The Best American Comics 2019, series editor Bill Kartalopoulos, editor Jillian Tamaki, published by Houghton Mifflin Harcourt, 400 pages, $25.00.
All in all, the goal of the annual Best American Comics is to represent the overriding impact of significant and notable comics during the last year and say something about comics that is fresh and new. Well, among the most fresh and new, is the work of 81-year-old Jerry Moriarty. In this new edition, you’ll find this example, an excerpt from Whatsa Paintoonist? published by Fantagraphics Books. We see the artist chatting as he goes about his day in his studio. The featured pages depict a wonderfully eccentric and talkative artist with his creations having come to life.
WHATSA PAINTOONIST? (excerpt)
Painting with acrylic and drawing with a Papermate pen, Moriarty epitomizes what is takes to cut through barriers and pretense and get on with creating art. You take a look at his paintings about sexual awakening and you see direct and incisive work. After graduating from Pratt, he went on to teach at the School of Visual Arts for fifty years. In 1984, his first comic, Jack Survives, was published by RAW. Put it all together and Moriarty’s artistic activity is genuine and authentic. Moriarty definitely fits into my criteria for what belongs in a collection of the best comics: work of quality; work that advances the comics medium; and work that speaks to the current state of comics. I have always maintained that the ideal cartoonist is the auteur cartoonist, a sole creator who treats comics as the art medium that it is. If such a person is so fortunate as to be able to build a career solely upon their comics and graphic novels, that’s great. But, all too often, you just do what you need to do because you’re compelled to create the work, in the same way that a genuine poet creates poetry. That is what Jerry Moriarty has done.
WHATSA PAINTOONIST? (excerpt)
The goal of Best American Comics is to feature the wide spectrum of the best work of the previous year. And while seeking out the best can become quite subjective, the goal is to overcome that. Honestly, if it’s not overcome, then you end up with more of a promotional book of commercial artists or an overly self-indulgent exploration of experimental work. Neither extreme is welcome to carry a whole book. There are other venues for that. Of course, one needs to try to cover as much as possible. Best American Comics has a pretty good system in place where the series editor gathers up work throughout the year and hands it off to that year’s guest editor. In the end, you get a collection that includes industry leaders and quite a few intriguing discoveries. I think it’s fair to say that this is an imperfect process but one can keep striving to do better. The good news is that each year brings a collection with wonderful new work to discover or rediscover like the work of Jerry Moriarty, who has been in the business for well over fifty years. Nice to see that he made it into Best American Comics this year!
As you can read in my previous post, I am a big fan of Danny Gregory, his new book on creativity, and the online creative learning community of Sketchbook Skool. I believe Danny to be very sincere in his pursuit of making drawing in a sketchbook a “new normal” in anyone’s life. What he has to say is honest, direct, and spirited. So, with that in mind, I couldn’t resist doing an interview with him. I think you’ll enjoy it. I found Danny to be a delightful guest. I’ve done numerous interviews for well over a decade now, including best-selling novelists, award-winning screenwriters, and so on. Danny is someone who keeps reminding me to never forget that, at my core, I love being creative. We talk a lot about creativity in the interview and this “artist thing.” And, I have to admit, I don’t have a problem calling myself an artist because I am one. For Danny, he doesn’t care about labels as they can get in the way. I care about a label, especially as it applies to me. I guess I’m trying to say that I relate to what Danny is doing in my own way. Becoming an “artist” or maintaining being an artist is something that I’m proud of. Anyway, I’m sure that Danny has heard it all. In a nutshell, he’s the sort of person who doesn’t tolerate too much in the way of formality and wants you to go out and play! For goodness sake, go out and draw something already!
How to Draw Without Talent is the latest in Danny Gregory’s books on how to get into the creative habit. It is the first tie-in book with Sketchbook Skool that he co-founded with Koosje Koene. If this is all new to you, I know that you’re in for a big treat. Everyone can benefit from taking pencil to paper and drawing. And, if you are not a beginner but an established artist of one kind or another, Danny, Koosje, and the rest of SBS staff have an assortment of creative workouts that will entice you. It’s all about keeping one’s hand in game, right?
So, just click the video link and you can check out my interview with Danny Gregory. Upon listening to it a number of times as I put together the video, I found myself rediscovering all the care and charm to Danny’s approach. He’s a regular guy, no pretense about him, and he’d like to put a smile on your face byway of a sketchbook. Why not give it a try?
Visit Danny Gregory right here. Visit Sketchbook Skool right here. How to Draw Without Talent is published by North Light Books, an imprint of Penguin Random House.
Danny Gregory portrait by Henry Chamberlain
I thought you might appreciate the above drawing my yours truly. I keep promising to add more of my own artwork to my posts. This is just a quick little portrait of Danny that I whipped up.
Francis Bacon was certainly on my radar during my time in art school. Just as I was completing my formal training at the University of Houston, I was aware of Bacon’s continued presence and activity. And then he died. I earned my BFA the year he passed away, 1992. Yes, Francis Bacon (1909-1992) was acknowledged as a heroic figure, a painter in the great tradition of towering romantic and angst-ridden artists. But what were we as art students doing with that information? What were our professors sharing with us about him? I mostly recall the awful jokes that he was Bacon the contemporary artist and not Bacon the great philosopher. So, in a nutshell, we didn’t do much of anything with Bacon looming in the background. Maybe I did more than most. I know a lot of students were lost in their own uneducated and overindulgent worlds or absorbed with the hotshots of the recent era as we understood it, people like Francisco Clemente, David Salle, even Julian Schnabel, especially Schnabel since he’d gone to UH for a short time. And, of course, there was no internet as we know it today and, in hindsight, I damn well could have used it back then!
Second Version of Painting from 1946, Museum of Modern Art, 1971.
After 1992, life’s circumstances gave me a bit of a bum’s rush from school and out the door. I’ve been cartwheeling ever since. Not to digress too much, but I’ve come out on top in a number of ways such as having the opportunity to gaze upon this dazzling show of Francis Bacon paintings at the Pompidou Centre! From the little I could glean from glossy art magazines, art history books and a few lectures, I was aware of Bacon’s raw and tortured energy. He was a rough cut fellow, is how I would casually put it if I was attempting to introduce him to someone unfamiliar with him and his work. Bacon’s career began in the 1940s and blossomed in the next two pivotal decades. Many an art student was familiar with Bacon’s landmark painting of the screaming pope, Study after Velázquez’s Portrait of Pope Innocent X, 1953. What did it mean? Where did it come from? We mostly chalked it up as subversive. That much we knew for sure and we loved it.
Gathering among Bacon.
That brings us to this current show at the Pompidou Centre. Jennifer and I had managed to arrive just in time to settle into it with little else than an introductory pamphlet. So, there was some adjusting to do as we both gorged upon Bacon. We were certainly not alone. There was a nervy energy running throughout the crowd of people. The show had recently opened for its run of 11 September 2019 to 20 January 2020. They had all come to see Bacon! But what did it mean to them? They knew his name and they knew about the famous work and the raw energy. There was that and there was a theme attached to the show–but gathering up so many Bacons in one space was more than enough, theme or no theme. It wasn’t until I’d made the turn into another room that I sniffed out the curator’s ardor for organizing, labeling, categorizing and zealous need to impose their ownership upon another’s work. After all, Francis Bacon was first and foremost a painter. He was self-taught. He, unlike countless academics and so-called scholars, got dirty and actually did things. This is not to say that a finely-articulated analysis is not welcome from time to time but it is often best to be taken with a grain of salt. Anyway, the idea for the show is to tie Bacon’s choice of reading with his painting. That’s why this show has rooms where all you have is a book on display and an audio of someone reading.
Oedipus and the Sphinx, after Ingres, 1983.
It does make sense to link Bacon to his reading habits given the fact he was such an avid reader. He loved books. They came naturally to him as they did for many a young rebel of his time. There are a number of choices on display in this show that would have been catnip for many a young artist back then and even today. At least, one hopes young artists haven’t changed so much now that they are, on the whole, bypassing gorging upon the works of Aeschylus, Shakespeare, Jean Racine, Balzac, Nietzsche, Georges Bataille, Freud, T.S. Eliot, Joseph Conrad, Proust and many others. Well, that is the formal tent under which all these Bacons have been arranged. Process that however you like.
Walking towards Bacon.
One thing that struck me about this show is how it feels like it is stretching past its own time, as if it is still pulsating, still preening upon the gallery wall space and not ready to succumb to a timeless role as a museum artifact. I mean, the work still feels “contemporary” to me. While I was an art student, we had to suffer through all the prattle from critics and tastemakers over whether or not figurative painting was dead or not. To think we were getting this kind of talk even as we’d been experiencing a bunch of interesting “new” approaches to figurative work by the likes of Eric Fischl and Jonathan Borofsky. Finally, fast forward to today, the big secret is that figurative painting will never die. It’s just too vital, too primal, too essential. I guess, seeing this show takes me back to sometime before Bacon’s death, a world where there was a Francis Bacon still making new paintings and even making definitive versions of previous work. That is what this show is about: Bacon’s last two decades of his career (from 1971 to 1992). I can feel that artist raging and creating, knowing time was running out. So, ultimately, this show is more than about books and painting. This show is about an artist taking what he’s learned about painting and setting forth with his final explorations.
Bacon was always raging and rebelling, seeking a way to be the next Picasso. He was being himself when it was against the law in England to engage in homosexual acts. It wasn’t until 1967 that sex between two adult men (21 years-old) was decriminalized in the UK. What’s a “British artist” like Bacon to do? Well, that’s easy enough, go where you are welcome: Paris, the city that is open and fluid, revels in bohemian excess, and welcomes sex in all its many flavors. It was at the Grand Palais show at the Pompidou Centre in 1971 that Bacon delivered a landmark show that earned him critical praise, and raised him to the rank of a Picasso. And the show was more about love and sex than books. You can add a variety of erudite references but, at some point, you need to acknowledge the human being writhing upon a toilet! The Grand Palais show revolved around Bacon’s lover, George Dyer, who killed himself the day before the opening. As Jonathan Jones describes in a wonderful piece in The Guardian, it was Bacon’s muse, in the form of Dyer, who made the show what it was and, with his suicide, nearly brought it all tumbling down. The new show at the Pompidou Centre, interestingly enough, covers the time after the celebrated Grand Palais show of 1971. Again, this has nothing to do with the connection of books to paintings, but it’s a nice theme to wrap around a body of work that defies the curator’s nimble touch.
The artist Jean-Michel Basquiat is a monumental figure in contemporary art for a number of reasons. To say that Basquiat was at the right place at the right time is a great understatement. In his case, he seems to have been born to conquer the art world despite the drawbacks of starting out with zero connections and zero money. Personally, for me, I had filed away Basquiat in my mind many years ago and hadn’t looked back. I look back fondly, and return regularly, to a number of artists ranging from Edward Manet to R.B. Kitaj but not Basquiat…not until recently. I happen to have been in New York and got to see a spectacular Basquiat show. It then dawned on me that, the further away one is from New York, the less is known or understood about Basquiat. Like it or not, Basquiat is an obscure household name! Some people love him and some hate him and probably for all the wrong reasons. I wasn’t sure if one graphic novel could help shed sufficient light on the subject but I decided to find out by reading Basquiat: A Graphic Novel by Paolo Parisi, published by Laurence King Publishing. This new English translation by Edward Fortes will be a welcome addition to anyone interested in better understanding one of the most celebrated and enigmatic of artists.
Basquiat: A Graphic Novel by Paolo Parisi
Paolo Parisi is in many ways an ideal artist to create a graphic novel about Basquiat. Parisi has proven himself to have the right temperament for the job. His previous graphic novels include a book on John Coltrane and one on Billie Holiday. As he puts it, his graphic novels all follow a common thread that includes “jazz, art, painting and process, rhythm, rigor, improvisation, and spontaneity.” Well, you can find all of that with Basquiat, an artist that jumped feet first into his art at an early age and never looked back, as if guided mostly by instinct and sheer will. His was an original and singular vision.
Basquiat: A Graphic Novel by Paolo Parisi
Within this biography, the reader will come away with a good sense of the trajectory of Basquiat’s art career, from his early forays into street art to his mugging for the camera on cable access to his navigating the highest levels of the New York art world. Parisi does a great service to Basquiat by generously quoting directly from him and from the people who knew him best. Much of this book is made up of quotes, transcriptions from letters, and just the right amount of carefully composed dramatization. The bold use of color in this graphic novel is supposed to evoke the same bold use of color that Basquiat used in his own paintings. Alas, we somehow don’t explore any of Basquiat’s actual paintings! Diego Cortez, the curator of the famous Times Square Show that helped to launch Basquiat is quoted: “Jean had something different. He reminded me of Cy Twombly and Franz Kline. He didn’t even know who Kline and Twombly were, but he had instinct, charm, and energy on his side.” There is plenty of instinct, charm, and energy on display in this book. And you can take it any way you like: for beginners, it’s a wonderful first step; for those familiar with Basquiat, it’s a great New York fable.
Basquiat: A Graphic Novel is a 128-page hardcover, in full color, published by Laurence King Publishing, English translation edition (May 14, 2019).
With Jordan Peele’s Us still swimming in my head, I went to see the first museum survey in New York of Jamaican-born, Harlem-based artist Nari Ward at the New Museum. You don’t have to know a thing about contemporary art for his work to resonate with you just like you don’t have to know a thing about the finer points of public policy and history to get it when a good comedian brings up subjects like disenfranchisement and slavery. You just get it. What you get with Nari Ward is an artist tapping and ticking at our collective conscious. This is a powerful show that will remain with you.
Things aren’t quite right, are they? Let’s take what’s around us, various found objects on the great landscape of humanity, and say something with them. How about bricks? They’re easy enough to find and don’t cost much at all. They’re practically giving those away. Let the bricks represent whatever feels right to you in this context: a struggle being evoked, brick by brick; a recovery, a rebuilding, brick by brick. Then take it further, add some copper on top of each brick; and then further still and add a design, some kind of pattern that all the copper-topped bricks put together add up to when displayed upon the gallery floor. That is what I first saw of Nari Ward’s work when the elevator doors opened upon the main show.
And then I saw the eerie elegance of all those bottles (with messages inside of them!) while I also tuned into the ironic and hypnotic sounds made up of bits and pieces of vintage banter from classic Warner Bros. and Disney animation. “Hey, come over here.” Some creepy whistling. Then, “So pretty!” It was emanating from some contraption made up of a menagerie of discarded parts and emblazoned with an all-American eagle. And there’s so much more to experience: all meticulous collecting forgotten relics and recontextualizing them. Some of the most striking work is a series of large circles sitting inside squares. Maybe 80×80″. They could be globes. And they seem to be tracking somethings with a multitude of nails holding up a vast network of wire. Are they tracking hope, or despair? Maybe both. They come in various shades and colors.
Much more. There’s a whole room dedicated to work constructed from old fire hoses. There are a bunch of small constructs that resemble battered luggage all leading up to a massive circular piece looking down on them. There’s also a room that displays a house made up of some many pages of the Madonna and Child and that encloses what looks like fish scales and dried bananas. And, just before you leave, make sure to view the stately grandfather clock, a tried a true fixture in countless wealthy homes. Take a good look at it. You’ll see an eerie burst of protest has replaced the clock’s face. There’s an odd-looking centerpiece to this burst that refers back to the big circular pieces. And inside, down below where the weights reside, there are two African figures trapped inside forlornly looking out.
Nari Ward: We the People is on view at the New Museum, 235 Bowery, New York City, February 13–May 26, 2019. For more details go right here.
It Occurs to Me That I Am America: New Stories and Art
What does it mean to be American in these strange times we live in? We have someone in power who behaves like a self-serving gremlin, determined to dismantle and foment unrest, boasting a horribly inarticulate screed. Here is a collection from some of the most respected names in the arts that acts as an answer to what it is to be American. It is entitled, It Occurs to Me That I Am America: New Stories and Art, published by Touchstone, an imprint of Simon & Schuster. This title came out in 2018 and it deserves to be on everyone’s radar in 2019 and for years to come.
Vote Hillary by Deborah Kass
Sometimes, perhaps too often, we get such a gem of a book that deserves a whole new shout out. Let me run through for you what makes this one special. Gathered within 375 pages are works by talented artists and writers all tackling a common theme in refreshingly unexpected ways. The book is edited by celebrated artist and novelist Jonathan Santlofer, with an introduction by Pulitzer Prize winning novelist Viet Thanh Nguyen. The roster of creators runs the gamut from exciting new talent to established legends. Each piece is a highly original voice. You’ll find, for instance, Hate for Sale, by Neil Gaiman, a poem tailor-made for today and yet unnervingly timeless. Or how about Joyce Carol Oates, “Good News!”a cautionary tale that nicely channels Ray Bradbury.
Little House on the Prairie Holding Company LLC by David Storey
Among visual art, one that immediately strikes just the right defiant tone is Vote Hillary, by Deborah Kass, a screen print channeling Andy Warhol with Trump replacing Nixon as the subject. Another compelling piece is The Ugliest American Alphabet, by Eric Orner, where he recounts all that is dismaying about Trump using every letter of the alphabet. Some other thoughtful work in comics comes from Roz Chast with Politics; and from Mimi Pond with Your Sacred American Rights Bingo. And one of the most beguiling works in comics in this book is a tryptic by Art Spiegelman. To be sure, all the work here is not espousing one particular point of view. You’ll find a bit of everything when it comes to articulating all things American. It’s not as easy as simply pointing fingers. It’s complicated, right? All in all, you have 52 distinctive voices here sharing with you just how complicated it all is in the best spirit of vigorous critical inquiry.
Your Sacred American Rights Bingo by Mimi Pond
I will finish up here by taking a closer look at the piece by Alice Walker, Don’t Despair. It is one of the shortest works and comes towards the end of this collection. She recounts how growing up in rural Georgia, all white men seemed to be like Donald Trump, petty and hateful. She looks back and wonders how she survived those times. Part of the answer is that Walker comes from a long line of ancestors who chose to live or die on their feet. Her family would survive, even proper, in the tiniest of spaces allowed to them by white people. Fast forward to today, Walker asks Is living under a dictatorship all that of a surprise? Her solution: Study hard! Study who you’re really voting for! And don’t rely on just voting for someone! “It is our ignorance that keeps us hoping somebody we elect will do all the work while we drive off to the mall.” Walker isn’t just offering hope. As she puts it, she’s offering counsel. Real change is personal and involves relating with each other. It is a time for an awakening and the choice is ours.
The Ugliest American Alphabet, by Eric Orner
It Occurs to Me That I Am America: New Stories and Art is a 375-page hardcover, with black & white and color images, published by Touchstone, an imprint of Simon & Schuster.
I am looking forward to this year’s 24-Hour Comics Day, kicking off world-wide this Saturday, October 6th. I want to approach it from many sides. As I always do, I will include the hotel I’m staying at. This year it is the Mayflower Park Hotel. As a lot of my regular readers know, I like to include sketches in my observations as much as possible, whether for a book, travel, hotel review, or whatever it might be.
24-Hour Comics Day 2018
I will have my comics-making coincide with the internationally observed 24-Hour Comics Day. I will start drawing from 10 am on Saturday and continue from there to 10 am on Sunday. There are a bunch of guidelines to this activity. The goal is to create a 24-page narrative in sequential art. If you finish early, great. Or you can take a detour from that goal and work on whatever comics project you like. There are other variations, like creating two 12-page comics. I will attempt to do as much as possible, leave the process open-ended.
Okay, with all that said, I anticipate doing a lot of drawing. I foresee doing a lot of full-on comics as well as creating a bunch of drawings that I will end up in need of a proper comics framework at a later date or may end up just standing alone, as is. And, suffice it to say, I intend to honor my gracious host, the Mayflower Park Hotel.
Jonathan Santlofer is a successful artist and novelist. I had the privilege of hearing him read recently as he shared the stage with two other distinguished writers, Neal Thompson and Wendy C. Ortiz, at a panel on memoir writing at Hugo House in Seattle. Later, in person, I asked Mr. Santlofer if he ever considered doing a graphic novel, given his facility with words and images, and he said he’d love to do it! He’s on my radar right now. His book, The Widower’s Notebook, is quite a page-turner. I went to the Tin Table for a late dinner and couldn’t put it down. The waitress even said I could stay as long as I wanted. After making some time for the Ford-Kavanaugh hearings, I kept reading the next day and finished in another sitting. What I got from this book is a riveting narrative covering a heart-wrenching time in the author’s life.
Mr. Santlofer has an uncanny observational style: you believe you’re with him. His writing is vivid and carries you along even when he’s writing about not feeling up to doing anything at all. It’s the mark of not only a good writer but an excellent writer to allow you into a life without you being aware of any of the effort involved. This is a story of a most significant loss, the death of one’s life partner. Santlofer achieves a level of the sublime by simply being in the moment. He does with his writing what he does with his drawings: evoke a sense of the hyperreal. You are really there with the author as he finds his wife, Joy, dying before his eyes, the subsequent rush to the hospital, and the frenetic tripping through memories.
We follow along as Santlofer reflects upon a grand life beginning with a young bohemian couple, just married, in Brooklyn, circa 1967. We progress in a stream of consciousness fashion from the birth of Dorie, his beloved daughter, to the recent death of Joy to the building up of a new life. The act of drawing helps with the act of mourning–drawings work when words seem to fail or seem to be not enough. There’s a touch of magic to art-making and it seems most explicit when examining an intimate and intricately crafted drawing. The excerpt below speaks to this process:
“I am able to draw my wife because drawing is abstract, because you can’t really draw something until you stop identifying it. You can’t think: this is an eye, or a nose, or lips, or you will not be able to draw them; an eye, a nose, lips are all the same, simply marks on a page.
Drawing has made it possible for me to stay close to Joy when she in no longer here. It is a way to create a picture of her without feeling weird or maudlin. I am not sitting in a dark room crying over a photo of my dead wife; I am at my drawing table, working.
Grief is chaotic; art is order. Ironic, as most people think art is all about feeling and emotion, when in fact the artist needs to be ordered and conscious to create art that will, in turn, stir feelings and emotion in others.”
A drawing is a complicated thing.
Santlofer’s book is about dying and about living. It is as much about mourning as it is about relationships, family, and the creative process. Indeed, art can save your life and Santlofer’s book eloquently and passionately speaks to perseverance and purpose.
The Widower’s Notebook is a 272-page paperback with illustrations, published by Penguin Random House.
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.