MOK: There are many side and ¾ back views of you, but as usual, there aren’t really any direct views of your face. Like the withholding in the text, what does it mean to you to sort of withhold your gaze from the viewer?
ODOMO: I didn’t want to draw my face a million times. And everyone is like “god, cartoonists are just so in love with their own faces and love the sound of their own voice”. Well so what? Fuck you. I’m still drawing myself and making it about ME, but like trying to keep it visually interesting and not too same-y.
Backs of heads are like… allowing a little bit of intimacy between me and the reader / viewer but like… stopping them before they get too close. I’m setting the boundaries. For me, the back of the head view is like… there’s a person standing there and you want to reach out to them, but you can’t.
The withholding thing… that’s fun too, haha. That’s more in my writing than my drawings. I love scratching something out and making it so no one will ever be able to read it. I started using paint, too, so there’s like sometimes an entire pages that I end up covering up and wiping out. It’s my book, I can withhold what I want. I can have blank pages if I want. I like the way it looks.
“Draw everyday. 4 to 6 hours every day. No excuses! If you want to be a comic book artist you have to do this, you have to be fast and be cognizant of deadlines. Draw things that you really enjoy. If you love manga or Spider-Man, draw that stuff!! Don’t just draw things that are popular, it’ll come off as fake. Push yourself to the limit to be a good artist. Learn perspective drawing, learn anatomy, learn how to draw vehicles. Draw everything! This will put you ahead of the guys that draw the same crap over and over again. Try not to spend so much time worrying about a style or comparing yourself to others, you’ll just be shooting yourself in the foot. Just focus on being a good artist who can draw anything thrown at them. Over time your style will start to show itself.” – Derek Skuds Mckinley Jones
(Above) Lot 16 – Skuds McKinley – 20USD min bid Skuds is a South Jersy Philly dude who has an awesome kinetic style and good solid sci-fi – these are from a few years ago and I think hold up quite well – check him out on instagram @skudsink
😰 😨 😱
“When Manchester-based photographer Mishka Henner first stumbled upon these seemingly abstract images on Google Earth, he had no idea what he was seeing; with research, the artist realized that these tentacle-like scars on the earth were created by the meat industry. The harrowing satellite-sourced images that constitute The Feedlots convey the sheer scale of intensive farming in America, where the need to maximize profit all too often takes precedence over concerns for sustainability and animal welfare.” – Elizabeth Sulis Gear for Feature Shoot
“After gaining experience at Marvel Comics and the Center for Cartoon Studies in Vermont, McGurk moved to Columbus to work as a visiting curator at the Billy Ireland Cartoon Library & Museum, which houses the world’s largest cartoon and comics collection. In just over four years, she has moved up to associate curator for outreach, organizing exhibits and public programs. She is also an assistant professor.” – Erica Thompson for Columbus Alive
My name is Kevin Czap and I’m the Comics Mom, aka the publisher, of Czap Books(pronounced “chapbooks”). We’re a micro-press based in Providence, RI dedicated to publishing genre-defying comics that celebrate the poetic, the personal, and the weird.
We’re turning to you to help us fund the production of our next three titles: Witchlight by Jessi Zabarsky; don’t tell me not to worry (i’ll worry all i want) by Kelly Kwang; and Egg Creme #1 by Liz Suburbia!
“We want to print your zine and put it inside VICE Magazine, so we’re giving you the next few weeks to download the Zean.it app, upload your finest 16 images into one print-ready publication, and hashtag #TCPOffensive. Then, a special panel of guest judges, including VICE photo editor Elizabeth Renstrom, The Creators Project’s Editor-in-Chief, Marina Garcia-Vasquez, and a super special guest judge TBA, will select the top zine, to be printed and distributed as an insert within the September Issue of VICE.”
” “NOddIN” is a collective launched by filmmakers and artists in the wake of the 3.11 Great East Japan Earthquake and related Fukushima nuclear power plant accident. With the cooperation of a large number of Japanese animation artists, we spearheaded this self-production with the aim to animate the words of the book round-robin style, and our collaborative project was begun. After over a year of production including the conception period, we completed our short film.” – The NOddIN team,
October 2, 2015
Harrison returns with conversations with an American master, a new canon of film, another canon of art, and ends with healing.
Aisha Harris, Dan Kois, and other critics and filmmakers created a new list of the greatest black films from black directors a few months ago. I’m making it my mission to see all of these films by the end of the year and write something about them. Kois and Harris wrote:
“We must recognize that even with the financial and systemic odds stacked against them, black filmmakers have long been creating great and riveting stories on screen. The academy’s failure may have inspired a memorable hashtag, but that failure is deeply linked to the way nearly all movie fans remember cinematic history. In our never-ending conversation—or argument—about which films deserve to be remembered, which films are cultural touchstones, which films defined and advanced the art form, we habitually overlook stories by and about black people. Consider the many widely regarded lists of the “best films”: the prestigious Sight & Sound once-a-decade critics’ poll, the American Film Institute’s eight different 100 Years … lists, or Richard Corliss’ top 100 for Time. Total number of black-directed films among the 1,000 movies on those lists? Two. As Buggin’ Out (Do the Right Thing, No. 96 on AFI’s 2007 list) would ask, “How come there ain’t no brothers up on the wall?” – via Slate.com
Ronald Wimberly made The Black Comics/Animation artist MEGAPOST You’ve Been Waiting For earlier this year and keeps on adding to it. Like he says:
“So, awhile ago I hit you guys up for some examples of comic art excellence. THANKS FOR YOUR AMAZING RESPONSE! I think that post reached 400 people! I’ve compiled the answers that jumped out to me as well as some of my own in the list below. Give these guys your eyes, moneys and work!”
Keep up with the list HERE. Remember comics history right.
Pages by Rick Mays are part of the Comics Workbook auction this week – artwork from Spider-man Loves Mary. Email Frank Santoro at santoroschoolATgmail for a password, if you don’t already have one.
Richie Pope illustration for VICE
Richie Pope hits again with an illustration for a VICE article titled The Alt-Right’s Fear of a Black Planet (above). From the article:
“We are changing demographically, we are changing racially—we’re becoming a truly multiracial society. In the context of this change, we always need to guard against appeals to our worst selves. The risk with the alt-right movement and Donald Trump is that in the midst of this social transformation, which of course generates anxiety, we are turning toward a movement that encourages us to find some sort of perverse joy in putting other people down and dehumanizing them.” – Ian Haney-Lopez via VICE
The Greatest Unknown
“Also I was doing work with this political group of filmmakers who were making films about the working class and exploitation and stuff like that you know. And it was sort of formulaic kind of a situation where the plot was always the same, the characters always ended up forming a union and everything was happy after that you know. And even though they were progressive and had good intentions it was the same story if you just apply this formula then your ok. But I came from a situation where it didn’t work for a lot of people. People were happy to get a job, but all these other issues were impacting them you know. So if you were going to make a film about social change, you have to show you know the dynamics of where these people come from.” – Charles Burnett
Harrison is here today previewing the 4th Annual Comics Workbook Competition, revisiting an old/new interview with a veteran artist, giving an update from Richmond, VA’s best artists, and finishing with something sharp.
CBR News: What about the challenges or difficulties you may have faced while getting into the comics biz?
AJ: Well, Marvel and DC were interesting places in the early ’70s. Racism was there, but not the kind you would think. People were trying to be very open minded, but they only could draw on what they knew. I spent a lot of time getting to know people. It was hard at first because, in some cases, we had nothing in common but our love of the industry. Plus, the industry is very much like a little Hollywood: it’s about who you know, as well as how good you are.
Many of the people I worked with I’d know for sometime through the convention route, or from zines, like [the ones done by] Roy Thomas (when we had our zine, Roy was our source for news at Marvel) and Paul Levitz. Marvel and DC tried to be open to us but, in a way, they didn’t know quite how to relate to us. It helped that most of my friends from Detroit helped to open doors. We would take a 13 hour drive and spend the night with Al Milgrom and his roommate, hang at Rich’s, then go see John Romita at Marvel, get our butts spanked, and go back to Detroit to work on our samples again.
– via Comic Book Resources
Read the rest of the interview with veteran artist Arvell Malcolm Jones here.
Cameron Weston Nicholson Cameron’s got a sale on his latest comic, Burgundy. IF you’ve been waiting to pick up some work from Cameron, now’s your chance before these comics are gone! Send him a message via instagram and he’ll hook you up.
June 30th 2016, Harrison is filling your doggie bag with scenes from Chicago, a classic format returning, darkness on television, sex and mystery, and the ten greatest songs of June 30th 2016.
Starships and Rockets
LOVE AND ROCKETS: THE MAGAZINE returns!
Gilbert and Jaime Hernandez to revive their beloved series. The new Love and Rockets marks Gilbert and Jaime’s return to the “floppy” format for the first time in a decade and will measure 8 ½” x 10 ¾”, with at least 32 pages per issue, retailing at $4.99.
“But one problem with the wave of technological change that has made dark lighting easy and cheap for filmmakers is that it doesn’t translate to all television sets. Old televisions did a better job of rendering dark colors than modern ones. Detail that’s visible on an expensive television disappears on a cheap one, and suddenly Game of Thrones is indecipherable. The same is true when a television is viewed in a brightly-lit room or from an angle: Dark scenes lose more detail than bright ones. There’s a reason Best Buydoesn’t have The Godfather playing on their wall of TVs show. (There’s also a reason they were running The Dark Knight in their more dimly-lit Magnolia showrooms for years, directed at people willing to buy their most expensive models.)”
There is no try – Watching the George Lucas Fiasco
“When plans to develop the Presidio site were shelved, Lucas went looking for a new city. Enter Rahm Emanuel. Lucas found an eager suitor in the mayor, who offered up a lakefront site in Grant Park and a sweetheart lease. And clearly the mayor provided Lucas something else, too, something the filmmaker was very accustomed to receiving in Hollywood, but certainly didn’t get in San Francisco: brash creative freedom.”
Harrison’s Daily News for June 23, 2016 starts off in the Salon, drops off midway with Inkbrick 5, and lands with some Busdriver.
Your favorite correspondent’s favorite correspondent Juan Fernandez reflects on the latest meeting of the Pittsburgh Comics Salon. Ingest your daily vitamins of theory, modular grids, holding the center, and more below.
Yet again our submission pool brought us more excellent work than we could hope to print, and as a result this will be our largest to date. Part of the book is a special section excerpting Jenny Zervakis’s upcoming book Strange Growths, which will be published jointly by John Porcellino of Spit And A Half and Tom Hart of the Sequential Artists Workshop.
Gatosaurio Grab Bags! Each includes one surprise tee, sticker pack, tote bag and enamel pin plus more surprises like zines, 90s tattoo chokers, a pocket notebook or a coin purse!
“Recently I did an interview over at comicsverse.com that was conducted by Jake Grubman. In it, I talk a lot about how I’m trying to be “ruthlessly efficient” in my cartooning, ever since I finished Basewood. “Draw Comics Faster” has been sort of like my second motto (next to “Draw Comics EVERY Day”) based on the great drawing shown above that Nate Beaty sent me when I was still slogging through Basewood. As my time constraints constrict around me (new dad!) it is important that I make the most out of every available minute of drawing time.”
“What does Gutter Pop refer to? That was a weird little journey. I was planning on doing a music zine called Gutter Pop, just sort of referring to my friends in the DIY scene that make kind of poppy music but it’s all underground, so I thought Gutter Pop was a fun play. And then I needed a name for the store and I thought it would be fun, because [in a comic book] in between the panels is called a gutter, and then the pop is like the pop of pop art.”