Comics Workbook

An online magazine for comics makers

Juan Fernández

Posted on December 14, 2016December 14, 2016

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12/19/2017

Aaron CockleDecember 19, 2017NewsAaron Cockle today with Black Dada; Why, Comics?; Laura Park; Ai Wei Wei (in NYC); What is Bias in Machine Learning? ————————————————————————————————— Adam Pendleton and Black Dada Here are a couple pieces about Adam Pendleton’s excellent Black Dada Reader: Interviewed in his studio, Pendleton is quick to point out that the book, like much of his work, has always been an experiment. The Reader began its life as a spiral-bound book that lived in the artist’s studio, an attempt to create “a collage in book format” of texts that inspired him. “Originally it was an in-studio publication, in the sense that it wasn’t really meant necessarily for a wide distribution,” he explained. “It was really meant for me to refer to in the space of the studio while I was working on different projects. But I did hand out maybe a dozen copies, maybe more, to the people who would come to the studio, or people who were interested in the work and or the concept of Black Dada.” ————————————————————————————————— Panter/Groening DIY Here is an excerpt from Hillary Chute’s book, Why Comics?: From Underground to Everywhere, at the Lit Hub blog: The punk scene that launched cartoonists Panter and Groening was part of a larger punk movement that hit America, and the UK, in the mid-to-late 1970s. Both political and aesthetic, the punk movement, which often registered as a visceral or even violent response to mainstream pop culture, encouraged people to create their own culture across many different forms of production. This includes, most famously, the music that came to be known as punk rock. Punk culture often consolidated around bands, particularly their live performances, and the independent labels that developed to put out their music, along with the art and graphic design that went into their promotion—as well as the fanzines that articulated their ideas and goals. The “do-it-yourself” ethic is the defining feature of punk culture and production. As Jaime Hernandez, the creator, along with his brother Gilbert, of the famed long-running series Love and Rockets explained, he never realized he could be a cartoonist until he got involved with punk. “Then I thought, ‘Oh, this is kind of the same thing,’” Hernandez told the novelist and comics writer Neil Gaiman. “They were all the same to me, so if you could do that with punk, you could do that with comics.” ————————————————————————————————— A Cartoonist’s Darkly Magical and Autobiographical Work At Hyperallergic, Sarah Rose Sharp looks at the Laura Park exhibition and residency at the Columbus Museum of Art: “When you’re doing autobiography, you realize our lives are very repetitive, so a sense of magical realism starts to seep in there,” said Park, who cited British-American cartoonist Gabrielle Bell as an admired peer working in a similar vein. For example, in the story “Office32F,” Park’s comic stand-in discovers a miniature and mysterious office in the walls and baseboards of her apartment, apparently devoted to the task of close-monitoring her daily existence. The tale is equal parts cute and unsettling, with the protagonist taking cues from miniature written reports, which criticize her unkempt birdcage, but also lead her to finding a tiny pair of red mittens caught in a spider web and bizarrely soaking them in bleach and flushing them down the toilet. The specificity of Park’s visual and literary descriptions adds a sense of the uncanny to even the most quotidian urban activities, like Strangers on a Train, which captures moments while riding public transportation. ————————————————————————————————— Good Fences Make Good Neighbors Public Art Fund has a great interactive site detailing the current Ai Wei Wei installation in NYC. Ai Weiwei conceived this multi-site, multi-media exhibition for public spaces, monuments, buildings, transportation sites, and advertising platforms throughout New York City. Collectively, these elements comprise a passionate response to the global migration crisis and a reflection on the profound social and political impulse to divide people from each other. For Ai, these themes have deep roots. He experienced exile with his family as a child, life as an immigrant and art student in New York, and more recently, brutal repression as an artist and activist in China. The exhibition draws on many aspects of Ai’s career as a visual artist and architect, and is informed by both his own life experience and the plight of displaced people. In 2016, Ai and his team traveled to 23 countries and more than 40 refugee camps while filming his documentary, Human Flow. ————————————————————————————————— The Trouble With Bias (in Machine Learning) Via Boing Boing: “The Trouble with Bias,” Kate Crawford’s keynote at the 2017 Neural Information Processing Systems is a brilliant tour through different ways of thinking about what bias is, and when we should worry about it, specifically in the context of machine learning systems and algorithmic decision making — the best part is at the end, where she describes what we should do about this stuff, and where to get started. ————————————————————————————————— Vision Box – 12-19-2017 – by Cameron Arthur —————————————————————————————————Joanie and Jordie – 12-19-2017 – by Caleb Orecchio Share this page: [...]

01/10/2017

Aaron CockleJanuary 9, 2017NewsAaron here today with A Vernacular of File Formats; The False Grandmother; Joe Sacco: SJW; Still and Moving Images; Kirby/Slash; Sara Lautman Comics; EX-VOTO ————————————————————————————————— RAW, BMP, GIF, PNG, TARGA, TIFF, PSD, JPEG, MOV, DV, WMV, AVI, ETC Glitch artist Rosa Menkman’s discourse on what is lost, distorted, and potentially gained by these technologies we find surrounding ourselves, circa 2010. Type to enter text Tango between a corrupt format and its user. ! ! ! ! Contents ! the ! There is not sufﬁcient data. Please enter data art is a practice that studies and researches Glitch ! Static! vernacular of ﬁle formats in exploitative manners to ! ! You have too Noise Art > Filter art > when Cool becomes Hot >>>>>>> ! ! Uncompressed!! deconstruct and create new, brutalist (audio)visual works. m u c h However, glitch artists often the ! ! Lossless! ! ! c h a r a c t e r ! Glitches are hot; proof can be found on MTV, Flickr, in go beyond this formal approach; coffee table that the glitch Lossy! not exists A p p l y club and in the bookstore. While thethey realize book Glitch: ! ! does ! ! ! Moving image! ! g a u s s i a n Designing Imperfection without human perception and therefore have a more (2009) has introduced the glitch inclusive approach to digital material. ! ! MOV ! ! ! blur. design aesthetic to the world of latte drinking designers, and ! ! DV ! ! ! The materiality of glitch art is constantly mutating; it exists Kanye West used glitches to sing about his imperfect love ! ! WMV! hand the ! life, the awkward, shy and physically ugly celebrate underrelies on the one as an unstable assemblage that the ! ! AVI! ! You still have header “Glitched: Nerdcore for life”. operation and content of the apparatus (the construction, ! ! ! the writer/artist, ! ! quirks! Clone Glitch has transformed from cool and on Its no more then a work, medium) to hot. the other hand the s t a m p f o r brightly colored bubblegum wrapper that doesn’t by the any and the interpretation ask for reader and/or user (the meaning). s m o o t h involvement, or offers any stimulus. Inside I ﬁnd gum that I surface keep chewing, hoping for some new explosion of good taste. But the more I chew, the less tasty / rubbery it gets. Glitch design fulﬁlls an average, imperfect stereotype, a ﬁlter or Your ﬁle has commodity that echoes a “medium is the message” standard. i n v a l i d m a r k e r s . ————————————————————————————————— Turturro Reads Calvino Online (with accompanying images by Kevin Ruelle) As our present reality grows every more unreal, there may be no writer more fitting to read that Italo Calvino. Calvino was most famous for his fabulist fiction, works of literary fiction inspired by fairy tales — a form he studied and collected in the 1956 book Italian Folktales. ————————————————————————————————— Galvanizing Social Justice Through Comics As part of the University of Michigan’s Penny Stamps Lecture Series: Leading graphic historical novelist Joe Sacco will chronicle how and why he uses the graphic novel format to catalyze social justice and human rights struggles in the US and around the world. Thursday, January 19, 5:10-6:30pm at the Michigan Theater, 603 E Liberty St, Ann Arbor, MI 48104. Hopefully he’ll talk about BUMF as well. ————————————————————————————————— Film and Comics: Mutually Exclusive, or Exclusively Mutual? Allan Haverholm talks about The Hulk and Tinker Tailor Soldier Spy, split screens, paneling, juxtaposition, and good stuff like that. The juxtaposed split screens in Hulk only serve as disturbances in that they try to emulate complicated comics (page) layouts that are not easily conveyed in moving images. Instead, we shall move on to a more surprising, more challenging, and eventually more successful implementation of comics formalities in film: Long story short: the element of split screens emulating comics page elements disturb rather than add to the storytelling, taking the viewer out of the natural immersion of believing in the (rather surreal) narrative of an irradiated, superpowered green giant. ————————————————————————————————— KIRBY/SLASH Andrei Molotiu has some pretty sweet Jack Kirby pages put into context with other artists and their art. Very artistic! Image below: Jack Kirby + Hannah Hoch ————————————————————————————————— Sara Lautman is the featured Diarist this week at The Comics Journal. ————————————————————————————————— The Vivid Violence and Divine Healing of Ex-Voto Paintings Allison Meier looks at religious artwork at the Hyperallergic blog: In 19th-century Mexico, the content of ex-votos stayed the same — a depiction of the accident, illness, or misfortune in question, along with the intervening saint or other heavenly presence — but the materials changed. There were fewer canvases and more works on tin. Rather than meticulous, idealized scenes, ex-votos became theatrical and free-form, often created by self-taught artists. By the 20th century, contemporary artists were drawn to this dramatic folk art. Alexxa Gotthardt at Artsy recently described how Diego Rivera and Frida Kahlo collected Mexican votive paintings, many of which are now on view in the Museo Frida Kahlo in Mexico City. Kahlo owned over 400 ex-voto paintings, and one of a woman who survived being stabbed in bed is said to have inspired her bloody 1935 “A Few Small Nips.” Take a look to see your favorite sky-god smiling down at the calamities they have caused for you. ————————————————————————————————— Here’s Connor Willumsen talking about his book Portraits while teaching a workshop in England in autumn of 2016. Get a copy of the book HERE! ————————————————————————————————— Suzy and Cecil – 1-10-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 1-10-2017 – by Caleb Orecchio ————————————————————————————————— 1-10-2017 – by Juan Fernández Share this page: [...]

05/12/2017

Sally IngrahamMay 11, 2017NewsSally here with thoughts from Annie Koyama, Shee Phon, and Ann Telnaes, a new direction for The ToonSeum, and other news and comics! ————————————————————————————————— Koyama Press is officially celebrating 10 years as a publishing company at TCAF this weekend. Fearless leader Annie Koyama has been tapped a few times already this year for her thoughts on her publishing venture – most recently Quill & Quire interviewed her. Check out her continuing reflections and some well-deserved praise of her efforts HERE. ————————————————————————————————— Over on The Comics Beat Philippe Leblanc has conducted a series of interviews with comics makers who are attending TCAF. It’s a great list of folks – including Shee Phon, Iona Fox, Alabaster Pizzo, Tyler Landry, and others. Philippe identifies a few distinguishing characteristics of each maker’s work, the scene they’re a part of, or their target audience, and breaks it down with them. It’s great to see The Beat focusing this attention on makers outside of mainstream comics. This series documents an interesting moment in the community, and I appreciate the effort Philippe Leblanc has put into educating himself about the scene. I noticed in the interview with Shee Phon that Philippe found her work through last summer’s Comics Workbook Composition Competition, where Shee Phon won 2nd place for her comic I know it’s not about me, but I don’t want to die. It’s worth noting how many makers find a broader audience for their work through this competition, or in fact are “forced” to complete their first comic. And so the community keeps on growing, thanks to the stewardship of folks like Frank Santoro – and Philippe Leblanc, and of course Heidi MacDonald (editor extraordinaire of The Comics Beat!) ————————————————————————————————— Ann Telnaes delivered a speech to the Canadian Committee for World Press Freedom recently, and the Washington Post shared a version of it. Ann is a Pulitzer Prize winning editorial cartoonist, and the current worldwide threats to her colleagues weighs on her mind. In theory, she and her American fellows are protected by the First Amendment, but some days she doesn’t feel very safe. “I’ve always felt in the United States that an editorial cartoonist is the bastard child of journalism. This is because most editors see us only as comic relief, less than the serious, legitimate opinion writer. In reality, the only difference is that we use images and satire to express a point of view. And specifically because of the visual language we use, cartoonists will always be first in the line of fire when controversial subjects are being debated and free speech is threatened. Editorial cartoonists are a barometer for all our free speech rights; a silenced cartoonist is an indicator of an unhealthy environment for freedom of expression in any given society. If we want to protect free speech and the free press, we must vigorously protect the editorial cartoonist.” – Ann Telnaes Read the rest of the speech HERE. ————————————————————————————————— Emily Flake has a comic on The Nib called Beyond “Bridezilla” which is amusing – see the rest of it HERE. ————————————————————————————————— Here in Pittsburgh, PA, The ToonSeum is directing new focus towards comics education – check out the I Can Draw! Generosity fundraiser. The funds raised during this campaign will go directly to developing and running educational programming for kids and teens interested in making comics. Executive Directer John F. Kelly has rounded up some truly amazing donation rewards which must be seen to be believed. Pittsburgh is becoming a hub for comics education, and those of us at ground zero know how important this is to strengthening the community and ensuring it’s growth and staying power. I’ll be personally involved in this new direction for The ToonSeum, helping to teach and channel fresh energy and talent straight into the heart of things. If you can donate to the fundraiser, thank you! If you can share the campaign, thank you! You can do both HERE. ————————————————————————————————— Found In the Button Box Chris Gavaler reviews Eleanor Davis’ You & a Bike & a Road (Koyama Press, 2017) for PopMatters – HERE. Hope Nicholson, who wrote the recently published The Spectacular Sisterhood of Superwomen (a sort of history/small encyclopedia of notable women in the comics community) has a guest post on Nerdophiles that features 5 Female Publishers Who Changed Comics. Hyperallergic reviews Miror Miror II, the second anthology collection from 2dcloud, edited by Sean T. Collins and Julia Gfrörer, calling it “a porn stash you’d find in the cupboard of a medieval demon” which is about what I would have expected – read more HERE. Cara Gormally has a comic on Mutha Magazine about making a baby with IVF – check it out. ————————————————————————————————— Blinkers – 5-12-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 5-12-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 5-12-2017 – by Caleb Orecchio Share this page: [...]

01/28/2016

Juan FernándezJanuary 28, 2016NewsHello world, Gotta start off with the big Rowhouse Residency news coming from Frank: That’s right. It’s official. We’ve got keys in hand, and Truth Zone’s in the mail. If you’ve been sleeping on getting your copy of the official limited edition bootleg. Now’s the time. They’re headed out of Comics Workbook HQ, why not have one head your way? Don’t sleep on it, seriously. !!buy thee Complete Truth Zone by Simon Hanselmann!! The second half of Jillian Tamaki‘s latest entry in the Early Stories series has just been publishied on Hazlitt Magazine. Woof! Sit on down and give it a read. Part 1/2 Part 2/2. John Seven reviews Jane Mai‘s latest outing, See You Next Tuesday on the Beat. See what all the hubbub is about for yourself! It’s the intimacy of what Mai covers that makes her work so accessible. A lot of the details are Mai-specific, but she is so giving with those details that a reader is able to think of their own versions, if there’s nothing exactly identical going on. So you may not cry on the toilet like Mai, but you may have some other secret ritual that belongs to you, exhibiting for your own disapproval a fleeting glimpse of your inescapable sadness. Sean Howe just uploaded some raw footage of a thirty-minute video interview with Stan Lee from the mid-1970s over on Youtube. It’s curious to see the Stan act turn on and turn off here and there during this interview. For the history buffs. Julie Delporte, Julie Doucet and Lynn Johnston weigh in on the debacle that is the Grand Prix D’Angoulême at the CBC, Canada’s national public radio broadcaster. Check out the whole article here. Julie Delporte: “Everything in history has been shaped by men,” she says. “If everything is chosen by men, and read by men, of course men’s works will be more appreciated.” Delporte sees inequality in Canada’s comic scene, too. She points to a recent study that shows female visual artists in Canada earn 35 per cent less income than their male counterparts (the overall income gap between men and women, according to the study, is 31 per cent). She also senses resistance within the upper echelons of the comic world. —————————————— We’d be remiss if we didn’t pass on John P.’s news: It’s official Membership cards for the King-Cat Fan Club are at the printers! You can sign up to support John Porcellino by contributing to his new Patreon site if you’re interested. Proceeds go towards helping John make more comics, run the Spit and a Half distro, and save for retirement! Why not support one of the patron saints of the american small press. www.patreon.com/johnporcellino Lastly, non-fiction cartoonists Josh Kramer and Em Demarco as starting a monthly round up of non-fiction comics. The CoJo List. If this sounds like something you want to submit work to, submit links to or stay up to date with, you ought to sign up for the newsletter. Em: The CoJo List is a roundup of recent nonfiction comics, including Comics Journalism (CoJo). They’re all journalism, documentary, or otherwise true. Not so much memoir — but exceptions are encouraged. From seasoned professionals to enthusiastic amateurs, here’s the best our fledgling genre has to offer. Josh: We’re on the lookout for the best true comics stories to tell people about, and we need your help! Email us at thecojolist@gmail.com with your suggestions. We especially encourage submissions by and about women, people of color, and LGBTQ folks. -jf Share this page: [...]

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: [...]

12/14/2016

Posted on December 14, 2016December 14, 2016 by Juan Fernández

Juan con un poquito sobre Comic Arts Los Angeles – Las fotos de C.A.D.,Gerardo Vilches escribe sobre la vangardia contemporanea Frank Santoro sobre El Arte Art of Vanesa R. Del Rey;Iván Mazón con libros editados en castellano sobre el punk; Suzy y Cecil; y por supuesto el semestre de invierno del Santoro Correspondence Course for Comic Book Makers .

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Comic Arts Los Angeles – Las fotos de C.A.D.

Chris Anthony Diaz tomo unas fotos en Comic Arts Los Angeles 2016 (CALA) el domingo pasado en Think Tank Gallery, December 4, 2016, Los Angeles. Puedes ver todas las fotos del dia AQUI.

Echale un vistazo al DIAZ ARCHIVE aquí en Comics Workbook para ver más retratos, entrevistitas, fotos de arte original, recuerdos, video, audio y prosa! Todo documentado por Chris Diaz.

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Begoña García-Alén, La cueva (Fosfatina, 2016)

AvanGard – Y Que?

Gerardo Vilches escribe sobre la vangardia contemporanea y internacional de los cómics. Su evolucion, su role y su crítica.

Hoy existe una generación de autores que no responden al clásico perfil de fan que sueña con trabajar con sus personajes favoritos y replicar aquello que cautivó su imaginación de niño. Por el contrario, muchos de los artistas de vanguardia provienen de otros campos de expresión, han estudiado Bellas Artes, puede que no hayan leído cómic hasta que una novela gráfica cayó en sus manos de jóvenes adultos y no se sienten en absoluto obligados a respetar ningún canon.

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⚡ Miami, FL – The Art of Vanesa R. Del Rey
La gran Vanesa R. Del Rey le ha dado permiso a Comics Workbook para publicar unas selecciónes de sus cuadernos de bocetos. Hemos diseñado esta publicación para que parezca uno de esos libros de de artistas los años 80. El texto es una transcripción de la entrevista que hicimos con Vanesa cuando visito la Residencia Rowhouse en 2016. Vanesa es un artista impresionante y inigualable, quien estudió con George Pratt y quien a dibujado con Grant Morrison.

Estamos ofreciendo compras adelantadas a un precio reducido. Sigan a Vanesa por Instagram – @vrdelrey – y http://vrdelrey.com/

Le pedimos a nuestro director, Frank Santoro que nos contara un poquito sobre la fuerza feroz y imparable que es Vanesa R. Del Rey.

FS: “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 these two sides of yourself–because you’re like a samurai. The humble samurai.”

VRDR: “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.”

Este intercambio viene de una entrevista que Frank hizo con Vanesa R. Del Rey, que occurio en la Residencia de Comics Workbook en Pittsburgh, PA USA. 2016.

FS: Me encontré por primera vez con VRDR en un festival de cómics en Toronto (TCAF) en 2014. Había empezado a hacer comics profesionalmente después de un período como un animadora. Fui Sorprendido por su la capacidad de ser como un camaleón de cambiar de estilos, y por su puesto le pedí ver más de sus obras.

Desenterró pilas de cuadernos de dibujos de sus días en Cuba, cuando estudiaba el realismo soviético y de trabajaba con George Pratt, maestro de cómics pintados. La educación de Vanesa como artista hace el balance suavemente entre los niveles alto y bajo del arte, así como los valores estéticos del este y el oeste. Es una base asombrosa. Ella es, a la vez, consciente de la historia del arte, la historia de los cómics y la historia de la animación de una manera NUEVA que casi parecía imposible hace quince o veinte años.

Debo admitir como un estudiante y fan de cómics que se enfocan en la mezcla de “alto y bajo” y en ” los cómics pintados” — Nunca he visto tal mezcla de habilidades al nivel de VRDR. Feroz. Imparable. Un competidor feroz. Michael Jordan-esque? ¿Es eso posible en la fabricación de cómic? Siempre he dicho que habría un “invasor vertical” en los cómics que podría emplear el “naturalismo” de la escuela de Noel Sickles / Alex Toth pero que podría pintar como una Alice Neel o una Jenny Saville. Creo que “el invasor” ha llegado en forma de Vanesa R. Del Rey.

Puedes comprar tu copia AQUI¡

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Leer hasta echar la pota: 16 libros sobre punk editados en castellano –
Iván Mazón ha escrito un tronco de resumen de libros para que todos estudiemos los punks. Apuntate.

Aunque resulte irónico si consideramos la esencia irreflexiva del género, se ha escrito mucho sobre punk. Y muy bueno. Más allá de las vidas de santos y el anecdotario mítico habituales en el rock, que también, el punk asocia un halo de trascendencia revolucionaria y hartazgo social (incluso de jugada posmoderna) que ha llevado a la reflexión desde múltiples perspectivas y complejidades. Desde entrevistas livianas a sesudos ensayos sociopolíticos, recomendamos una selección de textos sobre el gran arte de gritar lo jodidos que estamos.

Pasado el suficiente tiempo en el ciclo generacional como para volverse respetable y con un mercado sobreexplotado a base de domesticación y banalidad, quizá no sea mala idea acercarse a los motivos sociales y anímicos de una generación que dijo basta. Y para eso está la literatura. Seleccionamos 16 obras editadas en España para que puedas leerlo tú mismo (y no incluimos el esperadísimo Punk, pero ¿qué punk? editado por La Fonoteca y escrito por Tomás González Lezana porque ya habrá tiempo de escribir y hablar sobre él en breve).

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⚡️Comics Workbook ha anunciado el semestre de invierno del Santoro Correspondence Course for Comic Book Makers – el curso empieza 29.21.2016!

Curso de 8 semanas – 500 dolares – 10 estudiantes – presentate para el curso!

Email santoroschoolATgmail for more details.

Direcciones para la Solicitud de Ingreso al Santoro School :

-3 figure drawings done on blank 3 x 5 index cards

-3 landscape drawings done on blank 3 x 5 index cards

-3 still life drawings done on blank 3 x 5 cards

-draw in a contour line style – Think Matisse – no under-drawing – draw directly in ink

-just send small jpgs of images – dont post to your blog pls

-specific url links to any comics work you have done.

Manda tu solicitud a: santoroschoolATgmail

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⚡ Pittsburgh, PA – El comienzo de Suzy y Cecil

Suzy y Cecil es una tira diaria, creada por varias estudiantes de Comics Workbook. Pueden seguir sus aventuras y su amistad en instagram: @Suzy_and_Cecil.
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hasta la proxima!
juan

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Comics Workbook

An online magazine for comics makers

Posted in los Cómics, News

Juan Fernández

Posted on December 14, 2016December 14, 2016

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

Alyssa BergMay 12, 2016Art Trip / EssaysThis is the final part of a series of process meditations inspired by a trip to The Rubin Museum of Art in NYC. Catch up with Part One: Ritual in Preparing the Space/It’s the Simple Things, and Part Two: Meditation on the Grid/Free Your Mind ————————————————————————————————— Part 3: Pass the Mic/Other People’s Processes For the final installment of the series reflecting on my visit to The Rubin Museum of Art, I posed a question to MariNaomi, Simon Hanselmann, Sophie Yanow and Vanesa R. Del Rey: Will you share any ritual, meditation, or devotion in your artistic process? ————————————————————————————————— MariNaomi‘s most recent memoir comic is Turning Japanese (2dcloud, 2016). She is the creator and curator of the Cartoonists of Color Database and the Queer Cartoonists Database. I’m not sure that I have any kind of ritual/meditation per se, but I am very habitual in my work days. Basically I start the day with an early-morning jog (at 6:30), then breakfast. Then I take care of things that might otherwise distract me: dishes, bills, emails. I don’t really get creative until after lunchtime. I’m generally in the zone from the afternoon until evening when my husband gets home at 7 or 8. If I’m on deadline (or super inspired), I’ll eat dinner with him, then get back to work until bedtime at 10:30 pm. I used to beat myself up about not working in the mornings, but I’ve finally accepted that it’s my routine. Oh, and my talisman is drinking lots and lots of tea. ————————————————————————————————— Simon Hanselmann‘s most recent collection is Megg & Mogg in Amsterdam (And Other Stories) (Fantagraphics, 2016). Megg, Mogg & Owl is updated Wednesdays at VICE. my main ritual is trying to clear my mind so i can focus and be fully absorbed by the project at hand. i usually try to clear my inbox in the morning before i start working otherwise i’ll feel guilty and flustered all day. cigarettes are a huge part of the ritual. also red bull, sadly. i really need to change up my rituals to something a bit more healthy… fuck it though, as long as the work is getting done and i’m hitting my deadlines. i will most likely be dead in a few years… UPDATE: I’m on day 10 of no red bull. I am a recovering energy drink addict. <|:-) ————————————————————————————————— Sophie Yanow was the 2014-15 fellow at The Center for Cartoon Studies. Her most recent book is War of Streets and Houses (Uncivilized Books, 2014). The one thing that I do that has kind of become a “ritual,” is when I do journal comics, I do them on graph paper, and I draw 6 square panels out on the graph paper before I start drawing or writing. I generally draw/write directly in the squares. The journal comics are always in a 6 panel grid, so I’ve considered printing out paper that has the 6 panel grid already on it, but I think that drawing the grid out gets me into the proper state of “I’m going to draw/write a journal comic now.” It’s like a trigger. So drawing the panels first is the ritual/meditation that starts the journal comic. ————————————————————————————————— Vanesa R. Del Rey is an artist and illustrator for Hit comics (Boom! Studios). Her artwork has also been in Marvel, DC and Dark Horse comics. My artistic process – Discipline. I work 6 days a week for about 10 hours a day, this is a constant but my schedule is kind of organic, it changes every once in a while. I usually do chores and have breakfast/check emails before I sit down to draw. Sometimes I work out before sitting down too. My ritual to get the juices flowing involves smoking ganja and doing a warm up sketch. This warm up sketch can be anything. It’s just a thing to unclog my mind and loosen up my joints. I just spill something out… I give myself about an hour or so. This happens usually when I’ve just started working on a book. After a couple of weeks I skip on the warm ups and dive straight into my pages when I sit down. I get faster as I progress, the shapes become familiar therefore I don’t have to spend as much time searching for them. Once in a while I also do cool down sketches after a day’s work. They are usually just ideas I have floating around that I use to not get bored. For example if I’m working on the computer for a long period of time I like to switch it up and start a painting or do a sketch in my sketchbook. I guess the constant factor to begin for me is the ganja, I’m a big smoker. I would call it a ritual/meditation. My creative energy is unpredictable, it drives me and not the other way around, but my ritual is the method I have found to channel that energy, to make good use of it. It’s an incredible help for the stress of deadlines too! I’m always on a tight deadline. Devotion is a given to me…doing my work is my life. I wouldn’t do anything else. ————————————————————————————————— Alyssa Berg makes comics in Brooklyn, NY. You can find her work HERE. Share this page: [...]

Happy Holidays from Comics Workbook!

Juan FernándezDecember 21, 2016NewsHappy Holidays from all of us here at Comics Workbook! Comics Workbook’s Daily News is taking a holiday break from Dec. 22-28! Our news team will return, refreshed, on December 29th. Do yourself a favor and get ready for the new year: Subscribe to the most exciting comics news site in the world. ⚡ Comics Workbook Daily News ⚡ SUBSCRIBE VIA EMAIL TODAY Share this page: [...]

01/01/2018

Caleb OrecchioJanuary 1, 2018NewsCaleb Orecchio here with thoughts on Ed Piskor’s X-Men:Grand Design, and other news. ————————————————————————————————— What if Ed Piskor could do his dream X-Men comic? “I have such reverence for Kirby. I think of him every day. But there are Marvel and DC fans who only know the superhero idiom of comic storytelling, which is to say, the Jack Kirby idiom. I’m a fan of all comics,” Piskor says. “I like manga, I like French European albums, I like a lot of newspaper comic strips. The storytelling method I use is a storytelling pastiche of all that stuff. I am trying to do the least Kirby X-Men comic ever made.” -Ed Piskor from an Entertainment Weekly interview concerning his comic, X-Men:Grand Design Thee great Ed Piskor has successfully brought the “indie” aesthetic to the mainstream in a big way. To me, Piskor’ drawing is this amalgamation of what is often considered “old-school’—wearing influences like Crumb, Clowes, Wood and Kurtzman on his sleeve, plus a year at the Kubert School and we have a drawing style that probably feels alien to most of today’s Marvel readers. The furthest thing from what I’d bet on to be a commercial success has turned out, from all accounts, to be a smash. In a time where Piskor’s hatching style is practically “outdated” as far as any mainstream comic is concerned, X-Men: Grand Design looks as fresh as any great comic to come out in 2017. This is an Ed Piskor Comic published by Marvel, as opposed to a Marvel comic, made by Ed Piskor. He even mentions in the EW interview that he will be taking small liberties with the timeline to correct old, awkward editorial mishaps. He is actually shaping the canon of the property as opposed to most indie/mainstream collaborations that end up being low-stakes, non-canon work and fall to low sales. Piskor has instead made a “real” and profitable superhero comic that will serve as a genealogy for X-Men readers, just like Hip Hop Family Tree serves as a comprehensive history of the form for hip hop heads. How is all this relevant? Well true believers, this to me is the promise of “fusion,” a term coined by Comics Workbook fearless leader Frank Santoro. From a 2011 Rob Clough TCJ article on Michael DeForge and fusion, Frank sez, “’Fusion to me is about being polished and being able to rise above ‘amateur’ assemblages like the Fort Thunder second wave… I think it’s a broad term, but for me, applies to those seeking to be ‘mainstream’ – something above most art comics and something way more sophisticated than most mainstream schools.’” Earlier when the term was coined, the cartoonists who were prominently associated with fusion were Michael DeForge, Brandon Graham, Dash Shaw, James Stokoe, Michel Fiffe, etc, but I think the idea of Piskor’s work has brought this prophesy to fruition. This to me is very exciting for cartoonists who want to do their own thing on their own terms. More thoughts along these lines to come. Also, see Sally Ingraham’s write-up for the X-Men: Grand Design #1. -CO ————————————————————————————————— if you don’t know, now you know TCJ.com has their annual “Year in Review Roundup.” Take a moment to reread that great takedown of Yoe Books by RJ Casey. Similarly, Tom Spurgeon’s Comics Reporter posts some reruns, notably an interview with Carol Tyler about what would become Soldier’s Heart, and an interview with Sammy Harkham about Kramers 9–my favorite installment of the series after the lamented and underrated Kramers 8. The Beat has a couple articles on that one overstated, infamous Kirby quote (made popular by Dylan Horrocks) the warning to a young James Romberger, who writes the second article, from what I can tell, in response to the first article by Heidi MacDonald. Rob Clough reviews comics by our own Aaron Cockle, along with fellow CCS alums, Matthew New and Steve Thueson. Really enjoyed this Craig Fischer’s TCJ article on Alan Moore’s Providence. Also really excited for Tom Kaczynzki’s new TCJ column, “Event Horizon”. ————————————————————————————————— Joanie and Jordie – 1-1-2018 – by Caleb Orecchio ————————————————————————————————— Suzy and Cecil – 1-1-2018 – by Sally Ingraham Share this page: [...]

11/27/2018

Aaron CockleNovember 27, 2018NewsVERY LATE EDITION: Roz Chast; Christoph Niemann; Katie Fricas; IN THE LABYRINTH ————————————————————————————————— SVA Honors Roz Chast With 30th Annual Masters Series Award and Exhibition November 17-December 15 SVA Theatre, 333 West 23rd Street, NYC Artist’s Talk: Wednesday, November 28, 7-9pm Chast’s interest in drawing started when she was a young child growing up in Brooklyn, where she learned to use art as a way to make sense of an anxiety-inducing world. She once told an interviewer, “On every level I feel like anything horrible can happen at any moment.” Early on in her career, her nervousness even found expression in her chosen scale. “I used to work really tiny,” she says. “I thought if I worked small, nobody would mind me that much. If I take up as little space as possible, then everything will be okay, nobody will get mad at me.” ————————————————————————————————— CHRISTOPH NIEMANN: HOPES AND DREAMS November 13-December 21 ZieherSmith, 505-507 West 27th Street, Suite 5, NYC In November 2017, artist Christoph Niemann flew from Berlin to Los Angeles at the invitation of his Zurich publisher, Philipp Keel, under the auspices of meeting David Hockney. Anybody who knows the first thing about Christoph Niemann (from his many New Yorker covers, museum exhibitions, children’s books, “Abstract Sunday” his New York Times blog and Instagram account, TED Talk, apps or any of the many other ways he manifests as a contemporary visual voice) knows that under his scrutiny, even the most mundane task can turn into something altogether peculiar, altogether special, as if to say everything can be enlightening. ————————————————————————————————— A Graphic Tribute to Anne Sexton Katie Fricas at the NY Times. ————————————————————————————————— CELEBRATING ‘THE LABYRINTH’ BY SAUL STEINBERG On Tuesday, November 27, at 7pm, join us at Powerhouse Arena (28 Adams St, Brooklyn, NY) for a celebration of the reissue of Saul Steinberg’s remarkable graphic work The Labyrinth, available from NYR Comics. Liana Finck, Françoise Mouly, and Joel Smith will be in a conversation moderated by Bill Kartalopolous. ————————————————————————————————— Cement Mixer – 11-27-18 – by Caleb Orecchio Share this page: [...]

05/27/2016

Sally IngrahamMay 27, 2016NewsSally here with new stuff from Sacha Mardou, wise and funny words from Dan Nadel and Alexi Worth, clowns with Nils Balls, and a Philadelphia walkabout from Meghan Turbitt. ————————————————————————————————— Sacha Mardou has a double hit today on our news, with a comic she made for The Common Reader (a publication of Washington University in St. Louis) and a review she wrote for Comics Workbook. First up, Sacha’s review of The Complete Wimmen’s Comix is a rumination on an important and challenging anthology, recently collected into a two volume set by Fantagraphics. “Reading the two-volume release of The Complete Wimmen’s Comix made me think about those sort of cultural assumptions and blank spots. The first volume in particular feels like a powerful raw gust of real comics history. … Another aspect that occurs to me is that volume one is essentially my mother’s generation making those comics (I was born in ’75) which makes the lack of respect for cultural niceties and cartooning norms seem even more punk rock and revelatory, as well as being somewhat nostalgic. It reminds me of looking though my aunt’s closet in the early 1980’s and finding all her old platform shoes and boots. My childish trespassing got me yelled at after the event, but I’m glad to own that childhood memory of trying on and walking around in those beautiful and weird, too-big-for-me ‘space’ shoes.” Read the rest of Sacha’s review HERE. For a different look at The Complete Wimmen’s Comix, check out this in-depth review by Alex Duebin on The Comic’s Journal from March 2016. Well, I say “review”, but it includes conversations conducted via phone, skype, google chat, and e-mail over a period of a year or so with many of the women who made comics for the anthology – a true “oral history”, well worth a gander. ————————————————————————————————— Sacha Mardou’s comic for The Common Reader (above) was published in “The Aging Issue”. It feels very, very real somehow…! ————————————————————————————————— Art in America published a followup to Dan Nadel‘s killer essay on Paper Radio recently. It’s a conversation between Dan, Alexi Worth (who wrote an article in January for A.i.A about Jack Kirby’s superhero art) and A.i.A‘s editor Julia Wolkoff. They dig into the complexities of comics, and more specifically, the intentional and accidental wonders that appeared under a culture of crushing deadlines. As Alexi Worth describes: “The earlier comics artists were, for the most part, pencil serfs. Kirby began as an inbetweener for film, and much of the work he produced early on wasn’t credited at all. But there was something productive and interesting about the lack of art expectations. Kirby was reflexively creative. And his creativity was, somehow, enabled by the ruinous deadlines and enormous production demands of the industry. At one point he was pretty much drawing all of Marvel himself—one guy. Instead of making him more of a hack, it made him more of an artist.“ Dan Nadel breaks out some more stories about the Paper Radio guys – Benjamin Jones and Christopher Forgues, or CF – whom he continues to call “the two most important cartoonists of their generation.” “One famous story: they sent Gary Panter, who was their artist spirit-god, one of their early zines that was baked in chocolate. Gary thought it was LSD and immediately threw it away. It’s one of the only copies of that work they made.“ It’s good stuff – check out the whole discussion HERE. ————————————————————————————————— Nils Balls is staying on top of the Pittsburgh City Council with his comic reports for The Glassblock – see above and more HERE! ————————————————————————————————— Meghan Turbitt released her Philadelphia Sketchbook this week! Developed for Comics Workbook between 2015-2016, it features full-color sketches of her varied adventures and the details that caught her eye around the city during that period. Get a glimpse at more pages here, and a copy for yourself HERE! ————————————————————————————————— See you knocking round the universe next week folks! Cheers – Sally Share this page: [...]

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