Tag Archives: Art

Essays: When You Need Help

Bryan Cranston, as Dalton Trumbo writing in bathtub

Bryan Cranston, as Dalton Trumbo writing in bathtub

Dalton Trumbo was a very prolific writer. Even during the time he was black-listed during the Red Scare, he steadily kept on creating screenplays. His one weakness was writer’s block. He solved that my relaxing in a warm bath–with a typewriter. Yep, he wrote his best work while siting in his bathtub. We all do what we need to do.

Some of us out there would never dare ask for any kind of help when working on a writing project. And, sure, most of the time, most folks can handle something like an essay–but not always. There are a number of things that can help and I’ve tried them all at different times. Let’s see, the first thing is to have a clear mind that allows you to focus. But if various factors start to close in on you, and you have a looming deadline, then keep in mind that, all is not lost. You can always find essay writing help.

Now, in college, I thought of myself as a perfectionist but, at such a young age, I was still battling a really bad case of procrastination. Lucky, for me, way back then, I had Barbara, a friend I could rely upon to help me out of a tight spot. In fact, she was my best friend in all the world. We’d go out. We’d kiss. She’d tease. But, basically, we were just friends. In the same spirit as our relationship, she wouldn’t come right out and write my whole paper for me, even though I sometimes begged her to. But, rubbing my back, and reassuring me with hugs, she would provide the necessary hints to get me going. And that always did the trick. She got me going really well with jokes, puns, even acting out passages I should dictate. She never charged a fee, of course. But I would easily have paid for her services. One of the best helping sessions, perhaps the most inspired, was Barbara’s doing a sort of charades to “Beowulf.” Yes, all those years ago, before the internet, and before that venerable classic had yet to be turned into a movie. It was such thick reading, I never dreamed it was possible to turn it into a movie!

Inspiration can never be rushed. It’s like they say, a watched pot never boils. But, once you relax, that’s when the creative juices start flowing. It’s as simple as three B’s: in Bed, on the Bus, or in the Bath. Those are three places that you find yourself off guard and ideas bubble up to the surface. I recall another story from my early years. I had a little studio apartment. I had undressed and was just about to jump into the shower when inspiration hit me. I had been feverishly trying to figure out the ending to a short story and, right then and there, I had it. I had the whole ending just dangling in front of me. I knew I could either think about it in the shower or I could rush to my typewriter. I chose to just sit down naked and start typing. It was actually pretty liberating. And, in no time at all, I had my story set down on paper! And there was a bonus to all this. The doorbell rang and I remember, just like an impulsive youth, I ran up and answered it without covering up a stitch. I had a very good guess as to who was at my door. It was my old pal, Barbara. She had never quite seen me in all my glory. I guess she was impressed. I know that we dated seriously for a while after that.

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Review: MUNCH by Steffen Kverneland

MUNCH by Steffen Kverneland

MUNCH by Steffen Kverneland

When an artist draws or paints expressive work, he or she owes something to Edvard Munch. Whether that work is still compelling in the 21st century, is totally up to that artist. In 1893, when Munch created the first version of what is famously known as “The Scream,” he was 30 years-old and there was no question he had unleashed something new. Steffen Kverneland taps into that sense of urgency and excitement in his graphic novel, MUNCH, the latest in the Art Masters series published by SelfMadeHero.

August Strindberg and Edvard Munch

August Strindberg and Edvard Munch

If Edvard Munch was a free spirit, then he met his match when he befriended the flamboyant playwright and artist August Strindberg. Between the two of them, they boldly embodied everything you’d ever want to know about Expressionism. These guys lived it at a raging pace with wine, women, and song. The party was supposed to never end — and then each ending was capable of tearing these fierce bohemians to shreds as they quarreled, mostly over women. That crazy energy is mirrored throughout this book by cartoonist Steffen Kverneland masterfully inserting his own highly spirited debates on Munch with his friend and collaborator, Lars Fiske.

MUNCH by Steffen Kverneland, part of the Art Masters series from SelfMadeHero

MUNCH by Steffen Kverneland, part of the Art Masters series from SelfMadeHero

What such men as Munch and Strindberg, so full of talent and lust, really wanted is explored in Kverneland’s book with great gusto. At times, you feel like you’re there with the model/lover/destroyer of the moment. In the same spirit as Munch’s vow to paint what he saw (what he felt) as opposed to what he literally could see before him, so too Kverneland engages with his subject. Munch is depicted here as any other man, full of flaws, and open to some cartoonish interpretation like anyone else. But this is Edvard Munch, after all! Due respect is made too. Kverneland’s strict use of only actual writing from Munch, rounds out the authentic effect.

Munch and his model

Munch and his model

Kverneland including himself in his work follows a long tradition. I can tell you, as a cartoonist, I find it often unavoidable and an essential element. Kverneland even finds a genuine link between Munch and the comics medium. In the 1880s, Munch had been following a plan that would have led him to auto-bio comics nearly a century before R. Crumb! Words and pictures. There’s always been that link. Munch maintained that his visual art always began as text. And, for a time, he was pursuing illustrated journals. For someone so in tune with sharing his life experience, a life intertwined with words and pictures is inevitable.

Steffen Kverneland discusses the creation of MUNCH with a friend

Steffen Kverneland discusses the creation of MUNCH with a friend

MUNCH is a 280-page trade paperback, available as of May 10th. For more details, visit SelfMadeHero right here.

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Filed under Art, Art books, Bohemians, Comics, Edvard Munch, SelfMadeHero

Book Review: REFOCUSING CHAPLIN

The Little Tramp off into the sunset. Illustration by Henry Chamberlain

The Little Tramp off into the sunset. Illustration by Henry Chamberlain

Aristotle speaks of the mimesis of the first order and the mimesis of the second order. When creating art, the goal is to distance oneself from the source. Mimesis of the first order is simply art imitating nature. Mimesis of the second order is art perfecting nature and turning it into something transcendent. That rule is certainly at play in the work of Charlie Chaplin. As Marco Grosoli points out in his essay on Chaplin, this was an artist keenly aware of his myth and in a unique position to go on to make great art from that myth. Marco Grosoli’s fascinating essay is part of a collection of essays from various writers on one of the masters of cinema, “Refocusing Chaplin,” published by Rowman & Littlefield.

There may never be another artist quite like Charlie Chaplin. However, his influence and relevance continues to evolve. And so that gives this collection of essays a great sense of urgency. In the same way that an artist of the first rank like Ray Bradbury could have anticipated social media some fifty years ago, so too did Charlie Chaplin foresee the power of a meme in a career that began over one hundred years ago. To say that Charlie Chaplin was beyond famous is an understatement. He reached the level of myth. It is not short of phenomenal that he continued to grow as an artist through a career that spanned the evolution of cinema.

Chaplin in 1941's "The Great Dictator"

Chaplin in 1940’s “The Great Dictator”

In Marco Grosoli’s essay, he examines the friction between two formidable myths in Chaplin’s “The Great Dictator,” from 1940. By then, Chaplin was more than ready to leverage some of his celebrity for the sake of his art. The timing could not have been more perfect. The difference between the myth of Hitler and Chaplin could not have been more extreme. As Grosoli indicates, Chaplin was not merely imitating Hitler. Chaplin was channeling the myth of Hitler. In that respect, Chaplin was getting at a greater truth. In a work that deeply explores the power of meme, Chaplin plays both the role of Dictator Adenoid Hynkel and a Jewish barber who looks identical to Hynkel. Dictator and barber are, in a sense, interchangeable. In the proper costume and context, everyone accepts whatever the Jewish barber has to say, dressed as Hynkel, even if it is the total opposite of what Hynkel would say. Push two extremes together, Grosoli suggests, and they strangely equate each other, form a perfect nothingness.

"Refocusing Chaplin: A Screen Icon Through Critical Lenses"

“Refocusing Chaplin: A Screen Icon Through Critical Lenses”

Essays in this collection feature a wide spectrum of themes including Marxism, feminism, gender studies, deconstruction, psychoanalytic criticism, new historicism, performance studies, and cultural criticism. This critical study covers a wide reach of films including The Circus (1928), The Gold Rush (1925), City Lights (1931) Modern Times (1936), The Great Dictator (1940), Monsieur Verdoux (1947), and Limelight (1952). This collection proves to be a valuable resource on one of the leading masters of cinema.

“Refocusing Chaplin: A Screen Icon through Critical Lenses” is a 250-page hardcover, published by Rowman & Littlefield. Visit them right here.

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Filed under Art, Book Reviews, Books, Charlie Chaplin, Critical Studies, film, Hollywood, movies, pop culture, Rowman & Littlefield

Kickstarter: Seymour Chwast’s AT WAR WITH WAR

"At War with War: An Illustrated Timeline of 5000 Years of Conquests, Invasions, and Terrorist Attacks" by Seymour Chwast

“At War with War: An Illustrated Timeline of 5000 Years of Conquests, Invasions, and Terrorist Attacks” by Seymour Chwast

Bob Dylan and Joan Baez flanking a Seymour Chwast poster, 1964. Photo: Courtesy SVA Picture Collection.

Bob Dylan and Joan Baez flanking a Seymour Chwast poster, 1964. Photo: Courtesy SVA Picture Collection.

Legendary graphic designer Seymour Chwast has chosen to run a Kickstarter campaign in support of his latest book project, “At War with War.” Kickstarter, at its heart, is community based. And the issue of war resonates with each and every community. What Chwast has done is review war in a unique way by illustrating five centuries of conflict, chaos, and violence on a continuous timeline. The book is made up of 35 two-page spreads featuring a series of Chwast’s black-and-white pen-and-ink drawings and woodcuts. The Kickstarter campaign will run from 26 April to 7 June 2016. You can find it right here.

Anti-war poster by Chwast, 1968

Anti-war poster by Chwast, 1968

Subversive. Personal. Obsessive. Radical. There is no mistaking the work of Seymour Chwast. As co-founder with Milton Glaser of Push Pin Studios, he led a revolution in graphic design producing bold, vibrant work that pushed the limits of nearly every visual medium: posters, advertisements, book jackets, magazine covers, album covers, product packaging, typography, and children’s books. His pioneering role as a designer, author, and activist continues to influence and inspire 21st-century designers.

Seymour Chwast and Milton Glaser at Push Pin Studios, 1968

Seymour Chwast and Milton Glaser at Push Pin Studios, 1968

For more than six decades, Chwast, who celebrates his 85th birthday this year, has used his signature blend of design, illustration, and social commentary to wage a campaign against war.

Excerpt from AT WAR WITH WAR

Excerpt from AT WAR WITH WAR

Chwast finds, “It’s the ongoing relentlessness of the thing, the seemingly never-ending urge to resolve disputes with deadly conflict, century after century. That’s the nagging notion through the years that keeps bringing me back to the subject of war.”

Excerpt from AT WAR WITH WAR

Excerpt from AT WAR WITH WAR

Among Kickstarter rewards offered to backers, Chwast has opened the doors to his archive, with both new and vintage items. Included among the special items are three of Chwast’s personal copies of his first antiwar publication, A Book of Battles, which he self published in 1957; his Vietnam War era poster “War is Good Business, Invest Your Son”; and a one-of-a kind four-color mechanical for a book he wrote with Steve Heller.

Seymour Chwast, at work, 2016

Seymour Chwast, at work, 2016

Be part of a significant book, “At War with War: An Illustrated Timeline of 5000 Years of Conquests, Invasions, and Terrorist Attacks.” The Kickstarter campaign seeks funding for the production of the book, which will involve a master letterpress printer and a specialised process used for creating fine and limited editions. At War with War will include an introduction by former editor and publisher of The Nation, Victor Navasky and edited by renowned graphic design writer, Steven Heller.

Excerpt from AT WAR WITH WAR

Excerpt from AT WAR WITH WAR

The Kickstarter campaign runs run from 26 April to 7 June 2016, and you can find it right here.

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Filed under Crowdfunding, Edward Sorel, Graphic Design, Kickstarter, Milton Glaser, New York City, pop culture, Protest, Push Pin Studios, seymour chwast

ECCC 2016: The Business of Comics

Alex de Campi, author of Smoke/Ashes, Grindhouse: Doors Open at Midnight, Lady Zorro, Valentine, and more.

Alex de Campi, author of Smoke/Ashes, Grindhouse: Doors Open at Midnight, Lady Zorro, Valentine, and more.

“Living is hard. Creating is harder. I am here for you on the weeks you write zero words and the weeks you only write 500 and the weeks it all flows out of you like salt water and you’ve written 10,000. I see you when you look back over it and wonder if any of it is any damn good at all. Keep it. It’s good. Keep going. You can edit when you are done.”

Alex de Campi

You are so right, Alex! The above words are from a writer who knows the struggle front and back. I am with you, Alex. As a writer and artist, I get kicked twice. Do I have good work out there for people to see? Of course! Look here! Do I stop and ponder what happens next? Sure. But I’ve been at this long enough where I am not seeking approval. I am not asking permission to create. And, best of all, I am never stopping. Criticism, I have come to see time and time again, is all too often faulty. You take what you need from reviews. You take what you need from rejections. And you take what you need when you do get that beloved approval. Alright, with all that said, I share with you one of the most insightful panels on the whole business of comics. It came on the last day, on the last hour, of Emerald City Comicon: Running Your Career Like a Business, moderated by Marissa Louise.

The Business of Comics. Yes, it’s not all fun and games, as the actual creators of pop culture content can tell you. Consider this: legendary artists on iconic characters like Batman and Superman can be found at conventions doing sketches for forty dollars just so they can keep up with their medical bills. It’s not a pretty picture but that is what can happen to some in the comics industry. Rest assured, comics is an industry even at the indie level. It’s just a matter of how savvy you strive to be.

The general rule of thumb is that you want to mix and match what you do. Sure, everyone wants to be part of one of the superhero properties they grew up with as a kid. Who doesn’t want to work on a Spider-Man book? Just keep in mind that it will be more of an honor than a financial boon. However, the name recognition helps to bring readers over to your own original project. A cycle begins. Your creator-owned work will catch the eyes of the big publishers leading to another big title project. Rinse and repeat.

C. Spike Trotman and David  Walker

C. Spike Trotman and David Walker

Down the road, you gain in stature, your work is in demand, and you get paid what you deserve. As the panelists were quick to point out, there will be many bumps in the road. Even when you make it, you will still fall, and you need to prepare to make it again. David Walker shared his story about writing for the popular Marvel Comics revival of “Power Man and Iron Fist.” “It’s like the monkey’s paw. Be careful what you wish for. I signed over a thousand books for fans this weekend. But I did not actually sell any books.”

One of the biggest questions posed by aspiring creatives is, “How does it all start?” Alex de Campi offered up the quote by Peter Schjeldahl: “You move to a city. You hang out in bars. You form a gang, turn it into a scene, and turn that into a movement.” But, just as essential, de Campi was quick to emphasize: “You need to be careful about contracts. Get a good attorney!”

C. Spike Trotman of Iron Circus Comics, the most successful cartoonist on Kickstarter with a number of quality projects funded, is the first to say that the indie route is great but it will be a slow process. Leila del Duca, a member of the creative collective, Helioscope, would recommend working as a group if possible but she seemed just as open to working alone. In many ways, there is no one road map to success. And, as artist Alison Sampson will tell you, at some point, you need to do what your heart tells you to do. At age 46, Sampson returned to her love of comics and she has no regrets.

Ultimately, remain fierce. Things will fall into place in due time.

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Filed under C. Spike Trotman, Comics, David Walker, ECCC, Emerald City Comicon

Interview: Matt MacFarland and DARK PANTS

Matt McFarland's DARK PANTS comics series

Matt McFarland’s DARK PANTS comics series

Matt MacFarland is an interesting artist working in various mediums including comics. He is one of those hybrid artists who make for the best cartoonists. I am impressed with his comics and that initial interest led to this interview. Matt is a kindred spirit. That has a lot to do with us being a couple of cartoonists in the same boat, navigating still unchartered waters, which can often get pretty choppy.

Silkscreen print adapted from DARK PANTS #1 by Matt McFarland and Maggie Lomeli

Silkscreen print adapted from DARK PANTS #1 by Matt McFarland and Maggie Lomeli

Interviews can be organic and creative things in their own right. Sometimes they require the right balance. As I mentioned to Matt, I have done more interviews than I care to count but I always strive for them to be fun and insightful. I’m always hopeful of what may result. In the case of a young cartoonist finding his way like Matt, who already demonstrates a seasoned approach to his work, it’s really good to gather up some observations from him and add to our general understanding of where we are headed with the comics medium.

The focus here is a cartoonist as a fine artist and that usually means someone who does the whole thing alone just as you would if you were a painter. Matt is in a very good place as someone who has a traditional art education. I say this because Matt’s ongoing series, DARK PANTS, seems to me a fine example of going through the rigors of art critiques. I sense that the recurring theme of those dark pants is a hard-won motif. It is through these mysterious pants that various displaced characters in Matt’s story find some clarity and, most significantly, a sexual awakening.

What you will find instructive here is listening to a particular breed of cartoonist describe how he goes about building his particular work. This is the work of an alternative comics/indie cartoonist. This type of cartoonist often does not care for superhero or genre comics. And, as I say, they usually work alone. Alternative cartoonists do not concern themselves so much with whether or not their comics are legitimate art. They already know they are creating art. The ones that have taken their work in comics past a certain point, they most certainly know since they are employing the same methodology used with other art mediums. This is the sort of work I do. This is the sort of work Matt does.

Check out our conversation right below:

And be sure to visit Matt McFarland and keep up with DARK PANTS right here.

You can find DARK PANTS at these fine establishments:

Los Angeles, CA
MELTDOWN COMICS! (Hollywood)
Bookshow (Highland Park)
Cool Cats Comics and Cards (Culver City)
Comics vs. Toys (Eagle Rock, CA)
Los Angeles County Store (Silver Lake)
Mega City One (Hollywood)
The Pop Hop (Highland Park)
Stories Books and Cafe (Echo Park)

Austin, TX
Farewell Books
Tribe Comics

Seattle, WA
Zanadu Comics

Pittsburgh, PA
Copacetic Comics

And you can pick up a print and t-shirt right here.

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Filed under Alternative Comics, Art, Comics, graphic novels, Independent Comics, Indie, Interviews, Los Angeles, Matt MacFarland, Meltdown Comics, Minicomics

Review: ‘Cruising Through the Louvre’ by David Prudhomme

CRUISING THROUGH THE LOUVRE

CRUISING THROUGH THE LOUVRE

Paris, and the Louvre, are beacons to artists and art lovers and will always be. What we know is that such things matter dearly, are a deeply essential part of life. Now, in the aftershock of the horror of the terrorist attack in Brussels, we choose to remain alert and vigilant but we also choose to remain steadfast in our celebration of humanity at its best. There is no other way. So, with that in mind, it gives me added resolve and passion, as I share with you this latest item. Oh, yes, this is such a relevant book with that heightened sense of timelessness. Look at this book and you’ve met a good friend, David Prudhomme’s new graphic novel, “Cruising Through the Louvre,” published by NBM Publishing.

With old pal, Rembrandt

With old pal, Rembrandt

David Prudhomme is a man to watch, indeed. He is a fellow cartoonist who I would love to meet sometime. I’m sure we’d have plenty to talk about. I see his work as full of a zest for life in all its lusty and gritty splendor. Now, take a cartoonist such as this and set him loose in the Louvre. Well, Mr. Prudhomme certainly lives up to the challenge. I know that, if I was set loose in the Louvre, I would have my own idiosyncratic view, and so it certainly is with this masterful artist. It may seem easy but to throw down the scenario of an offbeat observer wandering through some of the greatest art of all time is quite a mind-bending proposition. This requires a steady hand, brain, and hours of editing as all these impressions that come to mind must finally adhere to some coherent narrative.

Reading "Cruising Through the Louvre," by David Prudhomme

Reading “Cruising Through the Louvre,” by David Prudhomme

Prudhomme has a beautifully loose style that evokes a stream of consciousness outlook. Prudhomme is in the Louvre ostensibly to find his girlfriend, Jeanne. This may or may never happen. That does not really matter. The guy is wearing a baggy coat, a huge Russian fur cap with ear flaps, and he’s got his cell phone at the ready. He gets to spend some time with his good pal, Rembrandt, and then he’s on the move, looking for Jeanne, marveling over art, and endlessly people-watching. The sensory overload is intoxicating. Soon he is recombining people with art: one tourist’s foot aligns with the foot from a sculpture; or one sleepy heap of museum patrons seamlessly fit as an extension of Théodore Géricault’s “The Raft of the Medusa.”

A zest for life

A zest for life

We enter into a whole other world when we inhabit such a place as the Louvre. It really isn’t something you want to leave for just a couple of hours. I would easily go each day for weeks, months, if not years. It would not take too much in the way of convincing for me to return to my old museum guard days. Roaming through such vast expression of sensual delight, it would also not take too much convincing for me to return to my days as a life drawing model. Ah, such is the power of the Louvre. But, most of all, it is a place that inspires me both as writer and artist. Everyone finds something to lose themselves in. Prudhomme is wonderfully uninhibited with his observations. He is keenly aware that, once out of one’s element, people can get in touch with content they would normally zone out. For instance, consider Prudhomme’s drawing of a tourist snapping a photo of an old warrior’s genitals. Well, within context, it makes total sense. Snap away!

What Mona Lisa saw

What Mona Lisa saw

The Louvre has always been a place for the people. Give people a chance to enjoy art, and they will rise to it. Give them the Louvre, and you have provided heaven on earth. Prudhomme does not shun or ridicule the public’s hearty appetite for snapping photos and video. In fact, instead of shaking his head over what some might dismiss as the spectacle over viewing the Mona Lisa, he wonders what people do after they’ve gotten their good look. He also wonders what Mona Lisa would see if she bothered to look back at all her admirers. There’s no easy answer. There’s just too many people to consider. All that humanity enjoying their time in the Louvre for a multitude of reasons, no one reason being better or worse than the other! All this, Prudhomme manages to speak to in this quite remarkable book. Bravo! This is a keepsake that you will enjoy many times over.

"Cruising Through the Louvre," by David Prudhomme

“Cruising Through the Louvre,” by David Prudhomme

“Cruising Through the Louvre” is an 80-page full color hardcover. For more details, visit NBM Publishing right here.

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Filed under Comics, David Prudhomme, France, Graphic Novel Reviews, graphic novels, NBM, NBM Publishing, Paris, The Louvre, Travel

Review: MELT-THOLOGY #15, a Meltdown Comix Jam

MELT-THOLOGY #15, a Meltdown Comix Jam

MELT-THOLOGY #15, a Meltdown Comix Jam

I love a good comix jam, either as a group, a pair, or solo. Each has its own dynamic. While the work could remain private, the comix jam is basically going on with the assumption that you are putting yourself out there. If I do a 24-hour comics jam all by myself, I do it with the incentive that I’m going to show it. When in a group, you have that added delicious tension of rivalry mixed with a sense of community. As a pair, it can be like a sexy game of chess, the back and forth motion exploding into an exquisite corpse.

Pages from Lady Beaver & Steve Waldinger (L) and Meesimo (R)

Pages from Lady Beaver & Steve Waldinger (L) and Meesimo (R)

I’ve been looking over a recent issue of a groovy comix jam anthology, MELT-THOLOGY, that comes out monthly by Meltdown Comics. Here you will find a bit of everything: loopy stuff like the work of Austin James with his vulvic form sampling various phallic forms; or quirky domestic observation like the work of Joan Varitek with her hurried mom desperately trying to keep up with her baby’s progress through pics stored on a smartphone.

"Spider Bouncer" by Mike Levine & Evan Lewis

“Spider Bouncer” by Mike Levine & Evan Lewis

Basically, with this format, each participant gets one page and that can be used for a one-panel gag, an illustration, or a multi-panel. A one-panel gag can be the most daunting as the odds are against success. Matt Elkins does a good job with a cyclops wearing one eyeglass and being called a “two-eyes” by some callous fools. Cory Fuller‘s illustration of two kids hanging out has a nice fun vibe. And “Spider Bouncer,” by Mike Levine and Evan Lewis, is a tight, well-paced, and spot on multi-panel.

If you’re a local cartoonist, you’ll definitely want to check this out and give it a try. It is held on the third Tuesday of each month. For more details, visit our friends at Meltdown Comics right here.

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Filed under Art, Comics, Comix Jams, Meltdown Comics, Minicomics, Zines

Review: DARK PANTS #1 and #2

I find artist Matt MacFarland quite the kindred spirit as he makes comics coming from a fine arts background. Think of it this way, most of us out there love a David Lynch movie because it has all those extra layers of ambiguity. Well, that’s Lynch’s fine arts background at play. Some of us cartoonists began as painters and/or hybrid artists working in various forms of expression: writing, drawing, film, acting, photography, and so on. When you take all that activity and bring it into comics, it can result in some mind-blowing art like MacFarland’s ongoing comics series, “Dark Pants.”

Reading DARK PANTS at Canter's Deli

Reading DARK PANTS at Canter’s Deli

What sets apart one alternative comic from another is this fine art sensibility. You don’t necessarily have to go to art school for it–but it helps. Imagine that, art school actually does have value! I kid you not. It is what you make of it. Here’s another comparison. Try to achieve the comedic chops of Tina Fey without ever joining an improv comedy troupe. It ain’t gonna happen. You need to flex comedic muscles you don’t even know you have–and you need to be around like-minded people in order to really stretch yourself. In time, with the help of others, you’ll realize how much you suck and what you need to do to improve. And so we find ourselves with this comic which unabashedly displays its motif, those dark pants.

Issues 1 and 2 of DARK PANTS

Issues 1 and 2 of DARK PANTS

Like Cinderella slipping her bare feet into glass slippers and transmogrifying into a regal beauty, there is something enthralling about a story of transformation. This is certainly not lost on MacFarland as he has one hard luck character after another in his series find a break from their routine when they happen upon a mysterious pair of tight black jeans. In the first issue of this comic, Diego, a drab little guy, becomes a hot lover when he buys these jeans at a thrift store and puts them on. But he soon finds that his newfound sex appeal is far more than he bargained for. By our second issue, the jeans have found their way into the hands of Milena, a lonely virgin who writes a sex column for her college paper. Once those jeans are on, she too is over her head.

Diego's story set on Miracle Mile, 1992

Diego’s story set on Miracle Mile, 1992

It’s interesting that both Diego and Milena were already struggling with their lives before they crossed paths with the sexy jeans. It just stands to reason that these jeans were just as likely to wreck, instead of enhance, their existence. But, who knows, maybe the right sort of loser, like the sort portrayed by Don Knotts or Jerry Lewis, would make the most of a cosmic makeover. So far, MacFarland’s characters are doomed, with or without sex, and that’s just as well for this humorous noir. This is a rare treat. I love MacFarland’s wit and vision.

Milena's story set in Glendale, 2002

Milena’s story set in Glendale, 2002

MacFarland has a very accessible style which goes well with his less commercial, and darker, vision. That said, the darker stuff is not always the less marketable. Overall, I see MacFarland’s work as assured with a refreshing approach and zest. It is a cartoony style that makes me think of ironic cartoonists from the ’90s like Ward Sutton and Michael Dugan. It is a sturdy yet elastic style that makes you think you could poke at the characters and reshape them a bit. With that in mind, it is a style that lends itself well to laughs and/or drifting in and out of reality. Our next victim of the traveling tight dark pants will be a kid named Philip in the upcoming third issue. I look forward to how things develop there.

To learn more, and to purchase comics, visit Matt MacFarlnd right here.

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Filed under Alternative Comics, Comics, Humor, Independent Comics, Indie, Matt MacFarland, Minicomics, Noir

Indie comics publisher Alvin Buenaventura (1977 – 2016)

Alvin Buenaventura examining proofs of an upcoming oversized comics project from Pigeon Press

Alvin Buenaventura examining proofs of an upcoming oversized comics project from Pigeon Press

Alvin Buenaventura, a beloved figure in the world of independent/art comics, has passed away. If you want to understand the evolution of the comics medium, you must look to what comics publisher Alvin Buenaventura accomplished in the last decade.

A tradition of excellence.

A tradition of excellence.

Look through any respectable comic book shop and you will find stellar work published by his Buenaventura Press and subsequent Pigeon Press with titles like Johnny Ryan’s Comic Book Holocaust and Vanessa Davis’ Spaniel Rage.

Kramers Ergot #7 anthology from 2008

Kramers Ergot #7 anthology from 2008

One crowning achievement for Mr. Buenaventura was publishing Sammy Harkham’s Kramers Ergot #7 anthology in 2008. It was one of those heroic works towering at 16″ x 21″ to mirror the size of newspaper comics of the early 20th century. It included cartoonists Daniel Clowes, Matt Groening, Seth, Gabrielle Bell and Jaime Hernandez.

The comics community is generous to a fault. We all realize how much of a labor of love comics is. In fact, in a very real sense, no matter what, that is all it really is. A labor of love. An exemplary example of someone who lived by that credo was Alvin Buenaventura.

A publishing legacy.

A publishing legacy.

Alvin Buenaventura’s life and work will live on. He has made a major and lasting contribution to elevating the comics medium to an art form.

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Filed under Alternative Comics, Alvin Buenaventura, Art, Buenaventura Press, Comics, Independent Comics, Kramers Ergot, Pigeon Press