Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged caleb orecchio, ines estrada, jack brougham, Jaime Hernandez, sally ingraham

Juan Fernández

Posted on March 21, 2017March 22, 2017

Explore

07/23/2018

Caleb OrecchioJuly 23, 2018NewsCaleb Orecchio here as always for the Monday edition of The Daily News! ————————————————————————————————— Okay so I was at Frank’s house and he had to answer some important emails or something so I sat in a comfy chair and started flipping through a bunch of Yokoyama books he had laying around. I started reading World Map Room when Frank turned on some music by Daily Life; you know, the band CF is in. The smooth symphonic melodies created this really nice atmosphere in the house that synchronized with my reading. The characters in the book started marching to the pace of the music. It was as if I was standing on some inter-dimensional harmonic crosshair. I was hypnotized by the coupling. I forgot Frank was a few feet away from me and I became one of Yokoyama’s characters moving through space, taking note of my bizarre surroundings. I felt myself sink further into the chair as if I was becoming more susceptible to gravity. The feeling was akin to dipping into a hot tub in winter. I finished World Map Room and began Garden. The record had repeated once or twice by this point and the familiarity with it’s pattern and with Yokoyama’s pacing intensified the hypnotic effect. Eventually, the mood changed. The music was turned down and the books set aside for conversation. I was back on Earth. ————————————————————————————————— Share this page: [...]

Aidan Koch at LICAF

Comics WorkbookOctober 27, 2016Festivals and ShowsAidan Koch discusses a collaborative project during a workshop she led at The Lakes International Comic Art Festival 2016. Share this page: [...]

Comics Workbook Composition Competition 2017

Frank SantoroJuly 24, 2017Santoro Schoolthee SANTORO CORRESPONDENCE COURSE and thee Comics Workbook Rowhouse Residency presents thee COMICS WORKBOOK COMPOSITION COMPETITION 2017 ———————————————————————————————— 1st place – A week-long Comics Workbook Rowhouse Residency (valued at $500 – travel and expenses not included) 2nd place – $250 credit at Copacetic Comics 3rd place – $100 credit at Copacetic Comics plus four $50 honorable mention prizes from Big Planet Comics ———————————————————————————————— Create a 16 page signature comic book narrative to the specifications below ———————————————————————————————— DEADLINE: Tuesday, September 5th 2017 at 11:59 pm NYC time ———————————————————————————————— HERE and HERE and HERE and HERE are last four years if you haven’t heard of the contest. HERE are all of the 2016 contest entries. This isn’t a scam, silly. ———————————————————————————————— Here are the 2017 composition competition specs: Contest take 1 from Frank Santoro on Vimeo. PAY ATTENTION! Watch the video above! Take an 11×17 inch piece of paper and cut it down to 10 1/4 x 13 1/2 inches. Fold this piece of paper in half. Measure in 3/8ths of an inch from the top and the sides, and 3/8ths of an inch in on both sides of the center fold. Measure in 3/4s of an inch from the bottom. This will make two 6 x 9 inch live areas on your 10 1/4 x 13 1/2 inch paper – as you can see in the example below. Watch the video for clarity. Make three equal “landscape” oriented tiers on each live area. Make copies of this “spread”. Do your layouts at this size. PAY ATTENTION! ***Draw your original artwork at 10 x 15 inches. Use 11×17 inch paper – make a 10×15 inch live area on the paper. Measure in 1/4 inch on each side and a 1/4 inch from the top to situate your 10×15 inch live area within the 11×17 inch paper. See video. The top tier and the bottom tier must have two 5×5 panels. The center tier may be open completely to make one 5×10 inch panel or two 5×5 inch panels. Again see video for clarity. The top tier and the bottom tier MUST have two panels. The center tier may have one panel or two. You may use the 6-panel grid throughout the entire 14-page story but one of the pages MUST have an open center panel. All of the pages may have an open center panel. Each page will have either 5 or 6 panels. Watch THIS video and THIS video for context. Pay attention to the parts about opening up the center. Also read Layout Workbook 1 and 2 for more info about traditional North American comic book proportions. You may break up your panels like this: 14 pages and two covers. Meaning seven spreads and a front and back cover. A 16 page signature. Work may be in color OR black and white – OR – a combination of both. International students must use the same specs. No complaining. It is recommended that you draw the pages on 11×17 paper with a 10×15 inch live area. It is recommended that you print your comic at traditional North American comic book size – which is 6 3/4 x 10 1/4. Again, see video. THE STORY MUST BE COMPLETE. SERIAL INSTALLMENTS of a longer narrative ARE NOT ELIGIBLE. THE STORY MUST BE NEW. IF YOU REPURPOSE AN OLD STORY THAT HAS ALREADY BEEN PUBLISHED YOU WILL BE DISQUALIFIED. Consider this an exercise in short story writing. I think the 16 page signature is ideal to contain a short story. Adaptations of existing works are not eligible. Like, you can’t copy a sequence from a movie. To submit your comic to the composition: Photograph or scan your pages and post them on your tumblr AS SPREADS. If you don’t have a tumblr – make one just for this contest. No exceptions! No complaining! Post the front cover as the lead image and the back cover as the final image and put your name and the title of the work in the text field and that it is for the Comics Workbook Composition Competition 2017. Email me – santoroschoolATgmailDOTcom – that you have posted your entry to your tumblr and give me a direct link to the post – and I will reblog it on to the comicsworkbook tumblr. I will be posting them – reblogging them – on comicsworkbook as they come in. The good, the bad, and the ugly. I will, however, only be posting stories that stick to the RULES. If you don’t follow the rules, I will not reblog the story and you won’t be eligible for the prizes. I will reblog them as quickly as I can and keep the list of entries updated – if you do not see your entry right away do not panic – I will make every effort to keep the list up to date but as long as you get your entry submitted correctly via email before the deadline your work will be in the competition. Last year we had over 100 entries and near the end things were hectic – so be patient. Any questions about the competition – please email me – do not leave a comment on this post – I will not reply here. Just email me. The competition is open to all. You do not have to be a former student of mine. Former students of mine ARE eligible to compete, as are winners of previous competitions. Again, if you have any questions about the rules please ask. Better to ask and be safe than to be mad when I disqualify you over some missed detail. Seriously. Work may be in color OR black and white – OR – a combination of both. You MAY have panel gutters. You MAY work digitally. And you MAY work as a team. Remember! Email me – santoroschoolATgmailDOTcom – that you have posted your entry to your tumblr – I will reblog it. DEADLINE is Tuesday, September 5th 2017 at 11:59 pm NYC time Winners will be announced the following week. Please share this announcement GOOD LUCK! signed Frank Santoro Share this page: [...]

07/26/2017

Juan FernándezJuly 26, 2017los Cómics / NewsEmpezamos el día con La Polola EN VIVO con Sebastián Ilabaca; Antonio Altarriba y Sergio García; Mincho Magazine #13; Dis-Tinta, la historieta actual en argentina; Autoras de Cómic; Krazy Kat y el Museo Reina Sofía; La Competencia de Composición de Comics Workbook 2017; y los tebeos de Cómics Workbook! —————————————————————————————————Cuerpos del delito. Entrevista a Antonio Altarriba y Sergio García en Bilbao24horas: Cuerpos del delito es la historia de Miroslav Matjevic, francotirador serbio-bosnio; Ratko Petrovic y su banda, contrabandistas serbio-bosnios; François Laplanche y el Sargento Hervé Dumont, y algunos cascos azules del regimiento francés de Sarajevo. Cuatro vidas diferentes entrelazadas por una ciudad (Sarajevo), un año (1994) y la fragilidad del ser humano. Contiene un póster en el que aparece la historia en la silueta de un cadáver con la historia completa. Bilbao24Horas: ¿Qué es Cuerpos del delito? Sergio: Cuerpos del delito, básicamente, es un contenedor de historias. La idea surge de los dibujos que hace la policía en el suelo cuando alguien muere, generalmente asesinado. Lo que pretendíamos es descubrir que historia tiene ese dibujo de tiza. Lo que hicimos fue dibujar la silueta de un soldado y en el interior contar su historia y la de su muerte, todo ello en un formato póster. Todo ello acompañado por los maravillosos textos de Antonio. Unos relatos cortos que complementan la historia y que, a su vez, también están ilustrados. Antonio: Lo que me gusta del formato es la complementariedad de lecturas entre los textos, que cuentan la historia de los 4 personajes protagonistas, las ilustraciones y el póster. Se van superponiendo por capas niveles de lectura de la historia. Si solo ves el póster puedes ver la acción. Es una primera capa en la que vemos los desplazamientos de los personajes en la geografía de Sarajevo. Los textos con sus ilustraciones le dan profundidad a esa acción. Allí vemos sus motivaciones, lo que les ha llevado a ese punto e, incluso, lo que sucede después de ese momento que les ha llevado al asesinato. Me parece una idea innovadora. Léelo todo AQUI. ———————————————————————————————— A post shared by Comics Workbook (@comicsworkbook) on Jul 24, 2017 at 8:33pm PDT ¡Está aquí por fin! LA Competencia de Composición de Comics Workbook 2017. Esta vez el formato se trata de paginas con una cuadrícula de 6 viñetas utilizando en las proporciónes tradicionales de cómics norteamericanos – ¡con un giro! Encontraras todos los detalles aquí: http://comicsworkbook.com/comics-workbook-composition-competition-2017/ FECHA DE LÍMITE 5 de septiembre de 2017, ¡así que empiecen! El 1er premio es una estadia en nuestra residencia de arte, la Rowhouse Residency en Pittsburgh, PA. OJO: Si necessitan ayuda entiendiendo las direcciones (a vezes son un poquito confusas!), mandenme un mensaje: fernandez.juan.j@gmail.com ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con el ilustrador Sebastián Ilabaca EN VIVO en Chile acerca de las personas que lo apoyaron e inspiraron, de su paso por la escuela de cine, de su forma de ilustrar, los materiales que usa, su visión, proyectos a futuro y mucho más! The newest edition, #13, of Mincho Magazine, the illustration and graphic arts magazine is now available. Autoras de Cómic iniciaron un llamamiento por twitter para que les recomendéis cómic, tebeos, fanzines hechos por autoras. Es un thread asombroso, por que la mayoria estan disponibles en Español! Dis-Tinta, la coleccion de tonalidades de la historieta argentina actual, editada por Liniers y Martín Pérez fue reseñada por La Nación. El Museo Reina Sofía en Madrid se apunta al cómic con el que es, a mi entender, el mejor cómic de la historia: Krazy Kat de George Herriman con su nueva exhibición Krazy Kat es Krazy Kat es Krazy Kat. ———————————————————————————————— Suzy and Cecil – 7-26-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 7-26-2017 – by Caleb Orecchio Share this page: [...]

07/15/2016

Sally IngrahamJuly 15, 2016NewsThis Friday Sally has got exciting news from John Porcellino, an update on Rokudenashiko, Lisa Lim in MUTHA Magazine, Anders Nilsen remembering Geneviève Castrée, a look at Shannon Wright and a past take on Okazaki Kyoko, plus the state of comics affairs in the Middle East, and Audra Stang at the Rowhouse. Dig in. ————————————————————————————————— Lisa Lim shares some of her most beautiful, but haunted memories of her mother on MUTHA Magazine this week. The text below accompanies the image above. “Being in moving vehicles also calmed her nerves. We used to ride the trains just for fun. On the train, I would spread across the car seat, lay my head on my mother’s lap, as if I were in bed. We were as rude as the graffiti, spitters, and kids carrying boom boxers on their shoulders. What can I say? It was the ‘80s.” – Lisa Lim This is an excerpt from a longer story called My Egyptian Fortune Cookie, which Lim originally published in the Nashville Review 2010 Fall Issue. You can view the whole comic on her website, and be sure to check out the other comics she features there. ————————————————————————————————— The Huffington Post dug into the story of “How Rokudenashiko took on the Japanese patriarchy with her adorable lady parts” recently. Although most of the charges against her were dropped in May 2016, she was still fined 400,000 yen for distributing obscene images. Her book What is Obscenity? The Story of a Good For Nothing Artist and Her Pussy (Koyama Press, 2016) has been greeted with fascination and acclaim since it’s publication, and it looks like Rokudenashiko has zero plans of parting ways with her “revolutionary vagina“. From the article: “What Is Obscenity? is an unbelievable true tale of one brave artist and her inspiring vagina, and just how much trouble the two of them have caused together. Through it all, Rokudenashiko has kept a tone of playfulness and resilience, showing there is nothing more threatening than a girl who is willing and ready to play rough. “Since I’ve started my work in manko art, I’ve been fighting back against the old men who complain about it,” she writes. “I’ve decided to keep making even more ridiculous work, with all seriousness. Though this was kind of a joke at first, now I am joking around with every ounce of my body and soul.” – Rokudenashiko via The Huffington Post Read the whole thing here. Purchase a copy of What Is Obscenity? here. ————————————————————————————————— Maren Williams profiles Middle-East and North African comics for the CBLDF, stating: “Without a doubt, the current world hot spot for underground and experimental comics is the Middle East and North Africa–a fact that might surprise many Americans. From Egypt’s Tok Tok to Lebanon’s Samandal to Nadia Khiari’s radical cartoon cat Willis from Tunis, creators across the region are reinventing the format, circumventing government censorship and publishing taboos through the use of crowdfunding and social media.” – Maren Williams via CBLDF If this only whets your whistle, then good – because Williams is riffing on an article in the LA Review of Books by Jonathan Guyer – aptly titled Understanding Arab Comics – which delves in to the anthology Muqtatafat as well as the larger conversation about comics in the Middle East. Guyer writes: “In the past decade, and especially since the 2011 uprisings, talented Arab artists have traded comics for comix. Alternative zines, web strips, graphic novels, and other underground publications encompass a diversity of aesthetics, narrative techniques, and political messages. Today, Beirut, Cairo, and Casablanca each have their own Crumbs, Spiegelmans, and Moulys.” – Jonathan Guyer via LARB Guyer goes on to break down the Muqtatafat anthology, which after a 5 year struggle was finally published by American scholars A. David Lewis, Anna Mudd, and Paul Beran. While the anthology contains work by “the region’s most significant comic creators” – “…Muqtatafat’s format inadvertently reproduces stereotypes about “artists from the Middle East region.” By grouping together contemporary works from Egypt, Jordan, Lebanon, and Palestine without explanation, Muqtatafat’s editors assert an underlying connection between these comics without acknowledging the debates about the comic movement’s identity. Muqtatafat avoids some of the most provocative questions surrounding the growing Arab comic movement.” – Johnathan Guyer via LARB Guyer chooses not to avoid those questions, and the article is well worth a close read. Check it out here. ————————————————————————————————— I was pleased to see Shannon Wright‘s name pop up on the Comics Workbook Daily News yesterday, and got myself caught up with her endeavors. An interview with Muse Milk from February 2016 proved a good read. She begins by speaking a little about how she got into comics: “I grew up in Virginia and was the only girl among my brothers. I was very much a tomboy and consumed anything my older brother and older boy cousins were watching and that included a lot of cartoons and a lot of anime. So, when I became exposed to those two things, and realized people drew them, I knew instantly what I wanted to do for a living. There wasn’t a moment I wasn’t drawing my favorite characters or ideas from my head. Even growing up in a Christian household, I brought scraps of paper or composition notebooks to church to keep myself occupied. But it was like a game of trying not to get caught due to the fact my grandpa was the pastor. So yeah, as far as I know, I’ve been drawing since I was a little girl (4 years old as my parents like to stress).” – Shannon Wright Read the rest of the interview HERE. Wright is a Comics Workbook Correspondence Course graduate, and we are looking forward to featuring the comic she completed for the course here on the site very soon. Stay tuned! ————————————————————————————————— From a bit further back in the vaults, the CW news team dug up an overview of Okazaki Kyoko‘s career via the blog Ceiling Gallery (from 2014). Dave Kracker wrote: “When other artists stressed over deadlines Okazaki partied at the club. You know, for research. London Nite, the legendary new wave event at Shinjuku’s Tsubaki House, served as the backdrop for the semi-autobiographical Tokyo Girl’s Bravo. Music was a huge part of her life and she wrote what she knew. In Pink, when the boyfriend Haru “writes” a best-selling novel by copy and pasting lines from other books, the inspiration is more hip-hop sampling than the Beat Generation’s cut-up method. Maybe she got away it because she wasn’t writing for traditional manga anthologies. She got her start in Pump, a zine of reader-submitted material that ran her high school doodles and short essays. After graduation she wrote a short one-shot, Girls At Our Best, for subculture magazine Tokyo Otona Club where she caught the eye of two editors, Ogata Katsuhiro and Otsuka Eiji, who brought her on board their magazine, Manga Burikko, in 1982. Contemporary girl’s comics had lost their edge and Okazaki represented something raw.” – Dave Kracker Check out the rest of the article HERE. ————————————————————————————————— Audra Stang was at the Rowhouse this week doing a 3-day residency. Audra is already an accomplished cartoonist, with work that includes The Ice Ray (2014), a comic made for the Comics Workbook Correspondence Course, and Love Me Like An Autograph (2015). While she was in Pittsburgh, in between sparing bouts with Frank (and myself) in the Comics Workbook “dojo”, Audra also drew a new comic in it’s entirety (pictured above). We will have a Residency Report from Audra to share soon, and of course the comic she made here in Pittsburgh to look forward to, as well as her new webcomic Star Valley, which will be launching at the end of this summer. You can preview it here. ————————————————————————————————— John Porcellino has some great news this week: “The moment we have all possibly been waiting for is upon us: King-Cat #76 is shipping NOW! This new issue features A Trip to the Confluence, Dreaming, Old People in Restaurants, Sports Radio, Fall Signs, Winter Signs, Radishes, Birds, and 9 pages of fascinating Letters to the Editor; plus more. A Weird One — (But Not Bad). (32 digest pages, black and white throughout.)“ For ordering info and other details, click HERE! ————————————————————————————————— Anders Nilsen wrote a heartbreaking “remembrance” for Geneviève Castrée over on The Comics Journal. ————————————————————————————————— Go out this weekend and do something beautiful or make something beautiful with the people whom you love. If it’s a comic, all the better. Cheers – Sally Share this page: [...]

03/22/2017

Posted on March 21, 2017March 22, 2017 by Juan Fernández

Empezamos el dia con Francisca Alcalde y el Maps Zine; Josep Coll; Vanesa R. Del Rey; Inés Estrada; Isabel Bas; Dos Payadores de Vicho Plaza; Revista Cactus 22; La Caja; Space Riders; y los tebeos del dia!

—————————————————————————————————

Cómics y noticias que me han llamado la atención esta semana:

Javiera Tapia comparte un poco sobre Francisca Alcalde de Maps Zine en Es Mi Fiesta Magazine. Francisca Alcalde es diseñadora gráfica y es la creadora de Maps, un fanzine dedicado a abordar historias y retratar el imaginario de las madres adolescentes.
LOVE AND ROCKETS: Punk Flyers by Los Bros Hernandez. Jaime and Beto’s enthusiasm for local punk bands led the two of them to design the occasional flyer for acts like Fear, Dr. Know, Youth Brigade, and Angelic Upstarts. Check it out over on Dangerous Minds.
Iconos que definieron al histórico TBO: los Inventos del TBO, la Familia Ulises y Josep Coll. Pablo Vicente nos ilumina la vida creativa de Josep Coll.
Vanesa R. Del Rey takes off the crown and puts on the professor’s cap this summer. She’ll be instructing during week 3 of the Illustration Academy’s summer program with the likes of Sterling Hundley, John English, and George Pratt! Want to learn from comics royalty? Sign up today.
You can now read all of Inés Estrada‘s road trip diary comics on her blog! Soak them up and get inspired. Live the adventure. Draw the adventure.
“Señoras del TBO. ¿Las hubo?” Sí, e Isabel Bas (con ‘Ana Emilia y su familia’) fue la que durante más tiempo dibujó para la cabecera. Elisa McCausland entrevista para el especial TBO de @TEBEOSFERA a Isabel Bas Amat, autora de Ana Emilia y su familia.

—————————————————————————————————

El gran Vicho Plaza está publicando una serie costumbrista en su blog. Pueden léer la serie Dos Payadores entera AQUI. Da te prisa!

—————————————————————————————————

El nuevo número de Revista Cactus ha llegado.

La freelance que ocupa nuestra portada, fumando compulsivamente y alimentándose a base de pizza, como cualquier autónomo que se precie, es obra de Mariana, a miserável. La ilustradora portuguesa capta perfectamente en sus dibujos melancólicos la miseria a la que alude su nombre artístico. Su tocaya, la escritora argentina Mariana Enriquez, en cambio, es experta en mostrar lo inquietante y lo abyecto, como deja patente en su colección de relatos Las cosas que perdimos en el fuego.

La texana Merritt Tierce también escribe, pero ella prefiere la autoficción, que le permite narrar su experiencia como madre adolescente y camarera que utiliza el sexo como herramienta de castigo y las drogas como vía de escape. Con una perspectiva similar, la nigeriana Chimamanda Ngozi Adichie ha recogido en un breve ensayo titulado Querida Ijeawele. Cómo educar en el feminismo varias ideas para inculcar esos valores a una hija (o hijo) desde el respeto, la tolerancia y la empatía. Esos conceptos les vendrían muy bien a muchos directores de ciencia ficción que en su cine han disfrazado su trauma con la sexualidad femenina como si fuera el villano de la función, de los que también hablamos.

Aplaudimos el regreso del dibujante David Sánchez, tras cinco años de espera, con Un millón de años, un cómic en el que lo divino y lo animal se entretejen para formar un relato perturbador. La protagonista de Crudo también tiene una parte animal. La ópera prima de la francesa Julia Ducournau cuenta la historia de una frágil jovencita vegetariana estudiante de veterinaria que se hace caníbal. Los Ganglios, más que de pulled pork, son de música-porc. El grupo de Badajoz, famoso por sus letras delirantes y vídeos absurdos, publicó su último disco el año pasado, donde tienen un himno que les define: ¡Soy extremeño. Tengo derechos!

Léela nueva edicion AQUI.

—————————————————————————————————

LA CAJA es una iniciativa del Colectivo El Globoscopio en complicidad con el espacio artístico Maleza proyectos. Se trata de un festival anual enfocado en propiciar el diálogo y la colaboración horizontal entre los actores del campo de la gráfica en Bogotá. Incluye actividades como una feria de artículos y publicaciones, charlas y presentación de artistas, y clínicas de proyectos, entre otras.

Más información en nuestra página de facebook. Apúntate!

—————————————————————————————————

All new Space Riders!!! March 29!!! Coming at you full force via Blackmask Studio’s dynamic duo, Fabian Rangel Jr, Alexis Ziritt. Want to get your hands on this high voltage galactic transmission? Find your local comic shop using Comic Shop Locator or if you don’t have a local spot because you live on the moon, here’s more options: Black Mask Store + ComiXology.

—————————————————————————————————

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. Arte y Entrevista. 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.

Frank Santoro, el director de Comics Workbook, nos cuenta un poquito sobre sus experiencias con Vanesa:

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.
Sigan a Vanesa por Instagram – @vrdelrey – y http://vrdelrey.com/

—————————————————————————————————

Blinkers – 3-22-2017 – by Jack Brougham

—————————————————————————————————

Suzy and Cecil – 3-22-2017 – by Sally Ingraham

—————————————————————————————————

Joanie and Jordie – 3-22-2017 – by Caleb Orecchio

Share this page:

Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged caleb orecchio, ines estrada, jack brougham, Jaime Hernandez, sally ingraham

Juan Fernández

Posted on March 21, 2017March 22, 2017

Explore

HeroesCon 2016

Audra StangJune 23, 2016Festivals and ShowsThis past weekend my pal Syd and I traveled to Charlotte, NC, to visit HeroesCon at the Charlotte Convention Center. Due to the impromptu nature of our trip, we arrived at around 3pm on Sunday, which gave us a few hours to explore this year’s convention. HeroesCon functions as a two-in-one experience – the central Indie Island acts as a mini small press festival and is flanked on both sides by the rest of the Artists Alley; in front of the entire Artists Alley are sponsors, a stage, an eating area, toys, t-shirts, backpacks, costumes, art supplies, and comics dealers. The diversity of the event lends itself to incredible sights – such as an entire family dressed as Doctor Who characters standing elbow to elbow with some crust punks while they all await the delicious reprieve of a convention center corndog. After walking the entire convention center to get a first look at everything we finally stopped to visit Ryan Cecil Smith, where I grabbed a copy of Shed & Frontlawn Zine. Comprised of contributions from three artists – Graeme McNee, An Nguyen, and Ryan Cecil Smith – and printed via four-color “fauk CMYK” risograph printing, this zine is bursting with illustrations and articles ranging from “What’s Trending” to “Drawing with Copic Markers.” (My personal favorite is “Suburban Fashion” in Charlotte, North Carolina.) Next we visited Jim Rugg, who was kind enough to pose for a photo. I picked up Rambo 3.5 and the Street Angel Xmas Special, and as we chatted we learned that he had recently launched a new Street Angel story in webcomic form – Alcatraz, Jr. – which began on June 16 and features weekly updates on Mondays and Thursdays. Around this point I got severely lost because honestly, this was my third convention ever and between all the costumed folks, crowded artist tables, and big, beautiful, banners I felt like I was in the middle of a comics fever dream. I’m sweaty, confused, and kind of annoyed because “I have walked by this baby stroller at least three times and I don’t understand how that’s even possible” when I come upon Ben Sears’ table (pictured above). He also took a photo for me with his offerings (thanks!) and I bought a copy of The Sweeper, a two color risograph comic about “a trash cleanup robot, a cat, and a bird to find food in the middle of the night.” The pairing of cool blue ink, warm cream-colored paper, and delicate linework perfectly evoke the feeling of nighttime wandering. I got lost again and at this point conceded to Syd that I actually needed one of those guidebooks – and with one in hand finally found my way to Richie Pope’s table where I got a copy of the second (and final) edition of Newdini (pictured above), described by the author as “a mini faux-documentary comic about the life of a mysterious man named Clarence who could “disappear,” featuring brief interviews with the people who knew him, a little space travel, and a nice appreciation for houseplants.” Around 5:30 – about two and a half hours later – we were exhausted and decided it was time to head home. This was good, as I had made a few more purchases than I had anticipated, my feet were killing me from walking in circles, and I needed a shower more than anything in the world. Because we came on the last day, we missed some artists who had packed up early – but for an hour and a half drive from Greensboro and a $15 Sunday ticket, it was definitely worth it! ____________________________________________________ HeroesCon is a beast, centering what is essentially a zinefest in the middle of a mainstream comics convention, but it works. At my first HeroesCon in 2014, I was buying a copy of Youth is Wasted from Noah Van Sciver when an announcement came over the speakers for a massive cosplay contest – a moment that successfully encapsulates my HeroesCon experience. It’s a funny coexistence. Other notes: I wish more folks would bring cheap xeroxed zines with them to sell – I’d feel better buying a $2 zine on copy paper from somebody than merely asking them, “Do you have a card?” I try to split my money up between as many artists as possible. You truly have to walk the floor a few times to avoid missing artists – it was on my final pass that I found the tables of Enzo Garza and Poison Press, respectively. Maybe it’s because I’m still new to conventions, but I always worry about missing hidden gems. This was the first year I had the guts to bring my zines without a table, and everybody was very kind that I shared them with. These nice people included Richie Pope, Coleman Engle, Chris Schweizer, and Chris Pitzer, publisher of AdHouse Books (“That’s what you do at conventions!”) Kyle Starks even let me trade him a zine for a sticker. Bartering at its best! ____________________________________________________ Audra Stang is a cartoonist from Greensboro, NC. Keep an eye out for Star Valley – a webcomic launching around the end of summer – and meanwhile find her other work HERE. Share this page: [...]

01/27/2017

Sally IngrahamJanuary 26, 2017NewsSally here with work and wisdom to share from Hellen Jo, Zoë Taylor, Kate Lacour, Audra Stang, Trina Robbins, Glynnis Fawkes, Lale Westvind, and so many more! ————————————————————————————————— Sequential State wrote about Zoë Taylor‘s Joyride (Breakdown Press, 2016): “Taylor’s line is quick and vibrant. It seems like each image in Joyride was constructed as quickly as possible, like a one- or five-minute sketch at a live drawing class. These images look like something quickly scrawled onto a whiteboard with an erasable marker, and it wouldn’t surprise me to find out that Taylor’s tool of choice for this book was a Sharpie marker. There is also sometimes a distortion of the line, as though there was a bleed or a bad scan from the original art. Because images look so thrown together, the reader’s focus drifts towards the places where Taylor has spent the most time. This is often the main character’s eyes, with thick eyelashes rendered while the character’s hands are a quick set of lines. That said, these are the one- or five-minute sketches of an artist who was studied their craft. Each mark, despite its looseness, feels essential. There’s no wasted space, no unneeded effort. The effect of these formal choices changes the way you perceive each page, and encourages you as the reader to move as quickly as you can. Zoom through each page, soak up the emotion, and let the work take you where it wants you to go.” Read the rest HERE. Zoë Taylor is an alum of the Santoro Correspondence Course for Comic Book Makers. See more of her work HERE. ————————————————————————————————— Rookie sat down with Hellen Jo recently. She is a cartoonist based in Los Angeles who is known for her storyboarding work on Steven Universe and Regular Show. Dream jobs, to many. However: “I don’t believe in the myth of the dream job; any job worth having is hard, requires so much work, and will make you question your love of whatever it is you’re doing. Anyone who believes that working in animation is whimsical, magical, full of light and wonder and joy…wake the fuck up! Animation, especially storyboarding, drains all of your mental and emotional energy, requires incredibly long hours, deprives you of sleep, downtime, health, and your life. Once you finish and turn in an episode, you get to do it all over again! For another 20 or 200 episodes! Much respect and love to the ubermensch talents who do well in this field!“ Her pursuits are more personal these days, a balance of editorial illustrations and commissions – and a new comic is in the works! She cites Tara Booth, Heather Benjamin, and Maren Karlson as huge inspirations to her lately, “as well as Latina activist art and old school flash tattoo imagery.“ Read more HERE. Previously on Rookie: an interview with Aidan Koch, and one with Alison Bechdel – plus lots of other cool stuff. In fact, Rookie is an online magazine founded in 2011 that publishes writing, photography, and artwork by and for teens – including many comics. Be sure to take some time to poke around the website! ————————————————————————————————— Australia’s Minicomic.club is back for a 2017 season of mini comics love! Sign up to get 12 comics in 12 months from the most interesting cartoonists on that continent – including work by Elari Harris, Georgia Kriss, Meg O’Shea (all pictured above), Leonie Brialey, and Lizzie Nagy. Sign up before the end of January and be sure to explore the website, which is a nice who’s who of Australian cartoonists working today – HERE. Minicomic.club has conducted interviews with many of the creators whose comics they’ve sent out over the years – here are recent ones with Elari Harris, and Leonie Brialey, and Meg O’Shea. Lots more HERE. (Shoutout to Gabriele Di Fazio of Just Indie Comics for writing about Australia’s mini comic subscription service and for all the amazing work he does for the Italian comics community – including running his own subscription service for Italian comics makers! Check out Just Indie Comics for reviews and comics news – mostly in Italian, but Gabriele offers some posts in English as well. Killer!) ————————————————————————————————— Kate Lacour has a new comic on Study Group called The Disciple – you can read it HERE. Updates on Mondays. Her comic Vivisectionary is also running on Study Group, updating monthly. Kate is a New Orleans cartoonist who happens to be another alum of the Santoro Correspondence Course for Comic Book Makers. The comic she completed for the course – Zero Is – can be seen HERE and is excerpted from below: Kate joined Robin McConnell on Inkstuds earlier this month for a fascinating discussion of her “unflinching” work, which often deals with the human body in startling yet beautiful ways – listen to the podcast HERE. (Kate seems to share an interest in the body with Phoebe Gloeckner, who supported herself for a number of years by doing medical and anatomy illustration.) ————————————————————————————————— Audra Stang spent a total of 2 weeks here with us in Pittsburgh, PA, working on a new comic during her Comics Workbook Rowhouse Residency. Although she left the Rowhouse for a few brief excursions during that time, her focus was entirely on her work and by the night before she left there was a draft of a 30 page comic taped to the wall in the kitchen! We can’t wait to see where this goes – both the comic and the Audra Stang story. Follow Audra on Instagram for all her latest adventures and drawings – @audra.stang Keep up with the Comics Workbook Rowhouse Residency HERE. For more details and information on how to apply for a Residency, visit this page. ————————————————————————————————— ————————————————————————————————— From Hither and Yon Liana Finck composed a cartoon diary for Slate of the Jan. 21st 2017 Women’s March on Washington – check it out HERE. Lauren Weinstein also drew the Women’s March – for The Village Voice. The “Eternally Optimistic Paste Comics Crew” has a wishlist for the comics industry in 2017. Although it swings more toward mainstream comics, most of the items on the list should be industry wide norms. Things like “better professional conduct on social media”, and stopping “pigeonholing diverse creators”, (“socially relevant Mutants”!), plus one I’ll get up and shout about too: “Fewer Female-led Books With All-Male Creative Teams”. Sorry guys. Here’s the whole list. Check out M. S. Harkness‘ comic about a troll of a cat – HERE. Over on Study Group there is a new Process Party podcast with Leela Corman. Sarah Glidden‘s sketchbook is full of comics reporting these days – most recently she weighed in on an executive order that halts the refugee resettlement program… From Grace Helmer, a comic about smear tests and bikini waxes and other so-called “girl stuff” – HERE. Glynnis Fawkes spoke to a local Vermont newspaper about her comic for RESIST! “No artist who’s engaged with the outside world can keep working as if nothing has happened,” Fawkes said. Read the rest. The best gig posters ever designed by cartoonists, according to the Comics Alliance – including work by Lale Westvind and a whole pile of posters by Tara McPherson. ————————————————————————————————— Suzy and Cecil – 1-27-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 1-27-2017 – by Caleb Orecchio ————————————————————————————————— 1-27-2017 – by Juan Fernández Share this page: [...]

08/27/2018

Caleb OrecchioAugust 27, 2018NewsCaleb Orecchio here with brief thoughts on Lale Westvind’s, Grip. ————————————————————————————————— I’ll keep this brief; Lale Westvind’s Grip, part 1, is on the cutting edge of comics. Sally wrote about this book a month ago and I don’t have much to add to her praise, but it’s worth re-emphasizing the brilliance of this comic. Lale has been at the forefront of the wave of young cartoonists for years now and this volume has cemented this fact. Grip harnesses the bold visual whacky-ness of the Golden Age while maintaing the solid structure of the Silver Age, and blasts forward and upward as a work of immediacy that speaks to today’s consciousness. To compare the work to any “Age” really other than maybe “the PictureBox Age” can do this comic a disservice because, despite the influence, Westvind has left the past in the dust and has crafted a brand new comic that has no better home in time other than the present. The riso colors, printed by Perfectly Acceptable Press, sing. Westvind makes great use of the printing technology. So much so that, I’m not even going to add my favorite images to this blog post because I want you to look at them for yourself in real life. It is worth noting the omission of words. This, I think, elevates the work immensely and benefits from individual interpretation. There is an obvious thread of an appreciation of women who work with their hands that is at the visual forefront of the narrative, but the very nature of the sequencing leaves a lot to the reader to decide what the underlying symbolism means for themselves. I said keep I’d this brief so I will end by simply stating the obvious that this is a very exciting book to say the least. ————————————————————————————————— Share this page: [...]

05/08/2018

Aaron CockleMay 8, 2018NewsChitra Ganesh; Matthew Thurber; Frank Santoro: The Eulogy of Drawing ————————————————————————————————— Chitra Ganesh has work in Beyond Transnationalism : The Legacy of Post-Independence Art from India. Bau Daji Lad Museum, Mumbai, curated by Dr. Arshiya Lokhandwala, through June 19, 2018. The exhibition ‘Beyond Transnationalism: The Legacy of Post Independent Art from South Asia’ undertaken at the cusp of India’s 70 years of independence seeks to understand the many positions of artists of South Asian descent living in the United States. The artists in this show assert new and complex aesthetic and geopolitical propositions that question, complicate and travel far beyond conventional notions of home, nations, and belonging. This exhibition seeks to question the relevance of the terms diaspora and transnationalism and their attendant significations. The term diaspora – derived from a Greek word meaning ‘to disperse’ or ‘to scatter’ its geography, or its complex geopolitics – has been a default frame used to understand and signify the mass migrations, and exoduses. At Hyperallergic, Sharmistha Ray looks at animation work by Ganesh currently on view at the Rubin Museum. Although the postcolonial debate has changed, Ganesh is among the few artists to retain its original strategies to embody brown, feminist politics and critique systems of power. Her earliest, and still one of her boldest, innovations was her appropriation of the immensely popular Indian comic book series Amar Chitra Katha (which literally translates to Immortal Picture Stories). Initiated in 1967 by Anant Pai, the series was intended as a pedagogical tool to educate children on their cultural heritage through the retelling of stories from Indian epics, mythology, history, folklore and fables. Not surprisingly, the stories reflect the racial, religious, socio-economic and gender prejudices of India’s predominantly patriarchal and religious orthodoxy, which privileges fair-skinned, upper-caste Hindu males (caste is a toxic, hereditary class system particular to the Hindu religion). The comic books were visual and narrative minefields for Ganesh’s subjective interpretations. ————————————————————————————————— The 218th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, May 8, 2018 at 7pm at Parsons School of Design, Kellen Auditorium (Room N101, off the lobby), Sheila C. Johnson Design Center. 66 Fifth Avenue. Free and open to the public. Matthew Thurber on “The Hallucination of the Art World” Matthew Thurber will speak about his forthcoming book from Drawn and Quarterly, Art Comic. This graphic novel is a paranoiac-critical examination of the art world seen through the eyes of four graduates of The Cooper Union. As each student attempts to reconcile their ideals with the realities of capitalism, love, alien invasion, anarchist pigs, and sex robots, they find themselves careening toward madness, extremism, death, or becoming Matthew Barney’s stunt double. Matthew Thurber’s unpredictable practice has included: Mining the Moon, full length musical play; A novel posing as an interactive handwriting analysis project; A week of movies made in one day each; an olfactory performance, dressed as a giant nose; a mosaic labyrinth installed in an elementary school; Terpinwoe, choreographed noise dance about a carrot-based economy; innumerable illustrations and drawings; a longstanding engagement with the narrative scroll, as well as other pre-cinematic devices. In collaboration with Brian Belott he has performed at the Serpentine Gallery in London, Abrons Art Center, and in an eyeglass store. He co-founded Tomato House, an art gallery in operation from 2012-2015, with Rebecca Bird. Finally he is the author of 1-800-MICE, INFOMANIACS, and Art Comic. ————————————————————————————————— “Pompei” di Frank Santoro: l’elogio del disegno The Italian edition of Frank Santoro’s Pompei is reviewed by Daniele Barbieri at Fumettologica. It’s in Italian, but, you know, it can be translated: There is a famous historical case in the history of art. Look at the statues of Antonio Canova: their extraordinary elegance and expressiveness is offset by a classicist rigidity, which is the price that Canova pays to the trends of his time – when it was important to build a visual art that opposed the frivolities of the rococo. It is true that the immobility of his figures is compensated by a dynamic tension that often makes them extraordinary; but they are not less immobile for this, they are not less icily, neoclassically statuesque, monumental. Now look at the Canova sketches. Small objects with very rough modeling, definitely at the antipodes of marble statues. They are made of clay or chalk; let us see the tracing of the hand or instrument that shaped the matter; we understand the afterthoughts. They are certainly private objects, tests carried out on the wave of inspiration – which then gave life only occasionally to a definitive work that may appear very different from its sketch. ————————————————————————————————— Vision Box – 5-8-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 5-8-2018 – by Caleb Orecchio Share this page: [...]

08/01/2018

Juan FernándezAugust 1, 2018los Cómics / NewsNo news for today. I’m home with a sick cat on my lap. On the local front, The Pittsburgh Comics Salon meets tonight at Kaibur Coffee in Polish Hill. Audra Stang and I will be leading Pittsburghers in some comics calisthenics exercises. It’s always a good time – coffee, shop talk, solidarity. Commodity form as community form. If you’re around, come on out. More info here. On the personal front, my sweet baby boy cat Boris, who is only 6, has been sick for the past month and a half. We’ve gotten some medical attention for the little guy, but after all the time in ER, no diagnosis. He is eating a little more, is a little more active, but is still not back to his normal self. You can imagine how frustrating that can be. I’d never had a cat until Boris and this kind of thing is devastating. I’ve been thinking about KING-CAT #75, the issue that John Porcellino dedicated to the life story of his beloved cat Maisie Kukoc, who lived with him for 15 years. In a lot of ways it prepared me for this kind of love and pain. For today, just a photo of the guy. -Juan Share this page: [...]

Leave a Reply Cancel reply