Think on the Page. Sarah Firth. 2021. purchase here.
Sarah Firth is a very busy and quite popular artist and all-around visual storyteller. Based out of Melbourne, Australia, Firth is a Eisner Award-winning cartoonist, comic artist and writer, speaker and internationally renowned graphic recorder. This book is a collection of various observations which all add up to a heady stream of consciousness, an expansive working out of this or that issue or problem, plainly said or with a touch of mystery. Just one human, being human, being real. She’s made an art out of removing any filter and letting all the bits and pieces of life tumble out in messy, funny, and profound ways.
The theme of this book is about embracing the process of problem-solving, not overthinking it, going with your first impulses, and drilling down to something authentic. It’s part improvisation, part meditation. It’s what happens when you think on the page! This is about comics, art, illustration, and especially that curious beast, live illustration or graphic recording, where the creative is engaged with the subject in the moment and proceeds to not only document but to synthesize, digest, and filter down to the essential. The results can be pretty awesome.
Here’s an insight I’m happy to share again and again: there is an art to sketchnoting. What Firth does with her graphic recording is an art. The industry mantra is to say that any form of quick concise drawing is not art because the thinking is that this message appeals to a general audience. So, sure, the tools and techniques involved here are generally in the service of commercial and educational interests. But what it all amounts to depends upon who is using these tools. If you need remarkable results, something that truly resonates, then you hire a professional like Sarah Firth.
More wisdom I can pass down to you: sketchnoting and comics do indeed mix. Now, the general misconception is that the world of graphic recording and comics have nothing to do with each other. Again, this is an industry mantra thinking that, to even suggest otherwise, is going to confuse people. Ah, and again I state that it all depends upon who is making use of the virtually limitless possibilities available to any artist/commercial artisan. Yes, anyone can doodle (and gain so much from it) and some folks cultivate a special skill set that includes doodles and beyond! Okay, as you can tell, I’m passionate about comics and the wider world it is connected to. That is what is so wonderful about Sarah Firth’s work. This is someone who said, hell yes, here’s a massive playground of creative fun and I’m diving in and making the most of it! As you can see from these examples, Firth is a master at taking choice bits of images and text that result in compelling content that invites discussion and contemplation.
Let’s focus in on one of Firth’s longer comics in her book, this story is entitled, “On Loving a Difficult Creature.” It’s an 11-page story told with a sharp and vivid energy. The little guy who stars in it is named, Ferretie. This is a very specific tale from Firth’s youth when she inherited a ferret from a previous relationship. It all sort of just happened. Firth never intended to find herself with such a challenging pet. Ferrets might seem cute but they pack a wallop of a bite and can take down a rabbit within seconds. It became an ongoing thing for Firth to explain to newcomers to the house that, when Ferretie began to gnaw on your finger, he was only playing, actually holding back quite considerably. What is so impressive to me is how clean, crisp and clear the whole narrative is. That’s not to say it can’t be messy, unclear and ambiguous because that approach can definitely work as you are figuring something out. Firth is capable of whatever vision she wants to share. My point is that there is much to celebrate for well-executed clarity of purpose. What drives this story is providing a portrait of Ferretie and Firth. The ferret proves to be an intelligent, loving and noble little soul. Firth, despite feeling misgivings, does very well by her furry friend and learns many valuable life lessons on responsibility, empathy and compassion. Ferretie lives on in Firth’s own noble and genuine work. Firth is the real deal with her memorable and engaging comics.
Year of Zines! Publishing funded in part by Regional Arts & Culture Council and patrons of Pateron, 2020. 224 pages. $12.
What is a zine? Many people have never heard of one or only have a vague idea. A zine is not necessarily a work of comics, although it often includes some form of comics. A zine is often a personal work running for a certain amount of pages, typically a dozen or two dozen. And a zine is cool but it’s not meant to be cool. It just is. If you try too hard to make one, it will show. If you gravitate too quickly to the zine scene without any prior knowledge, it will show–but that’s okay. Zines are intended to be the opposite of the big glossy corporate magazines. Any original zine artwork is usually only at a functional or even crude level. Zines are often ironic and sarcastic and have a rough and gritty aesthetic. Zines tend to be small, modest, the size of a pamphlet or brochure. And they are usually self-published. If they are not, then they’re published by a co-op or non-profit. But zines are most often the work of one person, usually someone who finds themselves misunderstood by a general audience, actually enjoys working alone, and yet is also welcoming like-minded souls. You dig? Blogging and zine-making share a lot of overlap! Alrighty then. With that said, let’s take a look at a wonderful book all about zines, and a collection of zines to itself, Year of Zines! by Sarah Mirk.
Panel excerpt from YEAR OF ZINES!
Another thing you need to know about zines: the creator is often immersed in one particular subject or theme per zine. Zines take dedication. Zines can sometimes seem obsessive but that’s part of the charm. Think of the fanzine. Now, in case you haven’t heard of them, fanzines are one of the most celebrated forms of zines. These tend to be home-made dedications to a beloved pop or movie star or any cultural phenomenon. This tradition goes back to the dawn of fandom. The most common trait of fanzines is a collage of cut-up photos from various magazines that have been re-arranged within the curated pages of the zine. It’s so punk. It’s so DIY. Before the internet, if you were searching for a platform to express yourself, you most likely found your way over to zines. You figured out some basic layout techniques and made your way to your nearest Kinko’s. Okay, now Sarah Mirk is hip to all this and a whole lot more. Zines today are not dependent upon runs to the local print shop. Zines can be virtual but, at the end of the day, zines are zines and a printed copy stills exerts its own power and energy. Print is not dead, and don’t you forget it! You see this in what Sarah Mirk has done with her own work with zines. She gets it. Zines share a bit of the same vibe as spoken word with their direct and concise narrative. Mirk understands that a good zine requires focus and specificity. If you start a zine on the theme of “not caring,” then you stick with it and see it through to resolution, just like a masterful comedian sees through a precisely-timed bit of comedy.
Panel excerpt from YEAR OF ZINES!
Of course, zines can cover virtually any topic or subject. Literally, if there’s something you’d like to discuss, then a zine could be a viable platform for you. And, yes, it’s true: no prior experience in the creation of zines is required or expected. You don’t have to worry about prior writing experience or drawing experience or whatever. And the most serious of subjects are open for discussion. In my own experience with leading workshops, I have always stressed that the most important thing is to focus on what you need to say and the rest will fall into place. And so it is in this book. Sarah Mirk is basically talking about her life, all the things she’s dealing with, and the world-at-large. That provides a pretty broad canvas. In her book, she tackles such subjects as gender, privilege, boundaries, finances, the environment, and much more. Perhaps the most important thing to keep in mind is that no one owns the zine scene. Zines are for everyone and Sarah certainly embraces that egalitarian spirit.
DRINK MORE WATER!
So, I hope you’re getting a sense of what a zine is and what a zine isn’t. And, in the process, you’re seeing that Sarah Mirk is a fine practitioner of the subtle art of zine-making. In fact, if you enjoy her collection of zines that she put together over the span of one year, then you’ll likely want to follow her other work and pursuits. One last thing, I’ll point out one more fine example. If you’re looking for a neat little collection of observations of growing up in your 20s, do check out Sarah’s zine, Drink More Water – Be More Honest: 30 Lessons from My 20s. In this zine, Sarah provides an irreverent look at everyone’s favorite decade, your glorious 20s! It’s a time when you might look your best without trying at all while also a time when you have a sinking feeling you don’t know if you’ll ever amount to anything. And then, enter your more sober and wiser 30s. Well, with that sobering thought, there’s so much more I could say about zines but I’ll save it for next time. I like what Sarah Mirk has done with this quirky and highly distinctive art form–and you will too. And I hope you will see how accessible and ubiquitous zines are. In a sense, this review, and certainly this blog, is a zine. See what I mean? You only need to go as far as the nearest desk and chair, or whatever is comparable, and try it out yourself.
Steven Appleby is, among his many accomplishments, the creator of the comic strip, Small Birds Singing, and the BBC radio series Normal Life. One of Britain’s best loved cartoonists, his Loomus and other comic strips have appeared in newspapers and magazines internationally, and he has written and illustrated numerous books. His new book, Dragman, brings together themes dating back to Appleby’s early work in the ’80s in his comic strip, Rockets Passing Overhead, in New Musical Express.
From Steven Appleby’s comic strip, Loomus, in The Guardian
Indeed, Steven Appleby is a prominent cartoonist, illustrator and artist. Steven’s early career included creating cartoons for the legendary British humor magazine, Punch and a comic strip for the prestigious New Musical Express. This activity branched out in many directions, including many more comic strips, an animated series, a theater show, art shows, and many books, all the way to the new graphic novel, Dragman. Steven’s new book is about a superhero who can fly when he wears women’s clothes. As I point out in my review, this is a delightful tale about identity while also being a riveting thriller to boot. It is my pleasure to share with you this interview. A portion of the audio file is included at the end. During our conversation, we discuss process, a wonderful career, and the art of just being yourself.
Dragman by Steven Appleby
HENRY CHAMBERLAIN: Let’s jump in and discuss Dragman. First, let’s discuss a bit the title and main character. It seems to me that Dragman begs the question as to who is Dragman and the actual idea of dressing in drag. At one point in the book, the main character, August Crimp, takes issue with being called a dragman. Could you talk about that?
STEVEN APPLEBY: The name Dragman comes from a comic strip I did for The Guardian. I was a transvestite in secret, this was around 2002, and so I was using that name. When I came around to creating the book, the name still had a nice ring to it. Drag is a different thing from trans. Back in the ‘70s and ‘80s, when I was experiencing cross-dressing in secret, the term, drag, clearly referred to performance. In the book, August is labeled as drag by the press and he resists but it sticks.
Dragman is truly a graphic novel in every sense, in terms of playing with words and images. You even have some wonderful prose passages that link up the narrative. I could easily see you writing the whole book as prose. Could you talk about the process of putting the book together?
It was really hard as I’d never done a project like this that is so long. I was used to doing short comic strips. I wanted to have everything in it: I wanted it to be funny, serious, have the superhero parody, be a thriller and be true to my own trans experience. That was difficult to do. I love writing prose and maybe I’ll do a prose book in the future. It was a lovely way to have a different sort of atmosphere and also not reveal the character who is referred to in the prose, keep that a secret for later in the book. It took me around two years to write it and I was creating little scenes, as in a play, but then I needed to figure out how to draw all that. At one point, I had written 40 pages of material that didn’t fit into comics. So, in a sense, it seems a wasteful process. But I love graphic novels. I love both the visual and prose side of it.
Captain Star in Steven Appleby’s comic strip, Rockets Passing Overhead, in New Musical Express
Your career is so impressive. You’re quite prolific. You’ve found ways to connect your work with other media. You’ve found ways to sustain your vision. What can you tell us about Dragman as part of your body of work?
Take a look at the early work, Captain Star in New Musical Express, the character there was obsessed and repressed. There are dressing up scenes. The navigator of the starship, Boiling Hell, he’s obsessed with fish. So, I had them all have obsessions, like my dressing up obsession. It’s all in there but coded in a different way. Dragman is the whole thing coming out into the open. I’ve lived dressing in women’s clothes for the last twelve years now. This is me being honest in my life, especially to my children. I didn’t want them to discover I had this big secret that they never knew about. So, I came out twelves years ago for that reason. I had such a warm reception from people I worked with, like at The Guardian. With the book, I wanted to explore all of that, the life I’d lived in secret, when nobody knew; and the parallel of superheroes who have secret identities.
Linda McCarthy’s adaptation of Appleby’s comic strip, Small Birds Singing
Could you tell us a bit about your influences? Perhaps you could talk about your studying under Quentin Blake?
I moved to London to go to the Royal College of Art. Quentin Blake was the head of the Illustration Department and he was my tutor. I wasn’t so much influenced by him in terms of actual drawing style but very much in terms of work processes. How he uses a lightbox. I find that I still use that way of working now: very loose rough drawings that you then place on a lightbox and ink very loosely. Yeah, he’s great, really inspirational. We still see each other from time to time.
Is the artwork in Dragman all hand-done or also digital?
Mostly hand-done. It’s using that process that I just said. I do rough drawings and then ink them with an old-fashioned dip pen and India ink. Then I scan the art and print it out so that watercolor can be added. My ex, my wife Nicola, did the watercolor for me. She did it on a lightbox so that the line drawing and the watercolor are separate. I then would scan the watercolor and I manipulate the colors on the computer. I also addd skin tones, made colors richer, tweaked the colors and so on. The flashbacks scenes are all colored on the computer by me, a slightly muted, more monochromatic way. It’s really pretty traditional the way I’ve worked for years.
Steven Appleby, 2019
What can you share with us about growing up and discovering your creativity and who you wanted to be in the world?
I grew up in the north of England up near the border with Scotland, in a small village. We lived in a big old house, an old vicarage that my mum and dad had bought. It had leaky roofs and lowsome bedrooms. My mum and dad were in the ameuter dramatic society so they stored scenery in one of the out buildings. It was like a magical place growing up. When I was a little kid, I remember a room full of furniture and we’d go there to play. There were rooms that were never decorated and kept this old brown wallpaper from the ’20s. My mum drew comics in the ’30s in her school notebooks and that inspired me. We had New Yorker cartoons books with artists like Charles Addams and Ronald Searle. And I loved Dr. Suess as well. The artist who had a huge influence on me was Edward Goery. I discovered Gorey when I was in art school in the ’70s. It wasn’t so much the drawing style that influenced me as much as the way that Gorey put things together. The surreal ideas, the macabre, in his books. I had thought that I could only write and draw books for kids but Gorey showed me that you could really do anything. He liberated me.
Would you share with us a bit about being a professional cartoonist and maintaining a comic strip? I see there’s a recent collection of your Loomus comic strips in The Guardian.
I became a cartoonist kind of by accident, like many things that have happened in my life. It turned out to be perfect for me. I could write and draw as I wanted. I had this little space at the NME and I could do whatever I wanted as long as I didn’t go too crazy. At The Guardian, for example, where I was for 23 years, I think they only rejected two comic strips during the whole time I was there. I’ve always tried to do things that aren’t too topical but more just about life, what’s life all about, because I like it when you can return to the work like Edward Gorey–it’s not just a joke; it’s a comment on life. So, I’ve always tried to do that. And, I think a deadline focuses the mind. Mostly, it’s a good thing to have a deadline. There was a short period when I did a daily comic strip for a German newspaper while I also did my Guardian strip along with a few other things and that was like heading for a nervous breakdown, the amount of ideas I had to come up with. But I really did enjoy doing the comic strips. If I was still doing them, I wouldn’t have been able to do Dragman. It wouldn’t have been possible.
Excerpt from Loomus comic strip.
I know creating comic strips are quite time-consuming. I can recall my own comic strip work for my college paper. Among the many titles that readers can choose from, I highly recommend that folks check out a collection of your Loomus comic strips.
Thank you for mentioning that.
This is sort of a two-part question. What can you share with us about being trans and what can you tell young people about self-expression?
I would say that it’s something that’s been with me since my late teens, when it occurred to me that I could wear women’s clothes and having it be completely secret for 25 years. It was an engine that powered my work. In quite a lot of my comic strips and other work there are themes of secrets. I came across Philip K. Dick in my late teens. I loved his books because they have that constant theme that nothing is what it appears to be. That felt like my life that things weren’t what they appeared to be. In a funny way, when I started to come out to be siblings, family, and friends, and eventually work collegues, I kind of lost some of the mystical power of that secret that was an engine in my work. I found that very interesting.
I have two boys, who are now 24 and 22, and they are completely cool, as well as their friends, about me choosing to dress like this. I was so impressed how it didn’t phase them at all. They would be surprised if you ask them if it was difficult finding out and they’d say no. It was fine. I think, nowadays, it’s a very good time to not just to be trans but to be who you are. There are so many ways for people to be who they are. It seems to me to be a very good time.
Page from Dragman. Captain Star poster in the background.
It’s interesting to me to think about all the potential there is for everyone to veer off the status quo. For instance, a man can have his nails painted, crossing into a female-dominated domain. It seems like a small gesture but you are actually entering into a social exchange. If I were to get my nails painted, I’m engaging with the public–and that’s mostly about their curiosity.
I remember when my Captain Star character became a TV series back in the ’90s. I would paint my nails gold back then. And that would get commented on. One of the things that happens for me is that I use my name Steven and, when someone comes to the door, people will initially do a double take and then usually that opens up a conversation. I haven’t had a bad conversation yet. I agree with you that it’s something to deal with sometimes but it’s often in a positive way.
Share with us what lies ahead for you. Are there any final thoughts you’d like to share?
This is such a weird time. I’m sure it is in Seattle. It is in London. I’ve been ill lately and I can’t help but wonder if I’ve had the virus or not because they’re not testing people in the UK all that much. I think something having to do with all this will probably go into my next project, but I don’t know at the moment what that will be. I’m in this strange little time when Dragman has come out and I’m starting to think about what will come out next. For me, that process is partly an intellectual thinking of ideas and partly an emotional instinctive reaction to things. So, somehow I’m going to decide what I’m doing next.
I wish you great health and thank you for doing this interview.
It’s been a pleasure. Maybe we’ll meet the next time you’re in London.
That would be great.
Dragman is available as of April 7, 2020. For more details, visit the family of books at Macmillan Publishers right here.
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.
Do a web search and you’ll find numerous folks offering tips and inspiration on how to create art. Among your many options, you will find Danny Gregory. What sets him apart is a combination of amiable personality, common sense advice and guidance, and a certain tenacity that hooks you in. Danny Gregory is known for a number of inspirational books, including The Creative License and Art Before Breakfast. His latest book is How to Draw Without Talent, another useful and fun look at getting into an art habit. This title also happens to tie in with Sketchbook Skool, an educational and art community platform founded by Danny Gregory and Koosje Koene. How to Draw Without Talent is published by North Light Books, an imprint of Penguin Random House.
Don’t let criticism inhibit you.
This is a book made up of one simple bit of guidance built upon another bit and so on. Before you know it, you are immersed in a book that is intended to be highly accessible and motivational. The idea is to get folks who are interested in pursuing art to go ahead and make the leap. There are a number of approaches and there’s plenty of room for various books and methods. What is appealing about Danny’s way of doing things is that he opts for a very straightforward narrative. He’s a regular guy appealing to regular folks. And isn’t that the majority of us readers? Danny wants to knock down anything that might get in the way of someone new to art. He invites readers to join in and emphasizes that no prior knowledge is required. In fact, as the title suggests, no prior talent is required either! That’s a good solid message: Don’t worry, be happy, and dive in.
It’s interesting that what Danny offers actually crosses over and will appeal to any background. You can be something of a seasoned artist and still get something out of what Danny has to offer. Much of what Danny is about is finding ways to keep your interest and engage you in a variety of exercises. If you like what you see in this book, then perhaps you’re ready to level up and take a Sketchbook Skool “kourse” where you follow along video instruction as well as have the opportunity to participate in the SkoolYard social network. The kourses are reasonably priced and you keep the videos to pursue at your own pace whenever you like or to complete right along with fellow students in real time. I’ve recently gotten involved with Sketchbook Skool and find its creative world to be quite useful and rewarding. That said, this new book proves to be an excellent place to start your own creative journey. You’ve got nothing to lose and a whole lot to gain.
Easy to follow exercises.
How to Draw Without Talent is a 128-page trade paperback, in full color, available as of November 26, 2019, published by Penguin Random House.
Here are some of the photos that I took with pro photographer Abdiel Colberg.
He is a very kind, patient, and thoughtful person. Such a talented artist who was so generous with his knowledge. Here are some photos I took under his guidance. Check out his website right here. And check out the Airbnb course right here.
Be ready to walk around and take some great photos!
You can’t deny someone what they love because love will find a way. So it is with me and drawing. I’ve always loved drawing. I draw very well, if I do say so myself, and I don’t have to make excuses for it, thank you very much. You wouldn’t begrudge a ballerina for dancing very well or a professional singer for singing very well. I think you know what I mean. I think I know my way around words too but that’s another story. It’s not about conceit. No, it’s simply talking about how someone is built. This is what they know.
What I’m getting at is that I took a drawing work shop recently. The photos here of my efforts during the session. The truth is that any artist, no matter how good, can always make good use a creative workout. That’s why life drawing sessions are so popular: most of the people aren’t trying to learn the basics. No, they’re having a creative workout. So, I was beyond pleased to discover this drawing session offered through Airbnb during my stay in New York City.
Wow, you just can’t go wrong and, let me come back to this, your skill level is NOT the important thing. Say, you went to do a yoga session. It’s like that. Everyone moves at their own pace. Funny I should mention yoga as the instructor for this Airbnb experience, Ben Ponté, is both an artist and a yoga instructor. Well, it makes total sense to me.
With all that said, I had a blast. And maybe, at my relatively high skill level, I was tapping deeper into our shared activity than one could expect from a novice. Again, it doesn’t matter. First, I’ve spent a lifetime developing my art. If someone walks in and is trying out something they are new or unfamiliar with, they are simply going to need to take things one step at time.
New York Public Library
Look, I’ve been hitting the gym regularly since the start of this year and it has become very apparent to me that I’m at a beginner level to say the least. I’m more into recovery exercises from years of being a coach potato. Well, maybe not a total coach potato. But, there you go, we all have our stuff to work out.
The moral to this story is pretty straightforward. Be passionate about life and go out there and tackle new things but know your limits. If you have to take small steps, then so be it. Before you know it, you’ll reach a master level. It’s good for the soul and just plain fun to reach a certain skill level. I have my faults but I can always come back to the drawing board in more ways than one. And, at an actual drawing board, I feel right at home.
I found a moral but the big point also is that I sense everyone had a good time under the leadership of our very upbeat and accessible instructor. Yes, I can’t praise Ben’s course more than to state right here that it really got me thinking and got me motivated. I’m telling you, it’s a creative workout–and we all need that. Everyone can lay down a mark and express themselves. That is one of the big secrets, I suppose, to drawing. It’s all about process. The only way you’ll get it is by actually doing it. The same thing with going to a gym: the only way you’ll get results is by actually working out at the gym.
You’ll have to pardon my rambling, if it comes across that way. I just felt like jotting all this down. I’m still in New York City as I write this. And I’m still right in the middle of a thousand and one things related to being in New York City! Ah, the city that never sleeps!
Alright, I had better find a way to wrap up. Well, I highly recommend Airbnb for so many reasons. For the purpose of this post: try out the Airbnb experiences! And, when in New York City, get your Airbnb creative drawing workout from Ben Ponté! Vist Ben right here. Check out his Airbnb session, “Sketch Your Way Around New York” right here.
What if you had a special 24 hours to lift up your creative spirit? That’s how I feel about the annual 24-Hour Comics Day. It is observed around the world by a multitude of diehard fans and seasoned cartoonists.
Henry Chamberlain loves 24-Hour Comics Day!
This last weekend, October 7-8, was 24-Hour Comics Day. It all began on a dare back in 1990 when two cartoonists entered into sort of a duel: Scott McCloud (Understanding Comics) challenged Stephen Bissette (Swamp Thing) to complete a comics narrative within the span of 24 hours. Since then, countless others have taken up the freaky fight. It has become a personal quest for me too! This year, I took up the challenge in my room at the Kimpton Palladian Hotel.
Drawing into the night.
These kind of activities that pull us out of our everyday existence are essential. I cannot help but seek them out. I need to be placed out of my element from time to time, as often as possible, when you get down to it. I have my methods. And the 24HCD is one of them! I hope you enjoy the movie I created. Yes, I put together a movie while I was also creating comics while I was also intoxicated by wine, coffee, and the overall luxurious experience of the Palladian. Also, it was quite nice being just walking distance from Pike Place Market. By the way, I got to meet the legendary Pike Place Market busker, Jonny Hahn!
And this will not be the last of this sort of thing! More on its way. I welcome any feedback you may have. You can leave a comment here or you know how you can reach me too.
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.
David Schmader is an American writer known for his solo plays, his writing for the Seattle newsweekly The Stranger, and his annotated screenings of Paul Verhoeven’s “Showgirls.” He is the author of the 2016 book “Weed: The User’s Guide.” And he is the Creative Director of the Greater Seattle Bureau of Fearless Ideas, a literary arts center offering free programs for youth ages 6 to 18. I had the opportunity to interview David and discuss better approaches to community and seeking common ground. Locally, for those of us who are a part of the Greenwood neighborhood of Seattle, we have been undergoing a recharge, a rallying around, after a gas leak explosion that tore into the fabric of everyday life. With BFI preparing to return to its original Greenwood site this month, it seemed to me a good time to check in with a thoughtful leader in our community. I begin our interview going back to that March 9th gas leak explosion in the middle of the night. Fueled with cups of coffee, we settled in at Couth Buzzard Books for this interview.