Comics Workbook

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Posted in NewsTagged caleb orecchio, Niall Breen, the billy ireland cartoon library and museum

Caleb Orecchio

Posted on October 11, 2018October 11, 2018

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09/14/2017

Sally IngrahamSeptember 13, 2017NewsSam Ombiri on Patrick Kyle’s Everywhere Disappeared, plus other comics and news! ————————————————————————————————— Sam Ombiri here: I had a chance to read an advanced PDF copy of Patrick Kyle’s new comic Everywhere Disappeared. (The book has now come out from Koyama Press.) At first I had trouble with this book, but I took the time to read through it twice and I made many discoveries. There is part of the book that feels rather navel-gazy and a bit vain as a result, (for him to be showing work like this). This was an initial misinterpretation on my part, because it looks at first like this new book is just a reflection of how Patrick is a private person. From what I’ve heard him say about this, he is pretty private, and he’ll keep many elements of his work that could be interpreted as personal, hidden. The work then feels somewhat rigid when he’s documenting what we might see as his artistic struggles, and personal struggles. Being who he is, he is doing this in a really roundabout way, and while I enjoyed the book, it’s a little bothersome to sit through. (Although the bothersome aspect became the interesting aspect later.) When I first read the second strip I thought to myself “Does Patrick think his work is in so much demand that we’re willing to sit through this nonsense?!” It’s not as focused as his last book (Don’t Come In Here, 2016), which might answer why any emotional triumph in the beginning of the book feels unearned, and this made me a little nervous, because that was a problem I had with certain parts of Don’t Come In Here. Now I had to read a whole book that was filled to the brim with that problem? I discovered that I should not have worried. I felt at first that there wasn’t any long term investment to be had with Everywhere Disappeared, but as I read more and more of the book, I was proven wrong. Patrick has a big artistic triumph. Everywhere Disappeared is a collection of stories in the form of comic strips. Taken together the book seemed to me to be about taking risks, and people reacting to your insincerity, be it through art or just normal interaction. The first strip functions really well in telling the reader what mindset Patrick is in. The strip that follows just baffled me in how much he’s testing the reader’s patience, as I mentioned above. Then I had to eat my words with the following strips, which were just amazing – hilariously portraying his solutions to his dilemmas in his current role (with the sentiments expressed in the first and second strip, and the answer being the third strip.) Point being, though I felt at first that the second strip was a lousy strip, it really served the book well. It was a step up from just being a self-conscious comic, a major step up – instead of stagnating with his self-consciousness, he advanced. Not only that, but it tells you as the reader that Patrick isn’t suddenly making these big conceptual leaps as a maker. He’s still this guy who you come to to read some fun stuff, and he’s still very much thriving in this territory. At a certain point as a reader of Everywhere Disappeared, even looking back at the Dracula story (the second strip), I realize it’s been really fun and it’s going to continue to be fun. The illustrations are getting tastier and the punchlines are getting funnier. The ridiculous concepts are more acceptable to the reader. There a style that was introduced in the Dracula strip, then a couple strips later we get the pay off with it. Amazing pay off too, when a character does a print with Bart Simpson with Nike for eyes (and that gag only manages to get better). It reminds me of a gag I’d see from Ben Jones, but it’s all Patrick Kyle. By the time I read the strip titled “Glory of the Pile” I knew that I was completely wrong in thinking that Patrick was running out of his bag of tricks. That strip hit me hard. There’s a real impressive element to how Patrick is recycling shapes he normally draws and just uses them here and there, to elicit some kind of emotion or feeling or sentiment he’s trying to get across to the reader. The book speaks its own language now and is super comfortable in it, and this seemingly comes out of nowhere (or everywhere?). – Sam Ombiri Get a copy of Everywhere Disappeared HERE. ————————————————————————————————— Sally here – The Art of Vanesa R. Del Rey was reviewed as an Orbital Comics staff pick recently (Orbital Comics is currently hosting a show of Vanesa’s work!). “Thomas says: I wasn’t aware of Del Rey’s art until her work came in for the show that is currently running in our gallery (until the end of the month) and was absolutely blown away by what I saw. Her work is gorgeous, her line work free and energetic with an exuberant life of it’s own. Even static figures seem to be in motion, breathing with a life of their own. This sketchbook serves two functions; it is a beautiful selection of Del Rey’s work but is as much a glimpse into her life, past, present and future as it is anything else. Interviewed by Frank Santoro, Del Rey is open and forth coming about her work explaining as best as she can her thoughts regarding the human figure, to the influence art has had on her life and is also quite open about her life and her childhood. With a new book out this past month written by the wonderful Jordie Bellaire, Del Rey’s star is in the ascendant and you would be foolish to ignore this talented young artist. Excitingly, Vanesa will be signing here on Saturday 16th September 2017, from 17:00 till 19:00 so come along and pick up a copy of her sketch book or Redlands and say ‘Hi’. Click here for more details.“ Get a copy of The Art of Vanesa R. Del Rey HERE. ————————————————————————————————— There’s a piece in the Washington Post‘s Comic Riffs about Shawn Martinbrough, and how he came to draw Hellboy in a recent one-shot issue of Hellboy and the B. P. R. D. Heavily influenced by the artwork of Mike Mignola as a kid, this was a dream project for Martinbrough, who has been storming the mainstream comics scene for a few decades (more on his story HERE). “Martinbrough…is known for going out of his way to add diversity to the comics he works on. If a story’s script doesn’t specify the race of a supporting or background character, he’ll frequently draw that character as a person of color. That wouldn’t be necessary with this Hellboy story (written by Mignola and Chris Roberson), in which Woodrow, Hellboy’s partner, is a brilliant African American from Chicago. In the story, Woodrow is offended but not shocked when he brushes up against some racism even noticing that the white man he and Hellboy have questions for is more comfortable around a giant demon from hell than a black man. “Hellboy is an average Joe in the form of a large, fantastical red demon with a large stone hand and tail,” Martinbrough said. “The idea of a white guy accepting Hellboy without skipping a beat, but questioning the legitimacy of a black scientist is tragic but, unfortunately, very realistic. The social commentary was a very pleasant and welcome surprise.”“ Read more about it HERE. ————————————————————————————————— Suzy and Cecil – 9-14-2017 – by Sally Ingraham Share this page: [...]

05/30/16

Juan FernándezMay 30, 2016NewsJuan Fernandez with Kurt Ankeny’s IN PIECES; Residents at the Rowhouse; Laura Knetzger on SEA URCHIN; Ta-Nehisi Coates on Swampthing; Breakdown Press at Copacetic Comics; Tyler Landry’s COWARD’S HOLE; Italy on Toronto. ————————————————————————————————— In Pieces: Someplace Which I Call Home – Kurt Ankeny We’re excited to feature the first installment of a new graphic novel by Kurt Ankeny, creator of Saltwater Snow and A Bomb, and co-author of the Santoro School Handbook for Making Better Comics on Comics Workbook this week. In Pieces: Someplace Which I Call Home is a collage-portrait of a small New England town. Reflections in pencil that sweep across the grid. Check it out and Pre-Order a copy today! ————————————————————————————————— Warming up at the Rowhouse Another wave of new residents is here for their stay at the Rowhouse Residency! A programming and architecture game development duo that were itching to get the full comics experience. To learn more about what has been happening and to stay abreast of all developments with the Rowhouse, please follow the Rowhouse Residency on instagram. ————————————————————————————————— Sea Urchin Post-Mortem Laura knetzger reflects on the process of creating her book Sea Urchin over on her blog. Lots of really nice, raw details. Knetzger: I can’t even get to talking about the comic before I have to do talk about the politics of autobio art. I keep using phrases like “embarrassing” to describe it but it’s not quite like that. I don’t think autobio is bad or that the people making it are selfish narcissists. But I feel this hesitation to talk about my own stuff? I think there’s still a double standard in art where women’s autobio work is considered cute, intimate, like a diary covered in Sanrio stickers, and about the singular woman, and men’s autobio work is considered hard-hitting journalism about the human condition. I think autobio gets gendered as female because it deals with so many domestic scenes, and therefore looked down on, albeit unconsciously. Maybe this is my own issues, but when I see people dump on autobio as a whole I’m like…you’re on my list now. ————————————————————————————————— Comics Reflections at The Atlantic Ta-Nehisi Coates is blogging regularly about his reading and writing in comics. Recently Coates took some time to reflect on the Swamp Things’ reintroduction to DC’s readership in 1984. It’s neat to see a panel by panel breakdown of the craft in the work of Alan Moore, Tatjana Wood, Dan Day, John Totleben and John Costanza over at The Atlantic. Coates: For me, the best thing about writing comics is how it takes me back to everything I loved about writing poetry. The game of spacing and efficiency is so challenging and so important. Moore proves himself a master of both here—in three frames he gives you something of Swamp Thing’s compulsions and loneliness. ————————————————————————————————— Just in at Copacetic: BREAKDOWN PRESS Another massive shipment has arrived at Copacetic Comics from Breakdown Press, including a new Hayashi Seiichi collection, Red Red Rock! You won’t want to miss your chance to buy these books. ————————————————————————————————— Coward’s Hole Tyler Landry‘s latest comic, Coward’s Hole is now out from Study Group Comics. In the heat of a stellar battle, a space pilot narrowly escapes destruction, only to crash land on a deserted planet in enemy territory. There he must confront the spectres of his past. Published by Study Group Comics 48 page comic black/green newsprint + card cover 7.25 x 10.6 inches ————————————————————————————————— TCAF was a couple of weeks ago, but so much went down in Toronto that substantial reports of what happened are only now trickling out. Here are some noteworthy reports with lots of photos. Gabriele Di Fazio over at Just Indie Comics Insomma, impossibile riuscire a vedere e a seguire tutto, soprattutto per chi, come me, doveva anche stare dietro a un tavolo e tenendo conto degli orari di apertura piuttosto ridotti (dalle 9 alle 17 il sabato, dalle 10 alle 17 la domenica). Non ho capito molto di quello che è successo ma la cosa sicura è che c’erano un sacco di gente e un sacco di fumetti. E che l’organizzazione è veramente impeccabile, fatta di persone squisite e disponibilissime. Tra gli eventi serali segnalo il bel concerto di sabato con i Creep Highway del duo Michael DeForge/Patrick Kyle, Mickey Zacchilli alias Dungeon Broads e Brian Chippendale in versione Black Pus per il gran finale tutto drones e percussioni. Nei giorni successivi al festival sono invece riuscito a tornare da Weird Things per vedere la mostra di Matthew Thurber, autore di 1-800-Mice e Infomaniacs, che esponeva con il suo suggestivo progetto parallelo MT Shelves, fatto di strani animali in bianco e nero, lucine, macchie colorate. E con questo è tutto. Leon and Barry over at Secret Acres Speaking of Dustin, we call bullshit on Dustin hosting the Dougies, or as they are known in Canada, the Doug Wright Awards, which engages in discriminatory practices by only honoring Canadian cartoonists – but it’s okay for Dustin to host? Really? In protest, we skipped the Dougies for our annual poutine sports bar with Annie Koyama and a little bit of Chris Pitzer. But just as it hung over the Dougies, the shadow of Darwyn Cooke‘s sudden death fell over our Blue Hawaiian cocktails. We knew Darwyn a bit from our days at the Distinguished Competition. We’re sitting on some stories about that man which would knock your teeth out, but what a terrible loss for comics. No, we’re not going to gossip. Unless we’re drunk and talking to Heidi in the lobby of the Marriott while trying not to stare at Tom Devlin’s track jacket and ponytail combo and wondering how he convinced Peggy that outfit was okay. ————————————————————————————————— Until next time! Juan Share this page: [...]

04/27/2016

Juan FernándezApril 27, 2016NewsFumetto 2016; Begoña García-Alén’s El Espectador; Dr Fausto Fanzine 10; Daryl Seitchik’s Missy for sale; a first look at Tim Hensley’s Sir Alfred No. 3 ; Al Jarnow & Edwin Rostron. ————————————————————————————————— FUMETTO 2016 Fumetto, one of Europe’s leading international comics festivals wrapped up this past weekend in Luzern, Switzerland. Celebrating its 25th anniversary, the festivities lasted from April 16-24. Among the many guests this year were Lorenzo Mattoti, Joost Swarte, Gabrielle Bell, Caroline Sury, Fremok, Max and Ben Katchor. Fumetto has captured glimpses of all the lectures, workshops, pop-up studios, gallery exhibitions, market places, and parties in a recently posted archive of photos. (If you want to get lost into the nitty gritty of the social media coverage of Fumetto, explore Fumetto’s social media wall here.) Among all of the goings on this year was Fumetto’s annual competition exhibition. The theme this year was “Temptation”. View the winning entries from the 2016 competition here. For those of you really hungry for more of Fumetto’s competitions, you can read all of the winning entries from 2014 and 2015. ————————————————————————————————— (the spectator) The fourth installment of Begoña Garcia-Alen‘s El Espectador (the spectator) is now up over on TikTok cómics. Her spectator series is a nice collection of work that explores the idea of observation and reflection. It’s done in a playful, formalist Koch/CF hybrid. Check it out here. ————————————————————————————————— Llegó nuestra Décima Edición. 10 Autores de Colombia, Argentina y Chile. Toda la info en: https://t.co/0OsmwQUpyN pic.twitter.com/Qhq901Nfmf — Dr Fausto Fanzine (@DrFaustoFanzine) April 25, 2016 Dr Fausto The 10th edition of the Colombian publication, the Dr Fausto Fanzine is here! This edition comes out thanks to the support of Editorial Universidad de Caldas. Ya llegó! It’s now available in cities throughout Colombia, starting in Bogotá. This is issue features 10 cartoonists from Colombia, Argentina and Chile: Edward Muñoz (Editor) http://eddmunoz.tumblr.com/ Un reptil http://relampagarto.tumblr.com/ Truchafrita http://www.truchafrita.net/ Wil Zapata http://wilcomix.blogspot.com.co/ Lutocorps http://lutocorps.blogspot.com.co/ Pablo Bofelli (https://www.facebook.com/PUNCH-590883774340172/?fref=ts)http://felipunch.com.ar/ Toto Duarte https://www.flickr.com/photos/sergalletas/ Javier Fabregas http://www.javierfabregas.co/ Pablo Pérez http://periodistailustrado.tumblr.com/ Jko Sánchez http://jkosanchez.net/ ————————————————————————————————— Digital Missy Daryl Seitchik has collected and made all of her issues of her comic Missy available digitally over on gumroad. Check it out. The first one’s free 😉 ————————————————————————————————— https://www.youtube.com/watch?v=kJZjfcMR2fc Comics Movie Tie-in Fantagraphics has just shared a detailed look at Tim Hensley’s latest book, Sir Alfred No. 3. It’s beautiful stuff, full o hyucks. Sir Alfred No. 3 is an oblique biography of the world’s most famous film director, Alfred Hitchcock. In fact, despite being numbered “No. 3,” no other issues exist. The comic book is composed of multiple gag strips based on anecdotes found in tomes of film lore in the public library and used book shops. As Hensley’s previous work Wally Gropius referenced the ’60s teenager genre, Sir Alfred pays homage to ’50s personality comics and movie tie-ins. It ends up being something of a cross between Marge Buell’s Tubby, who bears an unforeseen resemblance to the famous director, and Miss Beverly Hills of Hollywood. Have a closer look at the book over on Fantagraphics’ site. ————————————————————————————————— Asymmetric Navigations Take a walk and join Al Jarnow in conversation with Edwin Rostron over on Edge of Frame as they reflect on his life of creation that has move seamlessly across artistic mediums. Paintings, animations sculptures, software, exhibits – his ideas have taken every form you can imagine. Tune into his frequency for a little energy and inspiration. EoF: In the documentary Asymmetric Cycles you describe your process onCelestial Navigation as “setting up an experimental environment in which I could more or less improv and riff off of different ideas to do with time, the passage of time and the passage of light.” Was this typical of how you worked with your animations? Did this kind of experimental process relate to how you worked as a painter? Was there a lot of material generated through this kind of process that didn’t make the cut? AJ: Yes, always! In painting as in film, the process has always been a dialogue. What happens with the first stroke is a determining factor in what happens with the next. An experiment is an act in which you don’t know the outcome. It’s a learning process. You might have expectations and anticipate your results, but those can color your results. In film, a lot of snippets ended up on my cutting room floor (or at least in cans still stored in my attic). In painting, pieces ended up in re-cycling, painted over, cut in half, and again stored in my attic studio. ————————————————————————————————— Have a good one and see you soon. Here’s one some reverie for the road. Share this page: [...]

Ways of Seeing: Cameron Weston Nicholson and Sam Ombiri

Sally IngrahamNovember 23, 2016Essays / Tool TalkTyler Landry explores the creative process of Cameron Weston Nicholson, and Sam Ombiri responds with further thoughts on the act of sketching. Tyler Landry here. I’ve been following some of Cameron Weston Nicholson’s semi-secret endeavors over the last week or two, and the man is ON FIRE! Several simultaneous streams of intense character development are taking place here – some involving characters you might recognize from a certain book/film about a peculiar little girl who’s looking for her place in the world, while some are brand new, straight from Cam’s brain-swamp. The latter are the first manifestations of a new comic he’s got in the works. Sssshhhhhh… There is a sincere (and successful) attempt here to accentuate each character’s unique physicality which, for me, helps to telegraph their personalities directly into their appearance. Think of it like exaggerated facial expressions – for the whole body. This next set of character poses is as much about movement as it is about base structure. In this case, what they do outwardly speaks volumes about what’s going on inside. Combined, the physical form and the gestures amount to much of what’s required for these characters to communicate who they are. What Cameron’s been doing here is the beginning of world-building for a story. Be it in comics, film/TV, a novel, or a video game, steps like these towards developing characters and, by extension, the world they inhabit, are essential. Cam’s really feeling these guys out, trying to understand what makes ‘em tick, how they dress, how they act, how they go about their business in the world he’s going to place them in. Just like any exercise in copying the masters, there’s a wealth of information to be gleaned from retracing the steps of your predecessors on the way to (or alongside) taking your own. – Tyler Landry Follow Cameron Weston Nicholson‘s Instagram to keep up with more of his process work – @prof_weston Watch the video of Cameron’s Comics Workbook-hosted workshop at SPX 2016 HERE. Check out Tyler Landry’s work – and for a look at Tyler’s own process read this Black Callus interview from earlier this year. Sam Ombiri here. Gary Panter said something like sketchbooks are your friend – sometimes you hide an idea in there and you find it later when you need it (I think that’s what he said). CF said he likes to think of a sketchbook or blank page as an experimental plane. Mieko Kawakami said that for her, sketching (she actually said poetry – but it’s in a different cultural context, which unless you avidly read contemporary Japanese literature in Japanese, and keep up to date with the trends in relation to the history of Western influence on Japanese poetry, mixing with the more traditional Japanese poetry, then going back to a mix of traditional and Western influence and just what’s hot in the scene right now…you’d get it – not that I know anything about all that, I just heard it somewhere). Anyway for Mieko Kawakami “sketching” is like delusion and the “final draft” (she actually said prose) is like imagination. I kinda partly disagree with this illustration. I don’t think – with my ignorance of what’s going on with Japanese poetry right now – work of that kind is pure delusion, but it is emotion tapered with structure at least for the time being (though there’s still structure at play, as shown in Cameron Weston Nicholson’s work – see above – but there’s room for expression created here. Or maybe it’s just one’s personal fears and reservations.) CF said something like the best way to draw is to turn your back on everyone you know and your ideals – at least I think that’s what he said. Japanese poetry is really preoccupied with rhythm, so even with the “delusion” it’s still grounded in something. Mieko Kawakami said the delusion she was referring to was like how she could have a family live in a house made out of pancakes – but ironically when she’s referring to her imagination she feels she can’t do that. It makes me wonder – why make novels that limit yourself if they are a “higher calling”? From my understanding, for awhile the attitude readers had for novels in Japan were: the more difficult the better. I’m not sure whether it was The Tale of Genji or Don Quixote that was the first novel, but I think it’s safe to say the novelists most likely have a strong sense of tradition strictly built on the foundation that The Tale of Genji set up (I’m only assuming). So then, maybe that strong sense of tradition is what drives Kawakami to limit herself. That doesn’t really make any sense though, because a lot of the more popular contemporary Japanese authors, at least popular outside of Japan, have been influenced by novels outside the Japanese tradition. I think she cited Virginia Woolf as a big influence. Someone said that the current movement is a fusion of the old difficult traditional Japanese literature and the new fun Japanese literature. Maybe in delusion/sketching/experimentation there’s a lack of tampering (which isn’t always the case). The only tampering to be found in imagination or in the work is in one’s limitations (sometimes). Ambiguity is subtracted so there’s a more possible chance of connection, but connection can happen either way. Sketches/process work is the most honest/real documentation. It doesn’t always show up in apparent ways in all works but sometimes it shows up in the final work, which usually rocks. I like to be reminded when I’m looking at a drawing that it’s a drawing made by a person who isn’t always graceful. – Sam Ombiri ——————————————————————————————– Cameron Weston Nicholson makes comics and animations in Richmond, VA. He recently won the Comics Workbook Composition Competition 2016 for his comic For a Lack of Better Words. Tyler Landry is a graduate of the Santoro Correspondence Course for Comic Book Makers. He makes comics on Prince Edward Island, Canada. You can find some of his work at Study Group Comics and tons of his comics and work in progress on thee Comics Workbook tumblr. Sam Ombiri makes comics in Pittsburgh, PA. He writes for Comics Workbook and is a cornerstone of the Pittsburgh Comics Salons. Share this page: [...]

08/08/2017

Aaron CockleAugust 7, 2017NewsAaron Cockle here today with Flipism in the USA; New York Comics & Picture-story Symposium Fall 2017 Schedule; The Black Hood; Whit Taylor/Miranda Harmon; Workers of the World, Conform!; Book-making in the USA ————————————————————————————————— ‘At every crossroad of life, let Flipism chart your course!’ On an episode of the new season of the streaming Netflix series House of Cards, a political crisis in the United States may have to be decided by a coin flip (as determined by that country’s originating document of fundamental principals and established precedents), and the President in this alternate history extols the benefits of Flipism, a philosophy created by Carl Barks for a story in a Donald Duck comic in 1952. To date, Flipism remains as valid as any other belief system currently in practice. ————————————————————————————————— New York Comics & Picture-Story Symposium Fall 2017 Schedule Lectures of specific interest to readers of this newsblog include: September 26 – Katie Fricas October 3 – Sue Coe October 10 – Kurt Ankeny ————————————————————————————————— ‘A number of the cartoonists focus in on the grey, hazy feeling of depression.’ Rob Clough reviews the excellent anthology The Black Hood: An Anthology of Depression and Anxiety, edited by Josh Bayer and Mike Freiheit. With regard to trying to find a way out, Lizz Hickey’s “My Lamictal Side-Effect Diary” is another great fit for this book. There are many cartoonists here who do weird and unnerving autobio as well as bizarre fiction, so it makes sense not only to include them, but that they’d be willing to talk about it in such a blunt manner. Hickey goes week by week and talks about the doses of medication she’s taking and the effects, which range from nervous to sleepy, to normal, to frustrated. The final week seems promising at the highest dose, until she becomes manic, teary, and tired once again–and that’s the end of the strip. No further conclusions are offered. ————————————————————————————————— In other Rob Clough News… At his review blog, High-Low, Clough has started a new series, High-Low Intersection, an occasional (and hopefully soon to be regular) feature that will highlight reviews, essays and interviews by other writers about comics, specifically for this site. They will be posted on High-Low’s regular blank day (Friday) when they appear. There are so many excellent writers about comics and too few of them have a regular outlet for their work. In this first edition, Whit Taylor interviews Miranda Harmon: What advice would you give to fans of your work who are looking to make their own comics? People should come before work if you can help it. When you’re making friends, find your peers instead of chasing down your heroes. Keep reminding everyone that you exist by making comics and showing up. It can feel lonely at first but in my experience people respond to sincerity and kindness. Really listen and get to know people and draw from your own experiences when you make comics. ————————————————————————————————— But, Ostwald complained, in the realms of science and geistige Arbeit—which roughly translates as intellectual work—there had been “virtually no level of organization.” At Triple Canopy, Nader Vossoughian about the history of information standards, standardization of information, and what it all means for someone reading this on a computer screen (or printed out on regular paper, I guess): The imposition of uniformity that was achieved before and after WWII by the German state and party organizations is now more likely to be undertaken by software companies, industrial consortiums, and groups such as the ISO and ASTM International. They claim only to ease the circulation of information and goods, but in fact they make highly political decisions about, for instance, the flow of data in packets through broadband cables. As Andrew Russell asserts in Open Standards and the Digital Age: History, Ideology, and Networks (2014), the rhetoric of openness that characterizes the Internet belies the role of sophisticated (and nearly invisible) forms of hierarchical control. Russell scrutinizes the “system builders” who create the infrastructure on which we rely, and who are “always engaged in ideological and discursive work, not merely technical work.” ————————————————————————————————— Never Comes Tomorrow – Frank made a graphic novel about his parents and he needs help making handbound copies for each of them. Frank Santoro, our illustrious founder/editor-in-chief, is raising some money for a book-making project, and is offering a good deal of historical comics documents in support of this. Please consider helping out. ————————————————————————————————— And remember: ————————————————————————————————— A Cosmic Journey – 8-8-2017 – by Cameron Arthur ————————————————————————————————— Suzy and Cecil – 8-8-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 8-8-2017 – by Caleb Orecchio Share this page: [...]

10/11/2018

Posted on October 11, 2018October 11, 2018 by Caleb Orecchio

Caleb Orecchio here with some comics I bought from The Billy Ireland’s overflow collection.

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This year at CXC, The Billy Ireland Museum was selling comics, magazines, fanzines and books from their collection. These were items that they had multiples of and needed to purge to make space. It was a treasure trove. I passed up a lot of good stuff, but am incredibly happy with the few things I did pick up.

I basically picked up trash. I love comics trash. Comics trash is beautiful. Shopping for comics with Frank Santoro and Jim Rugg really made me appreciate this facet of comics. “You’ll never see this again,” they always say when they come across some forgotten comic that was self-published in West Virginia in 1986.

One of my favorite aspects of comics is finding this wonderful garbage and then showing it to everyone who is willing to look. I passed around these books like a crazy person with a shopping cart passing out occult books and warning people to not join the boy scouts because they will use you (some people react to these comics in the same way one would react to a crazy person). Others are fellow admirers. When I showed showed some of these comics to Nate McDonough, he picked up this gospel and spread it around to more people. I flipped one of the comics, a William Black comic, I got and sold it to Chris Pitzer, a fellow admirer. “Are you sure you want to sell it?” he asked. Yes! Finding and subsequently showing this stuff around is the best part of the process!

Below are the comics I bought, minus Tara of the Lost Continent which I flipped to Chris. Obviously not everything is “trash.” I found a Chinese comic and a Jewish comic about the power of prayer. I use the term “trash” to refer to comics that people don’t want or care about for whatever reason. There is also an issue of The Comics Journal herein which is obviously far from trash. Maybe a better word to use is weird? You decide!

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The Lair of Madness No. 1 by various artists (Ellen Balliet, S. Geary, L. Ogan, Dale and Jim Pinkoski, 1972 (D.B. Features)

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*someone will have to help me out with the info on this one. I can’t read Chinese

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Mendy and the Golem vol. 2 no. 1 written by Leibel Estrin and drawn by Dovid Sears. Colored by Barry Grossman. 1982 (Mendy Enterprises)

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The Comics Journal no. 120 edited by Gary Groth, 1988 (Fantagraphics)

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Photo by Chris Pitzer featuring Kurt Ankeny and a dumpster diver.

See you on Monday folks! I promise I will have the review of Andrew White’s Yearly 2018 I have been hinting at then.

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Comics Workbook

An online magazine for comics makers

Posted in NewsTagged caleb orecchio, Niall Breen, the billy ireland cartoon library and museum

Caleb Orecchio

Posted on October 11, 2018October 11, 2018

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The Niall Breen Interview

Juan FernándezMay 29, 2019InterviewsJuan Fernandez: Besides your daily comics, what are you working on these days?? Niall Breen: I have lots going on. I’m re-lettering these daily comics in Spanish for an upcoming collection. I’m working on a limited run release of the Simpsons comics I did late last year. A couple of new projects as well. Outside of the already established stuff I have going on, I want to focus on small, cheap zines that I’d like to make as quickly and as consistently as possible. That’s what excites me right now. I’ve heard you are running a good comics club over there in Sligo, Ireland. How is that going? It’s really wonderful. Since the New Year it’s become a closed group, rather than being open to the public. The people currently involved have had the time to get to know one another and we all gel really nicely. I’m looking forward to collecting our output in a zine some time this year. In the few months that it’s run we’ve created hundreds of strips. Pretty wild, silly stuff. Let’s talk money. How are you currently paying the bills? Are you comfortable? I work in an art gallery. I do 20 hours a week as part of a government welfare scheme. That brings in enough for me and my wife to pay rent, eat well and live our lives. The rest of the time I put into drawing and printing. My wife is in the arts also. I think we’re in one of the better places in the world for two artists to be. We can’t afford much extravagance in our lives but we can draw and make stuff all the time without too much distraction. I think that’s a fair trade. I would agree. How would describe the experience doing over 100 Dog Strips? They look great and have a nice weekly rhythm. Thank you! It’s been a really great experience. It’s sometimes fairly challenging keeping up the pace, especially during the holidays and in those times when life gets in the way but it’s quite rewarding to keep the plates spinning. Having made as many as I have now, the uninterrupted run has become a strong motivating factor to keep going. The positive reactions I get from people are really helpful also. It feels great to be putting ideas out into the world and having people react in the right way. I can imagine. Especially with how things are going in the world these days… What is it like seeing how people react to this pseudo avatar as you produce the work? It’s really strange. The first 20 strips I made for Comics Workbook were made in a single 2 hour session late one night. The dog was, at the time sort of just an empty shell. There was no obvious character there yet and the gags at the time were too surreal to illicit any relatable feelings in people. It was goofy and distant in it’s intentions. But as time went on, people started pointing out how positive the strip was and how nice the dog was and that was a big surprise to me. It seems to have become this beacon of positivity which I couldn’t be happier about. I wouldn’t have felt comfortable starting out if I had been purposefully trying to do that. Big question: What do you think about memes? I love memes! I think they’re so super important. They open us up to a stream of diverse human experience which is illuminating and can only help us grow more compassionate as a society. Small question: What about billboards? Billboards, I’m not really sure if I have any opinion on. Do you mean like, out on the street? We don’t have many here but I can see a KFC billboard from my apartment window. It doesn’t tempt me. Do you collect any old newspapers, new comics, or zines? Not really, I have a nice collection of comics I’ve built up over the years though. We live a fairly balanced life at the moment so I don’t often feel I have the ability to buy stuff that isn’t necessary. I do love getting a new comic and poring over it obsessively. I got a few over Christmas which I’m taking my time with. I’m considering reviewing them as I read them. As someone who has a good handle of gag beats, what makes a good gag writer? I mean, if you look at 10-12 strips that somebody’s done and say, “This person’s a good gag writer,” how can you tell that? I think it’s important to realize that the humour of a strip can come from lots of different places. We talk about this in our comics class a lot. When we make something funny we’ll look at it together and say “why is it funny” and a lot of times it comes down to something very specific. It could be a specific wording or maybe even a miss-spelling that makes it funny. Or a facial expression or an overly defined bicep. I think people who are consistently good at writing gags are aware of the fact that there are all these different elements swirling around the page and sharing space together and that the great laughs come from the unexpected places of collision between these elements. I don’t think it’s impossible to create a great gag through careful planning but I think a more natural way is to keep yourself open to the whole experience of creation. Share this page: [...]

02/03/2017

Sally IngrahamFebruary 2, 2017NewsSally here with plenty of good company to help kick off your weekend – Annie Koyama, Vanessa Davis, Kate Beaton, Marie Duval, Sofie Louise Dam, Shreyas Krishnan, Gabriella Tito, and more! ————————————————————————————————— Happy 10th Year Anniversary to Annie Koyama and Koyama Press! Despite Kickass Annie’s grumpy appearance (above), she promises many sweet things to come in the next months. We can hardly repay you for being there for the comics community, for your faith in us all, and for the energy and passion you’ve given so freely for a decade. We can only say THANK YOU, THANK YOU, THANK YOU! ————————————————————————————————— The Ley Lines 2017 Subscription has been announced. Ley Lines comes from Kevin Czap and L. Nichols – it is a quarterly publication that explores the intersection of comics and other art forms and cultures. Four artists pick subjects that interest them and then compose work that compliments and describes their subject. This year Ley Lines will feature Tommi Parrish on William Blake/Lydia Lunch (February 2017), Eric Kostiuk Williams on Kylie Minogue (May 2017), Shreyas R. Krishnan on Abida Parveen (August 2017), and Evan Dahm on the Surrealists (November 2017). Get your Ley Lines 2017 Subscription HERE. I am particularly interested in seeing Shreyas Krishnan‘s book. She is an illustrator, educator, and visual journalist who started making comics more recently – her comic Becoming Rosie won the MoCCA Arts Fest Award of Excellence last year. See more of her work HERE. ————————————————————————————————— Sofie Louise Dam has a new comic on The Nib – it’s about Denmark’s move to take “being trans-gendered” off of all lists of mental disorders. Although Denmark is the first nation in the world to do this, Sofie details why that in itself isn’t nearly enough. More HERE. ————————————————————————————————— Vanessa Davis spoke to Paste about her comic Spaniel Rage, which was published in 2005 but is due to be re-released by Drawn & Quarterly this month. Vanessa talks about what it’s like to look back on work drawn over a decade ago, and the progression of her process since then. The diary comics that make up Spaniel Rage were in fact the very first comics she ever made. “Paste: You mention in your new two-page intro comic that you didn’t know how to make comics when you started this project. How did you learn how to do that? Did you grow up reading comics? Davis: I read Archie comics and Calvin and Hobbes and Garfield, but went to art school from 7th grade onwards, and was really encouraged to abandon anything comics- or illustration-influenced. I always had a cartoony “style” and that was always considered a handicap in my drawing abilities. In college I finally had a couple of teachers who finally just allowed that I knew how to draw as well as I was ever going to, and that the next thing to wrangle was my voice and perspective.“ A comic a day for a month (at a time in her life when the idea of drawing within panels seemed about as impossible as becoming a brain surgeon…!) put Vanessa on a path that she’s remained on to this day. And even if there are things about the Spaniel Rage comics that she might wish she could change, or would do differently now, she’s still glad to have them. “Some people have tattoos they regret—I have comics. But we’re still all going to dance our mistakes around from time to time.“ Read the rest of the interview HERE. See some of Vanessa’s recent short work HERE. ————————————————————————————————— There is still time to submit work for The Strumpet #5 – the theme for this issue is “Origin Stories”, and the deadline is March 1st 2017! “The Strumpet is a transatlantic annual focusing on women telling stories in comics, edited by cartoonists Ellen Lindner and Glynnis Fawkes (as well as, in prior issues, editrix emeritae Jeremy Day and Kripa Joshi). Despite ENORMOUS progress made by women in comics in the last two decades, we still feel that there’s a bit of a lag between the number of women we know who are doing comics (a lot) and those who are getting published regularly (not always a lot). At the end of the day, we can all use another deadline, and a prompt to do new and interesting work. And that’s where The Strumpet comes in.“ Submission details HERE. ————————————————————————————————— Anthologies like The Strumpet are in the tradition of the very first all-girls comics publication, It Ain’t Me, Babe, (1970). The Strumpet is in fact the continuation of Whores of Mensa, which was the brain-child of Mardou. She wanted a publication for women’s comics that was BOTH sexy and clever. As Jeremy Day wrote in a brief history of both The Strumpet and Whores of Mensa: “We wanted to tease apart the idea (and it is a dominant one, especially in comics) that people need to chose between being sexy and being clever. We wanted a comic that wore glasses and got passes; that was cunning, but also stunning.“ You can read about The Strumpet #1 HERE at The Comics Journal. I have been spending a lot of time lately digging up anthologies like these. They are incredible time capsules of various moments in comics history, preserving work by women who made mini comics in the 70’s, 80’s, and 90’s – pre-internet-publication days – as well as the early 2000’s. The catalog of work that each collection represents is fantastic. Other anthologies that I’ve rediscovered include Action Girl Comics, which was published between 1994 and 2000 and was edited by Sarah Dyer, and Girltalk (1995-96) edited by Isabella Bannerman, Ann Decker, and Sabrina Jones. And of course there are the groundbreaking publications like Wimmen’s Comix (1970-1991), Tits & Clits Comix (1972-1987), and Twisted Sisters (1976, 1994). There are many more – I just haven’t gotten my hands on them yet! ————————————————————————————————— There is a terrific article about Marie Duval over on Atlas Obscura. Lauren Young writes at length about this forgotten 19th century female cartoonist, who helped bring to life one of the first reoccurring characters in comics history – Ally Sloper. Marie Duval’s husband, Charles H. Ross, was the editor of Judy, a magazine that was a “cheap rival to the likes of popular magazines Fun and Punch, catering towards a primarily lower and middle class and female audience.” While Ross did create and draw the character Ally Sloper first, it was Marie Duval who developed and popularized the strip, doing the bulk of the drawing. ” “Marie Duval is important not only as perhaps Europe’s only popular female caricaturist, and not only as the chief author of the first Sloper,” wrote Kunzle. “She also deserves recognition for her graphic experimentation in an early period of the birth of modern art.” “ Read more about this rad lady HERE. And check out the Marie Duval archive HERE. (Thanks to The Comics Reporter for finding this piece!) ————————————————————————————————— The Last Cheerios Kate Beaton compiled her annual Holiday Comics – read them all HERE. Lauren Weinstein‘s comics on The Village Voice are pretty melancholy these days. Read Normal Person: The Future... Iona Fox tells the story of a guy who successfully organized other undocumented dairy workers and won the right to a drivers licence while changing the structure of policing in Vermont – Part 1 is HERE. Hyperallergic wrote about Gina Wynbrandt and her “pleasantly uncomfortable and brash” comics. Shoutout to Lady’s Comics, a collective from Brazil! Ink Brick is doing a Kickstarter campaign for Issue 8, which will debut in stores around the country this fall. Support the project. ————————————————————————————————— Check out The Art of Vanesa R. Del Rey! We designed it to look like a 1980’s comic book artist’s art book. The text is a transcription of an interview she did at The Comics Workbook Rowhouse Residency in 2016. Vanesa is a once in a lifetime talent who studied with George Pratt and who has worked with Grant Morrison. Get a copy of this book HERE! ————————————————————————————————— Suzy and Cecil – 2-3-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 2-3-2017 – by Caleb Orecchio Share this page: [...]

12/12/2016

Juan FernándezDecember 12, 2016NewsJuan here with the Art of Vanesa R. Del Rey; the 2017 Official Selections for Angoulême prizes; the glory of Katsuhika Hokusai; Censors and Satirical cartoons in Turkey; David Salle; Hallie Jay Pope on the ACLU sues NSA; understanding Neural Networks; new Suzy and Cecil. ————————————————————————————————— The Art of Vanesa R. Del Rey In May 2016 Vanesa R. Del Rey came to Pittsburgh, PA, to visit the Rowhouse and share her sketchbooks and her passion for comics with Frank and the rest of us. Their conversations about her work and experiences have been transformed into the book The Art of Vanesa R. Del Rey, which is full of gorgeous images as well. Frank Santoro: Vanesa, I’m quite taken aback by your sheer technical ability which seems to be married to a poetic sensibility. There’s a lightness there. Sometimes illustrators with that ability get heavy-handed. Yet you manage the push-pull between the two sides of yourself – because you’re like a samurai. The humble samurai. Vanesa R. Del Rey: It’s about trying to remember that. I can get all this praise, I can get all these amazing responses from strangers, but at the end of the day – I’m still a student. I’m still learning. The crown doesn’t fit. The crown should never fit. You can get a peek into the book and pre-order a copy HERE. I had the honor to design this publication, I’m extremely happy with how it came out and I hope you dig it. The process was so invigorating that I also went and created the following video based on some footage that Michael Pisano shot in the Rowhouse during Vanesa’s stay. I turned up all the nobs. Slam that play button to dive head first into the world of VRDR. Pre-order a copy of The art of Vanesa R. Del Rey HERE. (Video by Michael Pisano, Di-ay Battad and Juan Fernandez // michaelpisano.com // cargocollective.com/di-ay // juanjosefernandez.com – Soundtrack // Victoria’s Other Secret // Galapagoose) ————————————————————————————————— Heidi MacDonald’s got a look at the 2017 Official Selections for Angoulême prizes over on the Beat. It’s quite an eclectic list, if not as diverse as you’d like to see, but Angoulême’s move to a more modern and global outlook continues to advance. The jury this year was significantly broadened after the intense scandals of last year, with more women and booksellers. ————————————————————————————————— Hokusai – The glory of Manga Over on the New York Review of Books,Christopher Benfey takes a look at Hokusai’s Lost Manga, a collection of previously uncollected drawings by Katsuhiko Hokusai, published by the Museum of Fine Arts Boston. The Museum of Fine Arts, Boston, had long possessed—in its fabulous collection of Japanese art unparalleled anywhere outside Japan—an anonymous album of drawings long assumed to be by Hokusai. That album has now been persuasively linked to the artist, through art-historical detective work, via a hitherto mysterious publisher’s advertisement, from 1823, for Master Iitsu’s Chicken-Rib Picture Book.(Iitsu was one of Hokusai’s many disguises; the title might thus be translated, as MFA curator Sarah E. Thompson notes, “Hokusai’s Tasty Morsels.”) The volume of tasty morsels remained unpublished—until now. (…) When French artists like Manet and Degas first encountered Hokusai’s manga, in fifteen volumes numbering some 4,000 plates, it was the disjunctive, off-the-cuff quality of the images that proved most exciting. Hokusai seemed to be a Japanese flâneur, sketchbook in hand, who quickly took down whatever he saw on his travels or in his teeming imagination. Again and again in Hokusai’s Lost Manga, travelers take a break from their journeys—up craggy mountains, down dangerous rivers—to scrutinize the countryside. A couple years ago, Steve Bissette introduced me to Hokusai with an oversized collection in the Schulz Library in White River Junction. It changed my life. All the pieces came into place. Landscape, portraits, caricature, comics, beauty, humor. It was all there. The next day Connor Willumsen gave his artist lecture as the Center for Cartoon Studies fellow. The stars had aligned… On the subject of Hokusai, though: There are someecent publications worth looking at – Seigensha’s Hokusai Manga series. Small and lovely (~4″x6″), these make incredible companions for occasional contemplation throughout your day as you make your way through the world. As Hokusai would have liked. Check it out at your local library! You can find the ISBN over on Amazon,use that and ask your librarian real nicely for help getting your hands on these! ————————————————————————————————— CBLDF on Satirical Cartoon Blog Post Blocked in Turkey Maren Williams from the CBLDF reports on how a blog post featuring satirical cartoons of Turkish President Recep Tayyip Erdoğan is currently blocked by court order inside Turkey but freely available elsewhere. Cartooning’s once again at the forefront of censorship laws and the interaction between corporate autonomy, intellectual freedom and regional law. Faced with no ideal options, WordPress chose to geo-block the specific site requested within Turkey but direct users to a multilingual site with directions for circumventing online censorship via services such as VPNs and Tor. It also reported the takedown to the Lumen database, and the WordPress rep identified as Janet J told Jones that the company is brainstorming ways to maximize intellectual freedom and transparency for its users: There is no good solution to the issue of political censorship, and we are constantly reviewing the processes to find ways to combat it, including taking legal action in Turkey where appropriate. Going forward, we’ll look into making the current process clearer in our next transparency report. ————————————————————————————————— Encryption and You – ACLU sues NSA Every time you email or text someone overseas, the NSA copies and searches your message. It makes no difference if you or the other person has done anything wrong. An ACLU lawsuit is challenging this dragnet spying. We’re suing on behalf of a coalition of internet, human rights, legal, and media organizations whose work depends on the privacy of their communications. The ACLU has filed a lawsuit challenging the constitutionality of the NSA’s mass interception and searching of Americans’ international communications. At issue is the NSA’s “upstream” surveillance, through which the U.S. government monitors almost all international – and many domestic – text-based communications. The ACLU’s lawsuit, filed in March 2015 in the U.S. District Court for the District of Maryland, is brought on behalf of nearly a dozen educational, legal, human rights, and media organizations that collectively engage in hundreds of billions of sensitive Internet communications and have been harmed by NSA surveillance. The district court dismissed the case in October 2015, concluding that the plaintiffs lacked “standing” to sue because they could not show with sufficient certainty that their communications have been intercepted. The ACLU appealed to the Fourth Circuit, and heard oral argument last week December 8, 2016 in Virginia. Details on the hearing are now available from Wikimedia Foundation. Hallie Jay Pope‘s created a comic that lays out the nature of the NSA’s global internet surveillance system and its implications for the present. Dig into it. ————————————————————————————————— Neural Networks and the Bridge in Parsing Images On this wavelength, here’s an interesting thing to note: it’s been shown that computers can’t read, or even effectively parse comics, try as they might. Computers can parse what is in comic, but not how it’s organized. And in comics, the composition is as important as the content. The semantic units in comics are arguably too complex for computers to model and categorize. Comics as a space for encryption. Embedded meaning within the liminal space. Think about that… Here’s a little on why. It’s all about neural networks. Let’s talk about how computers recognize objects in images – Adam Geitgey has a great 5 part series over on Medium on Machine Learning and neural networks. I urge you to check that out. Accessible writing for the layman on the algorithms that are beginning to dominate are everyday digital life. Worth a look. Get a glimpse of a field of thought that cross cuts computer science and linguistics. NeuralTalk and Walk from Kyle McDonald – See in real time a neural network identify what is being seen through a camera. It’s creepy, astounding and hilarious at the same time. All that said, of especial interest for us visual thinkers is Geitgey’s article on deep learning and convolutional neural networks, focused on object recognition in images. Any 3-year-old child can recognize a photo of a bird, but figuring out how to make a computer recognize objects has puzzled the very best computer scientists for over 50 years. This article delves into that. sidenote: What does all this digital garbage have to do with your comics? Simply put, this is the world that we live in. The Butlerian-Huxlerian-Orwellian Cyberpunk Apocalypse. Work with me, this level of digital literacy is really important nowadays. These concepts are the cogs that turn the global machinery. It’s not magic, it’s numbers. Come to terms with the machinery or else. ————————————————————————————————— What kind of Artists do we want? David Salle‘s expanded a 2000 lecture of his over on Art News to fold in much of what he has been preoccupied with over the past 16 years. An exciting read with A LOT to unpack! I’ll confess straightaway that the proliferation of presentational art makes my heart sink. The inconvenient truth is this: It’s easier to present art than to make it. It’s easier to select than it is to invent. It gets confusing, because some of the great pictorial inventors of the twentieth century, like Andy Warhol, obviously, appeared to be doing nothing more than choosing—but that was an illusion, something borrowed from the beauty industry, where the amount of time spent in the makeup chair is meant to result in an effortlessly natural look. To make something that really holds our attention, especially over repeated viewings, requires levels of integration—intellectual, visual, cultural—expressed with a unique physicality. Art that eschews this integration is unlikely to be durably compelling for the simple reason that less is at stake. One component without the others is like an unstable chemical compound; it will degrade, or, to continue the chemistry analogy, it will fail to catalyze. Over time, the result will come to have the flavor of commentary. This is incredibly resonant for me. Ask yourself, what is it that makes comics certain comics transcendant or revolutionary as developments in the form? What do you think Salle would say about the creative process that brought them into the world? ————————————————————————————————— The latest Suzy and Cecil strips by Gabriella Tito and Sally Ingraham! Suzy and Cecil is a collaborative daily comic strip project based on characters invented by Bill Boichel and Frank Santoro. It is primarily drawn by Gabriella Tito and Sally Ingraham, teammates in the Comics Workbook Roller Derby League. The strip is part of their continuing development as cartoonists – follow @suzy_and_cecil on Instagram to see the project unfold and keep an eye out for guest strips drawn by other Comics Workbook students and friends! New comics Daily! ————————————————————————————————— Like what you just read? You’ll want to get in on our Daily News Wire. Sign up here. ————————————————————————————————— until next time hot shots, Juan Share this page: [...]

TCAF 2016 | Ethan Rilly

Frank SantoroJune 3, 2016Festivals and Shows / InterviewsShare this page: [...]

05/16/2018

Juan FernándezMay 16, 2018los Cómics / NewsPowerpaola, Liniers, y José Antonio Suárez Londoño —————————————— Los cómics y las noticias que me han llamado la atención esta semana: ~ en Español y “sometimes in English” ~ Feminismo y Autogestión: Elisa Mccausland entrevista a Powerpaola Incluir la palabra “poder” en el nombre siempre ha sido toda una declaración de principios. ¿Qué ha cambiado desde entonces ahora? ¿Qué has comprendido en torno al poder como autora después de más de una década dibujando y publicando, y qué crees que queda por hacer? Al principio esa palabra me fue dada. Creo que esa historia la he contado muchas veces. Por una confusión, creo yo, un hombre en el metro de París entendió que mi nombre era “Power”. Yo insistí con el mío y, al final, quedó un tiquete de metro con el Power escrito por él y mi nombre escrito por mí, todo junto. Lo tomé como una señal y luego, cuando abrí mi primer blog, lo puse como mi seudónimo. Siempre pensé que estaba fingiendo ese poder, me sentía muy insegura en muchas cosas; pero esa palabra me hacía inventarme un personaje que no le tenía miedo a nada. Y como dice esa frase de autoayuda: “Finge hasta que lo consigas”. Con respecto a qué queda por hacer, me parece que la clave está en seguir cultivando la imaginación y creando comunidad. Es la única manera en la que creo que las cosas avanzan. Léanlo todo en TEBEOSFERA! —————————————— King Features Picks Up “Macanudo” by Liniers. King Features Syndicate is picking up a new comic strip, something that is surprising in it’s own right. A heads up, though Macanudo has actually been around since 2002 in Argentina. Created byArgentinian cartoonist Ricardo “Liniers” Siri, Macanudos is a constellation of characters and gags that click and hum to make you laugh and make your heart warm. If you liked Pablo Holmberg‘s Eden, you’re likely going to enjoy Macanudos. It’s interesting to see Liniers find a home at King Features given that it seems American daily strip cartooning(Schulz, Herriman and Watterson) has been at the center of his practice. The circle nears completion… —————————————— La mente automática – José Antonio Suárez Londoño Bernal Espacio Galería presenta un conjunto de treinta grabados del destacado dibujante José Antonio Suárez Londoño (Medellín, Colombia, 1955). Todo el conjunto está lleno de tanteos, bifurcaciones y huellas. En el trabajo de Suárez Londoño todo se aprovecha, cada cita y cada circunstancia, y todo tiene más de una lectura. Ocurre también en los dibujos de Marcel Dzama con el que hay cierto parecido. O con los de WilliamKentridge, de quien tampoco está lejos. De hecho, el diálogo, aquí sí, fluye entre estos tres creadores que se conocen más allá del papel y de la magia, Doré, la botánica, la infancia, Goya y el presente. Los tres hablan de lo aprendido, lo cotidiano y lo imaginado comprimido en un tiempo conquistado. Lo que tantas veces llamamos fábula. Pocas veces pueden verse trabajos de este nivel y con esta cercanía, rozando la miniatura y el preciosismo, así que esta es una exposición para detenerse y para descubrirse. Más sobre la exposición. —————————————— Suzy and Cecil – 5-16-2018 – by Sally Ingraham Share this page: [...]

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