I love this video that features comic-drawing rebel professor Lynda Barry doing her own thing. Around the six minute mark, Lynda confides in the audience that she knows that most folks abandon drawing when they try to draw a nose! She proceeds to draw a bunch of fun noses. First, she begins by drawing what her cousin advised to be the proper way to draw a nose, circa 1962. Then, she riffs on the wonderful world of noses. Starting with the shape of a head, Lynda Barry, one of our all-time great cartoonists, guides the viewer into visual anarchy. If there is only one rule to follow, it is this: the drawing still needs to “read” as whatever it is you’re drawing.
Lynda Barry has worked as a painter, cartoonist, writer, illustrator, playwright, editor, commentator, and teacher and found that they are very much alike. She is the inimitable creator behind the seminal comic strip Ernie Pook’s Comeek as well as numerous comic books and graphic novels, and is the recipient of both the Eisner Award and the R. R. Donnelly Award. She lives in Wisconsin, where she is an associate professor of art and a Discovery Fellow at the University of Wisconsin–Madison. Her most book is Making Comics, published in 2019 by Drawn & Quarterly.
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.
Over the years, I’ve done a number of process posts where either I just show you my work, or show you how I created it, whether visual or literary or whatever. Being an artist is not just one thing, right? Seems to me a good time to do a bit of a reintroduction here. I’m going to be looking over things I’ve done in the past, sharing new things, and gearing up for a number of new process posts going into the end of this year and into the next. We’re looking at everything. And this is while I’m still working my way to completing some current projects!
This leads me to a quick Top Ten list.
WHAT DOES IT TAKE TO MOTIVATE YOU TO CREATE ART–or ANYTHING?
A deadline. If there is some kind of deadline, that always gets my attention.
Curiosity that develops into an obsession. You develop a passion! Who knew?
Feeling competitive. Okay, maybe not the best reason but, hey, a bit of gusto never hurt.
Breakthrough. You have figured something out. An epiphany. You are compelled to create!
Drop your inhibitions. You stop putting yourself down and clear away any doubts!
Need to impress. So, you’ve fallen in love and want to impress that someone special. Why not?
Others are looking up to you. What about that special someone in your life who already believes in you?
Courage. Maybe there’s nobody special at the moment to cheer you on but you find courage on your own!
Making up for lost time. Where did the time go? Seriously, where did it go? So, you hop into action.
You discover this feels good! The very act of creating is intoxicating. Now, you’re on your way!
Here I am drawing Grand Central Terminal.
What I’m getting at, for the purposes of this post, is that I want to do my best to get some good solid process features out soon. You know, “How-to” sort of stuff. I am constantly learning new things from various sources. I see a lot of fun and interesting “how-to” books and gurus out there. My conclusion: there’s always room for another person to share their work, tips and insights! I’m just that kind of person. I won’t promise what happens next here but I’ve got a nice track record of following through. Heck, I’ve done more posts right here on this blog than most people I know. So, yeah, I’m good for it. I just gave you a top ten list. Not bad, huh? We’ll do more. That I can promise.
New York Public Library
Anyway, with all that said, I’m thinking a lot of my activity here on this blog and elsewhere could add up to some sort of book that I could share with you that speaks to what I’m doing. It would be an initial step towards what I’m envisioning. It would be the first in a series of books that explores the passion of creating art and storytelling, a nice mix of work, tips, and insights. I’m always learning, always thinking. Also, I should add here that I’m gearing up for a big trip. It is something that has involved a bunch of behind-the-scenes planning with a little help from sponsors and friends. That will be revealed as we progress down this journey. Basically, what I hope will happen is that, at least, a number of successful travel and art blog posts will result. That’s the first step.
THE CARTOON GUIDE TO BIOLOGY, by Larry Gonick and Dave Wessner
Many a high school and college student will be amazed at how easy and truly fun it can be to learn about biology in a comics format. And in a significant way. Seriously, all you students out there at whatever level, you can have an enjoyable immersive experience and LEARN, not just cram facts. Behold, THE CARTOON GUIDE TO BIOLOGY, by Larry Gonick and Dave Wessner, published by William Morrow, an imprint of HarperCollins.
A riot of life!
Let me jump right in and get to an important point. If you are somehow new to comics, well, this may blow your mind. If you are familiar with comics, then this will still blow your mind. Here’s the deal, comics are uniquely capable of explaining all sorts of things. And cartoonists are uniquely compelled to explain things! I should know. I am a cartoonist. What Larry Gonick excels at is really utilizing the impressive tools offered by the comics medium. One of the most magical things about comics is its ability to make the most impact by being as concise as possible. There is truly an art to taking something complex and boiling it down to its essentials. Gonick has figured out how to do that. Anyone who has lugged a biology textbook can appreciate this, if there was a way to make the subject more relatable and accessible, then that would be a most awesome thing. Gonick has done that! And he’s teamed up with Dave Wessner, a Professor of Biology and chair of the Department of Health and Human Values at Davidson College. Between the two of them, they deliver the goods.
The pulmonary arteries.
Gonick has tapped into the art of being economical with text as well as with artwork. And it’s all for the sake of clarity. We don’t want any clutter, especially when learning about as heavy a subject as biology. But, oddly enough, Gonick finds a way to keep things consistently light, or light-hearted. There are little jokes to keep the pace moving along. And, there are just so many wonderful moments of sheer energy and involvement that it can’t help but rub off on the reader. It’s as if Gonick has timed it just right to give you a little joke here, plus a light illustration there, then a fun detailed illustration, and so on.
The cell membrane.
We all learn in different ways and it’s usually not as straightforward as you might think. It’s not just a case of some people learning best by doing and other people learning best by reading and so on. It’s a mix of a lot things and it involves whatever will engage the student. It’s pretty hard to resist the comics medium, especially when you have such a master as Larry Gonick leading the way. He takes numerous bits of information and manages to give the reader the sort of hooks they will need to not only remember but to thoroughly process such things as how a plant creates glucose from carbon dioxide and water. This can be pretty dry material for any student to slough through so having such an engaging book as this becomes a most valuable resource.
THE CARTOON GUIDE TO BIOLOGY is a 313-page trade paperback, full illustrated, available as of July 30, 2019. Be sure to visit HarperCollins for more details on this book as well as others like THE CARTOON GUIDE TO ALGEBRA and THE CARTOON GUIDE TO CALCULUS.
Karen Green at Butler Library, Columbia University
I was recently in New York and had the pleasure of interviewing Karen Green, the Curator for Comics and Cartoons for the Columbia University Libraries which collect both graphic novels for the circulating collection in the Butler Library stacks and also creator archives in the Rare Book & Manuscript Library. The interview was a great treat and I share it with you here. Afterwards, I got a chance to go on my own and explore the stacks at Butler Library. The vast collection that Karen Green has helped to put together really lends itself to this sort of intimate hands-on exploration in real time and students in all disciplines are welcome to come explore for themselves. For more information, on Comics in the Columbia Libraries, go right here. I include here some photos of some of my discoveries exploring the stacks.
Butler Library at Columbia University
The Columbia University Libraries collect both graphic novels for the circulating collection in the Butler Library stacks and also creator archives in the Rare Book & Manuscript Library. The circulating collection launched in 2005, when the libraries held three titles, and by the end of 2015 the collection featured roughly 10,000 titles in over two dozen languages. The archival collections, which already contained disparate comics holdings, launched in earnest in 2011, with the acquisition of writer Chris Claremont‘s papers.
Remaking the World, at Columbia University, Kempner Gallery
The circulating holdings contain a diverse collection, with mainstream and alternative titles, archival reprints, independent comics, Kickstarter projects, and other content. These materials have been used in courses from East Asian Languages and Cultures, to English and Comparative Literature, to Narrative Medicine, and have been featured in the American Studies course “The American Graphic Novel.” Students have used the collection for term papers, senior theses, and M.A. essays.
Out of the Depths (sinking of RMS Lusitania on May 7, 1915) by Oscar Edward Cesare, pen and ink on board.
We had a brief and informal chat after Karen provided me with a tour of the comics collection in Butler Library. Back at her office, Karen shared with me a syllabus for an upcoming summer class she will be teaching. The proposed reading list and schedule includes Doctor Fate, with guest speaker Paul Levitz; All the Answers, with guest speaker Michael Kupperman; Bad Girls, with guest speaker Alex De Campi; and Prince of Cats, with guest speaker Ronald Wimberly.
The Suffrage Amendment, Another Dark Alley to go Through! by Kenneth Russell Chamberlain (1891-1984), pen and ink on board.
Lastly, just to demonstrate how easy it is to roll into a tangent when you’re surrounded by such treasures, I couldn’t help but spend some time observing the current show in Kempner Gallery at Butler Library. It is entitled, Remaking the World, and it relates to important issues after World War I. I happen to have rested my eyes on a political cartoon on women’s suffrage in the United States. The cartoonist is Kenneth Russell Chamberlain. Any relation to me? Well, I’m not sure. I don’t think so but I’ll have to see to make sure. Even more uncanny to my possible connection is just how relevant the cartoon is today! We’ve made so much progress but we certainly have great challenges still ahead of us to say the least.
HENRY CHAMBERLAIN: Please share with us how the Comics and Cartoon collection came about at Columbia.
KAREN GREEN: It was 2005. I had just rediscovered graphic novels after a 12-year hiatus and was frantically buying graphic novels to feed my fascination with what was going on. I hit up against the wall of a librarian’s salary and thought about how nice it would be to check out these graphic novels from my library. However, at that time, we only had three graphic novels: Maus, Persepolis, and Palestine. We had Maus because every library has Maus. We had Persepolis and Palestine because Edward Said, the great scholar of Orientalism, taught here and those titles were on his reading lists. So, I thought about ways to frame a proposal for graphic novels. I brought together the stakeholders who I thought would be most interested: our American Studies librarian, our Graphic Arts librarian, and our Fine Arts librarian. And I developed a three-fold argument. The first prong was: this is a field, a medium, that is getting increasing academic and critical acceptance. I was able to show them articles from peer-reviewed academic journals along with The New York Times and The New Yorker. The second prong: Columbia has a film school and a film studies program. Already in 2005, the connection between film and comics was pretty strong and obviously only stronger now. It made sense for those students to have access to this raw material. And the third prong was a little bit more sentimental. Columbia’s full name is Columbia University in the City of New York. New York City is where American comics were born. No academic institution in New York was systematically collecting comics in any form. So, I thought that these two New York City institutions, comics and Columbia, could profitably form a partnership and that we could be the place for these things to be collected in. I presented this argument to a group of my colleagues and they agreed and provided some funds. It was a small budget to start with and it’s a lot more now.
Why do you think it took so long for a comics collection to become part of Columbia?
I think, for the most part, in universities, libraries respond to the curriculum. In this case, I was creating a demand for the curriculum. My feeling was that this is an important area. I was getting to know more and more people who were scholars in this field of comics studies. I felt that if I built a collection and it started getting noticed by faculty and grad students, then coursework and research and learning would follow–and that has turned out to be the case.
Having this vast collection, do you see patterns in the graphic novels that you’re looking at?
What’s interesting in the medium is that the big genre in comics is really the same as the big genre in prose which is memoir. I teach a summer course…it used to be called “Comics as Literature,” which I inherited. I don’t teach it as literature since I see comics as a primarily visual medium. I teach it as “How to Read Comics” or “How to Read This Comics Language.” And, I was trying to teach it by genre as a nod to the English Department and, one year, one of my students pointed out that although I had varied subjects (journalism, war stories, social activism), they all turned out to be memoirs! I try now to very consciously make the reading list more diverse so that we have memoir, reportage, fiction, history, and biography.
I think the natural inclination for the creator is to do memoir. So they end up needing to make a concerted effort to break free from that.
Write what you know and what do you know better than yourself!
Even if you’re not writing about yourself, you end up writing about yourself.
What do you think is the typical young person’s approach to comics?
The course that I teach in the summer is mostly taken by our students in our School of General Studies, which is a school for returning students. They are not required to take as many of the courses as Columbia’s core curriculum. My course serves as a substitute for the foundational great literature course, Literature Humanities. Many of my students have never read comics or don’t know anything more than newspaper comic strips, if that. There’s another course that is taught here every other year, The American Graphic Novel. It is co-taught by one of our tenured faculty, Jeremy Dauber with Paul Levitz, the former president of D.C. Comics. That course gets huge enrollment from all the undergraduate schools and from some grad students. Jeremy and Paul go around on the first day of class and ask their students about their experience with comics. Maybe ten percent are dedicated comics fans. And, from that group, when asked what got them interested, they usually cite Batman: The Animated Series. I get a lot of students who tell me their gateway drug was Calvin and Hobbes. But I don’t get a lot of students who know the medium well and are reading longer more complex stories.
Let me see if I can get this question right. I’m wondering what you think makes for the ideal comics creator. I believe it is often a lone artist-writer. However, even when you have a writer and artist collaborating, ideally you would have both of them equally immersed in the literary and visual arts. That leads me to the definition of an alternative comics creator. How would you define that role?
Well, that would be anyone who is not working in mainstream superhero stories. What a broad category that is: from Lynda Barry, to Derf, to Ronald Wimberly. The certain notion of mainstream being the Big Two (Marvel and D.C.) with maybe Dark Horse and Image, although those two have creator owned work, to call that the mainstream (doesn’t take into account) the dozens of other publishers bringing out material, in addition to the Big Two. Every year, I buy a lot more non-superhero material than superhero material and not because I’m discriminating against it but because there’s a lot of stuff out there from all sorts of publishers, not just dedicated comics publishers. You have traditional publishers like Random House, Simon & Schuster, and Viking. You have academic presses that are publishing graphic novels, not just scholarship on graphic novels. So, I think “alternative” is becoming less of a useful term. I just call everyone “comics creators.” I try not to put them in pigeon holes. You have people like Dean Haspiel who do superhero material and who do their own stuff. You’ve got Kelly Sue DeConnick, who does superhero stuff and her own stuff. Those categories aren’t as useful since the field has become so broad and diverse. They’re just creators.
I don’t mean to digress but I do think it’s a certain mindset. You get someone like a Dean Haspiel and the Big Two want that certain flavor, a very specific way of seeing that comes from an indie cartoonist, that certain way of creating comics that comes from an alternative comics world. Then you consider that MoCCA, and other comics art festivals, are focusing only on alt-comics.
While something like Comic Con in San Diego is primarily about big money, the Big Two, and Hollywood.
But Comic Con in San Diego has a huge small press presence.
That’s true, they’re able to embrace everything.
You take a look at their Eisner Awards and they’re dominated by so-called “alternative” creators. But, take a look at Paul Levitz, “Mr. D.C. Comics,” who has written two graphic novels for Dark Horse and he’s working with two other smaller publishers…and it’s creator-owned stuff. Sonny Liew, Paul’s collaborator on Doctor Fate, he does work for D.C. and he does his own stuff: The Art of Charlie Chan Hock Chye, which won three Eisners. I just think that the alt-comics distinction has gotten so blurry. I think it’s a good thing to have creators dip their toes in different areas.
Well, I love that there’s a lot of gray area.
Yes! I love gray!
What graphic novels are popping up on your radar right now?
That brings me to my summer course and its reading list. For starters, I have Scott McCloud’s Understanding Comics right along with How To Read Nancy. We begin with wordless comics: Peter Kuper’s Sticks and Stones; and Eric Drooker’s Flood! I really enjoyed reading Black as Fuck. They’ll be reading that along with Ms. Marvel. Junji Ito’s horror comics are just mind-blowing. Ito’s Cat Diary: Yon & Mu brings takes his horror sensibility over to a story about his cats. Because I love European comics, I’m going to have them read (Dillies & Hautière’s) Abelard. There’s also Michael Kupperman’s All the Answers matched with David Mazzucchelli’s Asterios Polyp. I also have Fun Home and possibly My Favorite Thing is Monsters if we have time. We have Bad Girls by Alex De Campi and Victor Santos. There’s also My Friend Dammer and The Fifth Beatle. And I always end with Ronald Wimberly’s Prince of Cats. I try to get as many titles as I can in as many styles, genres and traditions. It can be disconcerting, if you’ve only read American comics to suddenly be reading manga so we go over how to read it and all the visual cues. Let’s see, what else am I reading. I just read David Small’s Home After Dark which I really loved. Black as Fuck, I think the art is beautiful. It’s a story about what the world would be like if only black people had super powers. In the past, we’ve read Onward Towards Our Noble Deaths by Shigeru Mizuki. Watchmen. Dark Knight. Those two because they’re been so influential. We’ve also read early Action Comics, Detective Comics, Wonder Woman, and Spider-Man. I kept coming back to Dark Knight because we’re so much living in Frank Miller’s world now where superheroes are concerned. But this year I’m going lighter as I focus on Doctor Fate and Ms. Marvel because I’m ready to get out of the dark.
Yeah, we’ve been in the dark for too long. It runs in cycles.
Nothing against it. The dark books are great to teach but it’s good to mix it up.
We’re in a golden age of acknowledgment of comics and graphic novels. Do you think we’ve reached the ideal level or is there still room to grow with more and more people aware of and talking about graphic novels?
I think there’s still a lot of room to grow. There was a tweet the other day about an elementary school teacher in Los Angeles who won’t allow graphic novels in his classroom which led one of his students to bring in her own graphic novels to lend out to her classmates. It’s so strange to me that there are still educators who are resistant to graphic novels. Comics have won national book awards. What it is that still needs to happen for comics to be accepted as part of our cultural landscape I honestly don’t know. Four cartoonists have won MacArthur Genius Awards. What needs to still happen, I just don’t know. But there’s definitely room to grow to achieve as broad an acceptance for comics as there is for film, fiction, and any other other art form.
We will leave it there. Thank you so much, Karen.
You’re very welcome, Henry.
That concludes my interview. I want to thank Karen Green for taking the time and sharing her thoughts on graphic novels in general and in an academic setting. Thanks to Karen, she set things in motion and, with the help from like-minded souls, she continues the good work on behalf of comics, cartoons and graphic novels at Columbia University in the City of New York.
Herbert Marcuse, Philosopher of Utopia: A Graphic Biography
All too often, we are susceptible to allowing ourselves to be cogs in a machine. The ever-expanding technological age has no mercy. It is up to the individual to avoid becoming one dimensional. These are ideas that we don’t necessarily think about enough while, at the same time, we find ourselves confronting them on a daily basis. If you’ve fancied becoming more in tune with philosophical discourse, and would really appreciate a way in that is highly relevant and accessible, then turn your attention to the new graphic novel, Herbert Marcuse, Philosopher of Utopia: A Graphic Biography, by author/illustrator, Nick Thorkelson, published by City Lights.
The Swine of 117th Street
There have been a number of comics adaptations of subjects that would seem not to lend themselves to being broken down into the comics medium. However, the truth is that comics is uniquely equipped to take the complex and make it concise. In this case, Nick Thorkelson has crafted quite an engaging book based on the life and work of one of the great philosophers of the modern era, Herbert Marcuse. It is Marcuse who serves as a vehicle to hang a number of challenging and eternal questions dating back to Aristotle: What is our role in life? What are our expectations in life? What makes up a good and purposeful life? And once the questions are asked, who has the answers? Descartes? Marx? Heidegger? Marcuse?
The Reluctant Guru
We follow the young Marcuse as he goes from fighting in the First World War to finding his way among German intellectuals to developing his own philosophy with the help of mentors like Martin Heidegger. But, after Heidegger swears his allegiance to the Nazi Party, Marcuse moves on and, in 1933, finds his way to Columbia University in New York City. The Social Democratic Party, once the hope of a new Germany, had been forced aside by the Nazis Party which had made numerous false promises and had pushed its way into power. Fast forward to the present, we may ask ourselves: Are we headed into a similar abyss? Have we already entered a dark period with some parallels to Nazi Germany? In a very even-tempered way, Mr. Thorkelson is clearly suggesting that, yes, a cycle is repeating itself. But hope is not lost. A way out can be found in the soul-searching work of Herbert Marcuse. Basically, it is up to the individual to demand a better life. And, by and by, Herbert Marcuse found himself in the thick of the fight right alongside the student protests of the sixties.
History has a way of repeating itself.
Over time, Herbert Marcuse established himself as a leading voice within philosophical and activist circles. That voice can still be heard today and must be heard today. With a sense of great timing, Nick Thorkelson brings to the reader an essential and inspiring guide to one of our great thinkers. On each page, from one panel to the next, Mr. Thorkelson has condensed various bits of information into a seamless presentation that is easy on the eyes, both engaging and highly informative. The whole book is a delight as it is clearly organized and designed with a keen sense of style. Thorkelson’s cartoons are highly sophisticated and such a pleasure to behold in their own right. You can say that the artwork expresses the Marcuse joie de vivre quite fittingly.
Step by Step
Herbert Marcuse, Philosopher of Utopia is a 128-page trade paperback in duotone, available now, published by City Lights.
Here are two cartoonists that need to be on your radar, David Lasky and Greg Stump. And, if you’re in Seattle, then you have an opportunity to take a very special comics course from them. This is an in depth look at “graphic humor,” as expressed by artists, writers, and cartoonists. “Graphic Humor” is a 6-week course at Hugo House: Saturdays from 1 to 3pm, starting April 13 – and is described in the Hugo House catalog:
“Two experienced, allegedly funny cartoonists will guide you through the process of creating a wide range of humorous comics, from New-Yorker-style gag cartoons to page-long stories, rants, and satire. We’ll examine work—from subtle to slapstick to surreal—of some of the medium’s funniest artists and writers en route to generating material for a class anthology comic book. While prior drawing/cartooning experience may be helpful for this class, it isn’t absolutely essential; however, be prepared to collaborate and share work.”
Comics by Greg Stump
Lasky and Stump aim to reveal a wide range of techniques and approaches to humor through a variety of prompts, forms, and experiments. The list of artists and writers covered in the course include Dan Clowes, Julie Doucet, Will Elder, Lynda Barry, Raymond Pettibon, Donald Barthelme, Kate Beaton, Saul Steinberg, Edward Gorey, Lisa Hanawalt, Jeffrey Brown, Ernie Bushmiller, Joe Brainard, David Shrigley, and many others. Students will work towards creating a comic book at the end of the sessions which everyone will contribute to and receive a copy. This is the first time Stump and Lasky have focued on humor for one of their courses. They look forward to engaging with their students.
Fred Rogers did it right and we can gain from his sage advice and guidance. I’ve always admired Mister Rogers. Is it really that difficult for a man to be gentle and sensitive? I am certain a lot of us don’t think so. The age of Trump, with its unkind and insensitive mindset, is a travesty. There is nothing courageous about it. And then you take a look at what can be accomplished when you listen to a child and do something positive.
Fred Rogers managed to do quite a lot of good in his day, don’t you think? Well, this upcoming documentary, WON’T YOU BE MY NEIGHBOR?, appears to offer up a lot to be joyful and inspired about. As is the case with many documentaries and books of this nature, the timing is perfect. 2018 marks the 50th anniversary of the first broadcast of “Mister Rogers’ Neighborhood” on PBS.
WON’T YOU BE MY NEIGHBOR? will be in select theaters as of June 8, 2018.
On a recent trip to Tacoma, I went to visit my dear friend, Dalton and his family. Our first stop was Tinkertopia. Dalton said it was just the place to go and he was so right. This place has everything in the way of quirky and functional art supplies and curios and such. Well, there’s a very practical and worthwhile side to this. Tinkertopia plays a vital role in the community as it is in the forefront of the reuse and do-it-yourself movement. Much of what is on display and for sale has been salvaged and recycled in some way in order to enjoy a new life as alternate artwork and arts & crafts supplies. Tinkertopia is also a prime location for workshops of all kinds, especially for kids.
As a cartoonist, I was quite taken with the mini-comics on display which, after a closer look, were the results of numerous 24-Hour Comics Day marathons. I am something of an expert of 24HCD, I suppose, as I’ve been creating comics during that event for a number of years. It’s always fun to see what comes from these comics experiments. The merry band of cartoonists that congregate at Tinkertopia enjoy a perfectly built-in ecosystem for such endeavors. The books on display are by R.R., that’s short for Rerun (aka RR Anderson), the master of ceremonies at Tinkertopia.
A fine and dandy drawing style by Rerun!
Many comics fans, young and old, are familiar with Rerun’s cartooning antics which feature the Hairy Mermaid. Rerun has as a clean and polished style. His sense of humor is highly irreverent and just a lot of fun. Rerun’s fluid line makes it all looks effortless and graceful. But I can see that he’s put in the elbow grease necessary to have a facile way with drawing trucks and squids flying through space from one panel to the next. A nice crisp style like Rerun’s comes from dedication and a genuine tireless love for the comics medium.
If you have a young inventor in the family, or want to throw a unique birthday party, or maybe need help with recycling, come to Tinkertopia. Founded by two Tacoma artists, Tinkertopia is all about resource conservation in partnership with local industries, educators, and activists. There’s always something on to inspire and to educate. In March, for example, you can take part in a workshop to build Tiny Treehouses and Leprechaun Lairs! There are numerous workshops and events at Tinkertopia that will have something for everyone. Go visit Tinkertopia right here.
And one final note: You want to know more about RR Anderson? Well, he’s the real deal trifecta: a cartoonist, inventor, and author. Check out his book, “The Tacomic.” As he puts it himself: “RR Anderson is one of the most curious alternative political cartoonists in FeedTacoma.com history. He fought bizarre underground beings in the lava tubes of Juneau, Alaska; was wounded by a laser before it was invented; and was a founding father of the Cartoonists League of Absurd Washingtonians (C.L.A.W.). Questions? Seek him out drawing on the sidewalk at Friday’s Frost Park Chalk Challenge in the center of downtown Tacoma. Ultimately his work is about friendship, need and other timeless values.” Visit RR Anderson right here.
Has a major American city ever commissioned a graphic novel as a public art piece before? Seattle is on board! Cartoonist David Lasky and writer Mairead Case have been selected (from 71 applicants) by the City of Seattle to create a fictional graphic novel centered around the historic Georgetown Steam Plant. The goal is to increase awareness of this unique landmark with a graphic novel geared toward young adults.
Panel from “The Carter Family: Don’t Forget This Song”
David Lasky is the co-author (with Frank Young) of the Eisner-Award-winning graphic novel biography, “The Carter Family: Don’t Forget This Song.” Chicago writer Mairead Case is the author of the acclaimed prose novel, “See You in the Morning.” A story by Lasky and Case, “Soixante Neuf,” was featured in Best American Comics 2011.
West elevation exterior of engine room. The Georgetown Steam Turbine Station, built in 1906 is now a National Historic Landmark. The plant is owned by Seattle City Light and has been working to restore the plant. It is open for tours the second Saturday of each month and is occasionally used as a teaching facility for steam power engineers and hobbyists.
Here is a brief email interview I did with Mairead Case today:
What went through your head when you got the news about being chosen for this special graphic novel project?
Well I was, am, sincerely grateful: to be from a city that celebrates public monuments with comics, and to have visibility and support for the creative relationship David and I have pretty much always had, even when nobody else was looking. Grateful to have work that includes time for oral histories and site-specific research (no screens!). And aware of the responsibility to accurately represent Georgetown’s diverse history—we want to use this platform to amplify and illuminate the stories that are already here, not co-opt them. For real. (Also, I was really happy to have news that would make my mom proud.)
Are you already envisioning what your routine will be like with the project?
David and I are both pretty focused, detailed nightowls so I expect we’ll have a focused, detailed, nightowl routine. That said, it’s amazing to have financial support for this project so it’s really exciting to think about how we might work in new ways with that gift. (We might even work in the daytime, ha!) But no matter what we’ll be collaborating closely. And we will probably listen to Bowie at some point.
Did you ever think you’d be creating a graphic novel about a steam plant?
I feel like I’m supposed to say no here, but why not? When I was a kid I wanted to be a tightrope walker so maybe this is not that far off.
What do you think this project might say about the role of graphic novels in America?
Ah, I think our role is to make the book and then other people can tell us! But it is terrific terrific terrific that Seattle is supporting a project like this—it’s really wonderful that an American city in 2017 is using art to build community, as defined and remembered by that community. I’m used to telling (maybe yelling a little too) at the government about that, and am still gobsmacked that this time the government was all “we know. Go.” I hope that other cities say “Go” too. The talent is here! American cities, if you want me to send you lists about the talented storytellers I know in your neighborhoods, just send a flare.
You can keep up with this intriguing project right here.
And, if you’re in Seattle this weekend, be sure to stop by and see David Lasky at the annual comic arts festival, Short Run.