Tomie dePaola in his studio in New London, N.H., in 2013. Of the many books he wrote and illustrated, he said the ones that resonated most with children were inspired by his own life.Credit…Jim Cole/Associated Press
Tomie dePaola, one of my favorite children’s book illustrators, and perhaps yours, has passed away. I always admired his great sense of style and the masterful ease he had with conjuring up his distinctive storytelling. His stories of a grandma witch with an eternally full pasta pot, beginning with Strega Nona (1975), were beloved by generations of children.
Much in the same spirit as another favorite artist, Tomi Ungerer, who died last year, dePaola had a signature style and a heartfelt vision that carried him through his 30-year career. Speaking of hearts, dePaola got to signing his work with a heart and never stopped. As he explained: “The heart has become a sort of symbol for me. I also use it as shorthand, or an abbreviation, for ‘love.’”
We turn our attention to Seattle and a most engaging campaign by Sergio Garcia for City Council. This is a vibrant campaign on many fronts. One key element, to start off with, is the distinctive character illustration for the campaign. Garcia appears on campaign posters in the form of a contemporary Seattle police officer with prominent mustache and tattoos. The latest posters boil it all down to Garcia’s iconic mustache. It is a look that is getting people’s attention.
A campaign with style and substance that has struck a chord.
An essential issue that Garcia is addressing is the need for an improved and sensible approach to Seattle’s homeless population and related issues: affordable housing, crime and disruption. A basic need for safety is mired in politics and in desperate need of clarity. This is where someone like Sergio Garcia, with a law enforcement background and fresh perspective, steps in. Seattle citizens, fed up with the lax and chaotic approach to crime from the City of Seattle are more than ready for a fresh change and it looks more and more like Sergio Garcia can lead that new path.
Seattle is ready for a change.
And, with that said, it looks like this is a case where image and substance appear to be in sync. Garcia’s message, along with his brand, appears to be resonating with Seattle voters who are more than ready for a change. Having spoken with a number of business owners, the response I’ve gotten has been consistently positive. If Sergio Garcia wins, it will be thanks to a vigorous grassroots campaign. The primary election is August 6, 2019 and the general election is November 5, 2019.
Vote for Sergio Garcia, Seattle City Council.
For more details, visit the Sergio Garcia campaign site right here.
Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a unique behind-the-scenes look at the studios and work habits of some of the all-time great comic book artists, published by Insight Comics, with interviews by Joel Meadows. It is a pleasure to get a chance to chat with Joel Meadows, a fellow comics journalist. Mr. Meadows jumped into comics journalism in 1992 with his own Tripwire Magazine. In this interview, we’re going to unpack what that all means. There have been so many others who have joined the ranks of comics journalists, including myself, so there’s plenty to unpack!
HENRY CHAMBERLAIN: Joel, thank you for joining me for this conversation. We’re going to chat about Masters of Comics and the world of comics journalism. You begin in 1992 as a young guy who is compelled to create Tripwire, a magazine of genre culture, and that has evolved into an exciting new website presence and the publication of significant books on pop culture. I believe you really hit upon something with the original Studio Space and now the current Masters of Comics. As a jumping off point, share with us some of the thinking that led you to pursue a collection of in depth process interviews.
It started with the magazine, you mentioned Tripwire. We used to run a feature, Studio Space, where we interviewed artists and illustrators in order to get a closer look, get behind their work: the way they work and how they approach their work. We began with Tim Bradstreet, Phil Hale, and John Bolton. I found it fascinating and I thought it might be fun to pursue this further as a book. We put together a line up of artists for Image in 2008 and that was an impressive book. I was very proud of that book. That came out 11 years ago. We had the late great Joe Kubert. We had Sergio Toppi. We had Steve Dillon. We had Howard Chaykin. I can’t recall everyone. It was a pretty amazing list. I was very proud that we had managed to gather all these great artists together and get into each of their headspace and look at how they actually created work and how each studio was different from the next.
Tripwire magazine, circa 1990s
I love the fact that you have books out in the world. For me, my first loyalty is with print. We both go back to a pre-internet perspective. It used to be that to have something in print was the be all, end all. You feel secure with print. You can feel a bit uncertain about the internet: things can be completely wiped away. The whole website might blow up but you can always have a print edition somewhere. Do you feel like that sometimes?
A little bit. We switched to the web back in 2015 and it has its pros and cons. If you make a mistake you can always go back and fix it. But there’s something about the physicality of a book or a magazine. There’s the tactile nature of it. Say, if you meet someone and they ask you what you do, you can direct them to a website but, in some ways, it’s even nicer to be able to show them the book that you’ve published or the magazine that you edit. There’s something about having something physical that is hard to beat.
Exactly, that’s what I want to stress to everyone. Of course, you can go to a tutorial on Youtube but it’s so great to be able to pick up a book and pore over the pages and make discoveries. I think of someone like John Paul Leon, an amazing artist who will be new to a lot of readers. There’s one title that he worked on, The Winter Men, that really sticks with me. You’ve got such a wonderful range of talent, everyone from Frank Quitely to Bill Sienkiewicz to J.H. Williams III, and everyone has their own way of working. There’s so much to consider, of course, over creating the work physically or digitally or a combination of the two.
Maybe it’s a generational thing. I interviewed Mike Kaluta for the book and he works physically with pen and ink. J.P. has more of a mix. Walt Simonson works physically but he does fix lines digitally. I think it was Laurence Campbell, who does work physically, who said that, with digital, he misses the idea of being able to have a happy accident. You might make a mistake but it’s a good mistake. It brings the work to life a little bit more. In some ways, it comes down to digital coming across as too precise. The idea that you can go in and fix a mistake in Photoshop can leave some artists feeling that something is missing. Obviously, other artists love digital. Sean Phillips he draws his line art digitally but he also paints physically. He went back to painting for some of his covers and some of his work for Criminal. He likes to jump between the two. It really depends upon the artist. Some like the tactile experience of physically painting. Others like the convenience of digital. So, it comes down to a case by case basis.
Sean Phillips doing digital work.
Yes, I think it does come down to a case by case basis since you can’t totally peg it as generational. You have so many young artists who enjoy doing work physically. I even wonder sometimes if using markers is really the best approach to coloring your work. But, hey, if an artist can make it work with markers, then why not.
Michael William Kaluta doing physical work.
I want to ask you about your own process. Maybe you can take us behind the scenes of how you got the book put together. Did you personally interview each artist in their studio or were some interviews over the phone?
It was a mix. I got to visit some of the artists personally: Mike Kaluta, Walt Simonson, Posy Simmonds, Laurence Campbell, and Sean Phillips. The rest were e-mail or telephone interviews and, for those, they supplied the photographs. I would have loved to have interviewed in person Eduardo Risso but he’s way over in Argentina. The same with Rafael Albuquerque. He’s in Brazil. I did the photography for the artists that I met with in person.
It’s a seamless presentation, how all the profiles were put together into such a compelling whole.
Insight did a great job with the design. It looks beautiful. They did a great job with the typography and the way all the images fit, the comics art and the photography. It holds together really well as a cohesive package.
There are 21 profiles here. Maybe you can tell us something more about the decision-making process in choosing artists. It is a stellar line-up of artists. Rafael Albuquerque. Tim Sale. Yumo Shimizu. The list goes.
We wanted to have a cross section of artists coming from different disciplines. For instance, Walt Simonson is very much a pen and ink guy. John Paul Leon is more of a marker artist. Dave Johnson is a cover artist, one of the best. If we picked 20 or so artists that were all in the same style, then it would have gotten repetitive. So, we wanted to have something that was varied in terms of approach and actual work.
Share with us about the world of comics journalism. It was a whole other world when you began in 1992. The field was wide open. Back then, there were only a few outlets, like The Comics Journal. Today, it’s a relatively crowded field, especially when you add in all the various tiers of involvement.
It has changed. The Comics Journal had its moments. I used to enjoy Amazing Heroes, going back to the late ’80s. The biggest one was Speakeasy. It had a column by Grant Morrison. It was a very irreverent magazine. That was a big influence on us at Tripwire. Back in the ’90s, you also had Wizard, which really wasn’t for me. And, yeah, I never connected with The Comics Journal. Today, there are a number of good websites. There’s a digital magazine based in the UK that is doing a lot of good work called, PanexPanel, run by Hass Otsmane-Elhaou. And Forces of Geek, with Stefan Blitz, does excellent work too. A lot of sites are just running press releases. At Tripwire, we try to dig deeper. We interview the creators and the key players. We try to look at the bigger picture. It’s a challenge.
Amazing Heroes (1981-1992), published by Fantagraphics
The thing with press releases is that it’s a balancing act. You don’t want to rely on them. You have to really pick and choose. Some are quite informative and newsworthy. What is the criteria for you when it comes to content on Tripwire?
We try for variety and we try to cover people that other websites don’t. For example, we’ve recently run two interviews with Scott Dunbier from IDW. His artist collections and special projects are a great celebration of comics history. So, we try to pick people like him. We’ve interviewed Chuck Palahniuk a couple of times. We’ve interviewed Philip Pullman. We try to go beyond the boundaries of many comics websites. I want to dig a bit deeper like we did with our interview with J. M. DeMatteis. We try not to cover everything. And we try to contextualize our interviews and explain the significance of our interview subjects.
I do my best to go in depth with my interviews. And I’m always on the look out to go beyond the boundaries of a typical pop culture website. I will naturally gravitate to some novel, which may or may not have anything to do with comics. I might bring in an essay, or whatever. It just happens organically and it helps to keep things fresh and bring in a cross section of readers.
Yes, we do that too on occasion.
Speakeasy, “the organ of the comics world,” March, 1990
I wonder what your take is on alternative comics. My partner, Jennifer, and I are both cartoonists. We come from that indie alt-comics scene. I’m sure you’re familiar with the Page 45 quote.
Yes, I am.
It’s a brilliant observation by Stephen Holland, owner of the UK comics shop Page 45, about how “alternative comics are the real mainstream.”
There’s a lot of great material. I read indie comics. I’ve read the likes of Joe Matt and Daniel Clowes and Adrian Tomine back in the ’90s. I tried to keep up with their careers. There’s incredibly talented people. You have someone like Ed Brubaker who started life as an indie cartoonist and moved into the mainstream. He’s one of these guys who can straddle the two. I believe the Page 45 quote gets it right. You can give someone who doesn’t normally read comics a book like Berlin, by Jason Lutes, and they can appreciate it. But they will have a much harder time with a Batman or Teen Titan graphic novel which relies on more in depth comics knowledge.
MASTERS OF COMICS
I just need to ask you about what’s been on your pop culture radar. For instance, what was your take on how Game of Thrones on HBO resolved itself?
You have to feel sorry for the creators of the show since you can’t satisfy everyone. I remember when the Sopranos ended. I really liked how it ended but there were a lot of people who weren’t happy. A big show like that, which has been around for years, it’s almost impossible to satisfy all of your audience. I think the ending to Game of Thrones was okay. To be honest, I’m not sure how else HBO could have ended it.
There are some shows that we in the States have to wait for from across the pond. But then there’s also the reverse. For example, the new Twilight Zone on CBS All Access. Are you looking forward to that one?
I am curious. I enjoyed Get Out a lot. I think Jordan Peele is quite talented. I’m curious as to whether or not they’ve managed to keep that original flavor.
I’ve gotten a chance to view the whole season and I think it’s coming together. I think it’s going to be of those shows that will probably remain a bit uneven but can have exceptional episodes so you root for it.
There’s quite a bit of TV. I’m trying to catch up with Jessica Jones. I’m a bit ambivalent about the Marvel shows on Netflix. I enjoyed a lot of Daredevil and Luke Cage. I think the big problem is that a lot of these shows run too long. They would be much better off with shorter runs of six episodes per season. Another one, Punisher, I just couldn’t finish that.
How would you like to end our talk? Anything else you’d like to add about Tripwire or Masters of Comics?
We continue to evolve the Tripwire website. We’re hoping to organize a talk that ties in Masters of Comics at the Society of Illustrators in October during New York Comic Con. It would include Walt Simonson and Shawn Martinbrough. It would be very nice to have an event tie-in for the book. We’re also looking forward to some collections of interviews from Tripwire. This is something we’re working with another publisher on. The plan is to have the first book available in time for next year’s Comic Con in San Diego. So, that’s exciting. We’ll be returning to print after a bit of a break.
That would be so exciting to have a talk at Society of Illustrators. I hope that works out.
Well, thank you. We’re hoping to pin that down.
Thanks so much, Joel.
Thank you, Henry.
You can listen to a portion of the podcast interview by just clicking the link below:
Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a 184-page full color trade paperback, with 21 profiles, with art samples and studio photographs, published by Insight Comics.
Keep up with Joel Meadows and Tripwire magazine by going right here.
Robert Sikoryak, aka R. Sikoryak, is an artist that I’ve always admired. You have probably seen his work grace the cover of issues of The New Yorker or maybe you know him from one of his comics adaptations of literature classics. He’s best known for featuring his virtuoso adaptation of masters in the comics medium in the service of a satirical work, like Masterpiece Comics. Another great example is the recent Terms and Conditions, an ambitious and hilarious comics adaptation of the iTunes contract we all must agree to but never bother to read.
NEW YORKER COVER
Robert Sikoryak was formerly an associate editor and contributor to RAW, the groundbreaking 1980s comic anthology. He has also drawn for The Daily Show with Jon Stewart, The Onion, and Nickelodeon. During a recent visit to New York, I got a chance to interview Mr. Sikoryak about a number of things, including his ongoing Carousel, a revue, going back to 1997, that features a number of notable cartoonists such as Lauren Weinstein, Michael Kupperman, and Jason Little who present their work as part of a slide show performance. It is my pleasure to present to you the following interview. A video portion is also available and you can access that below too.
Illustration for The Nation by R. Sikoryak
Read the interview below and do make sure to go to the video as well which covers different aspects, specifically Mr. Sikoryak’s early career. All in all, as I said to him, his 30+ year career adds up to such an impressive professional life. I like to bring out the term, “legend,” but Sikoryak would not hear of it! He’s very modest, indeed. And quite generous in sharing insights. I’ve done numerous interviews and do my level best to respectfully bring out the best in those individuals I have the privilege to interview because, for me, it’s a sacred trust that I’ve entered into. And it’s an added bonus when you get to engage with someone who is just as passionate about sharing information with the reader. For instance, I asked Sikoryak about starting out as a cartoonist and he was very careful to explain how, even as a child, he was intrigued with creating parodies, which is a linchpin to his career.
Let’s turn our attention to the self-published indie comics known as, “mini-comics.” A lot of cartoonists find that, once they’ve created a mini-comic, it gets in their blood and they’re hooked. Tell us about your experience with mini-comics.
I’d say it has gotten more into my blood lately. I had done a few mini-comics when I was younger but it was only after I’d started working with Kriota Willberg, and going to comics festivals, that I got the bug to do more minis. She was doing them as well and so we did them together. It’s like I was saying earlier, sometimes it’s easier to get rolling if you have a community to work with even if you’re doing it yourself. If you’re working on a project together that can sometimes spur you to action a little faster. We also started doing 24-hour comics and that helped me break out of some of my habits of working. When I was doing Masterpiece Comics, I was spending a lot of time refining the story and the art and honing it all done to exactly what I wanted. That approach was very specific and time-consuming unlike my commercial work where I need to turn around the artwork a lot faster. So, I could get caught up tweaking my own work when there wasn’t an imminent deadline. That said, 24-hour comics helped me think of ways to try to work faster. And that approach helped inspire how I worked on Terms and Conditions.
Steve Jobs and Silver Surfer!
Share with us how you used the 24-hour comics working methods in Terms and Conditions.
For 24-hour comics, I wanted to work with a text that was already written. So, the first ones that I did were poetry comics. I did one with Walt Whitman and another one with Edgar Allan Poe. I took existing poems of theirs and illustrated them. The Walt Whitman poem was a Jack Kirby monster comic. The Edgar Allan Poe one was done in the style of Richie Rich. Those were fun and I thought of them as rough drafts towards making comics with text. This was around 2014. I started thinking about how comics had evolved in the last twenty years since I’d graduated from school. I wanted to do a graphic novel. I’d only done short works up until then. What could I do in a long form? I was looking for something new to adapt and then I thought about the iTunes contract. The big joke about it is that it’s long. I’m always looking for an absurd angle for making comics. To quote Apple, I was looking for a way “to make things different.”
From Terms and Conditions
One of the best things about it is that you don’t have an emotional connection to the iTunes contract. There’s not a visual component to them. There’s no plot, no characters. Some people might argue that there’s some kind of narrative. But there’s not the drive that you’d find in a traditional story. The images could reflect anything and even go beyond the text. The images could refer to anything. I wasn’t going to be literal with a character just reading the text. I was going to bring in other images. I took pre-existing comics pages and modified them. I created a main character from Steve Jobs since he already had a specific uniform. Zuckerberg and Bezos have a look: the glasses, turtleneck, jeans, and sneakers. But Jobs had an actual costume he wore. I didn’t have to make any of the comics characters look exactly like Steve Jobs since people recognize what that costume signifies. Every page of the book is drawn in a different style with the main character dressed in the Steve Jobs outfit. The Jobs costume is as iconic as the Charlie Brown zig zag so that’s perfect. Once I had all this set up, it became easy to start the comic.
From Terms and Conditions
For the 24-hour comics first draft to Terms and Conditions, I did ten pages and they were very specific choices. I had Little Lulu, Rex Morgan, Astro Boy, the Dark Knight, X-Men, Peanuts, Sandman, Dilbert, Spider-Man, and The Walking Dead. All with the Steve Jobs main character running throughout these pre-existing pages from all these landmark comics. After I drew them, then I inserted the iTunes contract text into them. I wasn’t drawing them anticipating the text. For the most part, I didn’t know what the text would say in relation to the drawings. Some pages ended up getting shuffled around. I moved the Rex Morgan page to the beginning because I wanted something banal, very basic and straightforward, to start off with. Something grounded in reality before moving on to something more fantastical. I ended up putting out the first 30 pages as a mini-comic. I was only selling it at some comic shops and online. I drew it in chunks of ten or twelve pages. At some point, the iTunes contract got longer! I had to add 25 more pages. It actually allowed me more pages to play with and include more people I like Allie Brosh, Fiona Staples, Raina Telgemeier, and Kate Beaton. People who have a big impact on what’s happening in comics right now. I’d never done that before where I addressed the current generation of people in comics.
Steve Jobs and Kate Beaton!
I also wanted the book to evoke the internet: everything is in this book. Obviously, that’s an illusion on the internet just as it is in the book. I was going for an sense that anything can happen, that you can stumble upon any style of comics. I also wanted it to be international and not just be about my own tastes. My instincts told me that I wanted to represent all that is possible in comics.
From Terms and Conditions
I come from an art background and I can certainly appreciate that you’re working with comics, treating comics, at the level of an art form, which it is.
I was thinking about conceptual art. Kind of the way that John Cage would approach something. Cage would talk about using chance to compose music. Cage would try to get out of his own head when composing, like consulting the I Ching or more elaborate means to take it away from what he might make if he were solely making aesthetic choices. In a sense, Terms and Conditions, tries to get closer to that approach.
Steve Jobs meets Wonder Woman!
I go look at the iTunes store to see what’s popular and there would be Transformers and My Little Pony and that made sense since these are properties that exist in multiple media. That led me to putting in a Transformer page and a My Little Pony page since they are a big part of comics too.
After the mini-comics of Terms and Conditions came out, I asked Françoise Mouly what she thought I might do next. She suggested that I put them on Tumblr. I did it and let friends know about it. I ended up getting a lot of media attention just from the Tumblr. That was crazy. I didn’t yet have the Drawn & Quarterly book. That was still a year away from happening. I hit a nerve that I didn’t realize I would. It became an internet sensation for a second! Which is a long time for me. That was really gratifying and exciting.
That’s the theory, that you create something first on the internet, create some buzz and then approach the publisher. Or, best case scenario, the publisher approaches you.
Yes, I’d worked with Drawn & Quarterly for many years. They’d serialized by Masterpiece Comics in their anthology and then collected them into a book. They knew me. I wanted them to do it. And they said yes, after checking with their lawyers on legal issues. And we have not heard from Apple.
From The Unquotable Trump
Not even a peep from Apple?
I could be wrong but maybe it’s better for them not to say anything. They probably don’t want to encourage people to do this. I think I’ve gotten approval from their silence. I take that as a sign. I know they’ve seen it. I don’t know how they couldn’t. I’m pretty sure that some of the people who interviewed me contacted them for comment. They didn’t respond. I know people within the company and they say it’s great. But no official comment. I can see that if Apple actually said it didn’t like it then that would seem punitive and, if they did the opposite and said they liked it, then that would open the floodgate for others to do their parodies.
People are going to do what they want anyway. Like me, I wasn’t even planning on doing such a book. I was looking for a new way to break from my habits of making comics. I wanted to think of comics in a different way and the work did all that. Having it come out as book was amazing and great but only something you can hope for, not count on.
CAROUSEL Comics Performances and Picture Shows, hosted by R. Sikoryak
Tell us about how Carousel came about.
When I was in college, I was flirting with performance art. I happened to see Roz Chast do a reading of her gag cartoons at an event in the early ’90s. I was really struck by seeing the artist with their work on stage. She was charming. The audience loved it. I thought about how theatrical it was since there’s the charge of being very in the moment in front of a live audience. And I thought I needed to do this with my own comics. I worked a little bit with theater companies and I was already hosting variety shows and that sort of thing. Converting my comics into a slide show, around 1992, was a whole new thing for me. Other people had done it before me but that really worked for me. My strongest material was my comics! So, I started doing my comics as slide shows. Within a few years, I had met other people in the scene from variety shows and other artists who made visual storytelling for theater. Like Brian Dewan who showed the film strip last night. He’s someone who was in my earliest shows. He’s a musician and a visual artist. He makes these idiosyncratic pseudo-educational slide shows dealing with big philosophical issues, which I love.
Carousel photo by Andrea Tsurumi
By the late ’90s, I’d organized my slide shows into what’s become Carousel. In the early shows, I had people like Ben Katchor, David Sandlin, and a lot of other people from the downtown performance scene. By 2001, it had become my main performance habit. So, four to eight times a year, I do these shows where I invite cartoonists and other visual artists. I’d had on people who do live music with projections, people who do drag with projections. Cartoonist Matthew Thurber makes these large scrolls. The drag queen I had on recently is Sasha Velour, who won Rupaul’s Drag Race a couple of seasons back. I met her as a cartoonist. Her current performances still retain a vital visual element.
Mine are more like radio plays or podcasts with actors reading lines for the all the different parts with background music. Or, as in the case of some of the other people you saw last night, they will talk about their work or tell stories that are visually supplemented. Or, in one case, Hilary Campbell showed her rejected New Yorker cartoons which is a very straightforward way of doing it and very comedic. I think it’s very excited to be able to see the person with their work. Everybody does it a little differently. It seems like a simple enough idea. I like to have six or seven people in each show. I think the personality of each artist gets to come through. In the best cases, you can really get some insight into what the work is about. I’ve had shows where I go back and reread the comic after having listened to them read. It’s endlessly interesting. It’s a way to bring it to people who might not see it otherwise. Certainly, with the internet, it’s easier to come across this stuff but even so a lot of the people who present don’t necessarily put their work out in that way. Doing it in the theater brings in a different crowd. So, you get to show theater people in a different form.
The comics came to life in such an organic way and you just don’t know how people, or the cartoonist, might react.
It reminds me a bit of the commentary track on a DVD. It all depends on the work people make. My work tends to be conceptually tight so I tend to honor it as it is. But it’s great to see how people might explode the format and find other ways of doing it.
Anything else you’d like to add?
I’m working on a new volume of Masterpiece Comics. My latest mini-comics help update folks that there’s more on the way. I do storyboards for an animation studio. I teach at Parsons. I’m doing more book illustrations. I try to keep myself surprised.
Well, we can leave it there. Thank you so much, Bob.
Thank you, Henry
Visit R. Sikoryak right here. For more information, and how to purchase, Terms and Conditions, Masterpiece Comics and The Unquotable Trump, visit Drawn & Quarterly right here. When in New York, check to see if your schedule and the Carousel schedule align right here.
Whenever I go to anything creative, be it a play or a reading or a comics art festival, I do a lot of processing: What have I learned? How does this fit into the world? So, Small Press Expo is no different in that regard. Once you drop into SPX, it is like being inside a giant pinball machine as you’re being thrown in one direction after another. For me, with many years of experience in creating comics and writing about them, I rely on my internal database to make sense of it all.
For this post, I will introduce some pieces of the puzzle that I will discuss further in upcoming posts. I’m as much cartoonist as journalist in the sense that I feel most alive when I’m tackling a project that requires a good bit of deciphering.
It is my strong belief that you can’t study the art of comics inside a comics bubble. I mean, you run a high risk of doing yourself and the reader a disservice if you come to the subject of comics only as a comics enthusiast. I’m digressing here a bit but I’m just trying to say that comics fit into a much bigger picture. You can, as the saying goes, lose the forest for the trees. Where do you begin with such a colossal subject as comics? You look at it, walk away for a while, then refocus–and always keep in mind those outside of comics or just entering the world of comics.
One thing I do know is that people still read. And I’m always pleased when some folks make their way over to my posts. I do my best to provide concise text with a decent sampling of images as needed. Here I will post some creators I will spotlight in some upcoming posts. I think this will result in giving a sense of the wide range of activity and talent at Small Press Expo. Here are some representative talent: Kati Lacker, Luke Foster, and Sophie Goldstein:
Let’s make a quick detour. I want to share with you a little taste of the comics workshops at SPX put together by Comics Workbook. I had the honor of participating in one led by Dash Shaw. We covered quite a lot of work in one hour! I include a sample in this below video. I even got a chance to participate in the informal Q&A. I wasn’t planning to but then I did.
I put a question to Dash Shaw: “This may sound silly but is the only true work in comics created by one person?” His response was interesting: “It’s great that a work in comics can be created by one person. Not all things can be created by one person. You can’t make a baby with just one person.”
Dash Shaw leading a Comics Workbook session at SPX
I enjoyed that response very much. But it was only the next morning that I thought of a much better way to frame the question–or my own answer back: “It can hold true that, just like the lone painter creating a painting, and we see painting as the act of a singular vision, so too can we see that in the creation of comics, there is a singular vision by one creator.” That is exactly what each student was doing in that session with Shaw: creating one work by one person. So, anyway, that for me was good to think about. Of course, there can be other factors that come in, like hiring a colorist. In the end, comics are about a driving force and that usually means one very determined creator started the ball rolling or kept the ball to themselves.
Comics Grinder has a long history of supporting exciting new talent. In that spirit, welcome to illustrator Devan Fowler! She is a recent graduate of Savannah College of Art and Design.
Devan Fowler character design
What I like about Devan’s work is that it shows a lot of care and dedication. At this early stage in her career, Devan has got a strong foundation to work from. There’s a whimsical quality to her work as well as an overall strength. You believe these characters have lives and can hold their own.
Devan Fowler comics
“As an artist I strive to create cute and relatable characters, while giving them unique and diverse personalities and characteristics.”
— Devan Fowler
Devan Fowler illustration
The future looks bright for Devan Fowler. I think she has great potential as a cartoonist and she certainly shines at character design. She definitely has the skill set. And I’m sure that she will succeed with whatever she puts her mind to accomplishing.
Danilo Del Tufo is an illustrator in Quarto, Italy. I like his new comic, an adaptation of the Hans Christian Andersen classic tale, “The Little Match-Seller.” You can purchase a copy at LuLu.com right here. And you can find more details right here.
A burning light of hope.
“The Little Match-Seller” or “The Little Match Girl” (Danish: Den Lille Pige med Svovlstikkerne, meaning “The little girl with the matchsticks”) is a short story by Danish poet and author Hans Christian Andersen. The story is about a dying child’s hopes and dreams, and was first published in 1845. Del Tufo does a thoughtful job of evoking the great pathos in this story. This is an excellent example of a wonderful calling card in the form of a comic to showcase an artist’s work. And, of course, it is also a fine comic in its own right.
Peter Kuper is one of the great cartoonists and any book by him is a treat. In this case, you have a highly creative individual out and about for two years in a most stimulating environment, Mexico, specifically in Oaxaca. What could be better than his sketchbook journal of his two years there? The paperback version of his “Diario de Oaxaca” recently came out from PM Press.
Pages from “Diario de Oaxaca” by Peter Kuper
Kuper follows his heart and stream of thought to deliver page after page of enchanting work. He has a special multi-colored pencil that he uses. The lead in the pencil is made up of various colors. That allows much greater spontaneity as he can instantly shift the pencil to get a different color and then another and so on. He seems to have most fun with creating work that has that look of being on the fly–but can also be a mix of a long day, or night, of contemplation.
The sense of excitement and discovery is palpable. In a similar quick manner, he jots down numerous observations in prose as well. The joie de vivre takes a decidedly sober tone as Kuper finds himself covering a fight between strikers and government troops that left more than 20 people dead, including American journalist Brad Will. The end result is that Kuper manages to capture both the light and the dark of Oaxaca in an extarordinary collection of dispatches.
“Diario de Oaxaca: A Sketchbook Journal of Two Years in Mexico” is a 208-page paperback with full color artwork throughout. For more details, visit PM Press right here.
Book Giveaway: Be sure to visit tomorrow when the Comics Grinder Winter Giveaway kicks off. Among the items that will be available will be a copy of “Diario de Oaxaca.”
What if your favorite movie character had poor eyesight? Take Indiana Jones, for instance. What if his eyesight failed him right at that crucial moment when he is risking his life to plunder that golden idol? Not a pretty sight! Award-winning illustrator Wren McDonald has created a series of comics for Visian ICL.
Not a pretty sight for Luke Skywalker!
At Visian ICL, they take vision very seriously. Visian ICL believes that everyone deserves to see the world as vividly as possible – whether with glasses, contacts or more the advanced procedures which they offer. To learn more about Visian ICL, and see more Wren McDonald comics, go right here.
GUM LUCK is the second in the Gumazing Gum Girl series, published by Disney-Hyperion Books, and it is as irreverent and quirky as you may expect. Illustrated by Rhode Montijo, written by Montijo, with Luke Reynolds, this is a perfect book for young readers. This book is hilarious and there is method to all the madness too. Gabby Gomez has quite a conflict to deal with: bubblegum gives Gabby superpowers but her dentist dad is totally against bubblegum. Gabby feels compelled to confess her big gum secret but she can’t risk losing her powers.
Reading GUM GIRL
The script by Montijo and Reynolds provides a fun mix of kid reality and kid fantasy. For example, in one chapter, Gabby is alarmed to see a car skidding its way towards a collision. Instantly, Gabby sets loose her gum powers and brings the car to a sticky, but safe, stop. However, once Gabby arrives at school, she discovers her permission slip to go to the zoo is covered in bubblegum. Without a readable permission slip, Gabby is forced to stay behind in a classroom with other kids who can’t go to the zoo.
Pages from THE GUMAZING GUM GIRL: GUM LUCK
Montijo’s bold artwork is a real treat and keeps the action moving along. Montijo has managed to channel is own take on the Power Puff Girls. Gabby Gomez and her family are easy to relate to while Gum Girl is whimsical and fun to follow along. Montijo offers up a very pleasant and animated style. It is spare and clear and will be especially appealing to a younger age group of ages 6-8. This book also happens to have a pleasing hint of bubblegum scent!
THE GUMAZING GUM GIRL: GUM LUCK is a 160-page color hardcover, available as of June 13th. You can find it at Amazon right here.