Comics Workbook

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Posted in NewsTagged annie koyama, caleb orecchio, edwina dumm, flo steinberg, gabriella tito, kristin radtke, lynda barry, Sarah Glidden, Shee Phon, svetlana chmakova

Sally Ingraham

Posted on August 4, 2017

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08/28/2017

Caleb OrecchioAugust 27, 2017NewsCaleb Orecchio here on Jack Kirby’s 100th birthday ———————————————————————————————— What’s out There? …and so I live with a lot of questions—and I find that entertaining. If my life would have went tomorrow, it would be fulfilled in that manner. I would say, “The questions have been terrific.” -Jack Kirby from the Harlan Ellison hosted documentary, Masters of American Comic Book Art. All images herein are written and drawn by Jack Kirby ———————————————————————————————— Today is Jack Kirby’s 100th birthday, and though he passed away in 1994, his spirit lives on as strong as it ever was. Undoubtedly, his influence has stretched across the four corners of the medium of comics–and culture in general. Over the past months in anticipation of this day, there has been an extra electricity in the air, surely not altogether separate from the social and political shifting of the last several years. Many feel the doomsday clock is winding down to midnight and the writing on the wall says the times are changing, and I couldn’t help but think of the recent solar eclipse as a sort of omen. Whether the eclipse was an omen for good or bad, I have no idea; but as the Jacques Prévert poem says, The earth it turns/The earth doesn’t stop turning. Another recent omen I encountered, just two days before the eclipse, was a screening of 2001: A Space Odyssey in a vintage 70mm print. As you know, it’s a complete and utter visual experience–a feast for the eyes–but seeing it in 70mm left me changed by the time the credits were rolling. “What did we just watch?” was a popular question asked among friends while ruminating over shared cigarettes. I couldn’t stop thinking about Kirby. More than a few readers will be well acquainted with Kirby’s comic book adaption of 2001 and his subsequent spin-off series. I think these works unhinged something in Kirby. The series, up to the point until Mister Machine (or later, Machine Man) takes over as protagonist, leans heavily on the evolution of early humans into a higher being: The New Seed. It’s a continuum: we’re born, we live, we die, we’re born again. During and after 2001, Kirby became unleashed. His “mature style” had fully formed. A New Seed emerged from his diminishing back and forth relationship between Marvel and DC. Back at Marvel once again for the last time, Kirby’s images obliterated the comparatively civilian drawings of his contemporaries. Smashing and gnashing his way through, arguably, some of industries worst years creatively and financially–standing as a monolith among the poor, hungry apes incapable of grasping the knowledge he was revealing to them. He, The Monolith, still stands to this day and we apes are still trying to figure out where the signal is pointing to. xoxo CO ———————————————————————————————— select Kirby links This special edition of the Kirby Collector looks like a banger. The Comics Journal interview with Kirby conducted by Gary Groth, with Roz Kirby in attendance. Masters of American Comic Book Art clip A really great Art in America piece on Kirby by Alexi Worth. Radio interview conducted on Kirby’s 70th birthday with surprise guest–brace yourselves True Believers–Stan Lee. A really excellent series by Robert Steibel on the collaboration between Kirby and Lee Kirby at War BANG! POW! Kirby on Entertainment Tonight A particularly good presentation by Arlen Schumer on Kirby’s influence in culture. Jack Kirby Musuem and Research Center Kirb Your Enthusiasm BONUS SPREAD ———————————————————————————————— Suzy and Cecil – 8-28-2017 – by Gabriella Tito ———————————————————————————————— Joanie and Jordie – 8-28-2017 – by Caleb Orecchio Share this page: [...]

04/04/2017

Aaron CockleApril 3, 2017NewsAaron here today with the Agony of Ben Katchor; NET ART; The Disappointment of Katie Fricas; BLUTCH; Thurber/Wegman, Wegman/Thurber; The Careful Massacre of the Bourgeoisie. ————————————————————————————————— ‘a voice emanating from a Lower East Side automat.’ Ben Katchor in conversation with his Metropolis editor, Belinda Lanks: I know people like to ask about what kind of pen I use, what kind of paper, like there’s a secret to this. I tell them, “You can sit at my table with the same pen and paper, and it’s not going to help you, because you didn’t work at figure drawing and storytelling for years.” You build up these skills. Just like somebody who makes chairs is more likely to make a great chair. When you do anything in a serial production, there are just these micro seconds of creativity, then the rest of it is just the craft of making the thing. There’s the workmanlike approach where you just say, “Here’s this thing I want to demonstrate.” I’ve practiced drawing for decades and know how to use language in some limited way, and I can put these together and make this plausible story or demonstration. ————————————————————————————————— NET ART Rhizome.org has posted an anthology of internet art from the past 30-odd years: This two-year online exhibition will present 100 artworks from net art history, restaging and contextualizing one project each week. Devised in concert with Rhizome‘s acclaimed digital preservation department, Net Art Anthology also aims to address the shortage of historical perspectives on a field in which even the most prominent artworks are often inaccessible. The series takes on the complex task of identifying, preserving, and presenting exemplary works in a field characterized by broad participation, diverse practices, promiscuous collaboration, and rapidly shifting formal and aesthetic standards, sketching a possible net art canon. ————————————————————————————————— The Casual Disappointment of Bjarne Melgaard At the Hyperallergic blog, Katie Fricas voices/draws her reaction to the Bjarne Melgaard show at Red Bull Arts New York (220 W 18th Street, Chelsea, Manhattan) through April 9. ————————————————————————————————— Blutch in NYC The 183rd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, April 4, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Blutch on “A European Education.” I am currently working on a book called Variations (Dargaud, September 2017), where I recreate a series of famous graphic novel sequences by great masters of European comics. This work forces me to ask myself questions regarding the ambiguous nature of sequential art. Neither literary nor plastic, it is what Harold Rosenberg, referring to painting, once defined as an anxious object. How do we decode it? Where does it stand in our society? A graphic novel can receive a Pulitzer, cartoonists’ work is exhibited in great museums while the art establishment is still indecisive on weather to consider it a minor or a major art. Personally, I call my work ‘paradoxal literature.’ The pages that compose Variations follow each other with no beginning or end. Just fragments of stories that allow me to reach what I feel is hidden somewhere beyond the boundaries of my storytelling: sequential art as a brand new form of poetry. That is, a form of literature ‘to observe.’ Sculpted literature. ————————————————————————————————— No Maine is an Island William Wegman & Matthew Thurber Opening April 1, 7 to 10pm William Wegman and James Thurber, together at last. What’s that? A filing clerk sent the invitation to the wrong Thurber. Too late to retract the invitation now. But when Wegman met Thurber he was crestfallen. That is, he dropped a tube of toothpaste into the toilet. I don’t know why they decided to meet in the bathroom. Maybe it seemed like gender-neutral territory. Foolish Thurber left some Wegmans too close to a scented candle and…whoops. It seems they’ve started to copy each other’s drawings. To become the other’s ‘evil twin’…but let’s not be naive here!…a ‘good’ drawing? an ‘evil drawing’? No such thing exists…we all know that. We…did you close the chimney flue? You fool, don’t you know bad drawings can crawl down the chimney like bats, like leopards, like Wegmans and Thurbers???? There is however, possibly at this moment in your unattended studio washroom a witch, laughing at you in the mirror. Come on now…enough is enough. Are you being serious? Or are you just halving Fun? “No Maine Is An Island” includes new call-and-response drawings by William Wegman (b.1943) and Matthew Thurber (b.1977), as well as a selection of Wegman drawings from the ’70s and ’80s. The exhibition remains on view, by appointment, through May 7. Teen Party is located at 874 Greene Avenue, Apt 2A, in Brooklyn. ————————————————————————————————— Stories-within-stories are the best kind of stories Not ‘comics-related’ specifically, but Mr. Robot strikes me as a particularly ‘comic book-y’ show; this is the movie-within-the-show from the second season, The Careful Massacre of the Bourgeoisie. A reminder to us that these massacres of the bourgeoisie should be, above all else, careful. ————————————————————————————————— Check out Portraits by Connor Willumsen. This magazine sized 16-page beautifully printed booklet (by WestCan – who also printed thee Santoro School Handbook) of portraits by the great Connor Willumsen is now available. Edition of 500. Connor will be a special guest at the Pittsburgh Indy Comix Expo this coming weekend. If you’re in the region come meet him and other great cartoonists! ————————————————————————————————— A Cosmic Journey – 4-4-2017 – by Cameron Arthur ————————————————————————————————— Suzy and Cecil – 4-4-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie –4-4-2017 – by Caleb Orecchio Share this page: [...]

05/04/2017

Sally IngrahamMay 4, 2017NewsSam Ombiri shares thoughts on Sammy Harkham’s Crickets #6 – plus other comics-related news! ————————————————————————————————— Sam Ombiri here: What a fantastic issue of Sammy Harkham’s Crickets we got (#6)! I have to begin with how we got wonderful drawings from Harkham. Of course there are many comics drawn this way and many not, and I really don’t think about these differences so much, unless I’ve heard the author specifically bringing up the motivations for drawing the way they do. With Harkham’s drawings feeling somewhat rigid, it then becomes hard to penetrate the abstractions being offered – more so because they seem unlikely with this type of drawing. Actually it is really great that they aren’t so obvious to discern, even after “being discovered”, which is a testament to their strength. Harkham says (in Comic Book Decalogue Episode #5, 2015), “The kind of storytelling I’m interested in is making things really stacked and dense so that one thing is going on with dialogue, one thing’s going on visually, and one thing’s going on in the background.” He adds, laughing, “Just to push the anxiety level.” Abstractions are being offered to you. I think this is what is referred to by Harkham as dematerialization of drama; which I believe was first said by William Oldham in conjunction to Harkham’s work. Harkham says, regarding Somersaulting (which appears in his collected stories Everything Together, PictureBox 2012), “Any sort of plops is sort of the creative counterweight for the more quiet, calmer, open, sort of more contemplative sequences to still make it a comic.” – Comic Book Decalogue Episode #5 I think Harkham is still applying that principle to Blood of the Virgin (Crickets #6), but in a different way, thankfully. He’s advancing this new trick he found. What I really like is that Harkham didn’t just want to deal with another medium by making comics. He looks at comics like it’s the best medium, and the things that excite him about other mediums only furthers his enthusiasm for the comics medium. If I may make a contrived comparison, and this comparison isn’t completely parallel to Harkham, Leos Carax is a director who maybe wants to be a musician, so as a result his movies have scenes like this: https://www.youtube.com/watch?v=80xOJ2I2oVc Leos Carax says his first movie was called Boy Meets Girl, but all his of movies can be called “boy meets girl” and it’s often the same movie, featuring one guy in love with two women, with the exception of Holy Motors. Likewise, Sammy says his stories are all about denial (a similar denial is exemplified by Burt Lancaster in The Swimmer!) Harkham said in the past that he doesn’t want things to be expressive and moments to hold value over others. I think Harkham must see something similar in Brian Chippendale’s Ninja, where every panel has the same intensity. Or it’s like how Robert Bresson says he wants his actors to be like a virtuoso in portraying their afflictions. Of course other directors do this too – I only bring up Bresson because for me he has exhibited the most success with this mode of approaching expressiveness – in the way that I think Harkham is talking about. Harkham once said that he has a distaste for when sadness is conveyed just by showing a character crying. Harkham’s connection between comics and film has more to do with Emir Kusturica, but I’m going to speak more about intention and methods. Recently, someone brought up the duck motif – they told me they’re excited to see what Harkham will do with it. Personally I think we already saw. It has happened, it’s already an active force in the story. The ambient quality of the duck is what we’ll get. I hesitate to call it a symbol. I feel personally that if I attempt to say what it is, I’ll sully it. I was thinking a lot about how Andrei Tarkovsky said, “Bresson attempts in his films not to be symbolic; he tries to create a form as inexhaustible as nature, life itself. Of course this doesn’t always work. In fact, there are episodes in his films that are extremely symbolic and, therefore, limited – symbolic and not poetic.” (from an interview with Tarkovsky on A Bittersweet Life.) Tarkovsky then continues to say, “An obvious but banal example of this is the rabbit hunt in Mouchette.” I feel like if I rewatch Mouchette, Tarkovsky has officially ruined the scene for me, but you know, I’m only saying that as a joke, as Tarkovsky and Bresson kind of have this whole detached philosophy to the perception of their work. Harkham’s primary concern seems to be to entertain – it’s just the way that symbol works that’s similar. When the duck motif was brought to my attention it felt somewhat ruined. Now, with what Tarkovsky said in relation to Bresson’s rabbit scene, Bresson’s intentions were rather different for this scene – but there’s still something of a consensus. Tarkovsky refers to this as a moral influence between artists, without which art cannot exist. Harkham said, regarding Somersaulting and I’d imagine his work even now, “I realize that when you are directly influenced by someone, it’s not that you want to see something and copy it, it’s that you see someone, it’s a shortcut for a place you wanna go, so I knew the tone for that story and seeing Hopper’s work, in the flesh, just got me that much closer as a way to get there. Realizing that composition and a certain kind of composed quality, really measured quality, could go a long way towards that. So I think the story if I had never seen that show, the story would’ve probably resembled that in a lot of ways, but I probably would’ve taken more of a windy path to get there.“ Tarkovsky also said this one thing which is very similar to what Harkham said: “Just like everybody else who strives for simplicity and depth, I can’t help but identify with what he has achieved in this field. But on the other hand, even if Bresson would never have existed, we would have eventually come across this notion of a lapidary style, simplicity and depth.” It’s a very similar idea in my mind, that these artists with different goals, who operate on different principles, can end up at the same place with the same goals. Or it can even be like Krzysztof Kieslowski says – “People in different places and for different reasons think of the same thing I tried to talk about – things that connect people. I think this feeling, this music, all these notes already exist, scattered somewhere, waiting for the person who’ll put them in order. The fact that two different people at different times, in different places, from different social strata, can put these notes together in the same way seems to be a sign of what connects people.” (from Cinema Lesson in Blue) In The Blood of the Virgin, the story’s progression isn’t hindered by this other unnamed will to cause Seymour more afflictions slowly revealing itself. Seymour’s running out of places to go. We know he’ll end up face down just like it shows in the cover – the way it all turns out is worse than what I imagined. Especially for how believable it is. Harkham says, “I don’t really strive for realism, but more for specificity.” The order of the tragedy isn’t what’s being relied on really, and it’s not the order that makes it compelling, but it does leave everything grounded. Harkham says that the way he sees it is, “Plot is just a coat hanger to hang ideas and jokes and emotions on to.” The moment where Joy just up and says movies are cheesy – in this moment when Seymour is trying really hard to reach the destination of this major quest he’s been on – has to join the ranks of that which he greatly reveres as important. As a reader at that point, I hadn’t really realized how much of his vision is being denied to him – it had already started. All I could think was “Uh-oh”. It’s these small micro losses that tell you clearly that everything’s coming apart. For some reason I thought that Seymour’s life would maybe get better, despite his struggles. Harkham says, “I realized that what he (Edward Hopper) was doing with his paintings was something that I was really interested in – with a lot of the architectural drawings, and the interior a certain tone that you get out of the everyday objects and everyday spaces, trying to find the divine or the ambiguous – and he kind of does that so well, so it’s a visual touch point for that story I was working on, and I saw the show and there are a couple of exact echoes of the paintings in that story.“ Leos Carax compares cinema unfavorably to dreams, as in dreams you need to invent the way the way people move. Harkham says, “Cartooning is knowing how to use the sickeningly stupid blunt emotion of each panel and build something emotionally complex of it.“ Like designing someone’s car to signify what kind of person it is that drives it, or how Harkham says he likes how in The Swimmer, “It makes sense that the whole time the main character is in his swimsuit.” That the imagery is in complete conjunction with what’s going on with the story, and for one reason or another that’s what he’s aiming for. That the work dictates what’s gonna be in it. “What I liked about comics as a teenager is the same thing I liked about punk rock and what I liked about gory horror movies: It just felt completely trashy and disgusting and stupid. You’d be embarrassed to read a comic on the bus – you still would. But I like that. It’s embracing that surface quality, not trying to make your work look smart at all, and then surprising the reader that this is a little bit richer, more layered, that there’s a lot more going on.” I think what Harkham is saying is similar to how Funny Games lingers on people’s radar as just some fun horror movie to watch – but there’s really a ton of things to unpack there, so then he likes that spot. I’m not so fond of this idea of creating this spectacle of finding a dense story in an underestimated medium. I’m glad that Harkham doesn’t count on this spectacle, as it feels like a cheap trick. I feel similarly about something that Austin English said about how The Disgusting Room was made – he has in his mind come up with this idea that people who’ll read The Disgusting Room will think it’s a newspaper or something, but then be surprised with this imaginative comic (which it is). After hearing that, however, whatever enjoyment I got out of The Disgusting Room went up in flames, because what about the rest of us, where we already know how great comics can be? Or even to an extent I hear Patrick Kyle say he wants to make comics that can only be made as a comic – does that enhance the work being made though? There’s a great essay by Connor Willumsen at the end of this issue of Crickets that talks about these things better than I can, about how what the soundtrack of a movie would be, or the sound design, or a prop, is something you think differently, but not too differently from comics. What the soundtrack is, is similar to the way an author can linger on, let’s say, the gestures of a character, and really slowing things down, to the most minuscule degree. It’s more acceptable, as a medium, to do that, so in turn that might be what a recurring element in a movie might otherwise do. I’m thinking of how it may all be about lingering elements within a work. In Holy Motors a segment of this song plays before the character Mr. Oscar assumes a new identity. In some movies the soundtrack is something else entirely though. The best version of this coming to fruition that I can think of is in Blue from the Three Colors Trilogy – both movies kind of end with a musical number, though I have to insist that the song at the end of Blue is more appropriate than Holy Motors‘ within the story. Connor doesn’t hone in on a cut and paste principle – that’s just easily applied – but the way I remember it, if memory serves (it often doesn’t serve me well), he just says that this is a principle that a maker or a reader can think of in conjunction with what the author might be doing that might otherwise remain obscure. – Sam Ombiri (Additional quotes by Sammy Harkham sourced from the article Sammy Harkham: Naturalism and Specificity, and a Los Angeles Times article – Sammy Harkham, a City’s Comics Crusader.) 5-4-2017 – Sam Ombiri ————————————————————————————————— Sally here – check out this incredible compilation of stock footage from Marvel and DC studios in the 1970’s – you can watch it below. There are lots of wow-inducing moments, but I especially enjoyed a brief glimpse into the beginning of Trevor Von Eeden‘s career – see him at 17 years of age showing some newly drawn pages to an editor at DC Comics – watch for him at minute 8:44! (via The Comics Journal) ————————————————————————————————— Keep an eye out for The Encyclopedia of Black Comics, coming this September from Fulcrum Publishing and Professor Sheena C. Howard (Eisner-award winning author of Black Comics: Politics of Race and Representation). According to her call for writers (which went out last August) she expects the book to include entries on at least “150 Black people in the comics industry who have published significant work in the United States or done notable work in the comics field, being included in the volume (including editors, publishers, illustrators, artists, creators, etc).” You can pre-order the book on Amazon. ————————————————————————————————— Suzy and Cecil – 5-4-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 5-4-2017 – by Caleb Orecchio Share this page: [...]

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

Alyssa BergMay 5, 2016Art Trip / EssaysThis series began last week with Part One: Ritual in Preparing the Space/It’s the Simple Things – now we are drawn deeper into the museum and into a new process meditation. ————————————————————————————————— My last stop at The Rubin Museum of Art was the exhibit Gateway to Himalayan Art. What immediately drew my attention were 4 pieces showing the stages of a thangka (scroll) painting. Thangka paintings most often depict deities or mandalas and are used in meditation practice. The paintings are not an expression of an individual artist; they are made by following a strict set of rules. Underneath the forms and colors is a complex grid based on precise measurements according to which deity is being depicted. In the process pieces at the Rubin, areas of the underlying grid of sacred geometry are left visible. I love seeing works in progress or unfinished artwork–a chance to spy the secrets that lie underneath the surface. But also, look at that grid! Yes, it’s true I am a student of Frank Santoro and, no, I am not going to go deep into practical and/or theoretical grid-talk. If you want that, get it from the man himself (the comments section is full of gems, too). If you prefer having your information in hard copy, it’s available that way, also. As a person who has spent many+ hours drawing and re-drawing and drawing again the grid, it was an easy jump in my mind from this: to this: ————————————————————————————————— Part 2: Meditation on the Grid/Free Your Mind Recently I was in the audience at a panel discussion where someone asked the artists about ‘creative block’ and how to over-come it. The answers ranged from ‘just getting off of the couch’ to knowing that there are ups and downs in creative work. If I might add my own answer to the question no one asked me: Sometimes my mind is unwell, or full of complicated messy things or unable to think of new ideas (‘creative block’, I guess?). When I am in this state, I let my wild, creative mind rest. One way to do this is by going into a gentle analytical and physical practice. I sit down at my desk and pre-draw pages of panels and grids. Similar to preparing my workspace as mentioned in Part One, pre-drawing panels and grids is a simple concentration-meditation that doesn’t require much thought (common theme: freedom from the mind!). I get out my ruler, triangle and compass and start to push my pencil across the page making the prescribed lines. I am not inventing them. There is a formula and I’m following that formula. In my comics, I almost exclusively use a four-panel grid. Through years of repetition comes ease and comfort in getting to a single-pointed mind-concentration. In this concentration I’m not working out story ideas or fixing problems. I’m just there, holding the pencil in my hand, running it along the ruler. On certain days I’ve ended up with a stack of 20 pages of panels with varying elements of the grid or sometimes a single page with different color lines on top of lines on top of lines… It is an easy practice that is calming and allows some space to open up. And at the end of the practice, as an added bonus to a relaxed mind, I have pages at the ready for the days when the last thing I want do is draw a straight line. ————————————————————————————————— Look for Part 3 of this ongoing series next week! Read Part One HERE. ————————————————————————————————— Alyssa Berg makes comics in Brooklyn, NY. You can find her work HERE. Share this page: [...]

Tac au Tac

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

08/04/2017

Posted on August 4, 2017 by Sally Ingraham

Sally here to finish the week with the focus on Flo Steinberg, and Lynda Barry – plus other news and comics by fabulous women!

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Flo Steinberg, longtime secretary of Marvel’s Stan Lee, and underground comics publisher extraordinaire, died last week. Any number of obituaries and tributes have shown up since then, but I especially enjoyed the memories of Michael J. Vassallo, who was a friend as well as a fan of Flo’s. He wrote about her life and work and their friendship on his blog Timely-Atlas-Comics – read all about her HERE (via The Comics Reporter).

Jonah Jameson’s secretary Betty Brant, as drawn by Steve Ditko (left) looks a lot like Flo! (right)

Flo’s escapades at Marvel are well known – her work ethic, her enjoyment of the form, and her support and interest in the creators inspired devotion and respect from everyone she met. When she left Marvel in 1968 she dove into the world of underground comics, and produced one of the very first independent comics EVER – Big Apple Comix (1975).

The one-shot featured work by Wally Wood, Neil Adams, Al Williamson, Denny O’Neil, Archie Goodwin, Ralph Reese, Marie Severin, Paul Kirchner, Stu Schwartzberg, Alan Weiss, Herb Trimpe, Mike Ploog and Larry Hama. Linda Fite contributed a strip and helped with the production, alongside John Verpoorten and Michele Brand. Flo was the editor. She printed 20,000 copies (some stories say) and Warren Publishing helped her store and distribute it. The comic helped build the wave of direct market publications which led to the thriving alternative and underground comics scene of the 80’s.

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Posted in NewsTagged annie koyama, caleb orecchio, edwina dumm, flo steinberg, gabriella tito, kristin radtke, lynda barry, Sarah Glidden, Shee Phon, svetlana chmakova

Sally Ingraham

Posted on August 4, 2017

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09/22/2017

Sally IngrahamSeptember 22, 2017NewsSally here with Jenny Zervakis (in real life!), a big announcement from Caitlin McGurk, and other comics and news of note. ———————————————————————————————— One of the highlights of going to the Small Press Expo last weekend in Bethesda, MD, was getting to meet Jenny Zervakis (above). Her comics are my favorite discovery of the past year, and I have been harassing everyone I know into getting The Complete Strange Growths, the collection of her work published by John Porcellino and Spit & a Half Distro. I wrote about this collection back in June (read the review HERE) and more recently about Strange Growths #14 (HERE). Buzzing around SPX in the last hour of the last day, after having spent most of my time running workshops for Comics Workbook, it was a delight to catch sight of 3 more issues of Strange Growths on the corner of a table, and a thrilling surprise to see that Jenny herself was standing behind them. I burbled something about how much I liked her comics, and how much I appreciated that they were about her own impressions of the world and what she saw as important or strange or beautiful, told with poetry and humor. She said her comics had been turned down a lot, and not published in comics anthologies in the 90’s because they lacked a focus on “women’s issues”. That’s exactly what I like about them – they speak of her as a person and an artist, and not “just” as a woman. The new (to me) issues pictured above round out my collection of the “complete” Strange Growths, compiling stories and dreams and poems from 2002-2013. They are excellent! You can get copies of Jenny’s work from Spit & a Half Distro, HERE, or if you’re at Cartoon Crossroads Columbus next weekend stop by the Spit & a Half Distro table. ———————————————————————————————— Above is a clip from one of the panels at SPX, featuring November Garcia (speaking), and Marc Sobel (moderating), Keith Knight, Jennifer Hayden, and Glynnis Fawkes. The panel was on autobio comics, and was just one part of a great lineup of programming that was heavily dominated by female makers. Many kudos to the organizers who made this happen (especially Rob Clough!) ———————————————————————————————— The greatest bit of news I came across last week is this: Caitlin McGurk (associate curator of The Billy Ireland Cartoon Library & Museum) has been tapped to write the text for IDW’s upcoming Library Of American Comics Essentials collection of Edwina Dumm‘s Cap Stubbs and Tippie comic strip (coming out in 2018)! I knew that Caitlin had been pouring over the Edwina Dumm items in the BICLM collection throughout the summer, and I guess this is why. She is “thrilled” about the project. On IDW’s The Library of American Comics blog Bruce Canwell wrote in the official announcement: “You see, over the span of time we’ve intermittently been working on bringing Cap Stubbs to you, we’ve met one particular Edwina fan, a highly-respected comics historian, who knows more about Edwina than I do and is even more enthusiastic about writing this Introduction than I am (and that’s saying something!). Which is why I’m pleased as the well-known punch to tell you that Caitlin McGurk, associate curator of The Billy Ireland Cartoon Library & Museum, will be your guide on this particular tour of Edwina’s fine comics creations. Since one of our overarching goals is to provide you with the best information available for this, and for every book we release, I’m more than willing to yield this particular floor to Caitlin.“ Bruce Canwell and Dean Mullaney have had this project in mind for over a decade, and it’ll be the first of at least two projects involving the work of Edwina Dumm. You can read more about the book HERE. Congratulations to Caitlin for getting to be involved in bringing more of Edwina Dumm’s work to the general public. I personally can not wait for this book! ———————————————————————————————— Chicken Noodle Soup Heidi MacDonald shares her SPX 2017 report on The Comics Beat – The Year of Getting Woke. There’s a new comic by Ulli Lust up on her site, part of her series in the magazine Exberliner – read it HERE. Cathy G. Johnson recently published her graduate thesis – Developing the Cartooning Mind: The History, Theory, Benefit and Practice of Comic Books in Visual Arts Education – and she has shared some of it on her website, with the option to read it all via email request. Check it out HERE. Robert Kirby reviews Hannah K. Lee‘s Language Barrier on The Comics Journal – read it HERE. The A. V. Club has an exclusive preview of Language Barrier by Hannah K. Lee available HERE. Smash Pages interviews Glynnis Fawkes, and talks about her Greek Diary – HERE. Kim O’Connor reviews Simon Hanselmann’s Portrait. There’s a new comic up on Mutha Magazine – The Enormity of the Everydayness by Sophia Wiedeman Glock. Sophie Yanow is serializing her new comic on Patreon – a 192-page book that is already thumb-nailed. She just needs a few cheerleaders and a bit of rent money to get it done. Check it out HERE. Whit Taylor was a recent guest editor for the Illustrated PEN, and chose to excerpt Ben Passmore’s Your Black Friend, and Robyn Smith’s The Saddest Angriest Black Girl in Town – read them both HERE, as well as Whit’s commentary. Whit also reviewed Katie Skelly’s My Pretty Vampire, and Keiler Roberts’ Sunburning over on Roar. The Guardian features Tillie Walden and talks about her new comic Spinning – HERE. ———————————————————————————————— Suzy and Cecil – 9-22-2017 – by Gabriella Tito Share this page: [...]

03/04/2019

Caleb OrecchioMarch 4, 2019NewsWe’re back! Thanks for tuning in! ————————————————————————————————— Caleb Orecchio here with a “process” post on my use of modularity in comics ————————————————————————————————— Chris Ware made a comic called Jimmy Corrigan: The Smartest Kid on Earth. The story was first serialized in various formats and dimensions (comic books and newspapers) before all the strips were compiled into the graphic novel published by Pantheon. Ware used the modularity of the grid to make decisions about panel placement, panels per page, etc. When every panel is the same dimension you can make choices about how two pages of a mini-comic can combine together to make one page of a graphic novel or how one newspaper page can make two comic book pages. The main idea here is modularity. I make a comic strip called Cement Mixer these days. I am currently serializing a story about the Arcadian huntress/hero, Atalanta. This strip appears both on this site and on my instagram page semi-daily. Eventually I want to self-publish this story as a standard-sized comic book. Here is how I make this comic a ‘strip’ and how I will eventually make this comic a ‘book.’ Below are the first three strips of the story published on this site and on instagram: This is how these three strips will look as a comic book spread (or at least this is what it looks like in InDesign right now): The spread comes first in the drawing process. Print is still king. But I am thinking about the web when making the spread so I started considering the first two tiers of each page as a section; a 1234 rhythm – one strip. This approach can be difficult. The challenge and goal is that the traditional zigzag flow of a comic book becomes optional when reading the work. My aim is that the use of diagonal/mirroring images and repetition creates an independent rhythm outside of the expected 6-panel page rhythm. I can code the sequences with color and use that as a guide for the reader. Sometimes I make the sequencing of the spread more fluid and amorphous to allow for more variation with the daily strip. To further the idea of free flowing/amorphous sequencing, I wanted the above spread to read across the page “out of order” if one’s eye so chose. So each tier could work as a unit. Therefore, in theory, I could have made strips by stacking respective tiers together. The challenge then is to depict actions in sequences throughout the spread in a way that does not disrupt the story itself. Do you follow? Below roughly illustrates the sequence variations I had in mind with this spread apart from the traditional way to read comic books. However, when dialogue or narration is introduced, this technique gets tricky. In these cases, to avoid confusing the reader with my gimmicks, I rely on the tried and true way of reading comics to determine how my strips will flow. Keep it simple sailor. ————————————————————————————————— 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: [...]

9/2/2016

Juan FernándezSeptember 2, 2016NewsYoohoo, Juan’s here with the latest comics news: Gary Panter; SPX 2016 Programming; Cameron Nicholson on the RVA crew; Nicole Georges with AK Summers and Esther Godoy; The history of Craftint; payday for Noah Van Sciver; Connor Willumsen’s latest book; Rowhouse Residency’s Sammy Harkham ends TOMORROW! ————————————————————————————————— Portraits by Connor Willumsen Comics Workbook is very pleased to present a new book from Connor Willumsen – Portraits. Available now for pre-order – get your copy HERE! This 16-page beautifully printed booklet (by WestCan – who also printed thee Santoro School Handbook) of portraits by the great Connor Willumsen is now available for pre-order. We are only offering pre-orders for the States presently and will offer pre-orders for non-USA orders after we go to press in late August. Connor is one of our original CW samurais. He will be joining Frank Santoro at The Lakes International Comic Arts Festival this fall, teaching workshops and sharing his process. Look for him there! ————————————————————————————————— [soundcloud url=”https://api.soundcloud.com/tracks/280934796″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /] Gary Panter Eats Art John Mejias and Zak Smith talk to Gary Panter over on their new Podcast We Eat Art about painting, comics, meeting Jack Kirby, his psychedelic light shows, and a lot more. No better way to start your day than sitting down with uncle Gary. It’s a great start to what I hope to be a great series of podcasts. ————————————————————————————————— SPX 2016 Programming Schedule: LIVE Small Press Expo is pleased to announce the Programming Schedule for SPX 2016. SPX is continuing the festival’s established tradition of rich, thought provoking programming featuring leading comics artists and critics in conversation. As in previous years, the Programming Schedule features twenty-two sessions with two simultaneous tracks on both Saturday and Sunday, September 17 and 18. Check out these highlights! – Joe Sacco makes a rare festival appearance to talk about Comics Journalism with Sarah Glidden, moderated by The Nib’s Matt Bors. – Lisa Hanawalt graces SPX for a spotlight interview with NPR’s Glen Weldon. – Andrew Aydin and Nate Powell discuss their work with Congressman John Lewis on the acclaimed and award winning March trilogy. There will also be seven panels dedicated to celebrating the 40th Birthday of Fantagraphics, including: – Publisher Gary Groth joins Joe Sacco, Drew Friedman, Trina Robbins and Gilbert Hernandez to talk about Fantagraphics 40 years of publishing. – The two great indie comics legends, Charles Burns and Daniel Clowes, talk shop with Fantagraphics Associate Publisher Eric Reynolds – The panel Music & Comics has Jaime Hernandez and Ed Piskor discussing how Punk Rock and Hip Hop music influenced their respective creative styles, moderated by the Toonseum’s John Kelly. The complete schedule is available HERE. ————————————————————————————————— RVA at SPX Cameron Nicholson has cooked a post of Richmond, VA’s finest cartoonists and illustrators that’ll be making it out to Bethesda. Check it out and get acquainted with their work before the festival. There’s so much talent in that town. Big ups to Cameron for this annual spotlight! Get yourself a hot beverage and look at them pictures! ————————————————————————————————— Sagittatirian Matters: AK Summers & Esther Godoy Nicole Georges holds it down on her HARD HITTING podcast, Sagittarian Matters. It’s always a good listen. Nicole Georges: Today we are visited by “Pregnant Butch” author AK Summers & “Butch is Not a Dirty Word” creator Esther Godoy to discuss queer masculinity, pregnancy, ugliness, visibility and MORE. They are a Leo and an Aquarius, respectively. ————————————————————————————————— Art in the age of mechanical reproduction: Craftint Over on the incredible Legion of Andy site the in part anonymous site runner, Legion of Andy, has been publishing a series of articles on what might seem a pretty dry subject – the Ben-Day dots printing process, used to colour comics for many years in the US in the past. My god if these aren’t the most thrilling and satisfying reads on color reproduction for comics. The latest piece is on the history of Craftint. Check out the comments to see what Steve Bissette has to chime in 😉 If you want to jump into the thick of it, check out all the articles the Legion of Andy has put together. Part 1—Roy Lichtenstein—the man who didn’t paint Ben Day dots Part 2—Halftone dots, Polke dots, more Roy Part 3—CMYK / Four-colour comic book dots vs. RGB dots on screens Part 4—Pre-history, origins—Ben Day in the 19th century Part 5—Ben Day in lithography Part 5.5—French comic strips of the 1880s. Coloured by relief aquatint. Part 5.75—A lithographic protocomic (?) from 1885 Part 6—Ben Day meets the Sunday Comics in the 1890s Part 6.1—Tarzan and the Ben Day Dots—secrets of 1930s comic strip colour Part 6.2—Fun With (Mis-)Registration—when colour printing plates don’t line up Part 7 — The Birth of the Comic Book ————————————————————————————————— The Industry – Oh you know, the usual tire fire. Jude Terror waxes on the farce of the direct market, maddening pressure on the consumer, and dizzying hypocrisy. Stand by and watch from a distance, or hop in on the comments and get yourself dirty. “The same thing applies sometimes to fans, who are constantly pressured by the industry to feel responsible for sales numbers and pass along that attitude to their peers. Don’t want to see your favorite character’s book canceled? Well, you better preorder and tell all your friends to preorder too. Want to see more diversity in comics? You’d better buy whatever half-hearted attempt at cashing in on diversity Marvel is promoting this month whether you enjoy reading it or not, or else they might get the idea that comic book readers don’t like diversity, and that would be your fault, you see. Don’t want to see your favorite artist die alone in poverty after creating some of the most successful intellectual properties in the history of American pop culture? Well, you’d better keep shelling out $4.99 for those comics Marvel is giving them a 1% cut of, or that’s your fault too.” ————————————————————————————————— Pay day for Noah Van Sciver Noah Van Sciver has been doing a regular strip for Columbus’ weekly arts and culture newspaper Columbus Alive! Check out their archives to read everything that Noah has been cooking up. ————————————————————————————————— Private Rowhouse Auction – 8.27-9.3 ————————————————————————————————— until next time, friends. JF Share this page: [...]

04/12/2018

Comics WorkbookApril 11, 2018NewsSam Ombiri on Deryl Seitchik’s “Missy No. 1”. ————————————————————————————————— Sam Ombiri here: Missy #1 by Daryl Seitchik has left me floored. There are other comics that may be similarly made, and somewhat similarly successful. However, for me Missy is entirely unique, though it’s uniqueness is somewhat hard for me to articulate. This comic communicated through obscuring information. When the title character Missy either scribbles over words, or misspells something, there’s a lot of truth revealed. I honestly wonder how much it was on Daryl’s mind for this story to be effective as it was. Efforts here don’t appear to be calculated, but suspiciously efficient and mysteriously rough. Calculations in some ways are a form of improvisation. The story is so well laid out from moment to moment. It progresses with an abundance of specificity, which is surprising for such a small minicomic. Between these specifications there are small moments for me to really feel. The feelings are surprisingly rich, given how there’s not that many pages in this comic (only 12). The comic feels like watching something with the sound turned all the way down. It’s very muted and very distant, because of how timid Missy is. She is so timid that she remains secretive. Even in her own journal! Despite being presented like the drawings of a child, the drawings don’t resemble drawings a child would make. This is because we’re introduced to the pictures as a representation of what the child is writing. As a result, the drawings feel really humble. The naiveté of the book isn’t for the sake of spectacle, or to be fashionable, but it’s the most honest thing to do, and it isn’t much more than writing in a diary. This merges us with Missy’s vision; with how she sees things, every anxiety, every worry, every tiny betrayal, we’re immersed as a result. It seems like for this minicomic, it’s important for it to be physically as small as it is, or rather the way it was printed especially adds to this comic. Since Missy is small, so is the minicomic. The comic being a diary doesn’t define it completely – the book, rather, just weaves in and out of the idea of the book being a diary. Reading this I could sense that Missy was feeling like the world was about to crash down on her. At the beginning of the story with her parents divorce coming into the picture, it would seem that this was the case. It feels like she’s looking for places to run to, and this journal we’re reading seems to be one of those places. – Sam Ombiri Check out more issues of Missy by Deryl Seitchik as well as her graphic novel Exits (Koyama Press) 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 NOW! Deadline to apply is April 12th- today, by midnight EST. Read all about the course HERE and email santoroschool@gmail.com for more details or to apply. ————————————————————————————————— Joanie and Jordie – 4-12-2018 – by Caleb Orecchio Share this page: [...]

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