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Juan FernándezSeptember 6, 2017los Cómics / NewsEmpezamos el día con Autoras de Tebeo de ayer y hoy; Bef, Decur y Paloma Valdivia en La Polola; Convocatoria El Publicadero 2017; Mónica Ceberia y Mireia Pérez; Muriel Bellini y los tebeos de Cómics Workbook! ————————————————————————————————— 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 3 invitados: Bef, dibujante y escritor mexicano, Decur, dibujante argentino y Paloma Valdivia ilustradora chilena, los tres invitados del V Encuentro de Ilustración y Cómic de La Reina este 2017. Hablaron acerca de sus vidas y el dibujo, sus referentes, y contaron acerca de sus publicaciones y al final respondieron algunas preguntas de los asistentes. 'Presentes: Autoras de tebeo de ayer y hoy' documental del colectivo @AutorasComic esta en linea en Vimeo. Genial. Edúcate. Fanzineros y proyectos editoriales de Colombia, El Publicadero quiere que los acompañen a celebrar la diversidad editorial en Manizales el 29/30 Septiembre! Convocatoria El Publicadero 2017. Álvaro Ortiz viene de subir en pdf el cuaderno de bocetos que se editó hace unos años para celebrar que hace 5 años salió Cenizas! Reportaje en cómics de Mónica Ceberio y Mireia Pérez sobre la vida en la cárcel de Soto del Real. TIK TOK Comics os presenta una nueva entrega de DOMINGO, la serie conversacional de Muriel Bellini ¡Disfrutadla! ————————————————————————————————— Suzy and Cecil – 8-30-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 9-6-2017 – Caleb Orecchio Share this page:Read More:01/24/201807-18-201804/20/201802/28/2018...
Juan FernándezOctober 5, 2016los Cómics / NewsJuan con: el tour de talleres de Comics Workbook; Rodrigo Elgueta y los Años de Allende; Natalia Silva en conversacíon con Sol Díaz Castillo y Marcela Trujillo; la llegada de Entreviñetas – Medellín; una venta paginas de Michael Deforge; Frank Santoro y el medallon de Pompeii. ————————————————————————————————— Comics Workbook participará en dos festivales la semana que viene: En el Reino Unido The Lakes International Comic Art Festival, Octubre 14-16. Frank Santoro, Aidan Koch, and Connor Willumsen en Kendal, UK. Buscános para y visita la mesa 67 en el Comics Clocktower para conocer a Oliver East y Jack Brougham, entre otros. Tendremos 3 talleres especiales, "Visual Poetry" con Aidan Koch, "The Hammer Party" con Connor Willumsen y "Composition Competition" con Frank Santoro. Las entradas para los eventos principales en el Festival Internacional de Lagos Arte cómico de este año están a la venta.ickets for the main events at this year's Lakes International Comic Art Festival are on sale now. Visita nuestra página de eventos para más información.. En los Estados Unidos Cartoon Crossroads Columbus, October 13-16. Ofreciendo talleres y tendremos libros de venta. Júntate con la boca y dibujantes Alexa bar y Kurt Ankeny para disfrutar un fin de semana Juan llenísimo y de creación de cómics. Examinarémos el arte y la cuadricula, uniendo las pracitcas artísticas de Berg y Ankeny junto con la disciplina y el ritmo de la cuadricula, según lo principios establecidos por Frank Santoro. Cuatro horas a través de dos días, llenas de la exploración de una variedad de técnicas y métodos – que inspirarán el principiante, y desafiarán al dibujante avancado. Cómics como el jazz; cómics como la arquitectura; cómo una simple tarjeta de índice puede transformar su proceso de secuenciación y la narración. El horario completo del Festival CXC esta disponible AQUI. ————————————————————————————————— Una Entrevista Con Rodrigo Elgueta ¿Cómo ingresaste al mundo del cómic en Chile? Creo que se podría decir que el cómic es una actividad que me encanta, desde muy niño supe que iba a ser dibujante de cómic. Entre las cosas que me gustan de este mundo es que todos los dibujantes de historieta tenemos en común experiencias de niño, hay algo que nos conecta con ese mundo infantil que ha sobrevivido con el tiempo y que se manifiesta cuando uno hace historietas. Por ejemplo, a los siete años tengo el recuerdo concreto de una tarde especial, donde estaba dibujando personajes de Barrabases, en el cual dije "voy a ser dibujante", y aquello me acompañó durante toda la vida. Más detalles sobre su libro Los Años de Allende – AQUI! Cuando el 4 de septiembre de 1970 Salvador Allende obtuvo el 36,2 por ciento de los votos que lo llevaron a ser presidente de la República, empezaron los mil días más intensos de la historia de Chile. El país fue un ejemplo inédito de socialismo popular democrático, con planes revolucionarios de igualdad, y al mismo tiempo un temido enclave marxista que amenazaba los privilegios, los negocios privados y los grandes capitales. Esta novela gráfica enseña con rigor los hechos políticos, los factores y actores que determinaron el fin de la vía chilena, a través de la mirada de un periodista norteamericano que llega a reportear un proceso y se encuentra con conspiraciones, efervescencia cultural y agitadas noches con una mujer fascinante. Muestra, así, las esperanzas y temores de los protagonistas de entonces, quienes vieron con pasión y dolor cómo se articulaba y destruía un experimento social único en el siglo XX. ————————————————————————————————— [soundcloud url="https://api.soundcloud.com/tracks/285194140″ params="color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%" height="166″ iframe="true" /] Escucha la nueva edición de @lapololapodcast, un podcast del cómic femenino con Sol Díaz Castillo y Marcela Trujillo: En este capítulo las chicas conversan con la autora del libro "No abuses de este libro" Natalia Silva, alias Natichuleta. Conversamos acerca del abuso, de la violencia, los secretos, de cuales son los límites, cómo son los abusadores, cómo nos refugiamos en nosotros mismos y en el dibujo para darnos seguridad y sacar afuera estas experiencias. ————————————————————————————————— Entreviñetas – MEDELLÍN La segunda parte del gran festival Entreviñetas tendra lugar este fin de semana, del 6 al 9 de octubre. Si no lo saben ya, el Festival Entreviñetas es el evento del cómic y el dibujo más influyente en la escena latinoamericana contemporanea. No se pierdan toda la programación! Pueden ver los horarios AQUÍ. Talleres, ferias, charlas y entrevistas – habra de todo, sobre TODO! ————————————————————————————————— Tenemos una nueva subasta para compartir con ustedes! El gran Michael DeForge nos ha donado tres dibujos a beneficio de la escuela – cada dibujo es sobre una cartulina tamaño A4 en crayón. Son de 2014. Cada dibujo estará disponible por separado. Más detalles acerca de la subasta está aquí. ————————————————————————————————— Echa un vistazo a este medallón estilo Pompeii! "Le encargué a la gran Airi Maeno que hiciera unos medallones de plata con sede fuera de mis dibujos. Este dibujo viende de mi libro Pompeii. Es algo que puedo imaginar que alguien se pondría hace dos mil años. Un simple medallón de un ser querido. Un retrato. Algo permanente para desafiar a la desaparición". – Frank Santoro Puedes comprar uno aquí! ————————————————————————————————— hasta la proxima! Juan Share this page:Read More:05/02/201807/11/201804/18/2018San Diego Comic-Con…...
Caleb OrecchioApril 30, 2017NewsCaleb here with Crickets 6 and Ganges 6, comics news out of Columbus, OH, Tom Scioli, and more! ————————————————————————————————— Tom Scioli's weekly webcomic, Princess, continues to utterly mop the floor with most other contemporary genre comics. Scioli's recent oeuvre has impressively combined the aesthetic intelligence of an "art comic," with the most entertaining aspects of a mainstream superhero/scf-fi comic. It's amazing to me with what he got away with on his fantastic run on Transformers vs G.I. Joe for IDW, and not to mention his current run of "Super Powers" shorts for DC's Cave Carson. Once a bonafide and accepted Kirby clone (or Life Model Decoy), Scioli has cracked his own code and has morphed into something more uniquely himself while continuing the Kirby tradition in a similar way Barry (Windsor-) Smith did in the early 70's. Check out Scioli's recently re-released love letter to Kirby, American Barbarian. ————————————————————————————————— I recently got my copies of Crickets 6 by Sammy Harkham and Ganges 6 by Kevin Huizenga from What Things Do, which included an attractive print by Sammy Harkham. I cannot say enough about just how good these two cartoonists are. In a way they make an interesting yin and yang. Harkham's straight-forward narrative style somehow combines the efficiency of a one-shot American comic with the lackadaisical European take-your-time-and-relax way of storytelling. Does that make sense? It's slow and fast at the same time which creates this steady line-drive of a story that is clear, organic, and wholly satisfying to read. I particularly enjoyed (SPOILER!) and funny fist fight on a flight of stairs. Kevin H's comic is a line drive too, but it's claustrophobic (in a good way) and not nearly as light and atmospheric as Harkham's. Ganges 6, in the tradition of it's past issues, demands that you scrutinize the comic as thoroughly as the comic scrutinizes its subjects. Every panel is crammed to the borders with information and symbols and word balloons. Most of it anyway. The parts that let us breath are welcome and help to balance the overload of information. We are just as relieved as Glenn is when he finally finds some peace before being thrown back into a world of endless thinking and distractions. Get these comics at whatthingsdo.com. ————————————————————————————————— Sally touched on this particular subject last week, but I was in Columbus, OH on Saturday, just passing through on my way back from my little sister's college graduation, where I came across a copy of Alive, Columbus' weekly alt newspaper. It contained an article on the Billy Ireland Cartoon Library and Museum founder Lucy Caswell and the "The Billy's" 40th anniversary, a highlight of an exhibit called "Tales From the Vault: 40 Years/40 Stories" by curators Caitlin McGurk and Jenny Robb, AND Noah Van Sciver's weekly comic for Alive -"The Introvert's Club". This isn't the first time I've been passing through C'bus and found an issue of Alive that covered comics pretty heavily (granted one of those times was during CXC, but still). The folks at the Billy Ireland and the Columbus comics community in general seems to be pretty in-tune with the overall culture there. When people call Columbus "Comics Town, USA" I think it may be a bit of an overstatement, but you certainly can't deny their involvement in their community. ————————————————————————————————— If you don't know, now you know British cartoonist Leo Baxendale dies at 86. The Guardian has an obituary. Simon Moreton reflects on 10 years of comic-making, autobio comics, and his fathers passing. Just Indie Comics has a preview of William Cardini's new Retrofit book, Tales From the Hyperverse. You can preorder/support Cardini's new book plus several other new Retrofit releases by donating to their Kickstarter. It's probably worth it for the new English-translated Yokoyama book alone! TCAF is just around the corner, eh (Saturday May 13 through Sunday May 14). Check out what is planned for programming during this big honking festival. Here's a review of Luke Healy's How to Survive in the North from Women Write about Comics. Free Comic Book Day is this coming Saturday. Overall it's a sucky day where I wait in line with a bunch of smelly nerds and civilian parents holding their kids' hands just so I can get the Fantagraphics contribution. This year though I'm going for the Fanta book AND The Incal for the Humanoids FCBD debut featuring 30 pages from the classic. ————————————————————————————————— Suzy and Cecil – 5-1-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 5-1-2017 – by Caleb Orecchio Share this page:Read More:07/12/201802/12/201804/03/201804/06/2018...
Sally IngrahamSeptember 1, 2016NewsFor Thursday we have a new Ed Piskor article, Zona #3 reviewed, the (nearly totally updated) list for the 2016 Comics Workbook Composition Competition entries, Jonas Goonface's work in review, and some insights on teaching and kids. ————————————————————————————————— Ed Piskor is having an amazing year – and back in his hometown of Pittsburgh, PA, folks are feeling the the power of this force of nature. From the Pittsburgh City Paper: "Accolades for Piskor include last year's coveted Eisner Award for best reality-based work, for HHFT Book 2. This year, he's in mad demand as a speaker. In September alone, after an appearance at the Small Press Expo (SPX), in Maryland, he'll speak at the Library of Congress' National Book Festival, the country's largest such fest. SPX executive director Warren Bernard calls HHFT "one of the finest pieces of graphic-novel history that's ever been done." Piskor's fellow Pittsburgh-based comics artist Frank Santoro goes further. Santoro, also a critic, is internationally known for his comics, but he says that commercially and artistically, Piskor has reached another level entirely. "He's now the most dominant player in the game I've ever seen," says Santoro. "Ed has just gone above and beyond what has been thought possible." " via Bill O'Driscoll Read the whole article HERE. ————————————————————————————————— Chris Beckett dug into Comics Workbook publication Zona #3 on the blog he writes with Dan Flemming – Warrior27. "I have enjoyed every issue of ZONA thus far, but this most recent publication, with its wide variety—not only in artistic approach but also in genre and storytelling style—has been the best issue to date. All of these artists created insightful and engaging narratives—in only 10 pages—that stand with the best comics being produced by today's larger publishers. You need to check this out. Now." – Chris Beckett Read the whole review HERE. Get a copy of Zona #3! ————————————————————————————————— http://comicsworkbook.com/composition-competition-entries-2016/ The Comics Workbook judging team will be making the announcement about winners any moment now – stay tuned! Meanwhile, check out all the terrific comics that came out of this year's competition – which garnered more than the last three competitions put together. Quite an amazing outpouring of comics and hard work…! ————————————————————————————————— Another Pittsburgh cartoonist – Jonas McGluggage (Goonface) – had his work review recently on Comic Bastards. "Follow the Leader's second issue reads like a bloody version of a William Blake poem. Depictions of naiveté and purity permeate a narrative that, at its core, is a commentary on youth and acceptance. Larranceville's local park is a carnivorous Neverland filled with hungry Lost Boys." – Ben Boruff Read the rest of the review HERE. Check out more stuff by Jonas Goonface HERE. You can keep up with Follow the Leader HERE. ————————————————————————————————— There was an eye-opening article on The New York Times recently about "What Kids Wish Their Teachers Knew". "The responses were eye-opening for Ms. Schwartz. Some children were struggling with poverty ("I wish my teacher knew I don't have pencils at home to do my homework"); an absent parent ("I wish my teacher knew that sometimes my reading log is not signed because my mom isn't around a lot"); and a parent taken away ("I wish my teacher knew how much I miss my dad because he got deported to Mexico when I was 3 years old and I haven't seen him in six years")." – DONNA DE LA CRUZ Read the rest HERE. Share this page:Read More:02/06/201807/06/201803/30/2018Rowhouse Residency…...
Caleb OrecchioSeptember 13, 2018NewsCaleb Orecchio here with thoughts on Trench Dogs by Ian Densford ——————————————————————————————— What a monstrous dream Ian Densford has conceived. His new graphic novel, Trench Dogs (which originally ran on on the Comics Workbook Tumblr in a different incarnation), left me sitting and blinking and thinking about what I'd read in quiet contemplation. The book is a series of alternating accounts of World War I told as a continuum in a 3-panel-per-page meter. With an omniscient eye and no regard for the faint of heart, we are swept through the perils of The Great War and witness the utter destruction of sixteen million people. Densford does however depict these people as "funny" animals which keeps the visual horror at arms length and digestible; but despite the "Maus-ian" approach, and like Maus, the pain of the events depicted retain their power. Trench Dogs is obviously influenced by Art Spiegelman's Maus. This is an easy observation due to the "Roll Call" page preceding the story in which each nationality therein is labeled and depicted as their respective animal avatar, but I see a handful of other and possibly more vital influences or comparable works. The first and most important to me is Suiho Tagawa. Most savvy American readers will remember his war comic Norakuro from Kramers 6. When I first saw that Trench Dogs was 3-panels per page I could not stop thinking of Norakuro. Plus, unlike Maus, both Trench Dogs and Norakuro allow for whimsy. Trench Dogs is mostly not very funny, but there are moments of "cartoony" bliss that fall through the bleak cracks and relieve the senses of the total desolation burdening the bulk of the book. Similarly, Hayao Miyazaki's manga Tiger Im Schlamm blends war (specifically tank battles in WWII) with the cartoony anthropomorphized soldier. And like Tiger Im Schlamm, Trench Dogs is rendered in watercolor. Though not quite done justice by the book's glossy paper, (I am generally underwhelmed by the production choices of Dead Reckoning – the publisher) the paints give vibrance to the story and, again, cast a little light on the dark subject of WWI. And I would be remiss to not mention Joe Sacco's panorama huge foldout illustration, The Great War, as an influence. I would lay money down right now that The Great War was a major influence for Densford. The real key to Trench Dogs is the steady and uninterrupted 3-panel grid (Yes yes – this is Comics Workbook and we love grids). Densford keeps perfect timing with the grid. Every panel carries the same weight so the pace is consistent throughout the entire comic. He makes good use of the middle of the page and, as I read, I noticed I would let myself wander around the spread. Sometimes I read the first tier on the left page to the tier on the right without reading the other two panels on the left, and to my pleasant surprise it did not affect the reading. Sometimes I would look at the middle panel first, and then "spiral" out. It all still made sense. This is high praise. Being a student of Frank Santoro's, I can't help but assume that Densford's way of using layouts was conscious and not a fluke. The fact that Trench Dogs is essentially wordless aids in this amorphous way of reading. The reader is not locked onto a stream of dialogue that guides the action around the spread. We are free to see what we see without the confines of conversation or narration. The story itself is incredibly poignant and quite vicious. It is a war story or a story of a war. It does not pretend to do anything other than depict war and war's violent consequences. Page after page, the reader is bombarded with terrifying realities of actual events. The rhythm of the constant chaos and depravity, 1-2-3 1-2-3 1-2-3 1-2-3, starts to mess with you. After a while, you forget you are looking at drawings of animals and eventually you accept these images as the actual events they depict. There is little catharsis in reading Trench Dogs. I was quite shocked at the end when (no spoilers) after the war is over and medals are awarded, the violence continues back on our own soil completely separate and tangential from the war "over there." Still, there is wisdom in this book in its depiction of human suffering, selfishness, selflessness and survival. Ian Densford steps back and triangulates the brutality of a war that laid waste to an entire continent and more as we stare in horror and amazement hoping we never share their fate, and yet it is difficult not to sympathize and even admire the victims whoever they might be. Death is the great equalizer and, when people encounter it, we can learn a lot from that. Ian Densford has masterfully managed to encapsulate that fact into a comic book. ——————————————————————————————— You can buy Trench Dogs directly from the publisher here. OR if you want to buy Trench Dogs directly from Ian, you can attend these shows on the following dates: – New York Comic Con, October 4-7 – UMBC Comic Con, October 27 – CAB, November 11 ——————————————————————————————— Cement Mixer – 9-13-18 – by Caleb Orecchio Share this page:Read More:Comic Arts Brooklyn 201810/18/201801/23/2018San Diego Comic-Con…...
Sally IngrahamAugust 4, 2017NewsSally here to finish the week with the focus on Flo Steinberg, and Lynda Barry – plus other news and comics by fabulous women! ———————————————————————————————— 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). 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. Read more about Big Apple Comix HERE. As one of the stewards of the comics community and a bridge between the mainstream and underground worlds, "Fabulous" Flo earned her status as a "legend" and is certainly an inspiration to those of us who feel compelled to till the earth and look to the tending of this scene. I hope she continues to turn that beautiful smile on us from wherever she is now – and keep us on target as well! ———————————————————————————————— If you were to only read comics by Lynda Barry, and no one else, for a year, you would learn just as much about living – with yourself and with others, and in this weird world – and about the craft of making comics, as you would by reading widely and deeply all across the medium. I revisited One! Hundred! Demons! (2002) recently and it was like being picked up by a tornado full of bright objects, spun round roughly, and spat back out a few blocks away from where I'd started, dizzy and bruised, but laughing. Lynda's ability to delve into her own memories of childhood, to summon the demons and put them in their place, is frightening and beautiful. Lyda reminds one that childhood is a wild place, and how you felt then is not so different from how you feel now – and that's okay. I appreciate that Lynda stuck to some formal restraints in the making of this comic – all square panels, arranged in a row of 4 across a spread – which makes for a comforting beat as you move through the somewhat tumultuous story. The black line (made with a brush) and the colors are very satisfying. Her figures are somewhat grotesque at times – even the "pretty" ones – but they are wonderfully alive and vivid. This is great cartooning, in the proper sense of the word, not just lovely illustrations in sequence with word balloons. Groundbreaking at it's time of publication, and still just as good. Get a copy of One! Hundred! Demons! HERE. Lynda is one of my greatest inspirations as a master cartoonist and a woman. Her teaching and lecturing has impacted numerous creatives and non-creatives alike – as this New York Times Magazine article from 2011 proclaimed, "Cartoonist Lynda Barry Will Make You Believe in Yourself". For another dose of passion and drive, check out this Ink Talk about how "the answer is in the picture": Lynda Barry lives and teaches in Wisconsin. She created a comic strip that was nationally syndicated for 2-decades (Ernie Pook's Comeek), and has created numerous graphic novels, prose novels, plays, and how-to books. She was recently given the National Cartooning Society's Milton Caniff Lifetime Achievement Award, and is in the Will Eisner Hall of Fame. She doesn't mess around, and she doesn't keep quiet – Lynda is a force of nature and we are lucky as cartoonists to count her among us. Keep up with Lynda Barry HERE – and with "the Near-Sighted Monkey" version of Lynda HERE. ———————————————————————————————— The Rest of the Party Women Write About Comics has a nice overview of some recent acquisitions to the Billy Ireland Cartoon Library & Museum – a wonderful new collection of original art by female cartoonists of the 80's and 90's. Read and see pictures HERE. Philippe Leblanc reviews a number of Shee Phon's comics over on The Comics Beat – check out his take on her "progressive and personal" work HERE. Imagine Wanting Only This by Kristin Radtke has been getting mixed reviews – over on The Comics Journal Greg Hunter is pretty clear about not liking it – and I find myself thankful that some people are still willing to talk about what makes certain comics poor works of art and storytelling. Check out the Billy Ireland Cartoon Library & Museum's Digital Exhibit of work by Edwina Dumm! Zainab Akhtar is going for Critical Chips 2 – check out the Kickstarter HERE. Brigid Alverson writes about Svetlana Chmakova's career over on Publishers Weekly. Sarah Glidden has an on-the-spot autobio comic posted HERE. The celebration of Annie Koyama and Koyama Press's 10th anniversary continues! Read about it over on Nekkei Voice. ———————————————————————————————— Suzy and Cecil – 8-4-17 – by Gabriella Tito ———————————————————————————————— Joanie and Jordie – 8-4-2017 – by Caleb Orecchio Share this page:Read More:07/03/2018Comics Workbook…06/28/2018Rowhouse Residency…...
HarrisonJune 23, 2016NewsHarrison's Daily News for June 23, 2016 starts off in the Salon, drops off midway with Inkbrick 5, and lands with some Busdriver. ————————————————————————————————— Salon Etiquette 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. http://comicsworkbook.com/notes-from-the-salon-june-18th-2016/ ————————————————————————————————— Visions Chris Visions was at Heroes Con last weekend, where Izzy Renzi took this photo. As soon as he got back… "'…all of a sudden, for no pahticulah reason… I decided to go for a little run…' And draw." Always moving. Check out The Chris Visions Summer Collection, 2016 ————————————————————————————————— Ink Squad Alexander Rothman: We're proud to announce that INK BRICK no. 5 is now available for preorder from our online store! 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 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! inechi.com ————————————————————————————————— Color is Light I heart kokooma_, you should too. instagram.com/kokooma_ Quang Comics ————————————————————————————————— Thumbs "Po-pos don't wan't to follow me, when they see me in sneakers and cotton tees." Busdriver Thumbs out now. Share this page:Read More:10/24/201804/09/201802/26/2018Rowhouse Residency…...
Sally IngrahamSeptember 16, 2016NewsSally here with more on SPX, the Spanish Fever crew, Dash Shaw, Glynnis Fawkes, and Lynda Barry. ————————————————————————————————— Around this time last year I had just moved to New Mexico, and I was missing Pittsburgh desperately. I spent the weekend of Small Press Expo somewhat frantically composing my comic Walkabout (which is all about Pittsburgh) and watching the various small dramas of SPX unfold via meager internet updates. A year later I will be attending SPX myself, bringing copies of Walkabout with me, and also a car-load of special zines made by Comics Workbook for SPX and Fantagraphics' 40th Anniversary celebration. Quite the switch-up! You can get a copy of the "Fanta-zine" when you register at the show – and a copy of my comic as well as loads of other cool stuff from Frank Santoro, Andrew White, Juan Fernandez, Audra Stang, Emil Friis Ernst, and others at the Comics Workbook table – N8. Observe the nifty map below so that this info imprints in your memory bank: ————————————————————————————————— The workshops that Comics Workbook is hosting at SPX have created quite a buzz, and may set the stage for more programming along these lines at future shows. We are particularly pleased to be presenting members of the "new wave of Spanish cartoonists". A portion of the talent behind the new Fantagraphics compilation Spanish Fever arrived in the D.C. area on Thursday, kicking off their US tour with a public talk at the Former Residence of the Ambassadors of Spain, moderated by José Villarrubia. "Asked if there was some stylistic through-line that characterized this new movement, Villarubia said, "I see the influence of American independent comics, the underground, the influence of French comics, Japanese comics. In terms of the art, the aesthetics are influenced by what everyone else all over the world is being influenced by. I think more and more people are reading comics online and have access to materials from many different traditions. This work is informed by that. The five creators who are coming are a really great sampling of that, with different styles and age and gender." " – via dcist.com Spanish Fever editor Santiago Garcia is joined by David Rubin, Javier Olivares, José Domingo, and Ana Galvañ as the tour moves on to SPX this weekend. You can catch them at a panel moderated by Matt Madden and then learn to make comics THEIR WAY at the Spanish Fever workshop session on Saturday, Sept. 17th at 3-5pm (Brookside A&B room). See you there! I could keep talking about SPX, but there will be plenty of time for that next week… ————————————————————————————————— Meanwhile, Dash Shaw's film My Entire High School Sinking Into the Sea is garnering praise from everyone who has seen it – No Film School sat down with Dash soon after the premiere at the Toronto Film Festival and dug into the production adventure: "NFS: The process of casting animators is in and of itself its own form of directing. Were you and Jane generally on the same page? How did you navigate when you weren't? Shaw: Jane and I are married and we live together. When we were drawing this, it was a small apartment, so discussions from the movie would comically fall over into other aspects of life. It would be very long talks when there were disagreements about what a face would be like for a certain line. Somehow it would work itself out. Our marriage survived this movie. A great example: there's a part where all of the characters are running and the background moves while they're in silhouette. Jane does all the silhouettes. I did the collage paper that's flying past them, and I think that's a good moment to point to where it was Jane in full force juxtaposed with something that I did and it equals something that's more than the sum of its parts." Read the rest of the interview here. ————————————————————————————————— Over on Mutha Magazine Glynnis Fawkes has a late summer harvest of comics about kids and adults and general weirdness. One such: Many more HERE. ————————————————————————————————— Lynda Barry has her 3rd New York solo exhibition opening this weekend at the Adam Baumgold Gallery. "The Marlys Show, from September 17th through November 5th…will be devoted to Lynda Barry's beloved character Marlys, and will feature 80 original drawings. There will be work dating from the early appearances of Marlys in 1986 to watercolor drawings of Marlys from 2016, with stories from Barry's books The Fun House; Come Over, Come Over; It's So Magic, The Freddie Stories, and of course The Greatest of Marlys, which is being reissued this year in hardcover by Drawn and Quarterly. Also included will be many of Lynda Barry's comic drawings that were published in Raw, The Village Voice, Esquire, Newsweek and The New York Times, among others." -Adam Baumgold The opening reception is September 17th from 5-7 and promises to be a great party, although Lynda Barry claims she will be "smoking and drinking beer over in the corner and trying not to make eye-contact"…! More details about the show HERE. ————————————————————————————————— Today is the last day to apply for a spot in the fall semester of the Santoro Correspondence Course for Comic Book Makers – DO IT! ————————————————————————————————— I'll bid you farewell till next week and a very happy weekend and leave you in the joyous grip of the Dom Flemons Trio (who swung through Pittsburgh on Thursday to make a special stop mid-tour at Copacetic Comics so they could get the new volume of Hip Hop Family Tree by Ed Piskor!) Cheers! Share this page:Read More:Comics Workbook…Rowhouse Residency…10/18/201801/26/2018...
Sally IngrahamAugust 12, 2016NewsSally here on this August Friday, where the temps are hot, hot, and the comics are too…! Today we've got Sarah Glidden with new reportage comics, Brigid Alverson and Rob Kirby bringing the review roundups, an Art Trip with Gabriella Tito, self-help from Yumi Sakugawa, Shapereader from Ilan Manouach, and something new from Inés Estrada. ————————————————————————————————— First off, we have the TOTALLY AMAZING AUCTION of an Eightball era time capsule box, donated by Daniel Clowes to help support the school. Check out the video above for a taste of the contents and the firecracker commentary of Jim Rugg and Frank Santoro. Personal items, artwork…we weren't sure we even wanted to part with things like Clowes' Windsor-Newton Series 7 brush #3…!! However, all the items in the box could be yours, so jump into the mayhem – auction runs until Wednesday, August 17th at noon EST. Check it the auction HERE! ————————————————————————————————— The School Library Journal recently published a great roundup of comics that display a bicultural America. Compiled and thoughtfully investigated by the amazing Brigid Alverson (editor of the Good Comics for Kids blog and 2012 Eisner Awards judge) the list includes many self-published and small press works, and features insights from the makers and perspective on what makes the comics medium especially well suited for telling culturally specific stories. 'Many creators are drawn to how the visual aspect of the graphic novel medium enriches their narratives. "My story has a lot of awkwardness, and not all awkwardness is verbal," says Brosgol (author of 'Anya's Ghost'). "I want the reader to feel for my protagonist, and being able to see her eyes when she's going through something is so effective. I have big stretches with no text at all; those are the biggest treat to draw because it's pure acting. I also love comics' breezy ability to show physical humor—it's much funnier to see someone falling in a ditch than to read a laborious description."' Read the whole thing HERE. ————————————————————————————————— Staying very much on topic, Yumi Sakugawa guest posted over on the Angry Asian Men blog this week (see image above for a description of what you can get into) – check out the rest HERE. ————————————————————————————————— Gabriella Tito visited the Orlando Museum of Art recently and scribbled down some thoughts on the work she saw there and how it related to her own comics process. "…there was a video of Dawn Roe's Mountain Field Studies being projected onto the wall. I almost felt like I was looking at a comic of fleeting observations of a mountain. In this series, she carefully put together details of a mountain into a series of blocked out images, and even some grids thrown in there! I couldn't help but think about the observations I make when I'm creating a comic based on the environment around me. When I'm making an observational comic, I'll usually make broader "statements" at first, meaning I don't go too much into detail with the environment. These drawings will usually be wide shots of the scene, or even quick silhouettes of the subject matter. Then, I'll start zooming in more and capturing those details in different ways. I like holding the tempo sometimes and lingering on a subject for a panel or two and then moving on. I apply this concept to other works I make as well and it hasn't failed me yet!" Read the rest of Gabriella's Art Trip HERE! ————————————————————————————————— Hyperallergic caught up with Ilan Manouach, the artist who is making up an "entire new language composed of sculptural, touchable symbols and patterns, which are pieced together to tell a story." Comics for the blind. With the Shapereader system, Manouach has made a 57-page comic called Arctic Circle. 'The tundra of Lapland served as inspiration for Arctic Circle. "My whole visual landscape consisted of layers of dense snow imprinted by different animal traces, leftovers of a frenetic night activity," Manouach says. Readers feel their way through the textural narrative, piecing together the story of two climatologists exploring the North Pole, research an ice column containing records of climate change in past ages. On their journey, they encounter traders, human rights activists, and Inuit dwellers. "They hope to decipher cryptic patterns, pretty much the same way the readers of Arctic Circle engage with the work," Manouach says.' Check out more pictures of the book pages HERE and find out more about the Shapereader project. ————————————————————————————————— Sarah Glidden made a comic about Green Party presidential candidate Jill Stein for The Nib this week. See the whole thing HERE! ————————————————————————————————— Rob Kirby's Review Roundup, August 2016 Edition, wound up on Panel Patter this month, and as usual it's full of excellent comics odds n' ends. Of particular interest to me were his notes on work by Sophie FS – "…a mere 15 years old, she has a strikingly fluid, organic style of drawing—the antithesis of the manicured digital art that's everywhere these days." He reviewed three of her comics, settling on Iced Tea as his favorite. "…I was most struck by the emotionally direct Iced Tea, a short memoir about an incident of childhood emotional abuse. Sophia relates the time she and her brother were deliberately dropped off on the side of a country road by their mother for unspecified reasons: "She was angry at us and needed some time to cool off, I guess." The bewildered pair, wondering if she will return, wander off into some sort of woodsy artist commune, where a simple act of kindness—something the children are clearly unused to—triggers a deep emotional reaction. Readers may find this story triggering memories of their own childhood sorrows—I've rarely seen such an honest depiction of vulnerability. The piece is made all the more moving by its straightforward presentation. I look forward to seeing what Sophia FS will be doing in the future—she is a talent to watch." – Rob Kirby See what Sophie is getting up to HERE – and check out the rest of Rob's August 2016 reviews HERE. ————————————————————————————————— Inés Estrada has a new book out called Sixth Mass Extinction, available via Perfectly Acceptable Press. It's a "…psychedelic vision of creatures and ecosystems in decline. 20 (!!) new 4-color Risograph drawings. We fucked up and nature knows." More picture samples HERE. ————————————————————————————————— This is Sally, signing off. Cheers! Share this page:Read More:09/21/201805/04/201804/06/201810/10/2018...
Sally IngrahamMay 27, 2016NewsSally here with new stuff from Sacha Mardou, wise and funny words from Dan Nadel and Alexi Worth, clowns with Nils Balls, and a Philadelphia walkabout from Meghan Turbitt. ————————————————————————————————— Sacha Mardou has a double hit today on our news, with a comic she made for The Common Reader (a publication of Washington University in St. Louis) and a review she wrote for Comics Workbook. First up, Sacha's review of The Complete Wimmen's Comix is a rumination on an important and challenging anthology, recently collected into a two volume set by Fantagraphics. "Reading the two-volume release of The Complete Wimmen's Comix made me think about those sort of cultural assumptions and blank spots. The first volume in particular feels like a powerful raw gust of real comics history. … Another aspect that occurs to me is that volume one is essentially my mother's generation making those comics (I was born in '75) which makes the lack of respect for cultural niceties and cartooning norms seem even more punk rock and revelatory, as well as being somewhat nostalgic. It reminds me of looking though my aunt's closet in the early 1980's and finding all her old platform shoes and boots. My childish trespassing got me yelled at after the event, but I'm glad to own that childhood memory of trying on and walking around in those beautiful and weird, too-big-for-me 'space' shoes." Read the rest of Sacha's review HERE. For a different look at The Complete Wimmen's Comix, check out this in-depth review by Alex Duebin on The Comic's Journal from March 2016. Well, I say "review", but it includes conversations conducted via phone, skype, google chat, and e-mail over a period of a year or so with many of the women who made comics for the anthology – a true "oral history", well worth a gander. ————————————————————————————————— Sacha Mardou's comic for The Common Reader (above) was published in "The Aging Issue". It feels very, very real somehow…! ————————————————————————————————— Art in America published a followup to Dan Nadel's killer essay on Paper Radio recently. It's a conversation between Dan, Alexi Worth (who wrote an article in January for A.i.A about Jack Kirby's superhero art) and A.i.A's editor Julia Wolkoff. They dig into the complexities of comics, and more specifically, the intentional and accidental wonders that appeared under a culture of crushing deadlines. As Alexi Worth describes: "The earlier comics artists were, for the most part, pencil serfs. Kirby began as an inbetweener for film, and much of the work he produced early on wasn't credited at all. But there was something productive and interesting about the lack of art expectations. Kirby was reflexively creative. And his creativity was, somehow, enabled by the ruinous deadlines and enormous production demands of the industry. At one point he was pretty much drawing all of Marvel himself—one guy. Instead of making him more of a hack, it made him more of an artist." Dan Nadel breaks out some more stories about the Paper Radio guys – Benjamin Jones and Christopher Forgues, or CF – whom he continues to call "the two most important cartoonists of their generation." "One famous story: they sent Gary Panter, who was their artist spirit-god, one of their early zines that was baked in chocolate. Gary thought it was LSD and immediately threw it away. It's one of the only copies of that work they made." It's good stuff – check out the whole discussion HERE. ————————————————————————————————— Nils Balls is staying on top of the Pittsburgh City Council with his comic reports for The Glassblock – see above and more HERE! ————————————————————————————————— Meghan Turbitt released her Philadelphia Sketchbook this week! Developed for Comics Workbook between 2015-2016, it features full-color sketches of her varied adventures and the details that caught her eye around the city during that period. Get a glimpse at more pages here, and a copy for yourself HERE! ————————————————————————————————— See you knocking round the universe next week folks! Cheers – Sally Share this page:Read More:Rowhouse Residency…07/05/201804/06/201805/18/2018...
Posted on January 4, 2017 January 9, 2017 by Juan Fernández
Juan con un poquito sobre Tenderete Fest XIII; Furillo, la vida de Núria Pompeia; Chicks on Comics en A long distance relationship; Power Paola;Un look a las Editoriales Colombianas enfocadas en los cómics; Para leer Al Pato Donald – Mass Communication & Colonialism; Joanie y Jordie de Caleb Orecchio; Suzy y Cecil por Sally Ingraham.
Cómics y noticias que me han llamado la atencion:
Hoy empieza @TendereteFest XIII a las 16:00 en @lasnaves en Valencia — Más Detalles.
Conozcan a Furillo. Un tipo que está dibujando la historia al absurdo. Imaginate, Franco en la luna… Pues ese es el caso en Nosotros Llegamos Primero. Estilo Joe Sacco "bigfoot" con un gusto español…
Elisa G. McCausland le da un vistazo al trazo lúcido de Núria Pompeia. Pomeia fallecio el pasado 25 diciembre.
Chicks on comics,El colectivo internacional de historietistas en primer plano en El País! Después de ocho años de trabajo conjunto, toman ahora las paredes de la Fundación Proa de Buenos Aires para exponer A long distance relationship, diálogos entre el cómic y las artes.
El viaje gráfico de Power Paola por Suramérica
Isabela Ramirez nos cuenta del colorido diario de campo de Power Paoloa, Nos Vamos. Paola recorrio Suramérica durante dos años dibujando y escribiendo todas sus experiencias en sus libretas de apuntes.
"Yo me fui editando poco a poco —explica Paola—. A lo largo de todo el recorrido hasta Lima (aunque ahí no terminó el viaje) estuve dibujando y escribiendo solamente lo que me parecía que debía dibujar. Mi edición no fue racional sino intuitiva. Todo es tal cual como es el cuaderno, no fue pensado".
Editorial Rey Naranjo
Un look a las Editoriales Colombianas enfocadas en los cómics
Go have a look at some of the movers and the shakers in Colombias flourishing world of comics publishing. There's something for everyone in this collection of publishers.
Como hay gente a la que le gustan las pantallas de computador, hay otra que sigue amando al papel en todo el sentido de la palabra. Aquí le dejamos algunas editoriales colombianas que hacen novelas gráficas, fanzines y libros.
Para leer Al Pato Donald – Mass Communication & Colonialism
This one is a throw back, but is well worth looking into if you haven't before.
How To Read Donald Duck (1972) by Ariel Dorfman (Argentina-Chile) and Armand Mattelart ( Belgium ), is a key piece of political literature of the seventies. An essay, or a "decolonization manual" in their own words that analyzed comic books published by Walt Disney for the Latin American market from the point of view of mass Marxist literature.
Its main thesis is that Disney cartoons would not only be a reflection of the dominant ideology -the ruling class , according to the tenets of Marxism , but also be active and conscious accomplices of the task of maintaining and disseminating that ideology. It highlighted qualities of Disney characters and their world, notably that parents, or ancestors, generally were not present.
Hay un desfasaje entre la base económico-social en que vive cada individuo y el estado de las representaciones colectivas, y es precisamente lo que asegura la eficacia de Disney y su poder de penetración en la mentalidad comunitaria en los países latinoamericanos dependientes »
Joanie and Jordie – 1-4-2017 – by Caleb Orecchio
Suzy and Cecil – 1-4-2017 – by Sally Ingraham
Sally IngrahamOctober 5, 2017NewsSally here with original artwork by some rad ladies, a bit more about CXC 2017, and other comics news. ————————————————————————————————— To pick up where I left off last week…at the Billy Ireland Cartoon Library & Museum, in Columbus, OH, or thereabouts… In the midst of the CXC excitement last Friday afternoon, I found time to poke around in the Reading Room at the BICLM, and although my eyes strayed to huge Prince Valiant originals and Noel Sickles paintings, and I was distracted by the comments of Mimi Pond and Chris Ware and Derf Backderf as they circled the room simultaneously…I was able to zero in on some fantastic pages by several of the female cartoonists I write about here all the time (see the Mary Fleener page above). I believe many of the pages that I got to enjoy were from a recent donation, part of a 113-piece collection given to the BICLM this past summer by Scott Jonas. Above is one of Aline Kominsky-Crumb's earliest comics. Below are pages by Dori Seda, and Lynda Barry. Here's the lovely Mimi Pond looking at pages in the Reading Room: This is easily my favorite thing about Cartoon Crossroads Columbus – you have the chance to hang out with your peers and your heroes as you all share together the experience of looking at artwork by the cartoonists who came before us. Everyone exclaims. Everyone cries. It's wonderful. Then too you can learn from each other and share the things of your heart/hands. I attended Leslie Stein's watercolor demo and appreciated getting to see her process and listen to her stories. So did Signe Wilkinson, the Pulitzer-prize winning editorial cartoonist, and afterward in her turn Signe shared her experiences in the trenches and a whole other world of cartooning. And then when my own number was called, on Saturday afternoon when our Comics Workbook-featured workshop leader Connor Willumsen was needed for a panel, I stood up and led a workshop on comics-making. Making comics in isolation still has its place, but increasingly it seems that if we want to keep this community thriving, it's got to really embrace its punk side. Share and share alike. Growth, education, everyone lending a hand in order to keep these plates spinning. Cartoon Crossroads Columbus feels like a show that is constantly striving to embrace that spirit. For more on the show please see Caleb's beautifully exuberant Monday morning post, HERE, and Adam Griffiths' detailed and thoughtful notes on his own experience, HERE. ————————————————————————————————— I have to touch on Connor Willumsen's Comics Workbook-hosted workshops at CXC, as that is where I spent much of my time on Sat./Sun. of the show. Connor had workshops almost every hour during the show those two days, and he was able to translate his thoughts on shoebox vs. "forensic" comics-making to audiences made up of all adults, as well as a lively group of kids during one workshop. Here's a "forensic"-style comic by Zoey (which really is how most kids make comics): I will be cutting together a highlights reel of Connor's workshop, so keep an eye out. Many thanks to Tom Spurgeon and the other CXC organizers for providing us with the space to bring this transformative take on comics-making to Columbus, OH. Back again next year for more! For the record, you can get a really unique package of Connor Willumsen books and zines right now from Comics Workbook – full details on the official "Anti-Gone Bundle" can be found HERE. ————————————————————————————————— News of Note from Elsewhere This is cool (but also annoying in its way) – Marvel canceled The Black Panther series recently, but now Paste Magazine announces that Marvel has hired the incredible Nnedi Okorafor to write a new Black Panther series (for digital publication on Marvel and ComiXoligy) – full details HERE. The Comics Journal has an interview with the unstoppable Tillie Walden – try to catch up with her, HERE. Also, this came out while I was at CXC, so if you too missed it be sure to check out the interview with Sophie Foster-Dimino conducted by Annie Mok on tcj.com. Check out Leela Corman's latest comic on The Nib – It Only Masquerades as Entertainment. Laurel Lynn Leake writes about Ariel Ries' webcomic Witchy, using the comic to comment on ideas of power and uselessness. Pretty interesting – read it HERE. Hit your translation button to read this German review of Ulli Lust's new book (compared favorably to work by Chester Brown and Jason Lutes, although Ulli isn't sure she agrees with the Lutes comparison!) – HERE. ————————————————————————————————— Suzy and Cecil – 10-6-2017 – by Sally Ingraham Share this page:Read More:04/13/201806/19/201804/20/201806/14/2018...
Lyn Hejinian and Open Comics
Comics WorkbookDecember 4, 2017Essaysby Jackie Kirby I. INTRODUCTION, or an Apology to Charles Olson OPEN COMICS (dynamic (plural (contradictory vs. CLOSURE (Or what Charles Olson called "The NON-Projective," those comics which print bred and which is pretty much what we have had, in English & American, and have still got, despite the work of Frankie: it led "the alt", over a half-century ago now, to see it (DC's, Marvel's) in the light of "the Egotistical Sublime"; and it persists, at this latter day, as what you might call the private-soul-at-any-public-wall) II. OPEN SUPERMAN, an introduction to Language Poetry and open form in poetry and comics "A moment yellow, just as four years later, when my father returned home from the war, the moment of greeting him, as he stood at the bottom of the stairs, younger, thinner than when he had left, was purple—though moments are no longer so colored. Somewhere, in the background, rooms share a pattern of small roses. Pretty is as pretty does. In certain families, the meaning of necessity is at one with the sentiment of pre-necessity. The better things were gathered in a pen. The windows were narrowed by white gauze curtains which were never loosened. Here I refer to irrelevance, that rigidity which never intrudes. Hence, repetitions, free from all ambition." This opens the first section of Lyn Hejinian's My Life (1980), "A pause, a rose, something on paper." Hejinian is a founding member of the Language school of poetry, whose work emphasizes theory-based writing, finding it's foundations in poststructuralism as well as earlier avant-garde movements such as Russian Futurism. In its original composition, My Life comprised thirty-seven prose paragraphs, each comprised of thirty-seven lines. Each section dealt with a year of Hejinian's life (She was thirty-seven, as you may have guessed). My Life serves as an excellent example of Hejinian's notion of an "open text," which she writes about most notably in "The Rejection of Closure." The open text, in short, invites active participation from the reader, and provides a space where author and reader may meet as equals, collaborating in the production of meaning. A "text," of course, may be used to describe all sorts of cultural productions. In this article, I wish to examine Hejinian's poetics of an open text, and their use in the comics medium, while pushing towards an aesthetic of open comics. Henjinian's theory of the open text promotes a poetics where the author willingly relinquishes her authority over the reader, and instead sees the two as equals in a collaborative project of producing a text-as-meaningful. The open text recognizes the incompleteness of all texts, and the impossibility of achieving closure. She distinguishes this from a "closed text," which already knows and contains (or at least claims to know and contain) everything. The closed text requires no work from the reader; it already knows everything so it needs only to impart knowledge. It is static, as it has no connection outside itself—it is complete within and need not change. Though the perfectly closed text is "unimaginable" to Hejinian, she remarks that if it could exist, "it would be insufferable." The open text, on the other hand, does not claim to know anything, it is curiosity. It generates knowledge rather than imparting it. It is desire for knowledge, not knowledge itself. In its generation of knowledge, the open text produces new meanings each time it is read, even by the same reader. This plurality of possible meaning is what makes the text "open." The openness of a text corresponds directly to its capacity to provide a dynamic plurality of possible meanings. Hejinian gives no examples of closed texts in her essay, but in a later introduction notes: "The coercive, epiphanic mode in some contemporary lyric poetry can serve as a negative model, with its smug pretension to universality and its tendency to cast the poet as guardian to Truth. And detective fiction can serve as a positive model, presenting an ultimately stable, calm and calming (and fundamentally unepiphanic) vision of the world. In either case, however pleasurable its effects, closure is a fiction, one of the amenities that falsehood and fantasy provide." Additionally, in a lecture on the subject, she mentions Superman comics along with detective fiction as "positive examples." This reference to Superman is primarily taken from Umberto Eco's analysis of early Superman comics in The Role of the Reader.(1979). This is perfect, then, for our purposes as makers of comics. Comics have already been inaugurated and validated within this theory of literature, setting precedent to continue the analysis. Understanding the aesthetic merits of an open text is perhaps made easier by looking at Hejinian's work in tandem with sociologist Wolfgang Iser's phenomenological approach to reading (1972). Iser views the meaning and totality of a literary object to be a virtual, dynamic and contradictory thing. Its gestalt, or the perceived unity and oneness from a configuration of parts, does not exist in the text itself, nor in the mind of the reader, but in the co-operation of the two: the act of reading itself. The text is a set of raw materials provided by the author. In a text, information is presented in the form of discretely separated units (in comics, panels; in prose, sentences; in verse, lines) juxtaposed in a pattern according to the author's artistic desires. Iser writes, "The sentences are 'component parts' insofar as they make statement, claims, or observations, or convey information, and so establish various perspectives of the text. But they remain only 'component parts'—they are not the sum total of the text itself." These sentences are building blocks of a not-yet-existing meaning, which will be produced through the act of reading the text. Through the reading process, the reader assembles the "component parts" into a coherent whole. In comics, we can think of this as the way a reader navigates through panels to produce meaning. The reader's imagination and memory give shape to the interaction of distinct parts "foreshadowed" by the sequence and structure of panels. The information present in the material comic is processed through the reader's imagination and experience, the result being the production of the comic-as-meaningful. If I may make an analogy: consider the comic an unopened box of Ikea furniture. The author has provided the parts needed to construct the furniture she has in mind, and has provided a set of instructions on their assemblage as well. However, once bought, the customer has no obligation to follow the instructions. Her assemblage of the furniture is affected by her knowledges and imagination. She is limited only in the material she has with which to construct. It is her own decision to follow the instructions or not. Regardless, her finished product will inevitably be different from that of any other customer who bought the same piece. In this way, the comic's gestalt is not created solely by the author, as she only provides panels and data, nor is it entirely produced by the reader, as she must use the material provided by the author to realize the text. It is a dynamic relationship between material (the author's work) and aesthetic (the reader's realization) productions of meaning. The open text is dynamic, and interactive, as reading is most pleasurable when it is active, and incites the imagination. In "opening" a text, the author has at her disposal several tools: literary, technical, aesthetic etc. The open text's dynamism, as opposed to the closed text's stasis, is what incites pleasure and plurality of meaning in the reader and the gestalt respectively. Hejinian and Iser provide examples of these in their poetry and criticism. The primary techniques I will describe here, as well as providing examples from My Life, and Hejinian and Iser's critical analyses, finally examining the use of each technique in the making of comics. III. OMISSION, it's about what you're not seeing A major aspect in reading pleasure for both Hejinian and Iser is the use of intentional omission by the author. If a text is built out of discrete, intact units, then the author may place gaps between each unit (not literal, physical gaps—or maybe—but informational gaps). Each unit both presents data and foreshadows a future meaning. It creates a sense of anticipation in the reader. The following units then either realize the previously foreshadowed meaning or don't. This non/realization then forces the reader to look retrospectively at the previous unit, its foreshadowed meaning now changed with the advent of new units of data. For example, take the opening sentences of Sam D'Allesandro's short story "Electrical Type of Thing" (as collected in The Zombie Pit (1989): ""There's more to a relationship than acquisition." Scott was busy trying to talk me out of something." "There's more to a relationship than acquisition." This sentence presents a statement on relationships which foreshadows a further statement on relationships. Anticipation: If there is more than acquisition, what is it? But further, the sentence is surrounded by quotation marks. It is a spoken statement, and the quotation marks incite further anticipation: who is speaking, and to whom? Scott was busy trying to talk me out of something. This sentence relieves the reader's anticipation of the nature of the speaker (Scott) and the one being spoken to (me). Retrospectively, the phrase previously read is now a phrase coming out of Scott's mouth. However, it does not realize any of the anticipated statements on the nature of relationships, other than its literal enactment of a relationship between Scott and the narrator. In fact, it adds more anticipation, a "something" is mentioned. Scott's previous statement is now read as an attempt to talk the narrator out of "something," presumably having to do with a relationship. However, the nature of that "something" remains dubious. D'Allesandro, a brilliant writer, uses multiple layers of anticipation and retrospection in only two sentences, setting the stage for a reader to actively engage with his work. I chose this passage to showcase how even in a seemingly linearly structured prose passage, a talented author makes use of omission and the anticipation/retrospection process. Turning back to Hejinian's poetry, however, we may see what results when the enactment of this process is brought to the foreground of a text's aesthetics. D'Allesandro omits bits of data in between his sentences (in the passage we have read), but the relationship between each subsequent sentence is relatively apparent. In My Life, contrastingly, Hejinian's sentences have almost no immediate correlation. A passage from "A pause, a rose, something on paper" reads: "I was in a room with the particulars of which a later nostalgia might be formed, an indulged childhood. They are sitting in wicker chairs, the legs of which have sunk into the ground, so that each is sitting slightly tilted and their postures make adjustment for that." In an initial reading, one may try to link these sentences as describing a single scene, however the disconnect of the verb tenses ("I was" and "They are") discredit that connection. Therefor the onus is entirely on the reader to "complete" the text. The "I" and "they" are connected by juxtaposition and repetition of the sentences' opening structure (Pronoun verb), but the reader must decide exactly how they are connected. Hejinian writes: "The reader (and I can also say the writer) must overlap the end stop, the period, and cover the distance to the next sentence. Meanwhile, what stays in the gaps, so to speak, remains crucial and informative. Part of the reading occurs as the recovery of that information (looking behind) and the discovery of newly structured ideas (stepping forward)." Therefore, the amount of work a reader must do to "overlap the end stop" and produce meaning from the text increases as the gaps of information between subsequent units increases. A greater burden of work for the reader corresponds to a larger capacity for meanings in a text. By intentionally omitting large amounts of data from unit to unit, an author opens her text up to a multiplicity of meaning. Let us look for similar examples in comics. Taking a four-panel strip from Lynda Barry's Ernie Pook's Comeek (1979-2003), I will break down the first two panels as I did D'Allesandro's prose. (Ignoring the title and by-line) Caption: An opossum, says Freddie, has 50 teeth and 13 nipples. My aunt says 'For the love of God I'm trying to eat.' Image: A boy sits holding a cup, sitting in front of cabinets. The text informs us of a conversation going on, one speaker is established: Freddie, and then two more, as the phrase "my aunt" introduces not only the "aunt" character, but a speaker as well. It also establishes a relationship between the speaker and their aunt. A conflict is set up between Freddie and the speaker's aunt. The pictured boy the reader assumes is Freddie, though that is not explicitly stated, and only through juxtaposition of the caption, which highlights Freddie's action (speaking) and the image of a single boy is the reader led to think the boy pictured is the Freddie in question (unless, of course, they are familiar with the strip and its cast). The image of Freddie sitting with a glass in hand in front of cabinets combined with the speaker's aunt's exclamatory "I'm trying to eat" imply the setting of a meal around a kitchen table. This information is again not textually explicit, and adds to the anticipatory nature of the panel. Anticipation: Freddie's relationship to both the speaker and their aunt are unknown. The setting is implied but not stated, and may be realized as something else. Additionally, conflict has been set up, and its continuation and resolution are now anticipated. Caption: My aunt is his mother. She says the correct word is 'teats' and they must never be mentioned at the table. Marlys says "13 teats sounds unlucky." Image: a girl sits holding a spoon in one hand and holding up the other with her fingers spread. She is in front of cabinets, a sink, and what is possibly a dishwasher. The opening sentence relieves the anticipation of relationality. Retrospectively, we understand Freddie to be the speaker's cousin. In the following sentence the aunt's speech locates them "at the table." This, in addition to the image of a girl holding a spoon and sitting in front of a sink, confirms the reader's anticipated setting. The aunt's declaration sets up for a possible end to the conflict, were a new character not introduced immediately after. Marlys, whose relationship with the other three at the table is unknown, does exactly what the aunt had just prohibited. The image of the girl is then assumed to be Marlys, as a) she has just been introduced and her actions along with the aunt's are the focus of the caption and b) it is clearly an image of a child and not an aunt/mother. The two images of children eating are, in their juxtaposition and relation to the captions, which place all actors in the same location, seen as both sitting at the same table. Anticipation: Marlys' relation to the other actors is in question, and her blunt remark implies she has a close familiarity with the rest of those at the table, who we know to be related. Marlys' statement heightens the conflict previously set up, and new complications must be worked out before its resolution. Barry's formal style requires a more simplistic, linear execution, but even in two relatively unassuming panels, we see the process of anticipation and retrospection used in a variety of ways. It is also worth noting that because I am equating the prosodic sentence with the comic panel, a degree of slippage occurs. Each of the panels above includes multiple sentences, and were I to parse them one by one it would reveal even more subtle layers of activity within the text. Most notably, though, in dissecting these panels, the notion of juxtaposition becomes increasingly complex, and the reader is required to do much more work in producing meaning from juxtaposed images and words (e.g. identifying Freddie and Marlys, locating them at a kitchen table together). Spatial placement and juxtaposition are among the most essential elements of comic making. Fortunately for my purpose, they are also critical to Hejinian's theories of openness. IV. SPATIAL PLACEMENT/JUXTAPOSITION, or a brief look at the page In "The Rejection of Closure," Hejinian notes the openness of poetry where "words and lines are distributed irregularly on a page," something she calls "field work." Field work, for Hejinian, is a prime example of poetry where "the order of reading is not imposed in advance," the reader must use her own faculties of imagination and connection building to improvise a method for reading the text. She uses as example Robert Grenier's Cambridge M'Ass (1979), which presents for her a "mind's eye view of Cambridge, Mass. and environs." (Reproduction of Cambridge M'Ass, high resolution version here) Grenier's piece clearly subverts the traditional English reading process. Looking at Cambridge M'Ass, the reader quickly realizes it is impossible to read the poem line by line, left to right and downwards. She may choose to approximate this as much as possible, but the boxed units discourage it, they present themselves as discrete and separate. The physical size of the piece enforces this as well. The first block the reader is confronted with will be different depending on where and how one is reading/viewing it and the physical size and shape of the reader. The work, then, brings immediately to light the process of reading itself, and asks its reader to make an active choice from the very beginning of her reading. This is an element shared by both poetry and comics—the reader's initial visual impression of the page is an essential element of her reading. When reading a piece of pure prose, each page looks more-or-less identical, and the placement of text on a page rarely informs the reader of anything. In a comic or poem, however, the layout of the page and the page seen at a glance in its entirety imparts immediate data to the reader. Consider, for instance, the thumbnails from M Norbese Phillips' Zong! and Ikeda Ryoko's Oniisama e… and the immediate information received from them as opposed to an average page from a novel, which may only imply certain publishing and marketing demographic information based on the typeset. My Life is a book of prose poems though, and I do not mean to discount its merit as a brilliantly spatialized literary work. The imposition of prose into poetry, which has been dominated primarily by verse until the last century or so, and still dominates the popular notion of what "poetry" is, is a radical visual act. The compression of "the line" into "the paragraph" imparts both contradictory feelings of contraction and freedom as well as cuing the reader to adapt her reading method to fit the poem's form—something nearly all well-crafted poems do. "A pause, a rose, something on paper" is written as a single paragraph, taking up the entire page, with no indentations. The text is so densely packed together that the reader is confronted with a massive amount of information at once, and must improvise a method of reading to comprehend the work. The text is democratized on the page, no one word is given more significance than any other by the form, and in fact every word is entirely reliant on its surrounding words to attain meaning. The compression of the poem into a single paragraph also allows the reader to draw more connections between words and phrases. While in a poem with shorter lines and multiple line breaks the referential action of the language is primarily vertical, in Hejinian's work the motion is both horizontal and vertical. Returning to my epigraph, "A pause, a rose…" begins with this sentence: "A moment yellow, just as four years later, when my father returned home from the war, the moment of greeting him, as he stood at the bottom of the stairs, younger, thinner than when he had left, was purple—though moments are no longer so colored." Reading "a moment yellow" at the top, the reader's eye is immediately drawn not horizontally to the next word, but vertically to "the moment of greeting him" below, before moving back to "just as four years later" and continuing horizontally from there. The repetition of "moment" in "though moments are no longer so colored" is notably separate from the two, earlier, "colored" "moments," not only in its literal description but in its placement on the page. The third "moment," then, breaks the reader's anticipation of what a "moment" is, and forces her to reassess the earlier "moments", now knowing their colors (yellow and purple) are no longer present. The "moment" is opened to the reader: what has colored the previous moments and why are they no longer colored? Are questions she must ask herself as she reads. Looking this way at a page from Alyssa Berg's "No Man is an Island" (2017), yellow is again a prominent element of the part—but this isn't particularly relevant, what's relevant is Berg's use of space with regards to multiple trajectories of reading. Immediately, Berg's spatial presentation allows the reader to forego a traditional reading method. Though the text in the top panel technically precedes the second, the black outlined "you say" in the middle of the page is the most immediately legible phrase, due to its placement and the boldness of black outlines against yellow. Conversely, the text in the top panel is produced through negative space, printing blue around the space where the text should be. A reader may choose to move up and read these, willed by the perceived obligatory nature of reading top to bottom. Even then, though, the eyes move up, and to reach the top of the page one must pass, even if only half-perceived, the yellow text, "when I look somewhere else." Two green shapes fill the top left corner of the page, the traditional starting point for reading. The first, smaller shape, points downwards, while the second, larger one points right to the first (spatially) text on the page. The greenness of these shapes incites notions of plant life, and their form could be considered that of a leaf. Similarly outlined green shapes pull the readers eyes down on the right half of the page, arranged in a way that could be considered a tree. Blue repeats itself at the bottom, pushing right. The bold black human shapes which foreground the page's imagery pulls along with the blue, down and left, onto the next page. Because the reader's velocity has multiple trajectories, pulling her eyes up down across and back, and it is up to her to decide how to read the page, the page must also re-connect with the reader and cue her to move forward. As the reader moves her eyes across the page, the process of anticipation and retrospection becomes incredibly dynamic and complex. Because Berg has opened space for the reader to make her own decisions regarding the text's production, the order in which each unit elicits anticipation/retrospection will be different for each reader and upon each reading. V. REPETITION, repetition Repetition, an integral aspect of comics, holds a similar place within Hejinian's open poetics. Repetition, Hejinian argues, while traditionally understood as a tool for unification, in her own work is used to challenge "our inclinations to isolate, identify, and limit the burden of meaning given to an event (the sentence or line)." Through repetition, the difference between seemingly identical words and phrases is emphasized, and their reliance on relationships to other words, phrases, and emphases becomes clear. Repetition is used not only in single words (as seen previously with "moment") but in syntactical composition of phrases. In a later section of the poem, Hejinian writes: "The better things were gathered in a pen. The windows were narrowed by white gauze curtains which were never loosened." Here, there is repetition of construction: subject—were—verb—prepositional phrase in the first to phrases and additional phrase in the second sentence "which were never loosened," which breaks the form while still repeating the use of "were." This draws connections between the subjects ("the better things," "the windows," and "white gauze curtains"), which in isolation would seem entirely different, but the reader is forced to connect them in her mind, and justify that connection with her own imagination. The prepositional phrases begin with "in" and "by." "In" is locational while "by" gives accountability to the "white gauze curtains," which are the only thing in these phrases with any agency. The placement of accountability on the "white gauze curtains" in the second sentence makes the reader reassess the earlier sentence, noticing the lack of any agent who gathers "the better things." Here, repetition points towards omission and draws new connections and distinctions. In comics, the author's ability to repeat certain aspects of each unit is increased immensely and brought to the forefront of the creative process. As the spectrum of visual representation and abstraction is opened, so are elements of visual composition that can be repeated or changed. On the most basic level, the contrast of image and word is heightened when one of the two is repeated. In this page from Michael Deforge's Lose #4 (2012), the images' similarity is made apparent, while the movement of the text stands out in contrast (visually, the two have been markedly separated as well). The motion of the text propels the repeated images through time, while the stasis of the images' repetition pulls counter to that motion, producing a sense of anxiety, boredom, or impatience. Repetition of words force the reader to retrospectively re-evaluate the previous uses of said word, as well as its relationship to the image it corresponds with. In "Pretty Smart" (2015), Andy Burkholder emulates a stream of consciousness by carefully repeating words, which build upon each other becoming intermixed phrases. The evolution of these phrases is through the literal repetition of them, and through repeating, language changes, in the tradition of Gertrude Stein. Burkholder's images present an extremely short timeframe in contrast with the amount of words on the page. Forcing the mass of repetition into a small temporal space speeds up the progression of language. The words begin to overlap, even as they are physically separated, as the movement, the most notable change, is not the water dropping, or the phrases evolving, but the repetition of the words themselves. VI. GOOD-BYE, vain wishes Hopefully, by unpacking the literary and aesthetic techniques of some of Language Poetry, and revealing its use in the comics medium, I have shown how the "open text" is not limited to writing with only words—in fact it requires the author to see the words as more than words. By taking a phenomenological approach to authorship and reception, new connections can be made across mediums, and new approaches to authorship can be developed. Simply because comics have historically been a medium for incredibly closed works (situational comedies, superheroes, detectives, westerns, war, romance etc) does not mean they lack potential for openness. The power of a technology to close knowledge is equal to its power to open. ————————————————————————————————————— Jackie Kirby is a poet and comics maker living in New York City. A recent graduate from The New School with a BA in Cultural Studies, she has been making comics and writing poetry seriously for three years. Check out work by Jackie on her website, and follow her on Instagram. Read Jackie's Comics Workbook Rowhouse Residency Report for more thoughts on comics and poetry, and her article on Meter, Geometry and Comic Form. Share this page:Read More:08/16/201802/05/2018Comics Workbook…12/03/2018...
Juan FernándezApril 18, 2016NewsNorth American independent comics focus today; Comics Workbook Benefit Auction in its final days; Submitting comics to VICE; Marc Bell reflects on the past couple of months; Jay Lynch Collection joins the Billy Ireland; The Garden of Earthly Delights invites you in. – Juan Fernández —————————————————————————— Ecuadorian Earthquake Victims I wanted to take the time before we talked comics to ask for your help after the 5.1 magnitude earthquake in Ecuador that happened yesterday. There are cities that are completely devastated, people trapped under debris waiting to be rescued, towns without electricity, running water or communication. There are some initiatives receiving donations to send help to those in need. Here is a link to one of them that my friend Luis Eduardo is involved with: https://www.gofundme.com/hqzjghm4 Also, here's an article where you will find other organizations at the end that are also receiving donations: http://www.bustle.com/…/155170-how-to-help-the-ecuador-eart… Any and all help is appreciated. If you are not able to donate, please help us by sharing these initiatives. Thank you so much for your help! —————————————————————————— COMICS WORKBOOK BENEFIT AUCTION ENDS SOON There are ONLY TWO DAYS left for our benefit auction. Take a gander at the INCREDIBLE AUCTION of original Chris Ware artwork that is being held to benefit the Comics Workbook Rowhouse Residency.You don't want to miss this opportunity to make this incredible art yours. Check it out: The auction is live HERE, and will continue through mid-day Wednesday. We need your support and you need this art! —————————————————————————— VICE | Comics | Accepting Submissions If you are looking for a good venue to publish some stand alone comics work, take not that VICE is taking submissions. You get a regular deadline, to make work in color, get an audience and they pay. From Nick Gazin: I need new comics for VICE. The basic guidelines of Vice Comics is that the comics should all be: -in color -at least a page -have characters, dialogue and stories -not serlialized or to-be-continued -each page should be a 2000 pixel wide jpeg no larger than 1mb. -no racism, sexism or homophobia -no comics about VIce or "hipsters" -no genitals or sex acts -should contain dialogue and moment-to-moment panel transitions -should not rely heavily on narration. Actions and interactions should tell the story. Show, don't tell. Check out what I'm running at vice.com/comics If you have stuff that's already done or samples of comics you've made send them as low resolution email attachments to nick.gazin@vice.com This might be a good opportunity for you. Shoot Gazin an email if you're interested. —————————————————————————— Pouring Melted Snow in a Pan Marc Bell does a couple life recap posts a year, he's just posted his first one for 2016. Catch up with Marc Bell here. —————————————————————————— Jay Lynch Collection finds Home The Billy Ireland Cartoon Library and Museum has acquired the Jay Lynch Collection. This collection includes original art, comics, correspondence and other material from Lynch, who is now 71. Lynch is best known as the creator and editor of "Bijou Funnies" in the 1960s and 1970s. This collection is a real underground gem. And it's a huge one! The collection totals to nearly 250 cubic feet of manuscript materials, original art, underground comix, merchandise from Lynch's work at Topps, and letters from R. Crumb, Art Spiegelman, Lenny Bruce, Woody Allen, and other icons of the popular culture dating back to 1956. Additionally, the collection is home to an extensive number of fanzines and college humor magazines, often offering the earliest look at work from Harry Shearer, Art Spiegelman, Gilbert Shelton, and more. Also in the collection are some famous (and infamous) publicity campaigns, including groundbreaking satirical work such as Oingo Boingo's anti-clown movement, Ed Sachs's Irreverent Newsletter, Alan Abel and Buck Henry's Society for Indecency to Naked Animals press releases, and early press kits from Jay Ward Productions. Get into the nitty gritty here. —————————————————————————— Visit Bosch's Garden of Earthly Delights https://tuinderlusten-jheronimusbosch.ntr.nl/en Here's a site that offers an interactive online adventure through Hieronymous Bosch's Garden of Earthly Delights. There are two ways to virtually visit. You can choose to take a fifteen-step museum style tour, narrated by Redmond O'Hanlon, or you can "freely explore," an option that allows you to zoom in on any part of the painting at will, clicking here and there to hear O'Hanlon discuss its motifs. Your choice! Don't get too lost. The Garden of Earthly Delights is a story about moral and sin in a particular time. The painting however is timeless. The journey that the visitor sets out on in the interactive documentary is a personal one. Beneath the surface we aim to invite the visitor to reflect upon and question their sins and morals. The interactive documentary Hieronymus Bosch, The Garden of Delights is part of the transmedia tryptich: 'Hieronymus Bosch'. The transmedia tryptich consists of the documentary film 'Hieronymus Bosch, touched by the devil', the interactive documentary 'Hieronymus Bosch: Garden of Earthly Delights' and the Virtual Reality documentary 'Hieronymus Bosch, the Eyes of the Owl'. Website: http://jheronimus-bosch.nl —————————————————————————— I'll see you Wednesday with South American happenings. I've got a ton of things I have to share! Share this page:Read More:02/27/2018On Reselling Comics08/15/201810/24/2018...
Sally IngrahamNovember 4, 2016NewsSally here, ready to shout about some cool comics and the women who make them. I've got notes on Lynda Barry, Julia Gfrörer, the She Changed Comics project, Lyn Chevli, Shade the Changing Girl #1, the CW Roller Derby "of the mind" League – plus an interview with Kevin Czap and Comics Workbook at CAB. ————————————————————————————————— Comics Workbook will be at Comic Arts Brooklyn this Saturday, Nov. 5th – find us upstairs at table 27! Frank Santoro, Juan Fernandez, Jenn Lisa, and John Kelly will be there, with other Comics Workbook students and friends stopping by throughout the day. Thee incredible Ronald Wimberly will be signing at our table at 2 pm! Just when I thought it was safe to pack up the purel! I'm guesting at @comicsworkbook table at @comicartsbklyn this Saturday at 2pm. I'll have Prince of Cats, Attack on Titan, and Something Wicked this Way Comes (The original to this is still available $300. Hit me in my DMs) #comicartsbrooklyn #comicbookworkbook #RonaldWimberly #FrankSantoro #GratNin #PrinceofCats #Hanzōbō A photo posted by Ronald Wimberly (@ronaldwimberly) on Nov 3, 2016 at 3:32pm PDT Also catch Whit Taylor and Alyssa Berg and Aaron Cockle tabling downstairs! ————————————————————————————————— I finally had a minute to pick up Shade the Changing Girl #1 while working at Copacetic Comics this week. Steve Ditko's original Shade the Changing Man series (1970s), and Peter Milligan's wild reworking of the Shade stories (1990s) seemed to be lurking around, wondering what these GIRLS were going to do with the material. I was curious too (I spent a fair amount of time this past summer just staring in awe at some of those Brendan McCarthy covers of Milligan's Shade). Shade the Changing Girl comes from creative team Cecil Castellucci (writer), Marley Zarcone (pencils), and Kelly Fitzpatrick (color), and at a glance, it certainly has the right look. The story ties easily into earlier Shade while quickly forging it's own plot line: university dropout Loma (a big fan of lunatic poet Roc Shade) steals the "madness coat" from a museum on the planet Meta, and zips to Earth where she takes up residence in the body of a dying teenage girl. It doesn't take Loma long to realize that dealing with high school, the uncontrollable madness, and the folks on Meta who want the coat back will make life a lot more difficult than she anticipated. Cecil Castellucci (whom I know from her work on The Plain Janes – which Jim Rugg did the artwork for) so far seems to be rocking this, and I'm pretty excited to see where the story goes. Here's an interview with Castellucci from July that details her own excitement about the project. Issue #2 came out this week – I'll be aiming to get my hands on it asap. ————————————————————————————————— The Comic Book Legal Defense Fund started the She Changed Comics project last year – it was a series they ran on their Tumblr during Women's History Month. They successfully Kickstarted a book in the spring of 2016, and it has just been released. The book was another one that I managed to check out this week during my time at Copacetic Comics. Meant to be much more than just an overview of (the dreaded phrase) "women in comics", the book claims to be "the definitive history of the women who changed free expression in comics, with profiles of more than 60 groundbreaking female professionals and interviews with the women who are changing today's medium". While a book that clocks in at 170 pages can hardly be called comprehensive, it did feel like a great who's who of important names, drawing from the breadth of comics history and the mainstream, syndicated, and alt-comics scenes. Cartoonists, publishers, and editors all got a shout out – Edwina Dumm to Jackie Ormes to Marie Severine to Diane Noomin to Kate Beaton to Roz Chast to Fiona Staples to Francoise Mouly to Karen Berger. With two pages devoted to each person, the book is definitely a good resource and a nice thing to have on hand when some idiot wants to claim that women don't make or read comics. Almost entirely written by women as well. My only complaint is that there weren't enough pictures! Get a copy of the book HERE. ————————————————————————————————— One of the women who gets a mention in the book above is Lyn Chevli, the co-founder of Tits & Clits – the first comic book written, drawn, and published solely by women (beating the first Wimmen's Comix to the newsstands by just a few weeks in July of 1972). Lyn recently died, at the age of 84, and Joyce Farmer (her Tits & Clits publishing partner) provided a remembrance of her on The Comics Journal – read it HERE. ————————————————————————————————— Lynda Barry of course also makes the CBLDF's list of women who changed comics, thoroughly, constantly, and wonderfully. She is featured in The Guardian this week, riffing on "comics, creativity, and Matt Groening". Her career has zigzagged through the comics industry, beginning in the syndicated world with the strip Ernie Pook's Comeek (which ran for 30 years), bumping into a novel or two along the way, and now exploding in both the classroom at the University of Wisconsin (where she was recently named as the UW-Madison's first recipient of the Chazen Family Distinguished Chair in Art) and a lively lecture circuit, where she preaches the gospel of creativity. Read the article HERE. ————————————————————————————————— You can see some pages from Julia Gfrörer's new book Laid Waste (Fantagraphics, November 2016) over on Flood Magazine, part of an interview with Julia that digs into her interest in the Middle Ages and the origins of this particular dark story. Check it out HERE. ————————————————————————————————— Kevin Czap was awarded the CXC 2016 Emerging Talent Award a few weeks ago during Cartoon Crossroads Columbus. In the words of Tom Spurgeon, who presented the award to an astonished Kevin, "…this goes to a cartoonist whom we feel has plenty of promise as a cartoonist and has shown themselves to be a solid and giving community member as well… We love everything we've ever learned about you, in terms of your comics community heart." Alyssa Berg caught up with Kevin a week later and continued the conversation about CXC, comics, and community – and the type of energy a person consciously puts into their work. Their conversation is featured here on the site today. Catch Kevin and Czap Books at Comic Arts Brooklyn this weekend! ————————————————————————————————— The Comics Workbook Roller Derby League has shared the results of a recent "roller derby bout". The group is constantly expanding, while dialing in a deeper team practice and refining the goals and projects that we're about. Much more to come – meanwhile, check out some comics we've made recently. See the rest of this "derby bout" HERE. ————————————————————————————————— #sallyingraham #comics A video posted by Sally Ingraham (@sally_ingraham) on Nov 2, 2016 at 9:57pm PDT Have a fantastic weekend folks, and get up to some mischief. Don't let November get to you yet – and don't forget to turn your clocks back an hour on Sunday! – Sally (Rogue) Share this page:Read More:05/18/201810/10/201803/23/201804/06/2018...
Aaron CockleJuly 3, 2018NewsChitra Ganesh & Ruby Onyinyechi Amanze; English on 'Simplification'; Some Outsider Art; Military Internet(s) ————————————————————————————————— Open Sessions at The Drawing Center Chitra Ganesh in conversation with Ruby Onyinyechi Amanze: CG: "I am so glad that the Drawing Center has offered alternative axes, alignments, and contexts to situate your own work, thinking and growth––I would say that its mere presence, focus and decades long commitment to that focus, has sustained me in similar ways." . ROA: "Drawing transcends all dividing factors, it is the most human form of expression. The DC has given me the freedom of simply being a human artist. It has been priceless to be in dialogue with other artists, who have their own relationship with the medium." ————————————————————————————————— Simplify, Stupid Austin English continues with his wide-ranging look at comics from the past 70 years or so. There may be something to that. Simply, (1) drawing competently is an out of the ordinary achievement people instantly recognize. The ability to (2) tell a story with drawing? Even rarer. The most elusive seems to be (3) having something unique to say with a picture story. Most of comics seems to be content with varying combinations of (1) and (2). Artists like Feuchtenberger give us (3) every time they draw something. Why work like hers is considered an aquired taste still seems odd to me, and involves a condescending attitude to readers in general. Who doesn't (if we limit ourselves to those who care about narrative in even the most limited way) want to be engaged by a picture story that is genuinely felt and mindfully arranged? When we consider a masterpiece like Dominique Goblet's Pretending is Lying, which is firmly in the (1) + (2) + (3) camp, we know this is a work that readers will refer to in their lives over and over again. Goblet might simplify faces in service of telling her story within the medium of comics, but to simplify her ideas would be anathema to the artist. The richness of what she has to say is, itself, the point. Her statement, a composition of relationships that fade in an out if view, isn't grafted on to her storytelling ability, it isn't in service of a need to finish pages to fufill a pre-existing belief that her style requires an important statement to validate it. When Goblet's father character sways and monlogues to promote himself, his personality impresses itself upon the reader with a shrieking force, because Goblet has something specific to say (3) about a man like this. Also, take a scroll through the comments: ————————————————————————————————— In Their Own Worlds Sanford Schwarz looks at some recent exhibitions of 'outsider art'. Cartoons and comic strips—or a sense of these forms—underlie, finally, the work of the most impressive figures in the exhibition, Darger and Adolf Wölfli. For viewers concerned with outsider art they are among the territory's old masters. Both have been the subjects of books and have been seen, like Martín Ramírez, who is their equal, in defining and revelatory retrospectives over the last fifteen years at the Folk Art Museum. This doesn't mean that Wölfli, who died in 1930 at sixty-six, is exactly an embraceable figure. There is a degree of flowing inventiveness and industry in his pictures, which can resemble fantasy versions of carpets, game boards, or aerial views of places, suggesting that the man was on a different wavelength from the rest of us. ————————————————————————————————— ARPANETS Zachary Loeb reviews Yasha Levine's Surveillance Valley: The Secret Military History of the Internet Levine highlights NBC reporting from 1975 on the CIA and NSA spying on Americans by utilizing ARPANET, and on the efforts of Senators to rein in these projects. Though Levine is not presenting, nor is he claiming to present, a comprehensive history of pushback and resistance, his account makes it clear that liberatory claims regarding technology were often met with skepticism. And much of that skepticism proved to be highly prescient. ————————————————————————————————— Vision Box – 7-3-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 7-3-18 – by Caleb Orecchio Share this page:Read More:02/27/201803/13/2018MoCCA Arts Festival 2018Comic Arts Brooklyn 2017...
Caleb OrecchioNovember 6, 2017NewsCaleb Orecchio here with thoughts on Alyssa Berg's risograph comics. PLUS! some insight into Alyssa's process from the author herself!—and other news. ————————————————————————————————— I think Alyssa Berg's current work is a step in the right direction for a modern day cartoonist—being an exploration in printing, risograph specifically, and how that process can present her comics in the best way a riso machine can. Alyssa makes painted comics that live online as photographs of the actual paintings, then "adapts" the paintings into risograph printed comics—the latter being slightly different than the former naturally due to how a painting transfers to this particular printing process. As a cartoonist, I can literally see her "thinking" when comparing the "actual" versions with the riso versions. Looking at her two versions of Alpenglow (winner of the 2015 Comics Workbook Composition Competition) I'm fascinated at the choices Alyssa made when "adapting" the paintings to print. At CXC 2016 I bought her first printing of Alpenglow, which was digitally printed. At SPX 2017, I bought the second printing, which is adapted to riso. Look at the differences below. The differences are interesting because both versions are good, obviously, but I find the riso version to be particularly intimate. Her paintings are beautiful, and I miss seeing the brush strokes and nuance of color the digital version provides, but the way the riso strips everything down really sings for me. For one, riso just flat out looks better than digital. Anything looks better than digital really. Second, the choices Alyssa makes are in service to the clarity of the image while also retaining the spirit of the painting (which we'll get to in a second in Alyssa's own words). This pruning of the work through the filter of riso really circumnavigates any distractions (though they are enjoyable) the paintings provide, and allow the reader a wholly immersive comics reading experience. I should be clear, I don't necessarily think the painted version is better than the riso version, or vice versa; but it's the fact that these very excellent comics exist in different ways is what is exciting to me. I asked Alyssa to give some brief insight into her process of adapting paintings to riso prints, and this is how she responded: "I started printing my painted comics last winter at the SVA RisoLab. I had this short-lived fantasy that I would be able to use a simple CMYK color separation in Photoshop to make faux-CMYK prints on the Riso. I realized quickly that while certain prints looked okay using this method, most of them came out with too much visual information/noise because of the texture & subtlety of the color mixing in the paint combined with the imperfect registration of the Riso. Also, registering the text with this method is not ideal. "Over the summer and currently during my residency at the RisoLab, I've been experimenting with ways to keep the integrity of the painting in the reproduction. I use a mix of "CMYK" in certain areas, spot colors with texture layers on top in other areas, and other spot colors without any mixing. This method reduces the noise and keeps the print painterly. The text is almost always one color so it's crisp and clear. All of my color separation is done in Photoshop. I'm not much of a technology-person so there has been a big learning curve. By now doing color separation has become pretty intuitive, but still, I'm not always sure what the outcome will be. I like that little surprise. I rarely look at Riso color mixing charts/percentages. I rely on my knowledge of color mixing and grayscale from my painting background. I tried once to design a specific zine for the risograph & it came out kind of boring. It required too much thought while I was painting the pages and I prefer to not think in this phase! For now, I'm happier painting freely then putting in the hours on Photoshop." Thanks Alyssa! If you want to pick up her comics, Alyssa will be at Comics Arts Brooklyn this weekend at Table K6. As a cartoonist, there's a lot to learn from watching Alyssa transform her work for print. I highly, highly recommend seeking her books out, and compare the books to the paintings; she has most of them up on her site. I leave you with some pages from my favorite Alyssa Berg comic, Open Letter to Sleep. -CO ————————————————————————————————— if you don't know, now you know Ron Wimberly and Beehive Books launched a Kickstarter for a newspaper magazine, LAAB Magazine. Two IDW imprints, The Library of American Comics and Euro Comics, have a podcast together. Tessa Strain reviews Garth Ennis and Goran Parlov's follow up to their very popular and well-recieved Nick Fury comic. This time, it's the Punisher. Not a link, but word around the campfire is Robin McConnell will be interviewing Chris Ware on occasion of his epic Monograph book for an upcoming episode of Inkstuds. So stay tuned. In other news, the latest Inkstuds episode features an interview with Cecil Castellucci and Marley Zarcone, the driving force behind a mainstream comic I like, Shade the Changing Girl. ————————————————————————————————— Suzy and Cecil – 11-6-2017 – by Gabrielle Tito ————————————————————————————————— Cozytown – 11-6-2017 – by Juan Fernandez ————————————————————————————————— Joanie and Jordie – 11-6-2017 – by Caleb Orecchio ————————————————————————————————— Share this page:Read More:09/12/201807/13/2018The Hannah K. Lee Interview10/24/2018...
Comics WorkbookNovember 13, 2016Santoro SchoolHere at Comics Workbook we're testing a new type of learning institution for comics-making. We are committed to: the exploration of comics as a community form, rather than as a commodity form. creating a hub for comics-making and writing about comics-making that emphasizes the healthy growth and development of its contributors and readers. maintaining a space for makers by makers. Got something you want to contribute? Email me at juan@comicsworkbook.com. I'd love to hear about what's on your mind. – Juan Fernandez, Managing Editor Share this page:Read More:03/27/201807/27/201809/07/201807/11/2018...
Sally IngrahamApril 13, 2017NewsSally here to wrap up the week with new work by Ulli Lust; an Easter Comix reading at KGB Bar; a conversation with Carel Moiseiwitsch; a look at Saving Grace; plus much more! ————————————————————————————————— Ulli Lust has printed up a small comic that collects the strips she has been making for the magazine EXBERLINER. She will have copies available at TCAF in May! Meanwhile you can read the strip HERE. ————————————————————————————————— Check out the Annual Easter Comix & Graphic Novel Night on April 16th, 7-9PM at the KGB Bar in New York City. Five local cartoonists will offer slideshow readings that are "sure to entertain, bewilder, and amuse." Co-hosted by Robyn Chapman and Robin Enrico, the reading will also feature Lauren Barnett (some of her work is pictured below), Jim Campbell, Ada Price (above), and Kelsey Wroten. ————————————————————————————————— RJ Casey interviewed 76-year old Carel Moiseiwitsch for The Comics Journal this week. Carel was born during the Blitz, and her first memories are of playing in the rubble of London following the war. This is probably why she drew, as RJ Casey puts it, "dangerous comics". Among many interesting stories about hanging out with the Rolling Stones and getting drunk with Francis Bacon, plus the complexities of making art and raising kids, Carel answers a question posed by RJ Casey that I've been thinking about almost constantly for the last year: "I was thinking about your era of comics and how many fantastic artists just drew for a couple years, then got out completely. Or ones that went into fine art and never made comics again. Why do you think that time period of the late '80s to early '90s had so many artists like that? It's not fruitful and it requires such hard work. Also everything became kind of corporate. It's very hard to survive in that kind of atmosphere. Where I came from — London and Paris in the '60s — you could go there and draw, record music, and create art, then shuffle around to the cafes and have a drink, meet up with friends, write poetry, or whatever it is you wanted to do. People took you seriously without you having to be famous or successful. You just had to be true to yourself. But now it's like if you're not famous or successful, you're nothing." Carel has continued to make comics and other artwork, has worked as a teacher, and has spent a lot of time turning her attention to mental health activism. The whole interview is fantastic and it's a real treat to get a look around Carel's head space – she's a powerhouse. Read the whole thing HERE. ————————————————————————————————— A good friend of Comics Workbook and her fellow artists are in need of your signature – Naomi Nowak (painter/jeweler/fashion designer extraordinaire) is in danger of losing her studio space. "sad news! your signature is needed. me and my artist friends/colleagues are being evicted from our beloved studio space in stockholm, pannrummet (the boiler room). it's practically already a done deal and we haven't been given a fair chance to have our say or be part of the proceedings around this. so this petition is our very last, desperate plea to our landlords that they reconsider their decision and let us continue to work and create in the space we have loved and cared for. last year we renovated the place and built a bar + showroom where we have barely had time to show art and host exchanges, something were very much looking forward to. please sign to save studio pannrummet! we've never disturbed our neighbour and all 9 of us are now without a studio #savepannis" Sign the petition HERE. ————————————————————————————————— Saving Grace by Grace Wilson just turned up at Copacetic Comics – it was published late last year in England. The Guardian has a review of it that should spark your interest: "Saving Grace is, first of all, a brilliant commentary on the housing crisis. Its author, Grace Wilson, knows all about the queasy feeling that comes with not knowing where you will soon be sleeping, and the way it affects everything – everything – else in your life, from work to relationships to, ultimately, your self-confidence. But it's so much more than that. It's hilarious, not only about rapacious landlords and their creepy ways, but about friendship, work, holidays and sex, too. It's hard to imagine a funnier scene than the one when Maxine, drunk and having rowed with her boyfriend yet again, makes the mistake of going home with an Iggy Pop-alike who wants to spank her with a bit of precious rock memorabilia ("Did I ever tell you about when I used to roadie for the Who, Max?"). On the tube, where I read it, people looked at me warily, this sniggering woman with a large rainbow-coloured comic book in her hands." – Rachel Cooke Read the rest HERE. Get a copy of the book at Copacetic Comics! ————————————————————————————————— I thought Lauren Weinstein's strip in The Village Voice this week was particularly funny – but maybe that's because I am increasingly of the opinion that cats are the cartoonist's true enemy…! ————————————————————————————————— Scallions or Chives The winners of 2017's Cartoonist Studio Prize are Eleanor Davis for Libby's Dad (Best Print Comic) and Christina Tran for On Beauty (Best Web Comic). A recent New Yorker cover illustration is being reproduced be female surgeons around the world – check it out HERE. Katherine Collins will be inducted into the Giants of the North hall of fame this year – and the nominee list for the Doug Wright Awards for Canadian Cartooning includes Julie Doucet among others. ————————————————————————————————— Blinkers – 4-14-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 4-14-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 4-14-2017 – by Caleb Orecchio Share this page:Read More:03/30/2018Rowhouse Residency…Rowhouse Residency…05/04/2018...
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:Read More:09/14/201803/06/201809/12/201806/08/2018...
BOY by Hellen Jo
Chris Anthony DiazJune 21, 2016The Diaz ArchiveHellen Jo's watercolored portrayal of Tetsuo Abe as Toshio Omura and Tsuyoshi Kinoshita as Peewee in Nagisa Oshima's BOY (1969, Japan) for my ILLUSTRATED MOMENTS IN CINEMA/TELEVISION collection. The illustration was completed around Spring 2009 in ink and watercolor, and Hellen's photo was taken at Comic Arts Los Angeles, Sunday, December 6, 2015. And Graham Willcox did the color on Hellen's portrait Share this page:Read More:08/22/201808/08/201808/01/201810/11/2018...