForge has been exploring up to this point. The secret societies, the adolescent angst, the strange body transformations, the antisocial hero desperate to find acceptance — they all coalesce in this slim book. If you were looking for a starting point in DeForge’s bibliography, this might be the place. Would you like to be Nat. Brut’s first Artist-in-Nonresidence? It’s like an artist residency – but not. You will get a month’s worth of gift cards to cafés around New York City and activate the whole city as your workplace! The residency will last April 1-30, 2016, at the end of which all or part of your work will be published in Nat. Brut. Who can apply? Artists or writers of any medium, with a work sample. We are limiting our first round to applicants who identify as people of color. HOW TO APPLY Apply now until 11:59 on March 31 using our online application here:https://docs.google.com/forms/d/1XSbc4qqQQOOPGYm0TjplyLGWOpqJlMlXY7o8EFcdFp4/viewform?c=0&w=1 that’s it for today. juan fernandez, over and out. Share this page: [...]

09/05/2017

Aaron CockleSeptember 4, 2017NewsAaron Cockle here today with Comics Carousel; Anders Nilsen’s new book; Josh Bayer returns to the New York Comics & Picture-story Symposium; Workshops at SPX ————————————————————————————————— ————————————————————————————————— ‘But those books were both black and white. Color kind of forces your hand regarding borders.’ Paste Magazine has a nice piece about Anders Nilsen’s new book, Tongues, and the process that went into its making. “Panel design and structure matter a lot to me. I did a bit of teaching from 2012 to 2015 or so and one of the things I found myself focusing on with certain students was how panels work and what happens to storytelling when they change in various ways. Some cartoonists do great things with a simple grid. My two biggest comics influences, Hergé and Chester Brown, use very simple panel structures in their comics, and they were brilliant with it. But I can’t keep from playing around with panels. Partly it’s because I find measuring out rectangles very boring, but it’s also, I think, partly because I studied painting, and so I can’t help but think about the visual composition of a page as more than just a collection of rectangles. It was something I wanted to explore in this book from the outset and so this small sketch is my original idea for how to structure the panels in this opening dream sequence.” ————————————————————————————————— Josh Bayer, Adam McGovern and guests, Sept. 5, 2017 at 7pm The 190th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, Sept. 5, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Josh Bayer, Adam McGovern and guests on All Time Comics All Time Comics is a comic-book series that resists categorization. Part modern reworking of Bronze age comics superhero aesthetics, part a Mad Magazine-like Gonzo attempt to sidestep and weave that aesthetic back on itself. Published by Fantagraphcs, All Time Comics has created a space for a dialogue between older veteran creators like Herb Trimpe and Al Milgrom and younger Alternative Comics mainstays like Ben Marra and Noah Van Sciver. Join Josh Bayer in a lively discussion with comics writer/historian Adam McGovern. (Panel may include special guest artist/writers, schedules permitting). Josh Bayer is the author of Raw Power and Theth from Retrofit Comics, the editor of the Suspect Device Comics anthology series, as well as 2016’s The Black Hood. His work’s been selected for The Best American Comics series in 2016 and 2017. He is the founder of his own “Comics Are The Enemy Press” and he is currently releasing his All Time Comics imprint from Fantagraphics. ————————————————————————————————— Comics Workbook Cartoon Workshops If you’re planning to be at the upcoming Small Press Expo in Bethesda, MD, please consider attending one or all of the workshops the CW will be conducting: ————————————————————————————————— Frank Santoro made a comic book about his parents and now he needs help making a handbound copy of the book for each of them. It’s a good story. Check out the Indiegogo campaign HERE – or if you want to contribute via PayPal, look at the campaign HERE. ———————————————————————————————— A Cosmic Journey – 9-5-2017 – by Cameron Arthur ———————————————————————————————— Suzy and Cecil – 9-5-2017 – by Gabriella Tito ———————————————————————————————— Joanie and Jordie – 9-5-2017 – by Caleb Orecchio Share this page: [...]

09/27/2017

Juan FernándezSeptember 27, 2017los Cómics / NewsEmpezamos el día con Andrea Galazina; El Publicadero en Manizales; Maria Luque y los tebeos de Cómics Workbook! ————————————————————————————————— Juan here: I’ve been blasting through this fall and am running on empty – OOF- the usual SPX circus, organizing the Pittsburgh Zine Fair, scheming for Cartoon Crossroads Columbus (CXC) + organizing press conferences, handling catering and other administrative craziness at the day job at the Arts Council have me running ragged. I know, I know, no complaining, no complaining. It’s all good stuff and the haul will be over come October 12th. Just wanted to let you know how I’m doing . Anyway here’s the usual comics gold I bring you every week from Latin America and Spain. A little lighter a haul than usual, but just as shiny. *Turn on your translation devices* ————————————————————————————————— Andrea Galacina acaba de publicar “¡PUEDO DECIR LO QUE QUIERA! ¡PUEDO HACER LO QUE QUIERA! UNA GENEALOGÍA INCOMPLETA DEL FANZINE HECHO POR CHICAS“, una autoedición sobre el contexto del fanzine feminista en España. La fundadora de BOMBAS PARA DESAYUNAR también da algunos detalles del próximoPICHI FEST y habla sobre el DEPARTAMENTO DE FANZINES de la biblioteca de Mujeres. Ana Flecha les ofrece todos los detalles en esta entrevista en Madriz.com Léanlo todo AQUI. ————————————————————————————————— ¿Ya están listos para el Publicadero en Manizales, Colombia? Acá la programación. Todas las actividades son gratuitas: https://goo.gl/kUdxsQ ————————————————————————————————— Las estampas de color de María Luque – Entrevista “Usa el color como Matisse y los espacios de sus dibujos parecen salidos de algún sueño naíf. Le gusta viajar, los gatos y perseguir a extraños en los museos para luego consignarlos en su libreta de dibujo.” – Andrea Uribe Yepes En la casa de familia Luque en Rosario, Argentina, hay un daguerrotipo de su abuelo Teodosio Luque. Es un cuadro de un señor solemne de barba larga y cara de serio que asustaba a todos. María recuerda que de pequeña el cuadro rodaba por la casa: lo escondían en el baño, debajo de las camas. Cree que ese daguerrotipo lo hizo Cándido López, uno de sus artistas favoritos y de los únicos que manejaban la técnica por la zona. Esto es importante porque cuando empezó la Guerra de la Triple Alianza, su abuelo Teodosio fue enviado como médico y Cándido como soldado. Esa proximidad fue la que generó curiosidad en María y la historia de la cual partió su primera novela gráfica: La mano del pintor (2016). Léanlo todo AQUI. ————————————————————————————————— Frank Santoro made a comic book about his parents and now he needs help making a handbound copy of the book for each of them. It’s a good story. Check out the Indiegogo campaign HERE – or if you want to contribute via PayPal, look at the campaign HERE. ————————————————————————————————— The fall semester of thee Santoro Correspondence Course for Comic Book Makers starts October 1st 2017. 8 weeks of comics instruction that will bang your practice into shape – 500 bux. Full details about the course and how to apply can be found HERE. ————————————————————————————————— Suzy and Cecil – 9-27-2017 – by Gabriella Tito Share this page: [...]

09/21/2018

Posted on September 21, 2018September 21, 2018 by Sally Ingraham

Sally Ingraham here with my Small Press Expo 2018 memories and pictures!

(See Juan Fernandez’s SPX report HERE, and read Caleb Orecchio’s thoughts HERE.)

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*Little Lulu* strip drawn by creator Marjorie Henderson Buell

I headed to Bethesda a day early and on Friday I was fortunate enough to tag along on SPX Director Warren Bernard’s annual field trip to the Library of Congress with some of the Expo’s special guests.

Some of the field trip attendees L-R – Emma Ríos, Kate Harmon, Fiona Smyth, Julie Doucet, Liv Strömquist and her travel companion, Ronald Wimberly, Karen Green (partially hidden behind me…) ME (Sally Ingraham), Dash Shaw, and Joshua Cotter – photo by Rina Ayuyang

At the Library of Congress we got to see some of the comics holdings that are kept in the Prints and Photographs collection. Here’s a few that I took note of:

Detail of a piece by Nell Brinkley, from 1918

Karen Green and Julie Doucet with Warren Bernard, looking at several pieces by Anne Harnet Fish

After looking at the comics holding for a bit, Emma Ríos, Rina Ayuyang, Liv Strömquist and her son and their travel companion, Kate Harmon, and myself, made the long dangerous trek underground through the maze of the Library of Congress (there were tunnels involved!) to find the Jefferson Building and the Drawn To Purpose show.

There was a nice timeline of work made by female cartoonists and illustrators, including the Little Lulu strip I shared at the top of this post, and this Brenda Starr, Reporter piece by Dale Messick:

*Brenda Starr, Reporter* strip by Dale Messick

Liv Strömquist and her son checking out the Drawn To Purpose show

We found our way back to the Madison Building in time to catch Carol Tyler‘s big presentation on her life and comics.

Having formed a bond over the morning, Emma Ríos, Rina Ayuyang, Kate Harmon and I continued to hang out for the rest of the day. And as we were leaving the Library of Congress in search of lunch, who should we bump into but Congressman John Lewis…?! (Check out the March trilogy that Congressman John Lewis wrote with Andrew Aydin and Nate Powell HERE.)

L-R – Emma Ríos, me, Rina Ayuyang, Congressman John Lewis, Kate Harmon – photo taken by Adam Griffiths

It was a real treat to explore Washington D.C. with my dear friend Kate Harmon, guided by our pal Adam Griffiths, and get to know Emma Ríos and Rina Ayuyang along the way.

I knew Spanish cartoonist Emma Ríos‘ work from the Image titles Pretty Deadly, with Kelly Sue DeConnick, and Mirror, with Hwei Lim. In 2016 she put out a comic that she drew as well as wrote (the first comic she has written in English), called I.D., which I’ve been meaning to read (and I was so delighted later in the weekend when she gave me her last copy!) Here’s an interview with Emma from last year that details more of her comics adventures.

Rina Ayuyang is originally from Pittsburgh, PA, so we hit it off right away! I’m super excited to read her new book, just out from Drawn & Quarterly – Blame This on the Boogie (get a copy of it HERE).

Getting to meet cartoonists like Emma and Rina is why I come to SPX every year. I’m interested in the quick friendships that form because of the common interest that pulls us together. You’ve never met before, and may come from different career/publishing backgrounds, but especially in groups of women I have found that there is a powerful connection and a desire to support and celebrate all the varied comics-making paths that we’ve traversed. I felt that strongly with Emma and Rina, and although our encounter was more incidental, with Liv Strömquist as well. (Check out Liv’s powerful new book The Fruit of Knowledge HERE.)

By the end of day on Friday Kate Harmon and I were having dinner with Fiona Smyth, due to a quick invitation in the hotel elevator (another key part of the success of SPX – everyone is in the same hotel!) I am such a big fan of Fiona’s work, and was lucky enough to meet her during her visit to Pittsburgh, PA, a few years ago. It was terrific to catch up and congratulate her in person on her new book, just out from Koyama Press – Somnambulance.

Saturday and Sunday at SPX I was completely engrossed in running the Comics Workbook-hosted workshops. These workshops provided a veritable crash-course in comics making, beginning with Juan Fernandez‘s highly energetic intro to image-making as language. This was followed by Dash Shaw‘s in-depth exploration of comics writing, and Molly Ostertag‘s (standing room only!) session on digging a fresh story out of yourself. There were numerous other offerings (we ran 8 workshops this year!) including a clay sculpture workshop with Liz Reed and a Kickstarter intro course with Camilla Zhang.

(Big shoutout to Caleb Orecchio for being doorman on Saturday and wrangling the enthusiastic and lengthy lines of folks who attended – and for his own great workshop on Sunday! And to Kate Harmon for helping with supply runs and the door on Sunday!)

Saturday night is always bonkers – for me it’s a balance of hanging out with the Comics Workbook and Pittsburgh Comics Salon crew, and finding my more far-flung comics friends to catch up with (Andrew White, M. S. Harkness, Iona Fox!) But despite great conversations and late hours kept, I somehow got up on Sunday morning and drove 30 minutes to Great Falls Park, VA, to pursue the topic of all my own comics lately – BIRDS!

Sunday at SPX went by in a flash, and before I knew it we were packing up the workshop room, and I was making a last round of the Expo floor to find cartoonists I’d missed before they in turn packed up and took off. Dinner with Kate Harmon and Emma Ríos and Fiona Smyth, followed by late-night chats with Iona Fox, and then the show was officially over for me. I crawled into bed to sleep for a bit before racing back to Pittsburgh, PA, on Monday morning in time to work at 10 AM… Phew!

Thanks to Warren Bernard, Lynda Bernard, Rob Clough, Danethin Mejia, and Eden Miller for the organization behind the show, and especially their help in making the workshops happen. Thanks to Juan Fernandez, Liz Reed, Dash Shaw, Molly Ostertag, Jason Rodriguez and the Latin American Youth Council, Mosi, Camilla Zhang, and Caleb Orecchio for delivering such stellar workshops! And many, many thanks to all the folks who turned up to learn about comics with us over the weekend. See you next year for SPX 2019!

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09-21-2018 – by Niall Breen

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2 thoughts on “09/21/2018”

Robert says:

September 21, 2018 at 1:06 pm

That Little Lulu daily strip was not drawn by Marge.

http://michelesworld.net/dmm/lulu/trib/trib.htm

Reply
Juan Fernández says:

September 25, 2018 at 11:46 am

You’re right. Seems like if it’s from ’58 it’d be Woody Kimbrell (1950–1964) who worked on it.

The nature of the licensing empire of sorts that Marge was able to develop from Little Lulu, combined with the market necessity of ghost writers, is especially interesting.

Reply

Comics Workbook

An online magazine for comics makers

Sally Ingraham

Posted on September 21, 2018September 21, 2018

Explore

Jack Brougham on LICAF 2016

Comics WorkbookOctober 25, 2016Festivals and ShowsQuite often comics conventions feel like they exist in little bubbles. Once you’re inside the hall/centre/shack/bunker the event is taking place in, you get the sense you could be anywhere. The organizers of The Lakes International Comic Art Festival (LICAF) seem to be having none of this. Visiting Kendal for the weekend of the festival is like entering a parallel universe where comics and cartooning are part of the fabric of public life. Walk out of the Clock Tower for a breath of fresh air and a can of fizzy pop, and you might see Dr Who and Batman walking side by side down the High Street, or Chewbacca and a Storm Trooper having a chat and posing for selfies with weekend shoppers. (note: Frank Santoro was caught grabbing a selfie with Chewbacca – check out his LICAF adventures HERE!) Queuing for sandwiches you can admire the mad drawings of superheroes plastering the windows, made by local school kids. There’s a real sense that the festival has pushed its tendrils into the local community, and vice versa. Stumbling home late at night to your lodgings, you might chance across original art from Oliver East’s The Homesick Truant’s Cumbrian Yarn, lit by slanting yellow street light. It helps that the festival takes place in Kendal. It’s a pretty special place, with fantastic and fantastical grey stone architecture everywhere. I was generously put up in an attic flat in an enormous, labyrinthine house just outside the town centre, which set a tone of enchantment for the rest of the weekend (thanks to my generous hosts, Mandy and Geoff!) Walking from my accommodation to the town centre on Sunday I was taken with the strange rock formations on the crest of the hill above the town. The day previously I had been chatting to fellow CW alumnus Niall Breen and he mentioned he was going to go walking in the hills. How many other comics festivals or conventions are there you can take a break by walking out of town and up a mini mountain? Can’t be many. (note: check out Niall’s LICAF story HERE.) I was there to help man the Comics Workbook table in the main hall of the Clock Tower, the market section of the festival. While this meant being out of action for many talks and workshops, there was a real buzz in the halls with loads of great folk stopping by to say hello. It was me and the aforementioned Oliver East behind the table for the weekend. The atmosphere was lively, with plenty of people coming by to browse and chat. I got to meet several cartoonists whose work I have admired for years, and was introduced to several whose work I hadn’t been familiar with. The organizers seem to have deliberately gone out of their way to involve as many makers as possible from every corner, edge, nook, cranny and crack of the field of small press comics. Art comics similar to those on the CW table were well represented, as were superheroes, genre fiction, cute stuff and animal comics. The range of styles, content, genres and sensibilities represented by the sellers in the market was really impressive. Being behind the table was a great opportunity to see different networks of comics makers and enthusiasts forming. This was really exciting. I was particularly taken with a concept Simon Russell is developing which involves establishing a new (to me, at least) model for independent makers of all sorts to sell side by side at small scale curated events. Less financial risk for the creator, and less creative ghettoisation, which in a field like comics is especially welcome. For a maker involved in self-publishing, this is what festivals like LICAF are all about – forging connections with other makers and enabling creative communities to be built. I’ve been thinking a lot recently about closing the circle between creating and publishing and publishing small and often in cheap little editions, road-testing stories in public, and building larger narratives or works from small individually published units. So far so confused? – excellent. Anyway, arriving at the table with this in the back of my mind it was great to see the organizers had hired Comics Workbook a photocopier so we could run off copies of the zines and comics produced in the CW workshops that took place on Saturday morning. Workshops are great and everything, but when you can demonstrate to people how easy it is to start running off copies of your own stuff to share, that’s something else. Sunday I drove off in beautiful afternoon sunshine to a friend’s house nearby. As I drove down narrow winding roads scattered with the first leaves of autumn I saw enormous bales of hay or straw wrapped in bright fuchsia plastic, like relics of a future cartoon universe cast back in time. Then, rounding a tight corner, a field of sheep all dyed bright orange, suddenly came into view. It was as if the spirit of LICAF had seeped out into the surrounding countryside, creating these surrealistic eruptions from the lush green hillsides. I’m looking forward to coming back next year for more of the same. ————————————————————————– Jack Brougham makes comics outside London, England. You can find his work HERE. Share this page: [...]

02/18/2016

Juan FernándezFebruary 18, 2016NewsAlabaster Pizzo has a new one for ya. A little ditty if you will. Alabaster has been making interesting comics out of seemingly innocuous material like amazon reviews for wooden rulers. Real clever. This piece maintains the same exciting formal cheekiness. You can read SOLID ADVICE here. The fifth and final chapter of my Kris Mukai‘s latest comic, Angels’ Share is now online at Hazlit! You read the whole thing by accessing the other chapters via her author page on Hazlit. As an aside, I’d like to point out that serialized comics stories are a big deal. Never underestimate them. Good way for people to work on longer form work and a good way to keep comics in the layman’s everyday experience. The story in Angels’ Share takes place around the same time as Mukai’s story in Weeping Flower . Mukai blends text, image and animation seamlessly to create a microcosm of grief and frustration, wrapped in phantasmagoric digital figuration. Cool stuff. 2dcloud has been reaching for the stars in their forthcoming publishing season. They have taken to kickstarter for supporting their campaign. They aim to release an ambitious collection of work by Sarah Ferrick, Andy Burkholder, Austin English, Leon Sadler, Caroline Hennessy, Nicholas Verstraeten, Katherine Poe, Leslie Weibeler, Connor Willumsen, among others. They are at 19% of their goal. At this rate, we’ll only reach 59%. Please donate whatever you can if you love 2dcloud. Their artists are making difficult work and that makes their books a harder sell, but we believe in them. We believe that there is an audience for their work. Prove us right! Don’t just listen to us here at Comics Workbook, Mari Naomi has sounded off on the inspiring work that Raighne and Megan Hogan have been doing with 2dcloud. Give Mari Naomi a listen and consider supporting this ambitious crowdfund.. The work 2dcloud publishes is experimental without being pretentious, entertaining without compromising taste, and oh so exciting. 2dcloud are true pioneers. It is so important that they continue existing, putting voices in the mix that might not otherwise find homes. So here’s why I’m writing this: Right now, 2dcloud is trying to grow. They’ve hooked up with Consortium to distribute their books, which is a huge coup for everyone involved (especially their authors!). But working with a distributor has its challenges, particularly in the money department. You can read about the nuts and bolts in their blog post, which you should check out if you’re curious at all about how publishing works: https://medium.com/@2dCloud/can-indie-publishers-afford-to-grow-4e509d702333#.y8wo6886a From overseas, there’s a great piece over at Fumettologica on the legacy of Bill Sienkiewicz. Some good italian thinking right there. Read it here. Be sure to hit that translate button! It’s a bumpy read after translation but it’s a rewarding reflection on the arc of Sienkiewicz’s artist evolution and creative commitments. Some things, you understand well, are never easy to deal with. So the author has preferred to avoid a traditional script, building the dense pages of the volume of an exhausting succession of memories, metaphors, fragments of visions and mental spaces . Definitely a choice of effect, carried out with such vehemence to go to involve the rare segments set in the real world. These, though regarded with almost external eye – although remain narrated by the protagonist – we seem indistinguishable from the most symbolic sections. As if to say that for some people, achieve the objective world view is impossible . As can be straining, their eyes will always remain too conditioned by the noise and the hood of desperation in their head. A disastrous condition, impossible to understand for anyone not have ever tried on his own skin. Elijah Brubaker has made a short recording of his process working on his newest work, This Is All We Have. As a comics maker you can absorb a lot in a minute of watching this video. If you’ve never worked physically before. lettered with a nib, or used a light box to allow you to draw on separate sheets of paper, you might learn a thing or two! And LAST BUT NOT LEAST: Anya Davidson takes a big bite out of Brian Chippendale’s Puke Force over at the Comics Journal. One hell of a good read. Her writing digs deep into Brian’s latest work and it connects dots from all over the multiverse in its exploration of satire in the modern era. With each new generation there are new crises to confront and new inventions that change the way human beings function in the world and relate to one-another. And with each new generation comes a new crop of artists to help us contemplate the events of the day through the lens of their work. In the wake of the plague, death bed scenes and vanitas paintings became popular-a reminder to the viewer not to become too attached to the things of this world because death is always close at hand. In his fourth graphic novel, Puke Force, Brian Chippendale bravely tackles the perils of modern American life. The book begins where the action in his earlier book, Ninja, left off. Share this page: [...]

11/14/2016

Juan FernándezNovember 14, 2016NewsJuan here with the good stuff: Juan Fernandez on CAB 2016; Heidi Macdonald’s CAB recap; Ben Jones interviewed; Angela Stempel at the NY Comics and Picture-Story Symposium; Four takes on Noah Van Sciver’s Blammo #9; Eleri Mai Harris on the American election; CBLDF on Rayma Suprani. ————————————————————————————————— ⚡️I went to CAB with Jenn Lisa last Saturday. I had a ball and I wrote about my time here on the site. Seeing everyone come together in a gymnasium like that lit a flame that very few things are going to be able to stamp out in the coming months. I’m ready to face the coming winter. Gabe Fowler’s got the market place down to a science. So, naturally, I’m interested to see the ways in which CAB continues to evolve. Will it stabilize into being an amped up zine fest and wild style art book fair that focuses exclusively on the marketplace? Will someone step in to lend a hand to the team to develop some track of programming during the weekend or the week before? To return to it’s BCGF format. Does that matter? Who’s ready to step up to the plate? On the floor I heard some people discuss this being the last CAB. And damn, that’s a little pessimistic. For what it’s worth, CAB can’t be beat for a lot of reasons. Easy access via transportation. Trains, plains, buses, cars all make their way easily to NYC. For the most part either you know someone in the City or there’s an affordable place to stay for a night or two. The crowds are great. People are squeezing CAB into their busy Saturday. It’s just one of many things they’re doing so they bring an incredible energy into the space. Most people likely just heard that there was something cool with comics going on in that one church in Brooklyn. That’s a good place to be. Gabe’s curation can’t be beat. You wan’t to find the coolest books published in a year? You can’t do any better in the US than coming to CAB. Oh and people come ready to spend money. Real money. ————————————————————————————————— ⚡️Heid MacDonald shared her CAB Coverage over on Publisher’s Weekly. Her big take away was similar to mine: Though scaled down in Size, robust sales. Because the show was planned a bit later than usual, there were fewer debut books. Indie mainstays Fantagraphics and Drawn & Quarterly were represented by artists like Drew Friedman and Adrian Tomine, but did not have booths. Nevertheless the books that did make it sold out quickly, including several very limited editions from even smaller publishers, such as the third volume of Connor Willumsen’s Treasure Island, an experimental comic from Breakdown Press; and Charles Burns’ Free Shit from French art publisher Le Dernier Cri. Although the event served to spotlight the number of talented cartoonists who still call New York home, many of the same artists cited the difficulty of maintaining a small press comics scene amid the rising costs and rents of New York City. “It’s harder to have a scene when everyone is broke and stressed out about money,” Skelly observed. ————————————————————————————————— ⚡️ Ben Jones did a killer interview over on HyperAllergic with Nicole Rudick focusing on his recent exhibition at The Hole NYC. Very inspiring, very enlightening. It cuts across all artistic disciplines and argues for drawing as a fundamental practice in the 21st century. My words, not his 😉 Nicole Rudick: Are these paintings of new comics? Ben Jones: I want to give you the two narratives. There’s the concept of the show, which is hopefully how the audience perceives it and how I approached it creatively — to make a zine first and then to have a meta-art show where I’ve hung the “originals” from the zine. Typically, you’d show the originals in this way at a comic-con or a coffee shop or something like that. I intentionally wanted to present the show in that conceptual context, as a novelty. I took that to the furthest extent by adding the fake red dot you’d see at a coffee-shop art show, to indicate that the work had been bought. As a painter, I’m constantly chasing that magical, ethereal line or stroke or gesture that is half muscle memory or trance action. You get a lot of that with handwriting and with quick sketching. I’ve fabricated ladders and furniture and video installations that take months of concepting the installation and executing the animation. This is something entirely different — it’s a one-to-one connection with an idea or a drawing or a mark. There’s a narrative to a lot of these pieces and a linear way to think about them, but then we also get to think about comics and about the formal aspects of comics, because comics aren’t just linear storytelling and gags. There is a nuanced, visual-language fuckery that I think is important. Think of Saul Steinberg changing the way people draw in the 1950s or Robert Crumb in the sixties — there are one or two people who have really changed the way we think and draw and understand line drawing. So this is also me firing a shot across the bow. ————————————————————————————————— ⚡️ Have you seen Bill Kartalopoulos’s Instagram? He’s posting a lot of protest art from the last 50 yrs or so. Find something that moves you and research it. There’s extremely fertile ground in these images. ————————————————————————————————— ⚡️Eleri Mai Harris is coming back to America. Thank god. In this political climate, comics stateside need her more than ever. She’s got a new comic on identity, politics and patriotism over on the NIB. Don’t sleep on this Australian-American journalist and cartoonist. ————————————————————————————————— ⚡️ CBLDF on Rayma Suprani, Venezuelan Cartoonist’s Political Exile Rayma Suprani has long been one of the best-known and most fearless political cartoonists in Venezuela, but for almost a year she and her work have only been “in” the country virtually, through social media. After El Universal, the newspaper where she had worked for more than 20 years, was bought by anonymous supporters of President Nicolas Maduro in 2014, Suprani was fired in short order and eventually forced to flee to Miami where “I can be more useful because my creativity can flow without worrying.” Suprani had often skewered Maduro’s now-deceased predecessor Hugo Chavez and stood up to the oppression of his populist movement known as Chavismo, but journalist Cesar Miguel Rondon tells PRI’s The World that Maduro’s government is even worse: They behaved like punks on a street corner. You don’t have the rule of law here. Every single day it’s more openly the exercise of a dictatorship instead of a democracy. So, ‘we don’t like Rayma. Rayma, you should go.’ It’s as simple as that. ————————————————————————————————— ⚡️Angela Stempel on Picturing Worlds: abstraction, rhythm and “reality” in animated spaces. This Tuesday at the NY Comics and Picture-Story Symposium! In this presentation, Angela Stempel will present her works of experimental animation that explore abstract shapes, the dissolution of the physical form and of photographic certainty in narrative and non-narrative pieces. She will discuss her influences, contemporary work and how she deals with the representation of time and energy. ————————————————————————————————— ⚡️ Four Shots get fired at BLAMMO #9: Alex Mansfield, Daniel Elkin, Justin Giampaoli, Keith Silva blast through Noah Van Sciver’s latest release. Enter the dude zone, haha. It’s good to see a single issue of comics get unpacked to this degree. More of this, please! For the past decade, cartoonist Noah Van Sciver has been publishing his one-man anthology series, BLAMMO. Kilgore Books has recently released the latest in the series and we here at Comics Bulletin were so impressed with it that we knew we had to devote some time and energy into unpacking our reactions. Each of the following writers were tasked with choosing a single page or panel from Blammo #9 and use it as a platform for talking about the book as a whole. None of the writers read what the other was working on during this process (Ed. Note: Except for Elkin — he sees everything). As testament to the thematic unity of Blammo #9, the writers all ended up talking about the same ideas of spirituality, artistic integrity, and the human desire to connect. ————————————————————————————————— In case you missed it, our indefatigable Sally Ingraham started an eBay store to help out the Comics Workbook Rowhouse Residency and also her own comics-making projects. Check it out HERE! ————————————————————————————————— until next time! Juan 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: [...]

10/06/2016

Sally IngrahamOctober 6, 2016NewsSam Ombiri kicks off the day with thoughts on Paul Chan, Beckett, and the power of a “side project”. Sally Ingraham adds some insights from Kerry James Marshall and a Comics Workbook events and happenings roundup. ————————————————————————————————— Sam here: Paul Chan quit making art in 2008 because, as he put it, “I’ve had it”. I’m really not prepared or qualified to talk about Paul Chan’s work so I guess I’ll just somewhat graze over how, or why, he quit. (I’ll re-appropriate what Paul was referring to in an interview – in an attempt to arrive to a point for my own purposes. Some of it he said, but some of it is my fictional version of Paul Chan.) Paul Chan said that the artists that he’s admired follow the route of what we imagine we want. Since what we want is always changing, one expression of this can be found in quitting, like Duchamp did, or taking a break, like Beckett supposedly did with Waiting for Godot. I heard from Paul that Waiting for Godot was a vacation for Beckett, before finishing up the trilogy of novels he was working on. Godot is his most famous work, and furthermore he’s more famous as a playwright than as a novelist. I think I prefer Beckett’s novels (which I’ve barely read, I’m like ⅓ through Molloy) to his plays (which I’ve also barely read). That is not to necessarily say that his novels are automatically better since the medium dictates automatic superiority. What I think, rather, is that development takes place from that change of one pace to another. This can take place when dealing with the same medium – even the same genre, even the same story – but in changing the approach, or having less concern/anxiety dictating one’s work. What I imagine is that after Beckett returned to finishing the trilogy, he had grown in another aspect he didn’t fully realize. This change is present whether he’s doing plays or novels. I guess what I get out of all this is: the power of a side project, or side preoccupation, has power that shouldn’t be underestimated. This totally reminds me of of how Dash Shaw told Sam Alden to just stop working on 8th Grade, and then Sam really benefited from that. He says it at one point in this video: Jesse Moynihan also says something cool at one point in this video about changing your work, and pursuing growth. –Sam Ombiri ————————————————————————————————— When Sam Ombiri isn’t reading Beckett or researching Paul Chan, he can often be found hanging out with other cartoonists in Pittsburgh (above) – and we look forward to sharing some of the comics projects (side projects or otherwise!) that he’s been working on via Comics Workbook soon. ————————————————————————————————— The Chicago Tribune recently had a great conversation with Kerry James Marshall about the history and future of black superheroes. Marshall, whose career retrospective is bound for the Metropolitan Museum of Art’s new Met Breuer in New York City, has been collecting comics since he was a child – and he has dozens of carefully cataloged binders full of comics that document the experiences of black characters or casts. He has spent a long time watching and thinking about the evolution of black superheroes, and the storytelling pendulum that swings between exploitation and inclusion. “The majority of black characters are stand-ins for white characters that exist. Or sidekicks. The scope of their narratives is small. They were asked “to fix the black psyche” before engaging the world. “Unlike a Spider-Man, you didn’t have black teens burdened by power they might acquire.” “ Marshall has at least one solution to this: “...black artists should create original characters, fresh superheroes, removed from the Marvel and DC universes. Talking to African-American comic book artists, you often hear a common theme: Ashley A. Woods, the Chatham native and on-the-rise artist-writer behind indie favorite “Niobe: She is Life,” told me she decided early on to take full ownership of her characters, otherwise “you’re stuck being asked to do black versions of what exists.” Jiba Molei Anderson, a longtime Chicago comic artist whose work is often based in African mythologies, said: “I’m creating my own legacy — I don’t need to create a black Batman, I need to create my brand.” ” – via The Chicago Tribune Read the rest of this article HERE. (via The Comics Reporter) Check out some of Jiba Molei Anderson’s work HERE. Read more about Ashley A. Woods and Niobe: She is Life HERE. ————————————————————————————————— Chris Visions is in NYC this week for the New York Comic Con – check him out at table T3B! NYC, we outchea!!! See ya’ll tomorrow for Comic Con 2016, table T3B— and look out for more awesome photos and video from @tylerqtucker #art #comics #nycc A photo posted by Chris Visions (@chrisvisions) on Oct 5, 2016 at 4:42pm PDT ————————————————————————————————— If you haven’t gotten a chance to dig into the footage of Cameron Weston Nicholson‘s SPX workshop yet, here’s your reminder! Check it out HERE. ————————————————————————————————— Comics Workbook is heading to the UK for The Lakes International Comic Art Festival and to Columbus, OH, for Cartoon Crossroads Columbus next week. Hang out with Frank Santoro, Aidan Koch, Connor Willumsen in the UK – more details HERE. The team in Ohio will be doing workshops next weekend, and you can sign up in advance to get a seat – details HERE. Advanced signups will end Friday, October 7th, 2016. ————————————————————————————————— There is still time to get a bid in on the Michael DeForge drawings that we have up for auction – details HERE. Have you seen the recent collaboration between Frank Santoro and master jeweler Airi Maeno? Check out the Pompeii Medallion HERE. Help us get Connor Willumsen to The Lakes International Comic Art Festival – this way please! Share this page: [...]

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