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.
“Discount Demon Deals” is a hilarious mini-comic devoted to demons by Michael Koehler. Done is a wacky style that would fit right in on Cartoon Network, Koehler’s demons are at once hideous and whimsical. The idea here is that this is a catalog presenting the latest in appealing demons. All you need is your demon credit card and a reasonable number of souls in stock in order to properly catch up on this season’s demons. For more details, visit Michael Koehler right here. And, if you are in Tacoma, be sure to stop by and see an art show featuring Koehler’s artwork this Saturday, February 3rd, from 6-8pm at Destiny City Comics:
Lore of the Lords – Showcasing the Art of Michael Koehler
Here are some more details from Destiny City Comics:
Lore of the Lords – Showcasing the Art of Michael Koehler
February 3 @ 6:00 pm – 8:00 pm Free
A strange look into the modern folklore and fantastic characters imagined by artist Michael Koehler, Lore of the Lords takes a tour through the tribes residing within the elusive cult realms.
“You enter through a dark whirlpool to find yourself at the mouth of a great trench. As you look around, you find this world is full of strange and mystical creatures. They seem to be some sort of ancient looking, animalistic people. Suddenly a large reptilian scout spots you and bellows out a deafening screech as you try to find your footing along the loose, rocky chasm. You see flying in the cloudy sky above, a bat like figure quickly descending upon you. You scramble out of the way just as it swoops down at your feet. Looking up at you with three crazed eyes and psychedelic features, it lets out several high pitched chirps and begins lurching toward you. A gang of grotesque bat faced creatures surrounds you as you look for an impossible escape. Each wretched bat drips with slimy plasma and is armed with arcane tools and primitive looking weapons. As a tall, fiery red faced man-bat leans into your face and sniffs piggishly, you utter, “What… where am I?” It lets out a wild cackle and replies, “You have entered our world through the black void, and so now, you are ours. Just as everything that enters… Into the Cult Realms.”
Be sure to visit and experience this highly original art firsthand. Facebook Event Page is right here.
Panel excerpt from “Läskimooses” by Matti Hagelberg
“Läskimooses,” by Matti Hagelberg, has got to be one of the most unusual of comics. It comes out in single issues and the plan is for the complete collected work to be an epic over 1,000 pages. Currently, this art/sci-fi comic book totals around 700 pages, is published 7 issues per year, and is the longest single comics story ever to be produced in Finland.
Hagelberg is best known for his scratchboard technique that he has used in most of his works, published by L’association and Le Dernier Cri in France (Raw Vision 83). It is a wonderfully obsessive vision, part parody and part stream of consciousness. Hagelberg is on an adventure to find the meaning of life and the secrets to the universe byway of conspiracy theories. Only a determined artist like Hagelberg can sustain such a quest. It makes for fascinating results.
Artist Matti Hagelberg
It’s not uncommon for an artist to keep to one theme or one universe in their body of work. Hagelberg has always drawn stories set in the same universe. His epic Läskimooses comics are quite a dramatic example of focused work harkening back to classic comic strips. His theme of exploring the universe is broad enough to sustain a lifetime’s work. The energy and enthusiasm comes across the page. He has set up some fun devices to keep the narrative flowing like an ongoing conversation between characters discussing cosmic subjects. You don’t need to know how to read Finnish to enjoy it either.
I always enjoy writing about comics from outside the United States. Sometimes, I am not sure how to hook into a work and I find it is better to let it simmer and then I come back to it. So is the case with “Läskimooses.” You can now enjoy an issue of the comic book with a handy translation sheet in English. That will certainly clear up any questions about why you’re seeing a bunch of monkeys or what’s going on regarding a volcanic eruption.
Page from Läskimooses #28
Again, let me emphasize that the visuals are pretty stunning all by themselves. Some issues, like #28 above, are only images, no text at all. Basically, all you need to know to begin with is that Läskimooses and Ohto are both planets and figure prominently in the narrative. The two ongoing characters have their own ideas on existential matters that they’re working through. It’s interesting that Hagelberg’s initial idea was to set his story on the Mars of Edgar Rice Burroughs. He had a spectacle in mind right from the start. Anyway, we’re all working through our own existential issues, right? It’s fun to see an artist with such an unabashed and audacious attitude share with us his vision of the sublime and the profound. I look forward to what develops next with this intriguing and unusual project.
To get an issue of “Läskimooses,” with an English translation sheet included, go to Printed Matter right here.
For a closer look at the artist at work, check out this video right here.
There is a special hybrid in the comics industry: the artist/writer. This is a combination of skills common enough in some circles (webcomics and indie graphic novels) but not so much in others (ongoing comic book series). That said, an artist/writer is also in a unique position for those projects where the roles of artist and writer are shared. Dark Horse Comics hosted an engaging and informative panel on this subject during Emerald City Comicon this last weekend that featured cartoonists Matt Kindt (Dept. H, Ether), Kristen Gudsnuk (Henchgirl, The Secret Loves of Geek Girls), and Adam Warren (Empowered). It was moderated by Patric Reynolds (Joe Golem).
Matt Kindt focused on ETHER, which he writes and David Rubin draws. Kindt is completely in love with all aspects of comics and continually finds ways to push the medium. But he is also quite appreciative when he teams up with an artist that is on a similar wavelength. “I can give David Rubin, say, a page with six panels and he can find a way to turn that into a 12-panel page.”
Adam Warren encouraged any aspiring cartoonists to not worry too much about a formal cartooning education. Warren said that, after he discovered manga, he was ultimately compelled to relearn comics after attending the Joe Kubert School that provided him with a traditional comics education.
Kristen Gudsnuk stressed that she is self-taught. When she first developed her Henchgirl webcomic, she did not have to consider how to create the same comic for print. But, she did learn that she would not be able to continue drawing her comics on the subway. She redrew the first four issues of her print comic and went from there. A tip from Cliff Chiang really helped. He scans his pencils and prints them in nonphoto blue and uses that to ink on.
Whether the issues are technical or more general, a panel on the creation of comics has something for everyone. It definitely has the potential to inspire. And plenty to relate to. For instance, Matt Kindt admitted that he feels he is no longer qualified for any other job than being a cartoonist. He says he was never really good at being your typical office worker in a cubicle. But there was one bright spot. He worked out his schedule where he did his drawing from home and, while he was at “work” in the office, he would do his writing. For any aspiring cartoonist, finding a job that is so amenable to your dreams is nice work if you can get it.
For more details, visit Dark Horse Comics right here.
I picked up some fine comics at Seattle’s Short Run Comix & Arts Festival. Short Run is one in a growing number of comic arts festivals in recent years in the spirit of the Small Press Expo (SPX) which was created in 1994 to promote artists and publishers who produce independent comics. The prime objective of SPX, and other comic arts festivals, is its main annual event, a place to showcase artists, writers and publishers primarily of comic art in its various forms to the general public. We are dealing here with a decidedly small demographic but a very important one. Short Run organizers Eroyn Franklin and Kelly Froh have done an admirable job of putting together a comic arts festival that resonates with this niche audience. They have found the big in the small.
Short Run Comix Fest 2016
This year’s Short Run at Fisher Pavilion in Seattle Center saw a steady flow of attendees. You could clearly see an impassioned interest for the hand-made. In spite of our jittery digital world, it seems that a lot of people are attracted to something more basic, something stapled or stitched together that’s printed on paper. And for the actual participants, the various writers, artists, and cartoonists at their tables, the sense of community alone is quite gratifying.
Here are a few nibbles of observations in no particular order. It was nice to stop by and chat with cartoonist Tom Van Deusen. He tells me that he’s thinking about having a new book out in the next year or so. Pat Moriarity has some similar plans. He sees a new book in the future as well as an animated treat down the line. I’ll see about letting folks know about it when it comes out. Pat, by the way, has created some of the most gorgeous prints through the Vera Project press. Noel Franklin has had quite a good year as she has the distinction of having won all three major grants in Seattle. Always good to see Vanessa Davis and Trevor Alixopulos. I had to pick up the new edition of Spaniel Rage, which won’t officially be out until February, from Drawn & Quarterly! Megan Kelso recently created a special collaboration with her 10-year-old daughter, Virginia, which is a lot of fun. While Short Run fell right on Halloween last year, this year it fell within the specter of the most crazed presidential election ever. I asked cartoonist and humorist extraordinaire Greg Stump for his thoughts. He said it felt like a perpetual loop where we never reach the actual day of the election as in an episode of The Twilight Zone.
Betty Turbo’s Portrait Machine!
And, by the way, if you did go to Short Run, did you get your face drawn at Betty Turbo’s Portrait Machine? Looks like a hoot. Visit Betty Turbo right here.
Short Run promo by Vanessa Davis
We’ll take a closer look at some of the comics I picked up this Saturday in the next few days. Some have a direct connection to Short Run and some don’t. In the end, it’s all about comics with that special touch. Call them comix, or call them alt-comics. They may appear at this or that comic arts fest or only online or even in an actual comic book shop. Whatever route you need to take, seek them out. And, if you’re in Seattle, be sure to visit Short Run right here.
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 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”
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.
“Pop Painting,” published by Watson-Guptill, is an essential guide for artists and anyone interested in contemporary art. The art world can seem like a murky and mysterious place depending upon where you look. However, some things about art are pretty straightforward: successful art requires a focus on theme coupled with a dedication to craft. I know this as an artist and art lover. As a working artist, I juggle a number of tasks. And, at those times when I could use some inspiration, I’m always pleased to find great art books from Watson-Guptill that demystify and enlighten.
Camilla d’Errico is a professional artist who follows a certain routine and way of seeing the world. She presents a highly engaging collection of work that falls within the category of Pop Surrealism. This is an art movement that, in a nutshell, takes various elements in pop culture and places them in a dream-like environment. The results can be quite stunning. In her new 248-page full color book, “Pop Painting,” d’Errico shares with the reader her views and her methods. She takes an honest step-by-step approach providing real examples with real solutions.
In the world of art and art-making, there are many things that remain constant and always will be: art training still involves life drawing, perspective, and actual hands-on work. As we bring in other disciplines, we still respect, and need, traditional methods. In the last twenty years, right alongside digital art, we have seen an explosion in interest in art-making stemming from the basic sources of drawing and painting. This had led to the comics medium being acknowledged as an art form in its own right. And this is something that Watson-Guptill has whole-heartedly embraced with books specifically on all aspects of comics from drawing to writing. So, it is no surprise to see this latest book, “Pop Painting,” with its unique focus on Pop Surrealism. It will be of interest to anyone, from the generalist to the specific fan. For more details, visit our friends at Watson-Guptill right here.
For those of you in Seattle, come see cartoonist Henry Chamberlain at the HotelHotel PizzaBar on Saturday, October 3rd, drawing all night long for 24-Hour Comics Day. Ask and he’ll draw you into the comic.
Hotel Hotel is one of the best boutique hostels in the world, located in the heart of the quirky Seattle neighborhood, Fremont, also known as “the center of the universe.” This will be another great 24-Hour comics. We thank the sponsorship of Comics Dungeon. If you’re looking for the best comics selection and knowledge advice, visit our friends at Comics Dungeon right here.
What can be better than an exciting locale, a comfortable and hip environment, and good company all around. If you’re a local, you’re always welcome at the HotelHotel PizzaBar. And, if you’re planning a visit to Seattle, check out our friends at Hotel Hotel, located at 3515 Fremont Avenue North, right here.
Whether you are an artist, or would like to be, being able to draw without a model, but from memory, can be a challenge. With David H. Ross, you are definitely learning from the best. Mr. Ross has worked with all the major North American comic book publishers including Marvel Comics, DC Comics, and Dark Horse Comics. I can tell you, as an artist myself, that he knows numerous techniques that do indeed make it possible to work from memory. Look no further than his new book, “Freehand Figure Drawing For Illustrators: Mastering the Art of Drawing from Memory,” published by Watson-Guptill Publications, an imprint of Penguin Random House.
Here you will find the time-honored methods and practical guidelines that you need. In a lot of ways, it all seems rather easy and Ross makes that possible with very clear examples, one step at a time. I believe that clearing all the clutter is essential in art instruction. You address one aspect, focus on that, and move on to the next. Ross begins with the first place you need to go and that’s the space that your model inhabits. If you’ve ever felt a need for a refresher on perspective, you’ll find it here.
The basics and then some, that’s what this book offers. I have fond memories of art school and having my trusty little wooden mannequin as well as a skeleton and skull to keep me company. But, with this book, you find ways to internalize that reference. That’s a key point. So, when you do have your model in the flesh, you can work faster as you go deeper into your interpretation. Anatomy, posture, bone structure, all of this will already be stored away and allow you to concentrate on the unique character of your model. And, of course, with this book’s guidance, you can always work without a model at all.
“Freehand Figure Drawing” is a 208-page trade paperback, published by Watson-Guptill, an imprint of Penguin Random House, and is available as of July 28th. For more details, visit our friends at Penguin Random House right here.
Christian Dior at work on a new collection at his country house.
Annie Goetzinger has quite a light touch to her drawings that manage to speak volumes. It is one thing to draw pretty women in chic settings and quite another to convey the humanity and complexity behind the story. Goetzinger’s graphic novel, “Girl in Dior,” does just that with her behind-the-scenes look at the life and work of legendary fashion designer Christian Dior.
The launch of a “New Look.”
The House of Dior, at 30 Avenue Montaigne, was meant to evoke a cross between Louis XVI and the dawn of the 20th Century. It was to be made up of white paneling, pearl gray satin, taffeta lampshades, and discretely placed bouquets and kentia palms. It was not based upon anyone’s reality but upon Dior’s own childhood daydreams. It was to be the perfect place, the epicenter for high fashion, beginning with the first Dior fashion show for the Spring-Summer collection for 1947.
Amid the refined mayhem that ensues, we meet our main character, Clara Nohant, a budding fashion columnist. It is through the fictional Clara that we can savor certain key moments and get a sense of the world of Dior. As only a graphic novel can offer, we can get very specific upon what you view and linger upon. In the right hands, this results in such a masterpiece as this. Goetzinger is a master cartoonist. She well knows that she cannot show you every last detail. Instead, she must pick and choose.
She spends a good portion of time simply reveling in that special moment that was the launch of the House of Dior. After all, it sent shockwaves throughout the fashion world and led women, around the world, to consider lowering their hemlines. Having given the reader a solid grounding on that event, she quickens the pace. Clara goes from one major blunder to landing herself the role as the latest model to join the Dior inner circle.
This book is a delight to read through and through. Some books you keep, and this one is a keeper. The art is stunning in how it works within the confines of elegant refinement. Goetzinger’s background in fashion illustration serves her well as she effortlessly captures the flow of fabric and the carriage and grace of the models. And her stylish line is complimented by her gorgeous use of watercolor. In her hands, the fashion world, while always cool and detached, never goes cold. In the end, there’s a warm human touch to this tale of high fashion.
“Girl in Dior” is a 128-page full color hardcover, priced at $27.99, published by NBM Publishing. For more details, visit our friends at NBM right here.
And, if you are in the New York metro area this weekend, be sure to visit the MoCCA Arts Festival and see Annie Goetzinger in person. You’ll be able to see her as part of a panel on writing about the lives of artists:
MoCCA 2015 Programming Spotlight
“Biography: The Lives of Artists”
Sunday, April 12 at the High Line Hotel
12:30 pm in the Rusack Room
Memoir, non-fiction and biography have emerged as significant categories in comics. Comics about artists represent a special challenge: the cartoonist must represent the work of an artist through his or her own visual approach, revealing points of disjunction and harmony. Hyperallergic Senior Editor Jillian Steinhauer will discuss these issues with French comics legend Annie Goetzinger, whose Girl in Dior chronicles the first season of the storied fashion house; James Romberger and Marguerite Van Cook, whose 7 Miles a Second was both a biography of and a collaboration with David Wojnarowicz; and Dutch cartoonist Barbara Stok, whose Vincent makes Van Gogh approachable through a style completely unlike his own.
For more details on the MoCCA Arts Festival, go here.