Comics Workbook

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Posted in NewsTagged caleb orecchio, conan the barbarian, ice worm

Caleb Orecchio

Posted on October 25, 2018October 25, 2018

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03/20/2018

Aaron CockleMarch 19, 2018NewsAaron here today with FUNHOUSE; Comic Aht; Teju Cole/Lorna Simpson; Dash & Nancy; Bill Plympton ————————————————————————————————— An Interactive Book Fair This weekend at The Drawing Center, 35 Wooster Street, NYC. On the weekend of March 24 – 25, Desert Island and The Drawing Center will present FUNHOUSE, a new, interactive book fair at which guests can make their own books in collaboration with resident cartoonists and illustration artists. FUNHOUSE Book Fair March 24–25, 2018 11am–5pm | Tickets $10 via Eventbrite here FUNHOUSE guests will interact with resident artists to create unique pages for one-of-a-kind books to be assembled at the fair. The resident artists will also have their own publications available for purchase at General Store within the FUNHOUSE fair, with games of chance, author signings, special activities, and giveaways of artists’ books. A SIDESHOW of talks, lectures, and presentations will be organized by FORGE. art magazine’s Matthew James-Wilson. Additional spectacles, like life-size interactive cut-outs and funhouse mirrors will provide wacky fun and photo-ops galore! FUNHOUSE artists include: Gabrielle Bell, Lilli Carré, Rob Corradetti, Joanna Fields, Laura Perez-Harris, Abby Jame, Jeff Ladouceur, Sarah Lammer, Gary Lieb, Richard McGuire, Walker Mettling, Ben Passmore, Oskars Pavlovskis, Monica Ramos, Jim Schuessler, R. Sikoryak, Whit Taylor, Matthew Thurber, Thu Tran, Mark Wang, Kelsey Wroten, Gina Wynbrandt, and JooHee Yoon. FUNHOUSE is organized by Gabe Fowler of Desert Island and Molly Gross of The Drawing Center. ————————————————————————————————— But is it…Comic Aht? #1, edited by Austin English with contributions from August Lipp Early issues of The Comics Journal offered quiet pages for artists to study, piecing together the practices and ideas of favorite artists in lengthy interviews. After a month of thinking about what a cartoonist said in a discussion, some debate of those ideas would appear in the next months letter column. The weight of a cartoonists words could be digested, embraced, rejected and most importantly THOUGHT about, rather then reacted to. ————————————————————————————————— On Photography Teju Cole on Lorna Simpson’s work: Like “Waterbearer,” many other works of Simpson’s from that period — including “Twenty Questions (A Sampler)” (1986), “Five Day Forecast” (1988) and “7 Mouths” (1993) — are both figurative and fragmentary. Evenly lit, crisply photographed, they look like pictures from an illustrated medical dictionary, indexical images of heads, torsos and mouths that are detached from context. Even in a work like “Figure” (1991), the figure in question, sheathed in a black dress and set in the black infinity of no particular place, feels like a fragment, as though she had been extracted from a group photo or a furnished room. The texts accompanying her, eight engraved plastic plaques, read like excerpts from a language primer: “figured the worst,” “he was disfigured,” “figured there would be no reaction” and so on. Here, not only has the story been winnowed down; it is in fact completely gone. There’s no story. We are left with only the tensions of concrete poetry. ————————————————————————————————— Grown Men Reading ‘Nancy’ Over at the New York Review, Dash Shaw looks at the new How to Read Nancy book, by Mark Newgarden and Paul Karasik: Today, comics are studied in colleges and reviewed in prominent magazines, but they are often discussed either as vessels for urgent, personal stories or as objects filled with beautiful, unusual graphics. They are rarely discussed or reviewed for their “cartooning,” the particular panel-to-panel magic, the arrangement of elements that mysteriously combines reading and looking, and distinguishes why a comic like Nancy is masterful and others are not. Beautiful cartooning affects a comic the way a well-chosen word, arriving at the right time in a sentence, makes for good writing, or the way a room composed with the right combination of things in the exact right places is good interior design. ————————————————————————————————— The 212th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, March 27, 2018 at 7pm at Parsons School of Design, Kellen Auditorium (Room N101, off the lobby), Sheila C. Johnson Design Center. 66 Fifth Avenue. Free and open to the public. Bill Plympton discusses his career and how to survive as an independent filmmaker. Plympton will screen Tiffany the Whale, Footprints, Cop Dog, Slide (preview (2 min.), Revengeance clips and Simpsons Couch gag The Artiste. ————————————————————————————————— Vision Box – 3-20-2018 – by Cameron Arthur Share this page: [...]

Comics Workbook Composition Competition 2018

Juan FernándezSeptember 6, 2018NewsCongratulations to ALL who created and submitted work for this year’s contest! This year saw a move away from the previous years’ use of tumblr as the dominant platform of digital media publishing. A different platform invites different constraints: instagram functions as a hyper-customizable newspaper that gets updated vigorously and endlessly. This year’s use of Instagram begged for a return to the building blocks of comics, thus the creation of comics strips. Details on this year’s criteria are available HERE. _____________________ First Place – A Weeklong Residency at the Rowhouse Residency in Swissvale, PA. Cory Feder Our decision to award Cory Feder First Place recognizes Feder’s creation of an ambitious yet simple, multi-layered poetic sequence that cuts through notions of language. This is the kind of strip that can be read and re-read ad infinitum to continue gleaning new meaning. Feder’s comic is the kind offhand remark, the cadence of which, you keep thinking about for years. This complex concoction of intuitive drawing and deft use of juxtaposition made for a winning combination. _____________________ Second Place – A collection of gag comics by the Comics Workbook gang Julian Fiebach In Second Place, Julian Fiebach’s “The Worker”clearly embodies excellence in both conception and execution of the classic 4 panel gag. Here is a testament to the raw power of smart minimalism in cartooning. These strips accomplish universally relatable expressions of the many ways that we engage in (and avoid) work in our lives through a pattern language pared down to its essentials. _____________________ Third Place – An original portrait by Audra Stang Will M. The Comics Workbook Competition’s Third Place, “BALLS”, offers an off the wall bit of nonsense. It’s a bizarre laugh that holds together quite well as an absurd re-interpretation of elements Charles’ Schulz world of Peanuts. It carries echoes of grief that crash into pure, unexpected, absurdity. This is a collection of visual chuckles, that accumulate to an absurd 4 panel sequence. A glorious bit of nonsense that begs the question, “WHY?”. _____________________ Honorable Mention Antoine Rigalleau David Craig Chris Jones _______________________ It is our belief that artistic creation is a two way street. An artist, or any other creator, grows in the process of creating; the greater the efforts, the greater the growth. By this measure, comics creators in general – and those who submitted work to this competition in particular – are growing by leaps and bounds, and so, by definition, is the comics form; as in the final analysis, the value of a form is coincident with the work that it contains. It is our hope that all of the makers who participated in this contest have been TRANSFORMED in some way – artistically, personally, spiritually, and/or physically – by the time and energy dedicated to the creation of their submissions. Everyone who took part in this exercise has completed a hero’s journey. _______________________ What I liked about the three winners is a strong sense of intuition and control. I see this aspect in the work of the honorable mentions. This year the judges looked at the entries and tried to frame the winners in a way that reflects the multifaceted jewel that is the world of comics creation in 2018. Thank you to everyone who participated in this year’s contest. And to everyone who may have begun their comic but did not finish it or enter it, please finish it and post it, and we will do our best to get it seen. Tag your post with #compositioncompetition2018 on Instagram. Juan Fernandez, Pittsburgh PA ___________________________ The restrictions placed upon the contest entries were derived from The Santoro Correspondence Course for Comic Book Makers. It is our firmly held belief here at Comics Workbook that restrictions such as the grid are ultimately freeing. We also believe that timing is the essential ingredient to making great comics. How do you study and practice timing in comics? You use the grid. _____________________________ Please check out the complete list of entries for 2018 at the following link! All Entries. _________________________ Check out past competition winners and entries: 2013 – 2014 – 2015 – 2016 – 2017 Share this page: [...]

Digital Ways of Seeing and a call for Serendipity

Juan FernándezMay 14, 2019EssaysJuan here. Let’s talk out about visual information. Lately, I’ve been really interested in how we create and share information (and truth) across the web. Did you know that more than 180,000 of the items in the New York Public Library’s Digital Collections are in the public domain? It’s true! Aaron Cockle showed me that a year ago, the NYPL had announced this new part of their digitally accessible collection. Thanks Aaron. Now everyone has the freedom to enjoy, modify, reuse and share the materials in almost limitless ways! NYPL now makes it possible to download these items in the highest resolution available, directly from the Digital Collections website. They’re BIG files. It’s true that “the interactive visual library” has been upon us for a while thanks to search engines that could deliver images. Nevertheless, searching in that kind of library is for the most part garbage. You have to sift through mountains visual of information just to potentially find what you need. Bummer. Web art that is allowed to grow wildly from that collective visual library, in an art-for-its -own-sake kind of way, has for the most part been visually chaotic and noise of visual resolution has usually been used as an aesthetic tool. Think Paper Rad. (Of course, there are lots of interesting exceptions like Dina Kleberman’s I’m Google project, not chaotic at all!) What kind of art is possible with tools like Public Domain visual collections? You tell me. More broadly, this is kind of thing reveals one of the many reasons why public libraries are so important. They point to a simple truth that everyone is denying. Searching via tools made by creators that work hand-in-hand with corporate interests sucks. It’s never deep enough. It’s never a rich enough experience.the paths to finding high quality, curated collection of visuals, for free are long, windy, and sometimes non-existent. A private browser like google, isn’t the most stable place to reliably find images across time. Sorry, private browsers. What we have is the exciting arrival of another institutionally supported manifestation of archive-able visual memory. I’m very thankful. We have Wikipedia, Archive.org, and others, but we still need more. Yes, this news from last January, but I want to shout about these kinds of projects from the hilltops. Especially in these times of “#alternativefacts”. Why? Because. With the explosion of instantaneous visual communication across the internet, visual forms, digitally transferred, can essentially be considered as shared experiences. The shared experience of “having seen”. This aspect of highly networked communication allows for users to collectively “see” the world through a shared viewpoint. Permission to transform artifacts of visual ephemera, of past visual memories, invites us to step across time and create and modify languages using pre-existing systems of visual communication. It is the power to create knowledge. Captured thought held into stable states that can be comprehended by another person across the network. Truth as recordable and transferrable. Props to the late John Berger for helping me understand this. My hope is to expand these thoughts from the seventies into the present day. Expanding this all out to copyright, websites ARE the expressions of that thought. And, as such function as the basis for the merging of idea and expression of idea. Everything expressed in “recordable” communication IS an idea within the legal framework. Organizations with corporate money have the power to take away certain “sides” of information. Duh. Information nowadays essentially being the mass of recorded experience. That kind of power can shape the mass of collective knowledge, that is the basis from which we collectively determine “truth”. Turning the creation of ideas into a commodity form. As a society, it is only through collectively supported libraries that we can expand what it means be creating, sharing and finding Truth. Commodity form as community form. Please visit your local library today. It may have been a while since you last visitited… It may have been just yesterday! Either way, do yourself a favor and open yourself up to serendipity. Get out there, find something interesting and check it out. Share this page: [...]

01/11/2018

Comics WorkbookJanuary 10, 2018NewsSam Ombiri here with thoughts on DNA Failure: British Weapon Comics by Leon Sadler, Jonathan Chandler, and Stefan Sadler ————————————————————————————————— Sam Ombiri here: DNA Failure: British Weapon Comics is Leon Sadler making comics with Jonathan Chandler and Stefan Sadler. The deal is Leon’s comics are really good, Jon’s comics are really good, and Stefan’s comics are really good, and together they compliment each other’s energy, better than ever. They all have this playful reverence for storytelling in comics that exist for existence’s sake. Or a “sake” not spoken of yet. This sensibility that’s really attractive doesn’t deviate from their enthusiasm for the story. Far from it – it only serves to take their stories to higher heights. As I’m reading this, I’m wondering what corner of a human’s mind can possibly have the capacity to make this stuff up? I’m not thinking of just the especially surreal events in the comic. I’m also thinking, for example, of how quickly these guys can ascribe a character’s role purely from their facial features. This is a wonder. As I read I’m really savoring each moment. This book is so much fun. What’s astounding is the complete lack of cynicism, which I know stems from sincerity, and it’s just what they do, but I can’t help but commend their lack of cynicism. It’s hard to talk about this comic, about this stuff, partly because I’m guilty of this too in my own comics. What is it I’m guilty of? There’s this one corner of webcomics – you see it in a lot of deviant art pages…probably the easiest place to find stuff like this is if you go to the Bad Webcomics wiki – and it feels like this is the stuff these guys are into. I’ll try to explain more clearly. (I’m not sure about Jon and Stefan, but I’ve read Leon has an intensely visceral reaction to things because there’s too much emotion in them.) This comic and what I’m trying to get at partly reminds me of what Jessica Ciocci of Paperrad said about amateur work: “When you see amateur work, you see the mistakes a professional would try and cover up – like when a person’s homemade Web site has a JPEG scaled up incorrectly. That’s the kind of stuff we like. It’s acknowledging that there are these unspoken rules about how you are supposed to do something – and when you break that rule you are acknowledging that the rule exists.” I think the inclination for most people is to pat themselves on the back instead of pushing further when they realize this rule exists. They try to outsmart the inherent perceived stupidity, instead of just engaging with this stuff as it is (if they don’t just flat out turn it into a punchline). It’s what puts Paperrad above Everything Is terrible (as cool as they are). It’s that same thing that is so great about people like Leon, Jon, and Stefan. I can’t help but think about how Dash Shaw was once talking about how for the most part, in the west at least, whenever people approach limited animation, it’s rarely without cynicism. Take those Adult Swim cartoons like Perfect Hair Forever or 12 OzMouse, in contrast to this community on YouTube which used to use programs like Pencil or the Corel software that would come with their Wacom tablets, to make wolf animations. Animations without cynicism. People like Tribble of Doom or Fluffylovey. What I’m saying is that with DNA Failure the success is three tier. Tier 1 is the lack of cynicism towards this zone of comics, Tier 2 is pushing enthusiasm – as in, they don’t feel compelled to contextualize this stuff just to prove that they’re smart. People (myself included) don’t always believe in the potency of this stuff. They don’t think it is independent of our recognition of it. I mean, sometimes it can be good to give it contextualization, but I don’t think it helps in cases where the potency of the work that one might be re-appropriating (at least for this bad webcomic stuff) is purely based on your recognition of it. It reveals this masked cynicism and masked vanity, or maybe arrogance is a better word. So then it’s not Tier 2 – it’s more like you’re in tier -2. DNA Failure reaches Tier 3, which is a complete mystery to me. I just don’t know – it’s not even three tier success now, it’s like a 2,000,000 tier success. There are many places comics can go if you open your eyes – DNA Failure opened mine. The comics in here are really fantastic. That’s another thing; when people (like me) re-appropriate this stuff, if it’s comics, they (by they, I mean we) tend to completely both forget and dismiss the comics aspect of it. We forget that it’s a comic with a story of some sort, and they (again, me included) maybe even forget that it’s a lot of fun to draw. Although when I say “fun” I don’t mean to say that you always have to draw with a bunch of wild strokes. (CF’s impression of Jack Kirby crosshatching) It doesn’t have to be fun but it certainly can be, especially when we’re talking about this zone of comics. The impulse to draw these types of comics commonly comes, after all, from having fun. (I’m using “fun” for lack of a better word, though not at the complete lack of it. I’m also thinking about how CF said that the spirit of cartooning is “just go ahead and draw.”) However, all the fun is taken out of it when it becomes a contest to see whose work is superior because of how “smart” it is. When I see this type of re-appropriation done (again, myself included), so much of it is this masked cynicism propelled by pretension. DNA Failure is amazing for so many reasons, number one because it doesn’t have any of that. There are really terrific moments in these comics and really great sequences, and instead of these guys patting themselves on the back, they just reach higher and higher and it’s really cool to see. I was very sad when I ran out of pages to read. – Sam Ombiri Read more about the comic HERE. ————————————————————————————————— Frank Santoro and Simon Hanselmann, CAB 2013 – photo by Chris Anthony Diaz, colored by Graham Willcox International Students: The Winter Semester of thee Santoro Correspondence Course for Comic Book Makers starts January 16th 2018! 8 weeks – 500 bux – coaching for as long as you need. The course is hard, but Frank will push your comics making practice to a new level, getting you to think about timing and color in new ways. His experience and ideas have influenced the likes of Connor Willumsen, Michael DeForge, and Simon Hanselmann (quote “I consider Frank Santoro to be my L. Ron Hubbard”) among many others. Dig into something new in the new year! Full details and how to apply can be found HERE. ————————————————————————————————— Joanie and Jordie – 1-11-2018 – by Caleb Orecchio Share this page: [...]

03/02/2016

Sally IngrahamMarch 2, 2016NewsMarch is Women’s History Month, and the Comic Book Legal Defense Fund is celebrating female cartoonists. First up was Barbara Hall, the main artist for Girl Commandos, which appeared in issues of Speed Comics in the 1940s. Read a bit more about her HERE, and check the CBLDF throughout the month for more biographical snippets of women in comics. How about a female cartoonist who is working today? Anna Mancini, or Manzanna, is a Brazilian artist. Click on the image above for more info about that particular comic. You can find much of Anna’s work on her tumblr, but it is nice to experience her comic Sadnesses HERE. A simple slideshow format brings a different rhythm to the panels, forcing, or allowing, you to slow down and really see it. This different type of viewing experience leads to a discussion of Stela, a subscription-based iOS app for reading comics that just hit the stores. The app was reviewed over on Polygon. Stela is experimenting with a variation on a format known as…the Infinite Canvas, a term coined by that mad scientist of sequential art, Scott McCloud. For obvious reasons, comics on screens don’t have to obey the physical limitations of print, and in his 2000 book Reinventing Comics, McCloud proposed that the screen could be treated as a window. Will it work or won’t it? That’s probably up to personal preference and the quality of the content. Fortunately comics like Ronald Wimberly’s GratNin are trying the app on for size, and if Ron can make the endless scroll bend to his will then there’s probably hope for it. On a somewhat related note, Simon Reinhardt has just released Mystery Town #4 and announced that it is going to be “officially a monthly thing for 2016″…! Who else is excited? Follow the link above to check out the whole thing, and read issues 1-3 as well. Tyler Landry has finished publishing The Jaundiced Eye on Comics Workbook. Stumble into a shadowy state that mesmerizes and terrifies almost equally. If you’re hungry for more CLAV after this, Tyler just loaded all of Shit and Piss #3 on Ello – check it out HERE. I hope these bits and bobs help you get through hump day! Cheerio – Sally Share this page: [...]

10/25/2018

Posted on October 25, 2018October 25, 2018 by Caleb Orecchio

Your friendly neighborhood Caleb Orecchio here with a public service announcement.

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by Roy Thomas, Carmine Infantino and Alfredo Alcala

Hello fellow cartoonists, winter is on its way. For some, winter is practically here. Don’t be an Ice Worm this year. Don’t hole up in your lair until some wayfaring stranger comes across your cave to slay you. Get out of the house. Have coffee with a friend. Check in on a relative. Exercise. It is important to take advantage of the cold weather by staying in to work on your comics, but don’t forget that the world keeps turning outside the drawing desk.

This has been another message from your friend, Caleb, the cartoonist who cares.

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Comics Workbook

An online magazine for comics makers

Posted in NewsTagged caleb orecchio, conan the barbarian, ice worm

Caleb Orecchio

Posted on October 25, 2018October 25, 2018

Explore

03/28/2018

Juan FernándezMarch 28, 2018los Cómics / NewsJuan Fernandez on Pepo’s EL CONDORITO and the Spring Semester of thee Santoro Correspondence Course for Comic Book Makers! —————————————— El primer libro de Condorito por Pepo esta descargable gratuitamente en el sitio de la Bibilioteca Nacional de Chile. You can now download the first collection of Chile’s national treasure, Condorito. Condorito is lazy, charming, and irresponsible. It’s a wonderful, top notch gag strip full of character. The strip was created in 1949 by René Ríos Boettiger(Pepo) in Chile as a specific response to the arrival of the American cultural offensive offensive to conquer South America ideologically via Walt Disney in 1942. His eponymous strip has been one of the most popular in all Latin America, in part because it is unmistakably Chilean. Download your copy of this 100+ page PDF HERE! ————————————————————————————————— The sterilization of Condorito Over on The Week, Lili Loofbourow‘s written a piece in response to Condorito‘s CGI arrival to the big screen. Her piece does a good job contextualizing Condorito in today’s media landscape and what is wrong with the latest movie. Condorito is a victim of the “design by committee” process that sterilizes anything that is ever intended for children… Essential to El Condorito is Pepo’s attention to sense of place. Pelotillehue, Condorito’s hometown, is a real, scrappy town with nooks and crannies and a history of its own. Akin to Carl Barks’/Don Rosa’s Duckburg in their respective Donald Duck comics, we learn and laugh as much from graffiti and street corners as we do from the strip’s gags. Lili Loofbourow: It’s hard to overstate how different Disney’s version of Chile as a paradise with snowy peaks and tidy houses is from Ríos’ irreverent corrective. Condorito’s world is hard and adult, and his town, Pelotillehue, is dirty and vital and populated by all kinds of weirdos. There’s Don Máximo Tacaño (Sir Maximal Stingy), a miser in tattered finery who’ll do the absurd to save a buck. There’s Ungenio (literally A Genius), a buck-toothed imbecile with the best intentions. There’s Garganta de Lata (Tin Throat), a red-headed alcoholic whose wife routinely awaits his return from the bar with a bowling pin. And then there’s Yayita, Condorito’s bombshell girlfriend, and her large and fearsome parents, Don Cuasimodo and Doña Tremebunda.) They had higher hopes for their daughter than a condor in patched pants who routinely brings her flowers ripped from her own yard. You can read it all HERE. ————————————————————————————————— Announcing the Spring Semester of thee Santoro Correspondence Course for Comic Book Makers 8 weeks! $500 bux! 10 spots available! Rolling start date because of spring break – start as early as March 30th 2018. Deadline to apply is April 12th. Read all about the course HERE and email santoroschool@gmail.com for more details or to apply. ————————————————————————————————— Suzy and Cecil – 3-28-2018 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 3-28-2018 – by Caleb Orecchio Share this page: [...]

07/27/2016

Juan FernándezJuly 27, 2016NewsJuan here with your Spanish language comics news: Fanzinotecas y otras colecciones que descrestan en Colombia; Consejos para crear e imprimir cómics; Marcela Trujillo entrevistado en El Interruptor; Josefina y Manuel por Sol Diaz; Entrevista Cecilia Toro en La polola; Power Paola y la voz de las mujeres; Alexis Ziritt; bonitos recuerdos de Entreviñetas 2015. ————————————————————————————————— Fanzinotecas y otras colecciones que descrestan en Colombia El mundo del fanzine colombiano es una selva gloriosa. Toma un momento con el Cartel Urbano y descubre la riqueza de las fanzinotecas colombianos que existen hoy en dia. La idea de clasificar, organizar y exponer fanzines, y no tenerlos en cajas o almacenados en montones, empezó a dar forma a las fanzinotecas, en donde hoy reposan colecciones que se han ido formando durante años. Hay espacios, como la Fanzinoteca Ambulant de Barcelona (España), en donde es posible encontrar hasta 1300 ejemplares, de los cuales más de 600 ya están catalogados y cuentan incluso con una base de datos para ser ubicados. En nuestro continente, esta movida tiene bastante presencia en Perú, Brasil y Argentina, en dónde recientemente abrió puertas la Fanzinoteca de Le Putit Galerie en Mar del Plata como una nueva “biblioteca” de fanzines en el país gaucho. En estos espacios abundan estas publicaciones, todas autogestionadas y producidas con bajos costos. ————————————————————————————————— Consejos para crear e imprimir cómics La imprenta GG les ofrece un quia para calcular el mejor presupuesto online de tu cómic y hacer el pedido. Formato, acabado, encuadernacion, aqui discuten todo lo importante! Imprimir cómics es una tarea que es mejor confiar a profesionales, debido a la importancia de lo gráfico que hace que sea fundamental contar con un equipo de expertos y máquinas que garanticen que el resultado final sea óptimo. En nuestras instalaciones contamos con máquinas capaces de realizar tiradas cortas que permiten un resultado excelente que anteriormente sólo eran accesibles en las grandes tiradas. Imprimimos regularmente tebeos, novelas gráficas, fanzines y cómics en diferentes formatos y con grandes diferencias de presupuesto. Sabemos que no es lo mismo imprimir cómics de un autor novel con poco dinero que realizar una edición de lujo para un historietista consagrado. ————————————————————————————————— “La Fama siempre me ha interesado” –Marcela Trujillo en El Interruptor La artista visual, historietista y pintora Marcela Trujillo, se refirió al proceso de convivir con la notoriedad de sus obras, destacando que ‘la fama siempre me ha interesado… desde niña me gustaba que me aplaudieran’. El Interruptor: lunes a viernes, 23:30 horas por VIA X, junto a José Miguel Villouta. ————————————————————————————————— Josefina y Manuel por Sol Diaz Desde el 2014 Sol Diaz ha dibujado la vida de Josefina Y Manuel, su amor desordenado, y como todo se arregla con un beso. Os invito explorar los archivos de Sol Diaz para que disfruten los comics de esta pareja. Si les gusta, sepen que la editorial chilena, Ocho Libros, ha publicado una collecion de Josefina Y Manuel. Los protagonistas de este pequeño libro de la ilustradora Sol Díaz comparten sus mundos imaginarios, para alegrar las vidas de los lectores. Son historias con que muchos pololos y pololas se sentirán identificados ————————————————————————————————— [soundcloud url=”https://api.soundcloud.com/tracks/274657623″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] Escucha @lapololapodcast, un podcast del cómic femenino con Sol Díaz Castillo y Marcela Trujillo! En este episodio se ponen a entrevistar Cecilia Toro, especialista en creacion con plastilina! ————————————————————————————————— “La voz de las mujeres estuvo silenciada en el cómic” Power Paola acabo de visitar Chile. Fue entrevistada por LATERCERA. ¿Qué ilustradores latinoamericanos destaca? Destacaría a las chicas del colectivo Chicks on Comics, que desde 2008 tenemos un diálogo virtual en un blog donde una hace una viñeta sobre la guerra, por ejemplo, y otra dibujante le responde. Allí hay muchos referentes: Sole Otero, Clara Lagos, Delius. De Chile: Maliki, Sol Díaz, Catalina Bu. ¿Por qué solo mujeres? Porque suele pasar que las revistas publican solo a hombres. Nos pareció que lo mejor era juntarse para hacer menos difícil acceder a estos espacios y para visibilizar a otras compañeras. También pasa que la voz de las mujeres estuvo silenciada durante muchos años y su integración le ha abierto un montón de posibilidades a la historieta.b ————————————————————————————————— No te pierdas este NUEVO banderín hecho por Alexis Ziritt y SECRET HEADQUARTERS. Limited edition! Lo puedes comprar AQUI. ————————————————————————————————— Fotodocumentacion – Entreviñetas 2015 If you’re looking to get excited for this years upcoming Entreviñetas Festival, look no further than Entreviñetas latest photo collection on facebook. They’ve amassed a wonderful collection of memories from last years festival. Explore it and get excitied! Calentando ánimos para la versión del 2016, aquí el álbum de recuerdos de lo que fue el 6° Festival Entreviñetas, evento que sacudió a Colombia entre el 26 de agosto y el 31 de octubre de 2015. Con una programación en 6 ciudades participaron 35 invitados de 13 países: dibujantes y guionistas de cómic, ilustradores, editores, críticos y lectores, muchos lectores de edades grandes y chicas, se reunieron para celebrar a las narraciones dibujadas de Colombia, América Latina y el mundo. ————————————————————————————————— hasta la proxima! juan Share this page: [...]

03/20/2018

07/06/2016

Juan FernándezJuly 6, 2016NewsJuan Fernandez here with your Spanish language comics news: Cuadernos de cómic número 6;los consejos de Inés Estrada; Novedades de Fulgencio Pimentel; la historia del cómic Chileno; una reseña del PLAYGROUND de Berliac. ————————————————————————————————— CuCo, Cuadernos de cómic número 6. Junio de 2016 La nueva edicion de la revista de estudio y crítica de la historieta, CuCo, hay sido publicada este fin de semana! Puedes descargar Revista 6 aqui – GRATIS. Entre sus ensayos, debates, y estudios esta edicion incluye entrevistas con Martin Lopez Lam, Mirion Malle, y Sergio Garcia. En CuCo, se toma lo del cómic en serio! ————————————————————————————————— Consejos de Inés Estrada Hot tips and encouragement from Inés Estrada on how to make comics and illustration work for you. Lots more over on her site. *Expensive tools aren’t mandatory I draw all my comics with just a mechanical pencil and I have a 10 year old wacom tablet. I only splurge on nice Fabriano paper. This is what I’ve found that works for me. Find whatever works best for YOU, it doesn’t have to be the same as what other people use! *Share your work anywhere you can If you can go to fests or shows, that’s great, but if you can’t, use the internet! I grew up in Mexico City where there is no “comics scene” but I was still able to make it because I’ve been consistently posting my work on the internet for years. Commit yourself to posting your work on Tumblr, Twitter or Instagram as often as you can. Try to have a separate account for your professional work that doesn’t feature a million photos of your beautiful cat and the delicious breakfast you made today. NEVER STOP DRAWING, NEVER STOP MAKING, DON’T LET ANYTHING DISCOURAGE YOU! STAY TRUE TO YOURSELF! ————————————————————————————————— La historia del cómic Chileno La Biblioteca Nacional de Chile le ofrece una vista cronológica del desarrollamiento del cómic chileno desde 1906 hasta el presente. Aunque no sea exhaustivo, es un buen punto de partida para quienes quieran aprender mas sobre el mundo del cómic Chileno. Edúcate! La historia del cómic en nuestro país se encuentra estrechamente relacionada con el desarrollo de la historieta y el humor gráfico, que iniciaron su recorrido entre el siglo XIX y la primera mitad del siglo XX. Este desarrollo, en sus inicios, estuvo centrado principalmente en la sátira política, y más tarde en publicaciones orientadas al entretenimiento infantil. El primer personaje de historietas nacional, Von Pilsener, fue creado en 1906 por Lustig (Pedro Subercaseaux), y sus aventuras fueron reeditadas en la década de 1990 por el poeta e investigador Jorge Montealegre. De estos años datan gran cantidad de publicaciones con historietas extranjeras y nacionales, entre las que destacaban algunas como El Pibe (1923), Don Fausto (1924), Pulgarcito (1938) y Pobre Diablo (1946), así como otras más conocidas por los lectores de hoy, como Topaze, dedicada al humor político, y El Peneca, dirigido desde la década de 1920 por Elvira Santa Cruz. Nació también antes de 1950 el más famoso de los personajes ilustrados de nuestro país: Condorito. ————————————————————————————————— Reseña de Playground por Berliac “ ‘Playground’ is a fundamental work to understand comics of today. It’s a complex, postmodern piece, about the medium and its limitations (…) Berliac breaks through these limits and starts from scratch (…) using, in short, all the posibilities of comics”. – Jesús Jádiva, Zona Negativa Y no se pierdan la reseña de Playground que Frank Santoro hizo pare TCJ en 2014. Te dara otra perspectiva en el valor de esta obra de Berliac. ————————————————————————————————— Novedades de Fulgencio Pimentel Editorial Fulgencio Pimentel a lanzado su nueva suscripción, y como mola: 1. Beverly de Nick Drnaso 2. Meeting Jari de José Ja Ja Ja 3. Melancolía de Simon Hanselmann 4. Talco de Amanda Baeza 5. La yaya Meti de Aapo Rapi 6. Mi pequeño (edición integral) de Olivier Schrauwen Suscríbete por 89.00€ hoy! Presentación DMLQL en Barcelona Y si estas en Barcelona, no te pierdas la presentacion de Gabriel Corbera este Sabado en Fatbottom! 9 de julio a las 12:00 horas. Fatbottom C/ Lluna, 10. Barcelona DÍAS MÁS LARGOS QUE LONGANIZAS de Gabriel Corbera es sencillamente uno de nuestros tebeos favoritos ever. Deudor del manga más cinemático tanto como de las novelas de Marcial Lafuente Estefanía, salpicado de referencias a videojuegos, envuelto en una atmósfera ominosa y risible a un tiempo, DMLQL es mayormente una lección acerca de cómo se ordenan los silencios y los blancos de un poema; o para el caso, de un tebeo. Para nosotros, desde la primera lectura, este tebeo es El Rock y El Verano, los dos en uno, y eso a pesar de que DMLQL es un cómic de tormenta. ————————————————————————————————— hasta la proxima! JF Share this page: [...]

03/23/2018

Sally IngrahamMarch 22, 2018NewsSally here covering over 100 years of women making comics, from Rose O’Neill to Dale Messick to Fiona Smyth to Jessica Campbell, and much more! ————————————————————————————————— Koyama Press always has a terrific lineup of new comics, and the Spring 2018 collection is no exception. I’m particularly excited for Jessica Campbell‘s comic (pictured above), the first lengthy story she’s told for a long while. Although I enjoy her comics which appear regularly on Hyperallergic (there’s a particularly funny one HERE, about “Residencies” vs. “Retreats“) and got a kick out of 2016’s Hot Or Not: 20th-Century Male Artists (also from Koyama Press), I am always left wanting MORE from Jessica Campbell. Therefore, I am thrilled to report that the new work, XTC69, is chapters long (120 pages!). And a quick look at review copy PDF proves that it is funny and weird and drawn in a 6-panel grid…and I made myself stop reading since I want to save my joy for the real thing. Coming out in May! Here’s the blurb on it: “Explorers from an all-women planet have found men to breed with, but have they found studs or duds? Commander Jessica Campbell of the planet L8DZ N1T3 and her crew are searching for men to breed with when they discover the last human on Earth, the cryogenically frozen Jessica Campbell. With a new, but familiar crewmember, the search for men continues, but will it be worth it?“ This is a great time to mention that Jessica Campbell was the most recent guest on Anya Davidson‘s podcast – listen to Mindkiller Episode 12 HERE. ————————————————————————————————— I am perhaps equally excited for Fiona Smyth‘s collection Somnambulance, also out from Koyama Press in May. Another cartoonist whom I want more of in my life, this is 300+ pages of Fiona’s work, spanning her career by showcasing comic strips and mini comics and other work from the mid-80’s through 2017. “Over thirty years of comics that feature Fiona’s world of sexy ladies, precocious girls, and vindictive goddesses is revealed in all its feminist glory. This is recommended reading for sleepwalkers on a female planet.“ Black and white, and color, this is going to be a real pleasure to dig into. Fiona Smyth has been working steadily for 30 years, and is a real inspiration to me. With this collection, I look forward to having something new to put into the hands of other women who are interested in reading and making comics! ————————————————————————————————— If you are in any of the cities listed above, be on the lookout for Aline Kominsky-Crumb, the force of nature herself, on the move along with her new book Love That Bunch (Drawn & Quarterly, May 2018) which collects her autobiographic comics and tells the tale of a woman “coming of age” in the 1960’s as only Aline could. HERE is the list of events and details about who Aline will be caught in conversation with. Love That Bunch will be another career-spanning collection, with comics from the 1970’s along with a new story. You can read more about it HERE, and see an excerpt from it HERE. ————————————————————————————————— The Fabulous Fifties is one of those “fabulous” archival blogs, where a collector posts scans of old comic strips, etc. This one is run by Ger Apeldoorn, and he has a vast collection of stuff. The blog is a treasure chest. A recent post offers up several dozen comic strips, all of which were published on Apeldoorn’s birthday, Sunday March 15th, 1959. I skimmed through the list with great pleasure, and found a couple of strips to share here today. Above is a strip by Gladys Parker, one of the very few female cartoonists who was working between the 1930’s and 50’s. She took over Ethel Hays‘ popular strip Flapper Fanny Says before developing her own strip, Mopsy, in 1939. Mopsy was very successful, and Gladys drew it until 1965. Below is one of the Brenda Starr, Reporter strips by Dale Messick. The series began in the mid-40’s and was at the height of it’s popularity in the 50’s. Dale Messick drew it until 1980, after which it was carried on by a couple of individuals or writer/artist teams – all of them female. Ramona Fradon took it over from Dale Messick, and when the strip concluded in 2011 (!) it was being written by Mary Schmich and drawn by June Brigman. ————————————————————————————————— Last but not least Smithsonian.com has an article about Rose O’Neill (b. 1874) and her iconic creation – Kewpies (one pictured above). These benevolent elves/cupid-like creatures were an national sensation, starring in comics and becoming a doll, etc. Rose O’Neill started out as the only woman on staff at Puck magazine, but the success of Kewpies brought her fame and wealth, and a better platform to fight for women’s right to vote and other issues of gender and racial equality. Read all about her HERE. Lynda Barry (herself!) covers Pénélope Bagieu‘s Brazen: Rebel Ladies Who Rocked the World for The New York Times Book Review – read her thoughts HERE. (There’s an interesting discussion of the dramatic difference that a small decision made: removing Bagieu’s handwritten text – in French, for the strips as they originally appeared in Le Monde – for generic “handwritten” block text in the English version…) Meredith Gran is running Octopus Pie again from the beginning – so new readers, now is your chance to hop on board. I would say that this is a pretty rare occurrence for a webcomic, and there is even an article on Slate about that, and why you should read it. Octopus Pie kicked off (again) on March 19th 2018 – read it HERE! Philippe Leblanc reviews Kiku Hughes‘ The Ghosts We Are and the Ghosts We Will Be – on The Comics Beat. ————————————————————————————————— Announcing the Spring Semester of thee Santoro Correspondence Course for Comic Book Makers 8 weeks! $500 bux! 10 spots available! Rolling start date because of spring break – start as early as March 30th 2018. Deadline to apply is April 12th. Read all about the course HERE and email santoroschool@gmail.com for more details or to apply. ————————————————————————————————— Suzy and Cecil – 3-23-2018 – by Gabriella Tito ————————————————————————————————— Share this page: [...]

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