Comics Workbook

An online magazine for comics makers

Juan Fernández

Posted on November 2, 2016November 2, 2016

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05/19/2016

HarrisonMay 19, 2016NewsDaily News. Daily News. Daily News. Daily News. Daily News. Kon in the vault. Photos in New York. Zines in the Land. Groove from Brazil. Snapshot “Kamoinge was not as much an organization, strictly speaking, as it was an informal circle of trust, affirmation, and career development. For Smith, just at the start of her practice, the group provided important forms of peer-to-peer discourse, meaningful critiques, and exhibitions.” Read up. ? ? “So supply appears to be a factor; regression analysis might find out how much (a project for another day). It should be noted that smaller release slates aren’t necessarily a bad thing, if the result is that the publishers and retailers are earning more profit per title; figuring out how much the comics market will absorb is the name of the game. It does appear that in 2016, at least thus far, the six publishers after Marvel in the charts have been a little more (and in some cases, a lot more) conservative in their periodical releases” More numbers and bar charts about comics. ? ? CALLING ALL ZINESTERS, COMIC CREATORS, PHOTOBOOK MAKERS, AND DIY PUBLISHERS! We’re gearing up for BOUND: Art Book + Zine Fair at MOCA Cleveland, planned for Friday-Saturday, August 26-27, 2016. Mark your calendar and submit your application today to be considered for a table. Participating tablers will be curated by TR Ericsson. We look forward to having a wide variety of creators’ work on view along with a line-up of programs that will include live music, DJs, workshops, and more. Applications are due by Friday, June 24, 2016. If you have any questions, please send us an email. All accepted artists will be responsible for paying a $50 table fee to MOCA before the fair. Learn More. https://youtu.be/nqq0nVu29g8 ? ? ☔️ “Millennium Actress, one of anime director Satoshi Kon’s feature films, is now available to watch on YouTube for free. The 2002 film is the latest addition to the Paramount Vault, a collection of full-length movies and short clips, all viewable for free.” @hgerard_prince arbitrary Kon Power Rankings: Tokyo Godfathers (2003) “Idiosyncratic Christmas Carol with pace and empathy.” Ohayo (2008) “Emotional and physical truth through detail.” Millenium Actress (2001) “Time and memory are pliable.” Paranoia Agent (2004) “Something small can morph into something ugly.” Magnetic Rose (1995) “Shedding of space.” Perfect Blue (1997) “Knife Emoji, Scary Face Emoji.” Paprika (2006) “Goofy Dreams > Sleek Dreams > Nightmares.” ? ? ☀️ ? Share this page: [...]

05/15/2018

Aaron CockleMay 15, 2018NewsLucy Shelton Caswell Research Award Winners; Colleen Frakes; Katie Fricas; Clough/Porcellino; Park on Reynolds; Spatial Frequency Analysis ————————————————————————————————— Announcing the 2018 Lucy Shelton Caswell Research Award Winners The Billy Ireland Cartoon Library & Museum (BICLM) is pleased to announce the winners of the first annual Lucy Shelton Caswell Research Award. The award of up to $2500, named for the founding curator of the BICLM, Professor Emerita Lucy Shelton Caswell, supports researchers who need to travel to Columbus, Ohio to use the collections materials of the BICLM on site. Thanks to the generosity of the Will & Ann Eisner Family Foundation, we are able to give three 2018 awards in celebration of the launch of the program. Moving forward, we will give one award per year. We were delighted to receive a large and diverse range of proposals from both national and international scholars and artists. A panel of ten reviewers from a variety of disciplines at Ohio State was appointed to assess the proposals. The recipients for 2018 are: Dr. Daniel Worden, Visiting Assistant Professor at the Rochester Institute of Technology’ School of Individualized Study. He holds a Ph.D. in English and American Literature from Brandeis University. His project is entitled “Oil Comics: Iconographies of Energy, Environment and Motion.” Worden’s research aims to chronicle the imbrication of comics with the oil industry and the normalized use of petroleum as a fuel source, from the late 19th century to the present. Xavier Dapena, Ph.D. candidate in Hispanic Studies at the University of Pennsylvania. His project is called “’They do not represent us’: Radical Imageries of Contemporary Spanish Graphic Narratives (1973-2011).” Dapena’s project centers on the intersection of graphic narratives and political imagination and seeks to understand how the political repertoire of images, symbols, and metaphors express three processes: memorialization, precarization, and legitimation. Frank Santoro, creator of Pompeii, Storeyville and other comics. He is also an educator who runs ComicsWorkbook, a training and residency program for cartoonists. His research on “The Ohio School of Naturalist Cartooning” will look at how Billy Ireland’s influence on Edwina Dumm, Noel Sickles, Milton Caniff, and C.N. Landon informed a language of 20th century cartooning that has carried on into the 21st century. Congrats, Frank! ————————————————————————————————— Colleen Frakes: A Cartoonist’s Diary ————————————————————————————————— ‘Stopping for Art and Conversation Along the High Line’ Katie Fricas looks at the group exhibition, Agora, in NYC. ————————————————————————————————— One night group exhibition and book release with work and new publications by: Clark Keatley Leon Sadler Stuart McKenzie Tom Sewell Viktor Hachmang Yannick Val Gesto At Dinner Party Gallery, Thomas Briggs Building, 2-4 Southgate Rd, N1 3JJ. Walk past reception to the door under the stairs. ————————————————————————————————— ‘How do you compare the experience of taking acid with your later practice in Zen Buddhism?’ Rob Clough continues the long interview with John Porcellino, over at The Comics Journal. The long “Mr Dusty” letter from Mr Mike that you printed was epic. That was an intense amount of text to lay down, which made me wonder how you feel about lettering and how your lettering has developed over the years. Did you look to others for inspiration? Did you ever use any kind of guide? Have you ever considered developing your own font? When I first started King-Cat, the lettering was as sloppy as the drawing! I didn’t care about stuff like that. I was just slinging ink. As my drawing got more evolved, the lettering did too. I started to get a kick from lettering more legibly, making those E’s, S’s. When I’m doing it it can be quite enjoyable. One thing I’ve found is I have to concentrate, kind of empty my mind, and focus on things. I can tell when I’m lettering and my mind starts to wander, things get sloppy. Then I pull it back in and keep going. Just like meditation, I guess. For guides, like a large bunch of text like a Snornose page or a letters column, I usually use the edge of a piece of paper as a ruler… line it up with the edge of the page and use it as a guide, siding it down a bit with each new line. But it’s not perfect and half the time I end up inking a page and it’s all on a slant. In my OCD days I would redraw it. Now I just kind of laugh at myself and let it go. Occasionally I’ve ruled bluelines to guide me, and at least once I used graph paper. I think that’s how Cometbus does it. That sure helps, but maybe I don’t really wanna think that much about it. When I look back at my lettering in the OCD years, it floors me, how precise it is! I was nuts! It’s beautiful, but the cost is too much maybe. I don’t know. The whole story of my post-meds career has been learning to balance that spontaneity I had before OCD with the precision I got from it. It’s taken me like ten years to start to figure it out. Font: no. ————————————————————————————————— Mauretania Comics Ed Park looks at the Chris Reynolds collection, The New World. The stories start on solid ground, then twist like dreams. Reynolds sets everything in uniformly sized panels, edged in black like funeral invitations. His impossibly thick line lends weight to these uncanny dramas of lost time. Calling the comics black and white feels insufficient; they’re more like black and white and black. This starkness, and the stabs of poetic word-image interplay, can call to mind his stateside contemporary Raymond Pettibon, while the silent, depopulated spaces that loom throughout—abandoned houses, vacant cinemas, phantom transportation—suggest any number of uneasy de Chirico vistas. ————————————————————————————————— Spatial Frequency Analysis – II The contrast sensitivity as a function of spatial frequency (called CSF) can be obtained psychophysically from the test image below . You will perceive a curve which peaks at some certain optimal frequency in the middle range of the image (depending on the viewing distance) at which the visual system is most sensitive to the contrast. The sensitivity is reduced when the frequency is either too high or too low. ————————————————————————————————— Vision Box – 5-15-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 4-15-18 – by Caleb Orecchio Share this page: [...]

03/14/2018

Juan FernándezMarch 14, 2018los Cómics / NewsJuan, on selling comics in Pittsburgh and “hypergeography” via the grid on tumblr y más! —————————————— Inaugural Mini-market @ Pullproof The weekend before last I sold and shared comics in Pittsburgh, PA during the Penn Avenue Unblurred gallery crawl. I set up shop at PULLPROOF Studio’s inaugural Mini-Market. All in all, it featured zines, prints, and jewelry by a crew of great local artists. It was really nice company. Among us were Jenna Houston, Lizzee Solomon, City Slicker Press, Max Emiliano Gonzales (GEMS), Jerome “Chu” Charles, Asia Lae, Lilian Kababa! PULLPROOF Studio is an in-progress printmaking studio in Pittsburgh, PA. They intend to offer a fully equipped silkscreen printing facility with a shared workspace and small storefront gallery at 5112 Penn Avenue in the Garfield neighborhood of Pittsburgh, Pennsylvania. Their mission is to provide affordable access to silkscreen printing equipment, space, and time to artists in the Western Pennsylvania area. It’s going to be nice to have them in addition to the Artists Image Resource on the North Side. It’s a cool project. I did my best Frank Santoro/Bill Boichel impersonation and brought comics to the people. Frank loaned me a stash of Colombian comics from when he’d been invited to Entreviñetas in 2014. They sold well. It was nice to sell those and see them make their way into the hands of Pittsburghers. I’ve been collecting and curating a wide array of zines and comics that express the vision of visual literacy that I’d like to see more of in the world. Among those collected comics, I also sell comics that I’ve helped produce, my own and those of the Pittsburgh Comics Salon. It’s a healthy mix. I like to make it concretely clear to people, through in-person experience, that, yes, whatever you’re into, there’s a comic or zine you’re going to love. It’s nice to proselytize as a vendor, not just an educator or artist. Frank Santoro has been on this grind for ever, both because it is a better way to make money at show, opposed to selling solely what you make, and also because it’s more honest with one’s real experience with comics. You’re just as much a consumer as you are a producer. There’s a really organic back and forth, that this kind of tabling set up allows for. A huge thank you to PULLPROOF, Christina Lee in specific, for inviting me and hosting this event. This is the kind of selling and sharing of comics and culture I want to see more of in Pittsburgh. ————————————————————————————————— Hyper Geography Hyper Geography es un Tumblr creado por Joe Hamilton. Hay 100 posts tipo “loop” que se unen horizonatalmente y verticalmente. Hamilton esta usando Tumblr y las possibilidades del template como medio para crear su arte. Este proyecto es un buen ejemplo de cómo el navegador se convierte en el lienzo y la plataforma social la herramienta. Todo gracias a la cuadrícula. ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: ~ en Español ~ El Duende y la Ilustración en Tres minutos… En Revista Cactus, Klari Moreno entrevista a Ana Galvañ y luego lo plasma así de bonito: Cartoonist Ramón Esono Ebalé finally released from jail in Equatorial Guinea. Un estupendo artículo escrito por el dibujante Mauro Entrialgo sobre Forges. Un gran homenaje. Texas Latino Comic Con returns! ————————————————————————————————— Suzy and Cecil – 03-14-2018 – by Gabriella Tito Share this page: [...]

Tac au Tac

Juan FernándezSeptember 18, 2017ResourcesFrom the late 1960s to the mid-1970s, Jean Frappat presented a show that was a joy to watch, Tac au Tac. Based on the concept of exquisite corpses so dear to the surrealists, the show generally set up two, three or even four cartoonists to compete in a friendly drawing match. The concept was simple, efficient, and allowed for many variations: A huge, blank white page and cartoonists equipped with just a simple marker. A theme was proposed (ex. invasion or pursuit), sometimes a visual starting point (simple line, spiral, circle), and the authors improvised, either collaboratively with their peers, or in a duel facing off against their opponents. The result was often far more than a juxtaposition of drawings, it was often a real visual dialogue between cartoonists. The tone of the rare commentaries by Jean Frappat gives an old-fashioned charm to these shows. It is a nice way to casually watch some of the greatest French cartoonists: Franquin, Uderzo, Moebius, Druillet, Roba , Bretecher, and Gotlib. Interestingly, there was a season recorded in New York in the fall of 1972, with guest artists Jim Steranko, Bernie Wrighston, Burne Hogarth, Neal Adams, Joe Kubert and John Buscema who wound up facing off against Gir, Druillet, Forest and Gigi from France. The INA (Institut national de l’audiovisuel) has posted on its site about one hundred Tac Au Tac programs. Below you will find a convenient index of those programs so you can dig in and watch. -Juan August 14, 1969 : Pouzet/Morez against Faizant/Gus August 22, 1969 : Piem against Maurice Henry September 1, 1969 : Philippe/Gébé against Fred/Gotlib September 26, 1969 : (Michel Douay, Mose, Tetsu and Piem) then (Urs, Philippe, Cardon and Jean By) December 15, 1969 : Laville/Soulas against Pichon/Barbe December 22, 1969 : Philippe, Urs, Cardon and Jean By July 5, 1971 : Franquin, Morris, Roba and Peyo July 19, 1971 : Piem, Mose, Trez and Rauch se piègent July 26, 1971 : (Urs, Philippe, Blachon and Jean By) then (Soulas, Laville, Pichon and Barbe) August 2, 1971 : Gotlib, Uderzo, Fred and Gébé August 9, 1971 : (Philippe, Urs, Blachon and Jean By) then (Piem, Trez, Rauch and Mose) August 16, 1971 : (Pichon, Laville, Soulas, Barbe) then (Piem, Trez, Rauch and Mose) August 30, 1971 : Barbe, Pichon, Laville and Soulas September 6, 1971 : Franquin, Morris, Roba and Peyo se piègent September 13, 1971 : (Alexis and Alessandrini) then (Gébé, Cardon, Siné and Philippe) September 20, 1971 : Siné, Philippe, Cardon and Gébé September 27, 1971 : Alexis, Fred, Gotlib and Alessandrini October 11, 1971 : (Piem, Urs, Pichat and Mose) then (Franquin, Morris, Roba and Peyo) October 18, 1971 : Gébé, Philippe and Cardon trap Siné October 25, 1971 : Exquisite Corpse with Gébé, Topor, Bretécher and Cardon November 15, 1971 : Caricatures by Ricord and Mulatier November 22, 1971 : Siné, Desclozeaux, Picha and Puig Rosado play and draw with food. November 29, 1971 : Franquin, Forest, Gigi and Druillet December 6, 1971 : (Gébé, Cardon, Philippe and Siné) then (Siné, Puig Rosado, Picha and Desclozeaux) December 13, 1971 : Franquin, Morris, Roba and Peyo December 20, 1971 : Franquin, Forest, Gigi and Druillet December 27, 1971 : The animals refused from Noah’s arc according to Giraud, Gotlib, Mandryka and Alexis January 8, 1972 :Exquisite Corpse with Cardon, Faizant, Tim and Ghertman January 22, 1972 : Giraud, Gotlib, Alexis and Mandryka February 5, 1972 : Jacques Faizant, Tim, Cardon and Alain Ghertman February 19, 1972 : Bretécher, Barbe, Laville and Loup February 26. 1972 : Druillet, Enric Sio, Buzzelli and Forest March 4, 1972 : Franquin, Bretécher, Uderzo and Fournier March 18, 1972 : Fred, Gébé, Soulas and Philippe March 25, 1972 : Druillet, Enric Sio, Buzzelli and Forest April 1, 1972 : (Piem, Cardon, Siné and Topor) then (Ricord, Mulatier, Solo and Gibo) April 29, 1972 : Jean Giraud faces of Jijé in 4 situations, with Hugo Pratt and Jean-Claude Forest as onlookers May 11, 1972 : Forest faces Hugo Pratt under the scrutiny of Jijé and Giraud May 13, 1972 : Horror with Guido Crepax, Esteban Maroto and Thé Tjong-Khing May 20, 1972 : Jean Giraud challenges Hugo Pratt under the scrutiny of Jijé and Jean-Claude Forest May 27, 1972 : Exquisite Corpse with Cardon, Gébé and Gourmelin June 3, 1972 : Piem, Siné, Cardon and Topor June 18, 1972 : Franquin/Roba against Brétecher/Gotlib June 24, 1972 : The theme of gas inspires Cardon, Gébé and Gourmelin September 16, 1972 : Jean-Claude Forest, Jim Steranko and Robert Gigi on a boat in New York (1) September 30, 1972 : Neal Adams, Joe Kubert and Jean Giraud October 7, 1972 : Exquisite Corpse between Bretécher, Johnny Hart and Parker Brant (no sound) October 14, 1972 : Burne Hogarth, Philippe Druillet and John Buscema in New York October 21, 1972 : Neal Adams, Joe Kubert and Jean Giraud October 28, 1972 : Mike Kaluta, Bernie Wrightson, Forest and Druillet in New York November 4, 1972 : Jean-Claude Forest, Jim Steranko and Robert Gigi on a boat in New York (2 November 25, 1972 : Fred, Gébé, Soulas and Philippe December 2, 1972 : Tillieux, Jidéhem, Morris and Brétécher December 9, 1972 : Piem and Siné December 16, 1972 : Piem against Siné December 23, 1972 : Desclozeaux and Puig Rosado drawing dreams December 30,1972 : Dali Special (without drawing) July 29, 1973 : Bretécher, Fred, Soulas, Gourmelin, Desclozeaux and Serre August 5, 1973 : Exquisite Corpse with Laville and Barbe August 26, 1973 : Serre, Cardon and Gourmelin (without sound) September 2, 1973 : caricatures by Ricord and Mulatier September 9, 1973 : childhood by Cardon, Serre and Gourmelin September 15, 1973 : Exquisite Corpse with Jean-Claude Forest and Gourmelin September 22, 1973 :Exquisite Corpse with Tim, Cardon, Desclozeaux and Faizant September 29, 1973 : Tim, Cardon, Jacques Faizant and Desclozeaux July 26, 1975 :Exquisite Corpse between Greg/Dany and Goscinny/Uderzo August 2, 1975 : Piem against Siné August 9, 1975 : Gourmelin, Cardon and Forest August 23, 1975 : Serre against Christian Broutin August 30, 1975 : Piem, Wiaz, Tim and Maja September 6, 1975 : caricatures with Ricord and Mulatier September 13, 1975 : The Storm Forest, Cardon and Gourmelin September 20, 1975 : Bretécher/Gotlib against Giraud/Druillet September 27, 1975 : Christian Broutin and Claude Serre improvising October 4, 1975 : Buzzelli, Peter Foldes and Thé Tjong-Khing October 11, 1975 : Maja, Piem, Tim and Wiaz October 18, 1975 : Christian Broutin against Claude Serre Share this page: [...]

08/25/2016

Sally IngrahamAugust 25, 2016NewsSally here, bringing you a look at some of Pittsburgh’s born or borrowed cartoonists (Ed Piskor, Yona Harvey, Ben Sears) as well as another read through that Trevor Von Eeden interview. ————————————————————————————————— Yona Harvey is a Professor of English at the University of Pittsburgh – and Marvel’s first black female writer. She is working on a 10-page story for the upcoming Black Panther spin-off series, World of Wakanda. “Harvey says, as a poet, she’s always considered herself a visual thinker, and explained how poets, like comic writers, have to condense life into as few words as possible. “I think it’s more in the thinking, like when you’re a poet you do sort of shrink moments,” she said. “A lot can happen across the day, from the time you wake up to the time you go to bed. There’s something about when you’re a poet, you’re able to sort of zero in on very specific moments, maybe the most tense or terse moments of the day, and I like putting that way of thinking to use for a comic. Because you do have to be super precise.” Though the writing shares some craft elements, the audience crossover between poetry and comics isn’t one-to-one, according to Harvey. “I’ve had friends who have said, ‘Man, it’s been years since I’ve read a comic book,’ or ‘I’ve never read a comic book and this’ll be the first time that I’m reading a comic,’ and that’s really exciting to think about poets who are reading comics for the first time,” she said.“ Read the rest of the article HERE and keep an eye out for this series soon (the bulk of which has been written Ta-Nehisi Coates and Roxane Gay, with artwork by Alitha Martinez and Afua Richardson.) ————————————————————————————————— Ed Piskor‘s Hip Hop Family Tree Vol. 4 was featured on NPR recently – Etelka Lehoczky wrote about the “bubbles” in the work, “phenomena that inexorably head skyward, pop suddenly and create a roiling surface“, or the numerous artists who kept the stew at the boil throughout ’84 and ’85. She revels in Piskor’s use of color, always part of the wonder of these books. Check out the whole thing HERE. Another Piskor-related thing that’s been on my mind is this picture that showed up on his Instagram a few weeks ago. What gives?! Giant HHFT cover burner on the wall at the Smithsonian in DC. A photo posted by Ed Piskor (@ed_piskor) on Aug 1, 2016 at 12:08pm PDT I know where I’ll be headed in the summer of 2018…! Ed Piskor has always been an unstoppable force, quietly conquering the world, and now with the announcement last week that Hip Hop Family Tree will soon be an animated TV series (yes you heard me right! – check it out HERE) – it seems like the world has noticed and won’t soon be forgetting. ————————————————————————————————— Ben Sears is in Pittsburgh this week for a Comics Workbook Rowhouse Residency – which of course includes field trips to Copacetic Comics to look for treasures with Frank. Check out Ben’s book Night Air (Koyama Press, May 2016) and stay tuned for more of his Rowhouse adventures! ————————————————————————————————— Last week we mentioned the incredible interview with Trevor Von Eeden, and if you haven’t gotten a chance to read it yet, here’s your reminder. There was one detail from the interview that’s worth another look. There’s a yet unpublished – “…Black Lightning/Superman comic book called Sources commissioned by DC Comics, written by new Batman writer Tom King especially for Von Eeden to draw when he was both undergoing and recovering from cancer surgery.” – Rich Johnson via Bleeding Cool Find more of Von Eeden’s artwork (below) for this future project HERE. Also be sure to give Trevor Von Eeden’s Kickstarer campaign for the series The Hard Code (with Ramon Gil) a look! ————————————————————————————————— This is Sally signing off – Harrison will be back with your Thursday music choices next week! Share this page: [...]

11/02/2016

Posted on November 2, 2016November 2, 2016 by Juan Fernández

Juan con un poquito sobre: Arnau Sánz; Convocatoria Tragaluz; Sacapunta.cl; lanzamiento del informe de Clima Escolar; Tarantula a todo color en AdHouse; el Proceso de Vanesa R. Del Rey.

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⚡“Quiero publicar mis libros desde mi editorial” Entrevista a Arnau Sánz

P.: La autoedición ofrece tanto ventajas como inconvenientes al autor a la hora de crear la obra. ¿Cuáles son para tí los más importantes?

R.: El control del trabajo. Yo he sacado tres libros en editoriales. En algún caso, con problemas de distribución, control de ventas, etc. De esta forma, sigo haciendo el mismo trabajo que hacía antes (dibujar, buscar firmas y entrevistas, moverlo, etc ), pero al menos sé que si algo no funciona es mi responsabilidad.

Por suerte, tanto en Edicions de Ponent como en Apa Apa, la libertad a la hora de afrontar la historia, tanto gráficamente como narrativamente siempre ha sido total.

El único inconveniente que encuentro, es el desembolso económico para imprimir las copias. El resto, a nuestro nivel de ventas, se puede hacer poco a poco.

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⚡La editorial colombiana, Tragaluz, viene de anunciar una convocatoria para los cómics! Por supuesto, como no es un concurso sino una convocatoria pública, la propuesta debe estar firmada y llevar datos de contacto. Para que sepan: pueden participar autores de cualquier lugar del mundo!

Hace un año nos inventamos una metodología para abordar una situación con la que lidiamos todas las editoriales del mundo: la cantidad tan grande de proyectos que recibimos todos los días de parte de escritores e ilustradores interesados en publicar. Quisimos que las propuestas que llegaban una a una a lo largo de todo el año se concentraran en solo dos semanas, para luego sentarnos a sistematizar todo lo recibido y programar cuándo y cómo leer, evaluar y tomar una decisión.

Viendo que podíamos aprovechar los errores para mejorar la experiencia, este año decidimos repetir: de nuevo, entre el 1 y el 15 de noviembre habilitaremos el correo quieropublicar@tragaluzeditores.compara recibir todo tipo de proyectos editoriales terminados.

Todo lo que necesitan saber sobre la convocatoria, en este enlace. Muchos más detalles por allá!

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⚡ Pablo Selin, el Comics Workbook master-mind chileno del diseño de nuestro website, y un equipo de dibujantes y amantes de los cómics estan armando un nuevo website que sirvira como foro para los cómics chilenos y latinoamericanos (críticas, reseñas, noticias y otros cómics), se llama “SACAPUNTA”. Ponte a explorarló!

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⚡Hoy es el lanzamiento del informe de Clima Escolar. Acá un detalle del trabajo ilustrado por Sindy Elefante, para verlo completo:

Hoy, 1° de noviembre de 2016, es la presentación de la primera encuesta nacional de clima escolar a niños LGBT de Colombia que lleva por nombre “Mi voz cuenta”, realizada por Sentiido y Colombia Diversa. Esta fue hecha entre diciembre de 2015 y marzo de 2016 de forma totalmente anónima, distribuida en redes sociales. Más de 550 niños y adolescentes entre 13 y 20 años la respondieron. Las cifras evidencian una preocupante realidad.

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⚡Han oido las buenas noticias? Ya pueden pedir Tarantula a todo color! AdHouse esta publicando este primer volumen de la novela policíaca, psicodelica y a la vez satanica del equipo Alexis Ziritt y Fabian Rangel Jr. y Evelyn Rangel. Si no has leido Tarantula – aquí tienes un preview 😉

Psychedelic pulp. Satanic noir. The story of three unusual agents of order trying to bring justice to a world on the brink of chaos. The pulp of yesterday retold through the lens of modern, over-the-top, psychedelic storytelling. The team that took the indie world by storm with SPACE RIDERS sets their sights on pulpy supernatural action/adventure!

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⚡El proceso de la gran Vanesa R. Del Rey en acción! Estudia estos videos, jóvenes padawans. Seguro que aprenderas algo!

👻 ✨magik ✨👻 WIP pic.twitter.com/QOVfoDUDgJ

— Vanesa R. Del Rey (@VDelRey) October 31, 2016

✨🔮✨ pic.twitter.com/UNGp0Z7ZBs

— Vanesa R. Del Rey (@VDelRey) October 31, 2016

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⚡Echale un vistazo a este medallón estilo Pompeii!

“Le encargué a la gran Airi Maeno que hiciera unos medallones de plata con sede fuera de mis dibujos. Este dibujo viende de mi libro Pompeii. Es algo que puedo imaginar que alguien se pondría hace dos mil años. Un simple medallón de un ser querido. Un retrato. Algo permanente para desafiar a la desaparición”. – Frank Santoro

Puedes comprar uno aquí!

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hasta la próxima!
Juan

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Comics Workbook

An online magazine for comics makers

Posted in los Cómics, News

Juan Fernández

Posted on November 2, 2016November 2, 2016

Explore

06/09/2017

Sally IngrahamJune 8, 2017NewsFriday with the cool kids – Rhoda Kellogg, Eleanor Davis, Trina Robbins, Katie Skelly, Lisa Lim, Gabrielle Bell, and more! ————————————————————————————————— Brian Belott has designed an exhibition inspired by the work of Rhoda Kellogg, “one of the foremost, undersung researchers of the doodles, wiggles, and dreams that kids draw.” Among his varied art projects, over the last 15 years Belott has been studying children’s art and he repeatedly bumped into Rhoda Kellogg’s name. Her work as a child psychologist and scholar led her to collect over a million pieces of children’s art between 1948 and 1981, but it all wound up in a storage unit in Connecticut until Brian Belott took an interest in the collection. The show he put together includes 300 pieces from Kellogg’s collection, his own work and attempts at making child-like art (or “forgeries” as he calls them, of his favorite kid-produced originals), and the classroom component (pictured above), which is staffed by his friends and peers during weekend workshops. As a teacher of kids myself, and someone who is experiencing a growing fascination with how kids process the world through art, I recognize the “natural force” that Belott describes and am eager to see this show if it does travel (as he hopes) and will certainly be picking up some of the books that Rhoda Kellogg wrote on the subject of children’s art. Learn more about her HERE. Find out more about the “Dr. Kid President Jr.” show via this article on Artsy. ————————————————————————————————— Hillary Brown chats with Eleanor Davis about her new comic You & a Bike & a Road (Koyama Press, May 2017) for Paste Magazine, starting off by wondering if she is perhaps “the most renowned comics artist of her generation“. Eleanor talks about the process of making the book: “I started out drawing every day of my trip because I always wish I was the sort of person who draws every day on a trip. (I’m not). And I was nervous about essentially taking a two-month vacation—what if everyone forgot who I was, what if I lost all my clients, etc. So I wanted something to post online. I kept drawing, however, because my knees were slowing me down, and that meant I was spending less time biking and more time resting and bored. Otherwise I might have let the journal peter out, like most of my journals tend to. When I got home, I wanted to collect the comics because I’m not productive enough to draw 100 pages of comics and then just let them blow away in the wind. At first I only wanted to put out a mini comic, but it was too many pages. I felt very upset about the idea of making it into a book because I didn’t think it had the merit to be a book. The comics are sloppy and self-indulgent, and collected together they have real life’s irritating lack of narrative structure. But once I filled it out a little it came together a little bit. And folks seemed to respond to the comics emotionally, so I thought it might work out.“ Read the rest of the interview HERE. Get a copy of the book HERE. ————————————————————————————————— I have yet to see the new Wonder Woman film, and in an effort to not spoil it by reading too much about it, I have found myself reading about other takes on the character – from Trina Robbins’ solidly Amazonian Diana (no fancy flying or special powers, just TRAINING) to George Perez’s vision, which brought the “wonder” back to Wonder Woman. This article at The Fresh Toast details Trina Robbins’ adventures with Diana. Trina was the first woman to draw a Wonder Woman series, digging into The Legend of Wonder Woman in 1986 (with writer Kurt Busiek). Trina’s artwork in this 4-issue series brought back the Golden Age, and the little girl whom Wonder Woman saves looks more than a bit like Trina as a child. George Perez’s relaunch of Wonder Woman in 1987 was admittedly a bit more exciting. There is an excellent article on Vulture about Perez and what he brought to the continuing saga of the character. Now that a badass female director has made a Wonder Woman film that folks are pretty delighted by (despite it being a DC flick!), I can only hope that good things are in store for Diana and her creators down the road. ————————————————————————————————— And Also Katie Skelly joins Mike Dawson and Zach Soto for Episode 35 of Process Party. Dominique Goblet‘s Pretending Is Lying is reviewed on the Los Angeles Review of Books by Tahneer Oksman. Meredith Gran concludes her long-running web comic Octopus Pie. Lisa Lim writes and draws about how she went from being an “apolitical to a little more political Asian” on Mutha Magazine. Jillian Tamaki goes through her process for one of the stories in her new collection Boundless – at The Cut. Check out Madeleine Witt and Andrew White’s Kickstarter for their upcoming collection Warmer: A collection of comics about climate change for the fearful & hopeful. The Ladybroad Ledger, edited by Stephanie Zuppo, is campaigning for funds to print issue #2. Gabrielle Bell was on The Rumpus Book Club chat near the end of May – her new book Everything Is Flammable came out June 6th. ————————————————————————————————— Suzy and Cecil – 6-9-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-9-2017 – by Caleb Orecchio Share this page: [...]

03/29/2016

Aaron CockleMarch 29, 2016NewsMarcel Broodthaers in NYC; Bernadette Mayer & Experimental Writing; PMF VII; FUCK OTHER FORMS OF ART; O Risograph, my Risograph! ————————————————————————————————— Belgian artist Marcel Broodthaers (1924-1976) is experiencing something of a renaissance here in NYC, what with the room devoted to his book work at the most recent New York Art Book Fair, a show currently at Paul Kasmin Gallery, and the expansive career retrospective now on view at the Museum of Modern Art. ————————————————————————————————— Bernadette Mayer’s List of Journal Ideas + Writing Experiments ————————————————————————————————— Aidan Koch @ Open Space + the Seventh Annual Publications & Multiples Fair (PMF VII), April 9-10, 12-6pm each day at the Baltimore Design School, 1500 Barclay Street. The fair is free and open to the public. ————————————————————————————————— Jef Czejak’s essay from 2001 about funding for comics projects within the art-funding community still has relevance. That whole issue of The Comics Journal, #238, guest-edited by Tom Devlin, is full of useful information. ————————————————————————————————— Risograph Tutorials on YouTube. There are some semi-slick, corporate videos that are kind of fun to watch, if you’re in to that sort of thing. ————————————————————————————————— SPECIAL NEWS ITEM Please consider supporting the Retrofit Kickstarter. They have an ambitious publishing schedule in place with an amazing group of artists producing high quality comics work. ————————————————————————————————— Share this page: [...]

10/16/2017

Caleb OrecchioOctober 15, 2017NewsCaleb Orecchio here with thoughts on practicing color, and other news. ———————————————————————————————— I’ve been thinking and working with color a lot. In this day and age, where color is an option for cartoonists looking to print their work (color was not always an option for ye olde comics makers, true believer), the quantity of choice of what the colors should be and how to apply them can be intimidating. Fear not. In my opinion, the best way to start in color is the classic CMYK–which is essentially, as you probably know, blue, red, yellow, and black. One reason this is a good choice is that most riso printers carry these four colors (riso being probably the best option in self-publishing in color if you can swing it) AND they are easily acquired in forms of marker or colored pencils, AND because these are the colors comics used in the past and traditions are important to me. The Classics Illustrated series is a great gateway into classic coloring. They all have a minimal, crude feel to the coloring. It does not seem that their printer offered a large pallet, or maybe they couldn’t afford it. Anyway, I read about the 152nd installment of the Classics Illustrated line, “Wild Animals I have Known”(adapted from the book by Ernest Thompson Seton; drawn by LB Cole) from Kevin Huizenga’s blog years ago and subsequently bought it. I’m going to run through an example of how I play and practice with this book. Here’s a good panel that demonstrates a nice, simple combination of CMYK. First, I isolate the colors by tracing over them with markers on tracing paper. I don’t worry about being exact because that isn’t the point. I’m not trying to recreate the image, I just want to see how colors interact. Then I put them together–then yellow, then red and so on. Please forgive how the lightbox makes the photos look. But the idea is to keep going. Okay so how would it look like if we took one color out? Or just used one color? I could go on and on. You just have to keep trying things. Try it if you want–and feel free to mix it up. Make a new blackline drawing and put it up against the color. Flip the color layers or stagger them. This is just something to think about while you work on your comic. Follow your bliss. ———————————————————————————————— if you don’t know now you know I meant to post about this a month ago when it came out. I sincerely love this youtube documentary about comic shop owner Glenn O’Leary and his store, Comic Book Palace. My taste literally never overlaps with his and I think he is wrong about almost every aspect of comics–accept the way he retails–but I can’t help but love it. Sticking with the retail theme; TCJ.com blog made me aware of this–Dan Gearino on Jim Hanley. LOL they are making the New Mutants movie a horror movie (or seemingly so)–nothing wrong with that I guess do what you gotta do whatever. Aaaaand a shoplifter jumped out of a Midtown Comics second story window–doesn’t he know comics are worthless? ———————————————————————————————— Suzy and Cecil – 10-16-2017 – by Sally Ingraham ———————————————————————————————— Cozytown – 10-16-2017 – by Juan Fernandez ———————————————————————————————— Joanie and Jordie – 10-16-2017 – by Caleb Orecchio Share this page: [...]

04/06/2017

Sally IngrahamApril 5, 2017NewsSally here with updates from John Jennings; the (H)afrocentric project; Ron Wimberly/C. Spike Trotman/Ariell Johnson on NPR; throwing “diversity” under the bus. ————————————————————————————————— Gene Demby and Glen Weldon of NPR spoke to Ronald Wimberly, C. Spike Trotman (online comics publisher of Iron Circus Comics in Chicago, and creator of the long-running webcomic Templar, Arizona), and Ariell Johnson (owner of Amalgam Comics & Coffeehouse in Philadelphia) about “changing color in comics“. Listen to the podcast HERE. ————————————————————————————————— Check out (H)afrocentric, a comics project created by Juliana “Jewels” Smith. An educator, writer, and organizer based in Oakland, CA, she “created (H)afrocentric as a way to challenge students and readers alike about the presumptions around race, class, gender and sexuality through character dialogue. Her practice focuses on the links between racial justice, gender equity, and political literacy; using creativity to facilitate dialogue.” There are 4 volumes of the comic so far – you can preview Vol. 1, 2, and 3 HERE and Vol. 4 HERE. Juliana writes it and Ronald R. Nelson provides the artwork (with Mike Hampton as colorist/letterer). The team also makes a comic strip which is available as a “Sunday Funny” via email subscription – or you can catch up with the whole thing HERE. ————————————————————————————————— Over the past weekend, a few folks at Marvel Comics put their feet in their mouths. This is not unusual, these days. David Gabriel, Marvel’s senior vice-president of sales, print, and marketing, tried to blame Marvel’s recent decline in sales on their attempts at adding “diversity” to their comics. Que an uproar. The Guardian‘s JA Micheline had some things to say about it: “Let’s look at how the discussion was framed: “Any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up,” says Gabriel – without a qualifier or interrogation of which readers and why. I can promise you that it’s not women going into comic-book shops, sick of female characters. I can similarly promise you that people of colour are not entering comic-book shops and turning their noses up at faces that look like theirs. By even making remarks like these, Marvel is seemingly conceding that its target audience, its “core” audience – and their “core” characters – are white and male.“ Read the rest of her comments HERE. G. Willow Wilson, the writer behind Ms Marvel, had a thoughtful response as well. Among her comments was a reminder to the folks at Marvel and elsewhere: “Diversity as a form of performative guilt doesn’t work. Let’s scrap the word diversity entirely and replace it with authenticity and realism. This is not a new world. This is *the world.*“ Read the rest of her thoughts HERE. Vox offers up a detailed and fairly balanced look at the whole snafu and pinpoints some of the reasons for both the outrage and the cause of it. ————————————————————————————————— John Jennings spoke to The Boston Globe recently about his new comic adaptation of Octavia Butler’s Kindred (above) and his interest in horror stories. His comic recommendations and recent reads are all excellent, and I like where he says (despite the evidence of his new book) that he doesn’t like the idea of graphic novels being a “gateway” to reading books. Read the interview HERE. There is also a great interview on NPR from February 2017 about the joys (and fears) of making Kindred into a comic – check it out. I’ve linked to this piece before, but if you’re unfamiliar with John Jennings and the work he does in the comics community, get to know him better HERE. ————————————————————————————————— The illustration above by Comics Workbook student Shannon Wright accompanies an article about a case of “shared” identity. Not comics at all – but an interesting read. ————————————————————————————————— Comics Workbook will be at the Pittsburgh Indy Comix Expo on Sunday, April 9th. We will be hosting a workshop series with instructors from the school, as well as special guests Carol Tyler, Lale Westvind, and Connor Willumsen! More details HERE. ————————————————————————————————— Blinkers – 4-6-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 4-6-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 4-6-2017 – by Caleb Orecchio Share this page: [...]

06/27/2018

Juan FernándezJune 27, 2018los Cómics / NewsToto Duarte y Camila Barrales, Rutu Modan entrevistada y Frank’s Cosmic Corner – – – – – – – – – – – – – – – – – – – – La Polola #78 -Toto Duarte y Camila Barrales Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan los dibujantes Toto Duarte y Camila Barrales. Conversaron sobre formas de narrar, de mirar, de criticar y de cuestionar lo establecido a través de la gráfica, el fanzine y las auto publicaciones. – – – – – – – – – – – – – – – – – – – – Entrevista con Rutu Modan: Jelena Arsić, Jotdown.es En tu cómic-blog del New York Times, Mixed Emotions, hablas simplemente de tu familia. ¿Son historias reales? Lo más que hago es cambiar los nombres, por lo general son historias reales. Toda ficción no deja de ser una mezcla de experiencias reales. Yo solo escondo un poco la realidad en una ficción. El origen es que me hicieron el encargo en el New York Times a modo de columna mensual. Trabajo muy despacio, vi que no me iba a dar tiempo y decidí tomar los guiones prestados de la realidad. Así iba a ser más fácil que se me ocurrieran ideas. Le fui dedicando una historia a cada miembro de mi familia. Como era en inglés, pensaba que nunca lo verían y me solté. Pero lo vieron. Por supuesto, lo encontró uno de mis primos y directamente se lo envió a toda la familia. Tengo un tío que todavía está enfadado conmigo porque le puse de «oveja negra». Cada vez que me ve me pregunta por qué. El resto, en cambio, están muy orgullosos de que cuente historias sobre ellos. Soy muy cercana a mi familia, a mis tíos y tías, y también a mi abuela, que ya está muerta, la protagonista de La propiedad. Cuando estaba escribiendo esa novela gráfica les preguntaba mucho por cosas, les pedía información, porque mi abuela ya había fallecido. Les hice como entrevistas a cada uno, porque sabían todas las anécdotas e historias que les había contado mi abuela. Cuando luego se vio que era un libro sobre Polonia y sobre la abuela, se quedaron muy decepcionados, porque pensaban que iba a ser sobre ellos. Se enfadaron, además, porque le cambié el nombre a la abuela. Un primo mío, que sale en la historia, ya se refiere siempre a la abuela por su nombre en La propiedad. Mi tío y su hija me decían que no les gustaba cómo la había representado, que ella no era así, que ni siquiera era su nombre. Pero es que no era la historia de mi abuela, era una historia construida a partir de la personalidad de mi abuela. Y ellos: «Ya, pero es que no es ella». – – – – – – – – – – – – – – – – – – – – Frank’s Cosmic Corner At Comics Workbook we are testing what it means to be a new kind of learning institution for comic book making. One of the many things we do at Comics Workbook is resell comics. Hop on over to @frankscosmiccorner on instagram and check out all the comics Frank Santoro has up for sale. You name it, we’ve got it! Lots of great mainstream and inside comics – lots of good-bad comics. All proceeds go to helping keep the lights on here at Comics Workbook, so your support is much appreciated! – – – – – – – – – – – – – – – – – – – – Suzy and Cecil – 06-27-2018 – by Gabriella Tito Share this page: [...]

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