Mise-en-Scène or Depth of Field technique in CITIZEN KANE
Like any visual medium, as in painting and cinema, there are particular ways of seeing that are useful, even essential, when studying the mechanics of comics. Mise-en-Scène or Depth of Field is a fascinating aspect to comics that occurs more often than you might think. Sometimes it’s done more formally and explicitly and sometimes not so much. But, when done right, it can be very striking and truly enhance the comics experience. First, consider the picture plane, an impression of space, like the imaginary wall separating the audience and overlooking the space on the stage. Then think of foreground, middle ground, and background. We are considering everything. The term, Mise-en-Scène, in French, literally means “put into the scene” but I like to also emphasize it refers to making the most of the three planes depicted in a scene.
From work-in-progress by Henry Chamberlain
You are looking at a scene, in a painting, or a film, or in comics, from the close range, mid-range, and way in the back range. What you might place in these three planes can significantly move your narrative forward. A reliable trope would be to set up your scene to include past, present, and future: cast the middle as present tense for the main character, with the past set in the back; and the future set up front. That’s what I ended up doing with the above image after noodling around for a while. But it can be anything you like, anything that makes for an interesting composition.
You can call this process, “The Three Plane Method.” That comes to mind. Or you can use the term used in theater and cinema, Mise-en-Scène. In film and photography, think of this as playing with Depth of Field. In the end, you’re exploring what this technique can do for you as you compose a frame or a scene. If you want some truly riveting examples, take a closer look at how images are stacked upon each other in layered scenes in Citizen Cane to create mesmerizing montages. Some are stable landscape type moments and others are dazzling scenes which have the camera rolling for one long dizzying shot like the one that begins outside during a gloomy snow storm and snakes its way into a cozy cabin.
from The Leaning Girl from the The Obscure Cities series by François Schuiten and Benoît Peeters.
The best comics tend to be, at least for me, thoughtfully composed. While comics has its own language and techniques unique to its medium, it does manage to borrow from other mediums–and make it its own. That said, it was interesting to go about finding a decent example in comics of true Mise-en-Scène. I think my initial impulse is proven because it wasn’t easy to just stumble upon something. Paul Pope? Nada. Blutch? Nada again. David Mazzucchelli? Frank Quitely? No and no again. You can’t ignore the fact that comics is a sequential art. In general, comics is mostly invested in a steady flow of a concise combination of words and pictures. Those visionary auteur cartoonists will, on occasion, create panels or whole pages with bravura artwork but these are usually some attempt at detailed exteriors or interiors to establish time and place. Not necessarily work making the most of all three planes. The long and the short of it is that a lot of comics involves people speaking to each other or going from one place to another and not much else. Many exceptions exist and hurray for them. I finally found the above excellent example to share with you from The Leaning Girl from The Obscure Cities series by François Schuiten and Benoît Peeters.
Maybe like me, you grew up with Walter Foster books. In the ’70s, when I was a boy, these oversized (old Life Magazine format) books were already wonderful relics from a bygone era, most dating back two or three decades. I knew, right away, that they came from another time and place but they were so well put together and the instruction seemed so crisp and clear that I just loved them even if I had no idea how I was supposed to take that information and become a famous cartoonist in New York or a famous animator in Hollywood. No matter. That could always be dealt with sometime in the future. These same Walter Foster books have been reprinted many times over filling the heads of countless people of all ages with fanciful dreams that may or may not ever come true. It didn’t seem to matter. The books themselves were so wonderful! I have been looking at a recent book from Walter Foster, now an imprint at Quarto Publishing Group. It is a classic and brings up a lot of happy memories, Cartoon Animation with Preston Blair.
Cartoon Animation with Preston Blair
Animation with Preston Blair is a fine example of the lineup of Walter Foster books from Quarto in a contemporary trade paperback format. Preston Blair, born in 1908, was trained in fine art and illustration and went on to become a leading animator at Disney. Blair animated such famous work as the Hippos dance in “Dance of Hours” and Mickey Mouse in “The Sorcerer’s Apprentice,” both in 1940’s Fantasia. Blair is also known for his work at MGM, most notably his animation with Tex Avery. And he is also known for his work at Hanna-Barbera for The Flintstones. Blair offers plenty in the way of lively and inventive examples.
A page from Cartoon Animation with Preston Blair
Upon a closer examination, it’s clear that this book is a treasure trove of samples and guidelines to inspire an artist at any level. A book like this will help get you on track because it makes no pretense and gets to the heart of the matter: page after page of straightforward drawing. And new animators will appreciate plenty of examples of anatomy, perspective, and various movement along with timeless principles.
From Cartoon Animation with Preston Blair
Combining two previous titles, this manual is organized into six chapters covering cartoon construction, character development, movement, animation principles and animated acting. The retro drawings alone are worth the modest price for this 128-page fully illustrated book. Solid instruction never goes out of style and is timeless. This is recommended for all ages.
For more details, visit Quarto Publishing Group right here.
Anyone interested in illustration, art, satire, or the specific art of drawing, will know something about the career of Edward Sorel. The work of Edward Sorel covers a wide spectrum resulting in a hefty portrait of the human condition, with a notable eye to speaking truth to power.
My interest in Edward Sorel runs deep. I checked out from my school’s library Sorel’s 1972 collection, “Making the World Safe for Hypocrisy.” It was 1973 and I was a sensitive and highly impressionable lad of 10 years-old. I was filling sketchbooks with portraits of Watergate personalities, both villains and heroes. I tore into that book and marveled over Sorel’s distinctive crosshatching and his lively expressive line work. I was in awe with how he brought to life various dignitaries, politicians, and movie stars. The gold standard had been set in my mind and it hasn’t changed ever since. What really wows me now goes back to my early introduction to the work of Edward Sorel.
Quotes from reviews for Mr. Sorel’s new book, “Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936,” published by Liveright/W.W. Norton & Company:
“Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to ‘Moose Murders.’ Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny, and in the end, touching.”
—Woody Allen, The New York Times Book Review (cover review)
“Rapier-sharp…With a tip of his pen to Daumier, the artist evokes the quaint, febrile glamour of Astor’s Hollywood, and his affectionate, conversational prose gives Mary and her story a kind of valiant dignity never bestowed while she lived.”
—Edward Kosner, Wall Street Journal
“Delightful, colorful, and occasionally cheeky.”
—Allison Sadlier, Entertainment Weekly
From “Mary Astor’s Purple Diary” by Edward Sorel
Edward Sorel (born Edward Schwartz, 26 March 1929, The Bronx) has recently released a book from Liveright/W.W. Norton. The book, entitled “Mary Astor’s Purple Diary” is about his lifelong obsession with film star Mary Astor but it’s also a memoir of a sort. You may have read Woody Allen’s review of the book in The New York Times Book Review. Allen had the honor of introducing many new readers to the opening story in the book: It is 1965 and Edward Sorel, newly married and settling into new digs, is left with the task of replacing the old linoleum kitchen tile. Lo and behold, buried underneath is a stash of old newspapers chronicling the scandalous 1936 custody battle of Hollywood star Mary Astor. Well, the rest is history and this most engaging book.
I interviewed Mr. Sorel this last Wednesday, February 8th. I hope you enjoy it.
HENRY CHAMBERLAIN: Turning our attention to Mary Astor, what is intriguing about her is that she had a life where one plus one kept equaling three. Despite a series of bad choices, whether in lovers or career options, Mary Astor managed to persevere. Is that part of the appeal, that she took such an offbeat path?
EDWARD SOREL: The appeal came when I read her memoir. She was a self-denigrating and witty writer. Very observant. Somewhat cynical about Hollywood. She had an intelligence that appealed to me. Then I started seeing her movies and I was hooked on her. Her bad decisions that you refer to have to do with having had an abused childhood, not in any physical way but in a mental and psychological way.
Her father kept her from having friends because he didn’t want her to see how Americans lived, how Americans treated their children. He wanted to be the dictator of his home. And he succeeded. She was unable to break free from him until quite late in her life. And it kind of ruined her. And God knows she made a lot of terrible mistakes in her life.
Marry Astor and John Barrymore.
I was watching 1924’s “Beau Brummell” and I am intrigued by the relationship Mary Astor developed with her co-star, John Barrymore, of all people. In their case, the twenty year age difference was inappropriate. However, it was what it was. And it was through Barrymore that Mary Astor learned a lot and gained self-confidence.
He did do her a lot of good but not for any altruistic reasons. He was out to nail her. He was on his way to Hollywood on the 20th Century Express. He had just completed the most successful run of “Hamlet” that America had seen. He was acclaimed as America’s greatest actor. He was on his way to the coast to make “Beau Brummell” for Warner Bros. because they were paying him a lot of money. And he picks up a magazine that has a photograph of Mary Astor about the age of 16 and under the photograph it said, “On the Verge of Womanhood.” Barrymore had a particular liking for virgins.
As I pointed out in the book, it was Barrymore who had his way with Evelyn Nesbitt, who later married Harry Kendall Thaw. And it was Thaw who shot Stanford White, America’s great architect, because he thought Stanford White had taken his wife’s virginity–when, in fact, it was Barrymore. That is a sidebar I’m proud of since I pieced together that bit of information.
According to Mary Astor, Barrymore really believed that he was going to marry her. And maybe he did plan to. But when Mary would not break free from her parents, after Barrymore offered her starring roles, because her father forbade it, Barrymore realized that she was just a child. She was completely under the sway of her father. Marrying a woman twenty years younger was one thing but marrying a child was something else. He broke her heart by calling it off.
I think it’s a cartoonist thing, as I’m a cartoonist, that we keep seeking out the offbeat. So, in the spirit of that I throw out a curveball, and ask you about your changing your last name to Sorel. You are referring to Stendhal’s “The Red and the Black.” I loved that book and the main character, Julian Sorel. Is there something interesting going on there with that connection?
I liked to think that I saw myself in Julian Sorel because he was like catnip to women, which I really wasn’t, and he hated the corrupt society of his time, as I hated mine. The first election that I voted in was the one between Eisenhower and Stevenson. I took a dim view of both of them and voted for a third party.
The other thing about Julian Sorel was that he hated his father. God, I certainly hated mine, not only because he tried to discourage me in wanting to be an artist but because he was a mean-spirited ignorant man not kind to my mother, not kind to anyone. And I didn’t want anything to do with him. I was going to be a cartoonist and I didn’t want to sign my name, Schwartz, in the right-hand corner. And I chose the name, Sorel, because of the novel. It seemed as good a name as any.
“Stagecoach.” 1980 illustration for Esquire magazine.
I think back to myself as a boy wondering about how you created your work. You’ve spoken about “finding lines.” Could you share a little bit about that?
When you work commercially, and you’re taking assignments, you have to show the art director what you plan to do. So, you do sketches of the drawing you plan to do. And, after a while, I began to notice that my sketches had more vitality and life than my finishes did. My finishes were often dead and overworked. And so I tried to emulate the quality that I had in my sketches which meant doing it without tracing. In point of fact, that’s impossible to do if you’re doing very complicated scenes. You can work direct if you’re doing a face, a figure, a still life, or anything relatively simple. You can work direct without tracing and the work has a vitality to it. But when you’re doing complicated scenes, with many different elements, you really do have to know where you’re going. So, I found out that if I just had a light outline of where I wanted the elements to be, and didn’t trace, I could keep this sketchy quality that I think gave my art work some distinction.
“The Goodwood Races,” 1939, by Feliks Topolski (1907-1989).
That quality of your art has influenced so many artists, whether they realize it or not. And, certainly, there have been other artists who have used an “expressive line.” You have talked about some of your favorites, like Feliks Topolski. There’s a certain sensibility that you both share.
Yes, well, he wasn’t trying to be funny like I always have. But his work has spontaneity, which I value in every artist. Wether its Bemelmans or Topolski. What shocks me now is to find so many artists who enjoy doing art work with a computer. I’ve seen some very nice computer art. You can get that nice flat color and can do all sorts of tricks that you can’t do by hand. But, to me, it doesn’t seem like fun. It seems like working on a machine. I just love the act of drawing. I’m a throwback. Most of the illustrations that you see today in magazines, and God knows you don’t see too many, are computer-generated in some form or another.
One compromise is for the artist to draw some of the illustration by hand, scan it, and do the rest on a computer.
It doesn’t seem fun to me but it must seem fun for them. I don’t cast aspersions on their way of doing it.
I think it boils down to being a time-saver. And, once a routine has set in, that’s the way it’s done and that’s it.
The other thing about computer art is that there’s nothing original, nothing to hang on the wall. You could have a show but it would only be prints. To each his own.
“Pass the Lord and Praise the Ammunition,” 1967, by Edward Sorel
I wanted to touch on one of the all-time classics, your 1967 anti-war illustration, “Pass the Lord and Praise the Ammunition.” The real life punchline there is that you were all set to roll out a poster when the focal point of the piece, Cardinal Spellman, passed away rendering your satire unsellable. Now, there’s some divine intervention.
The day it came off the press is the day he died. It never sold in any store in America. It is in a museum in Amsterdam. One store in Chicago tried to sell it and had its window broken. Apparently, Cardinal Spellman had some fans in Chicago. That was a bad break. You get some bad breaks and you get some good ones. I was the recipient of Woody Allen’s praise on the front page of The New York Times Book Review. That was the best break I ever had.
From “Edward Sorel: Nice Work If You Can Get It,” 2011, by Leo Sorel.
I encourage everyone to check out the short film on you that your son, Leo, did. That is quite informative and a treat. It shows you in your studio. And then the Q&A afterward with illustrator James McMullan is very impressive. Towards the end of that, you talk about the pen you favor, a Speedball B6. I’ve always had a devil of a time with steel point dip pens. But the Speedballs I could manage. And then you flip it backwards to get the crosshatching.
Yes! That was my secret. The Speedball does move and it allows you to be kind of spastic over a piece of paper.
“Nixon and Mao,” 2007, The New Yorker.
I wanted to ask you about Donald Trump. There was that drawing of him as Medusa you did last year. The big news at the moment is all about Mitch McConnell silencing Elizabeth Warren. I could see that as perhaps triggering an Edward Sorel drawing.
I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.
You can’t call him the new Nixon. At least with Nixon, there was a mind at work. It’s being very generous, but there was some sense of integrity compared to Trump. Nixon you could call a president. But, with Trump, he’s president only by title.
He seems unhinged. I think it was Bernie Sanders who called him unhinged. He seems too crazy to be in that office. I don’t know what else to say about him.
Donald Trump illustration, 2016, for Vanity Fair.
Especially living it right now. It is stomach-turning. I won’t talk about him anymore. But I do need to mention Melissa McCarthy’s impersonation of Sean Spicer. Have you seen that?
No, tell me about it. I’ve been trying to avoid the news lately.
Well, Melissa McCarthy is a comic genius and she was on Saturday Night Live last weekend. She did a spot on impersonation of Sean Spicer, had the look and mannerisms down.
Oh, wait, I did see that! A friend sent that to me.
I think that has the power of a political cartoon and then some. It captivated everyone. It was an emotional release for everyone to see that.
Yes, I’m sure it was. It was very funny.
It seems to me that every artist needs a hero, someone to play off of. I see your book, weaving your life with Mary’s, as following the artist’s struggle. I think of how Mary evolved. I think of how Mary and Bette Davis were able to rewrite “The Great Lie,” turning that around into a notable film.
She did become a very fine actress. But she also became a little bit like her father, terribly obsessed with money. She twice turned down contracts for starring roles since she believed supporting roles would provide a longer career. She did indeed have a long career. She was in over 100 movies. And she was going strong until about 1959. She didn’t take chances. Maybe she didn’t believe she was a good enough actress. She missed having a chance at great roles and great performances. That was too bad.
My obsession with her has to do with my thinking I wasn’t a great artist because I didn’t have an obsession. So, I was very grateful when people called my interest in Mary Astor an obsession. Yes, it was an obsession and I do think it helped produce my best work.
“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” by Edward Sorel
Can you tell us about your connection with Boston University?
I was very lucky to have Boston University buy my entire work, my oeuvre, as we say. In March, they’re having a retrospective of all my work and, as a matter of fact, I’m still packing up things to send there.
The Howard Gottlieb Center at Boston University has one of the finest collections from all walks of life. They have the second largest Martin Luther King collection. They have many of America’s great writers. They have Fred Astaire and Ginger Rogers. They have most of the actors and actresses from the golden age of Hollywood. I’m very delighted to be part of this collection.
Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.
I heard a siren in the background. It brings back my visits to New York. You are a lifelong New Yorker and I know how much you love New York. Could you share some of your thoughts on the city?
I do love New York. I don’t love the crowds anymore. I do worry. When you live in a city like New York, you do begin to see a kind of science fiction future: crowds everywhere, lines everywhere. New York is kind of becoming that. They keep building these enormous skyscrapers without thinking about how the city will accommodate it. They’re not building out, like they did in Los Angeles. They’re building up. It used to be that the only crowds were in midtown but now crowds are all over. And you find yourself walking in the gutter because there’s too many people on the sidewalk.
So, yeah, I love New York. The New York that I grew up with, where the museums were free and everyone went to public school, seems to have vanished. Everything is expensive now, including the museums. It’s very difficult for young people. When The New York Times that I used to buy for three cents is now $2.50, The New Yorker which I used to buy for ten cents, is now something like $7, it’s bizarre. And, of course, the wages that young people get are pitiful. So, yeah, I love New York but I don’t like the time particularly.
Is there anything else that you’d like to add?
I can tell you about my next book. It’s going to be similar in structure to the Mary Astor book. It’s going to be a memoir. It will be about my growing up in New York. And it will be about the thirteen presidents that I’ve lived through.
My point is that every one of these presidents, whether I liked them or not, committed illegal acts, overthrew governments illegally, and did unconstitutional things. Starting with Dwight D. Eisenhower, who became enamored with Billy Graham. It was through those machinations that they put “In God We Trust” on our currency and inserted “Under God” in our oath of allegiance. Somehow, I regard that point in history as the slope we’ve been sliding ever since.
Now, it’s done so garishly with someone like Trump.
Right. Trump, the great Christian, who apparently was much loved by the Bible Belt. I don’t think there’s anything more derogatory I can say about organized religion than that they were responsible for the election of Donald Trump.
Is part of the new book you’re working on sitting on your drawing board?
Not yet. A little bit is sitting on the computer. Nothing has been drawn yet.
I wish you well on that. It’s been exciting and quite a treat to get a chance to talk with you for a bit.
“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” is a 176-page hardcover, with full-color illustrations, published by W.W. Norton & Company. For more details, visit W.W. Norton & Company right here.
Our friends at Short Run are known for their comic arts festival but they have other wonderful events going on year-round. Consider their summer school schedule. I just took Megan Kelso‘s seminar on graphic novels. And I found that to be a very special treat. I like how she equates working on a graphic novel to playing with a big ball of yarn. How true. Even for an experienced cartoonist like myself, there is always something new to learn. I may end up taking some more of these classes if my schedule allows and, if you’re in Seattle, I highly recommend that you do the same. You can take a look at the remaining schedule right below starting with an essential Photoshop workshop led by James Stanton for cartoonists looking for tips on how to color their comics:
Mike Capozzola is a San Francisco stand-up comedian and published cartoonist. He’s very funny and thoughtful and a great guy to chat with about pop culture. He’ll be in my hometown, Seattle, to perform at the Comedy Underground on Sunday, June 14th. This is a perfect time to check out one of the most distinctive and cool comedy venues in the country.
Capozzola will perform his multimedia comedy show about sci-fi films, secret agents, werewolves, and superheroes. It’s called “Emperor Ming’s Mercilessly Spicy Wings and Other Tales.” You can find more details right here.
Corporations that have jumped on the geek bandwagon are not your friends. Heck, corporations aren’t even actually people. And the people who run these corporations don’t care, or begin to understand, what the term “geek” means. But folks like Mike Capozzola do get it. His show revolves around a natural love for geeky stuff.
Amid his wide spectrum of work, what shines through is a relentless pursuit of offbeat humor. We chat here about what exactly the title of his show is all about and end up discussing pop culture in a significant way. We weren’t afraid to pull back the curtain and comment upon the brazen highjacking of the idea of being authentic, or “geek,” by commercial interests.
Byway of discussing the title for his show in this interview, Capozzola shared his love for the webcomic, “The Perry Bible Fellowship” by Nicholas Gurewitch. In relation to Capozzola’s obscure reference to Emperor Ming, he cites Gurewitch’s story, “The Trial of Colonel Sweeto and Other Stories,” where the good colonel appears in only a couple of panels. Now that’s some good geek street cred!
You can listen to the interview right below:
So, if you’re in Seattle, be sure to see Mike Capozzola at the Comedy Underground on Sunday, June 14. And visit Mike at his site right here.
Not too long ago, I reviewed a John Allison comic under the same title. This first issue of “Giant Days” is different material and published by Boom! Studios. It is very cool to see this comic getting a higher profile. This one is by John Allison and Lissa Treiman. It is the same trio of college friends from the webcomic. But, just so you know, Allison only writes it. And it is Treiman who does the art. Now, I know Allison has a strong following that know his work as the result of his writing and drawing. For those fans, how do you feel taking his characters in a new direction as it were? It does not completely sit well with me. But should that really be the case? Probably not.
Having another artist draw one’s comic creates a whole new dynamic to say the least. The original Allison characters are delightful: very deadpan, droll, with an overall cool demeanor. This new version warms up Daisy, Esther, and Susan in a way that is subtle but still there. This got me to thinking. It seems like you can get away with that with Adventure Time characters being drawn by various artists. That’s because they’re such broad and elastic characters drenched in irony. But you could never truly get away with the Peanuts gang being drawn by someone else. That’s because they’re such personal creations. I submit to you the newer Peanuts animated TV specials for your review. The oldest ones, you know the ones, may not have been drawn by Charles M. Schulz but they sure had the look and feel of the characters spot on.
There’s definitely a shift in tone here. So, I thought some more. It’s like once you’ve seen Ricky Gervais in “The Office,” you’re kind of spoiled and won’t ever fully accept Steve Carell, even though he’s a comic genius. Hmm, that said, it has to be an honor for Allison to see his characters transcend his own depiction of them. That part is nice. And Treiman does a fine job. And, well, if you didn’t know this already, it is Allison who requested that Treiman pursue this latest run that revisits the girls getting used to university life.
But you see my point, right? Comics are a very tricky thing. They involve body language, style, and a whole way of looking at the world. Hmm, for me, the change in the art alone made this comic feel less British. It is, mind you, still set in Britain and the dialogue alone attests to that from time to time. Maybe some small adjustments have been made in the bargain so it’s just not quite as British. But, to heck with it, I do enjoy the American version of “The Office!” If you’re not easily won over, this different Giant Days may throw you threw a loop but, at the end of the day, it’s very funny. I dare say, what with all the changes, it has a nice charm about it.
“Giant Days #1” is available now. For more details, visit our friends at Boom! Studios right here.
Joel Craig loves a challenge. He is pursuing three of them: acting, nursing, and cartooning. Yes, if you’re serious about each of these professions, they can all take a lot out of you. And they can all definitely give back to you. WELCOME TO NURSING HELL0, Joel Craig’s recently released graphic memoir, is a very funny and insightful collection of comics. You can read my review here. He’s in the thick of it, living and working in Los Angeles and navigating a busy life.
As our story continues, we finally check in at Ballard Inn. For longtime residents, Ballard Inn is a landmark. Now, it is part of the ownership behind the brand new Hotel Ballard and the revamped Olympic Athletic Club. We made sure to enjoy our complimentary access to Olympic Athletic Club. And we dined at Hotel Ballard’s restaurant, Stoneburner.
The combination of all this hospitality was a thrill for the senses indeed.
24-Hour Comics Day is an internationally observed marathon for cartoonists, on the first weekend in October, with the goal of creating a full length 24-page comic narrative within 24 hours. I have been a happy participant in this event, followed by thousands of like-minded souls, for a few years now. This year, I set my sights on the neighborhood of Ballard, a vibrant part of Seattle with plenty to write and draw about.
Now, here’s the deal, I will be all over Ballard during the 24-Hour Comics Day, October 5-6. If you spot me, stop by and say hello. One of the advantages of including my mug on my site’s banner is that you actually might recognize me from it. So, yeah, I welcome a hearty hello. And, if you happen to be a cartoonist, maybe hang out for a bit and draw along. Or just relax and feel free to share any thoughts. It will be a special night.
One of the most endearing things you’ll see in the documentary, “Cartoon College,” a 2012 film by Josh Melrod and Tara Wray, is Lynda Barry’s declaration of love for anyone who is a cartoonist. Lynda Barry is an interesting case in point. Her style is “outsider” raw while, at the same time, highly sophisticated. It won’t be mistaken for Rembrandt but it’s not supposed to be. Lynda Barry’s comics are authentic, entertaining, and thought-provoking. But can you teach someone how to become another Lynda Barry?