Brian Canlis and the Canlis family lead the way in how restaurants in Seattle respond to Covid-19. It’s done with integrity, spirit and class! Here is a sketch I’ve done to honor that leadership. Be sure to tune in to Canlis Piano Livestream! If you’re in Seattle, be sure to order food delivery from Canlis. If you’re not in Seattle, there are some choice items you may still consider. Visit Canlis right here.
Canlis Community Supported Agriculture Boxes
When there was a tragic accident on the Aurora Bridge a few years ago, Canlis took it upon themselves to provide food and water to first responders and victims. And that was not the first time that Canlis stepped up. Now, Canlis is at the forefront by, once again, behaving responsibly and courageously. Instead of folding up and letting people go, Brian Canlis and his family have repurposed their landmark restaurant with innovative take-out and food delivery including an easy way to support the community by purchasing from local farms.
The bits and pieces that make up the texture of everyday life.
James Lloyd is a fellow cartoonist who I consider a friend. Oh, but it’s been many years since I can say that I’ve seen Mr. Lloyd in person. James Lloyd is from Vancouver, BC. I’m from Seattle. So, we do need to properly meet up one of these days. Here’s a James Lloyd comic that was slated to debut at this year’s annual Vancouver Comic Arts Festival (VanCAF), which had to become a virtual event this year. It’s entitled, Black Sunday, and is a beautiful work full of local color, all the bits and pieces that add up to the texture of everyday life. But keep with it as this comic unfolds into a look back at the Fall of Saigon. Yes, that’s the Black Sunday that’s being referred to here. Keep going and you’ll discover a story of searching for family roots and confronting the gentrified Little Saigon in Vancouver. Lloyd makes a comparison between the South Vietnamese forced out of their homeland in 1975 and the more recent squeeze that the Vancouver South Vietnamese business community has experienced from developers. How often can one be pushed out after doing everything to play by the rules?
From the Fall of Saigon to the gentrified Little Saigon.
James Lloyd is an excellent artist and he is not someone to sit on his hands and is ready to offer up praise and support to a colleague. Praise and support means everything within the comics community which is made up of a lot of loners who would love nothing more than to go back to their drawing board. Well, let’s hope we can all do our part to keep shedding some light on remarkable labors of love.
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.
We can all only hazard a guess if we’re asked to imagine a post-covid crisis world. COVID-19 will ultimately settle into whatever a virus like this does. Can we contain it, for all intents and purposes, like polio? Probably so, in due time. The question now is how long will this Age of Covid last? All the disruption: and all the anxiety over uncertainty. We wear masks and practice social distancing while wild animals emerge and fill the void. For all of us fortunate enough to be able to draw, write or do something else productive, we must remain grateful and patient. So, I share with you a recent drawing I did as I go about my process of reflecting and resetting. Sure, I’ll post more. It’s healing to express one’s concerns. Trying to add a bit of the whimsical is not easy. I don’t even know if I was trying to be whimsical with this piece. Life will, and must go on, amid death. Hope will, and must, prevail over despair. These are strange times but we need to remain calm, respect everyone on the front lines, and keep working towards the future.
Tomie dePaola in his studio in New London, N.H., in 2013. Of the many books he wrote and illustrated, he said the ones that resonated most with children were inspired by his own life.Credit…Jim Cole/Associated Press
Tomie dePaola, one of my favorite children’s book illustrators, and perhaps yours, has passed away. I always admired his great sense of style and the masterful ease he had with conjuring up his distinctive storytelling. His stories of a grandma witch with an eternally full pasta pot, beginning with Strega Nona (1975), were beloved by generations of children.
Much in the same spirit as another favorite artist, Tomi Ungerer, who died last year, dePaola had a signature style and a heartfelt vision that carried him through his 30-year career. Speaking of hearts, dePaola got to signing his work with a heart and never stopped. As he explained: “The heart has become a sort of symbol for me. I also use it as shorthand, or an abbreviation, for ‘love.’”
When you think of art and soup cans, you can’t help but think of Andy Warhol–and, obviously, for good reason! Warhol remains a mighty force in the art world, pop culture, and our everyday lives in ways we may take for granted. Breaking new ground and making art history is quite rare. Warhol did it. In the first phase of his career, he conquered commercial art. In the second phase, he conquered the art world. Someone who dismisses Warhol is terribly off the mark, perhaps working from some anti-intellectual motivation. But people really don’t want to be talked down to. It may seem comforting but it’s an inane act. People truly respond best when they’re lifted up and challenged. Warhol earned his place in art history. Just look at Warhol’s work. Warhol made us see our world differently. For example, Warhol’s screen prints invite us to scrutinize as well as find the poetry in pop stars and consumer culture. Now, as far as soup that I like, I think something less iconic and more organic suits me just fine. How about you?
What Mickey Mouse is to Americans, Asterix is to the French. The news of Papercutz Publishing bringing out new English translations of every volume of Asterix has been stirring excitement since late last year. The wait is just about over. On May 19, 2020, Papercutz launchs the new Asterix editions with two omnibus volumes of three stories each, starting at the beginning of the series, plus a stand-alone edition of the newest book, #38: THE CHIEFTAIN’S DAUGHTER, which was released internationally in October 2019 and promptly sold 5 million copies worldwide. And, by the way, Asterix is not only in good company with Mickey Mouse. Also making the case for Asterix in America is the massive success of Jeff Smith’s Bone series, another quirky comics series that is an all-ages favorite.
Papercutz Brings Asterix to America
Since Asterix first appeared as a French comic in 1959, the ancient Gaul warrior has been featured in 38 books which have sold close to 380 million copies worldwide. It’s the best-selling comic of all time. The series, written by René Goscinny and illustrated by Albert Uderzo, has been translated into 111 languages and dialects, adapted into ten animated and four (soon-to-be five) live-action films, and even inspired a full theme park outside of Paris. While the international phenomenon has yet to take hold on this side of the Atlantic, the future looks bright for Asterix at Papercutz.
Asterix Comes to America
Fun facts and the whole story about Asterix follows:
Editor’s Note: On January 22, 2019, the Seattle downtown core was rocked by a mass shooting. Part of the heart of downtown Seattle is Third Avenue and Pine Street, one of the most congested downtown areas in any American city and long known as a hub for crime. This incident underscores the dysfunction at City Hall and how Seattle city leaders have long struggled to understand and address crime. Seattle cartoonist and writer Jennifer Daydreamer speaks out on the challenging situation Seattle citizens must face.
Seattle mass shooting crime scene. The Seattle Times.
SEATTLE: THIS IS HOW TO PROTEST THE CRIME
We have a real crime problem in Seattle. Who are the superheroes that have emerged to champion public safety? The business community. The Downtown Business Association commissioned the 2019 System Failure Report, held an impromptu 1.24.20 downtown safety rally, and, most recently, signed a petition letter to Seattle and King County leadership, pleading for safety reform. This should give one pause. Can you feel the topsy-turvy of a non government entity – businesses – doing our government’s job of protecting the people? Something is terribly wrong.
What has our council, mayor and governor been doing in response to crime? They give speeches! It’s always the same one, too. Their speeches consist of feel good solutions that appeal to their voter base. They never have the courage to say that the law is not being enforced and if it were, it would reduce the crime on the streets dramatically. Now, why would their voter base not want safety? The short answer is that the hard Left is keen on bridging the economic divide. An example of this is the focus on free bus rides, library fees waived and free winter rent (to be paid back, if the landlord can collect it). Do you hear our leaders talk with the same passion on the need to stop people from getting stabbed, gunned, punched, pushed and robbed? No.
In case you have been asleep like Sleeping Beauty the last decade, the speech our leaders give is this: “We have to build more housing, have alternatives to incarceration, offer drug rehabilitation programs and mental health assistance.” All of that is very good. Well planned, thoughtful alternatives are important. The problem is, given the track record of our government’s inability to create such entities, I don’t think these ambitions will become reality for another twenty years, if ever. When politicians offer up nonsensical solutions to the immediate need of public safety, it’s a way of denying the crime.
I recognize the Emperor’s New Clothes when I see it. Make no mistake, the crime is real. The majority of you in Seattle know this; you’re experiencing crime and reading and watching the news. At its core level, law and order is gold; it’s been melted down and is slipping through your civic fingers. I recommend KOMO television’s 1.27.2020 Town Hall, Downtown Seattle Violence: Enough is Enough. Attorney Scott Lindsay describes the City’s approach to public safety as “The appearance of gross negligence.”
When you hold a large protest, it tells our politicians that this is a voting public. Allow me to describe to you my dream rally. Have a simple rally, centrally located in downtown. Chants can be yelled for ten minutes such as ‘Enough Is Enough!’ and ‘We Want Safety and We Want It Now!’ The twist is, in any part of downtown, business owners only have to step outside their building to the sidewalk, to join in the chanting. Isn’t it cool that business is strategically located to have a protest that stretches to both ends of downtown? Anyone can join in, employees, passersbys, all people. I really believe there are enough people affected by crime that many will join in. Yet, this can be peaceful. There’s no need to spill onto the streets and block traffic. Police can join in for a change instead of having to keep the peace. Businesses won’t break their own windows. Everyone yells during his or her break and then back to work. Efficient!
Maybe I’m dreaming too big, to say this, but the protest can be spectacular and stretch “across the land” from business to business, residence to residence, person to person; to Belltown to Beacon Hill to Capitol Hill, all the way to Alki Beach to Ballard to Fremont to the U District…you get the picture.
We are in a kingdom, a fiefdom! It’s time to awaken! Although I use fairy tales as metaphors, I am not naïve. I know I am preaching to the choir out there in the Emerald City. Seattle, you know the crime is real.
This is one of the most inspired scenarios for a comic that I’ve seen in a while. What if all the great mystery writers of the 193os formed a club–and had amazing adventures? That is exactly what is happening in this totally cool new graphic novel series, The Detection Club, script and art by Jean Harambat, published by Europe Comics. We’re talking about the golden age for mystery writers including G. K. Chesterton, Agatha Christie, John Dickson Carr, and Dorothy L. Sayers. This is from the same brilliant talent who created the spy thriller series graphic novels, Operation Copperhead. If you like crisp and witty humor, then this is for you. And, yes, this book is in English. That’s an essential component of Europe Comics, your home for comics from Europe, translated into English.
The Detection Club page excerpt
First off, you need to know that there really was a Detection Club and it must have been something! Just imagine all of these world-class writers meeting on a regular basis, helping each other out with their craft, and even writing books together under the name of the club itself! I don’t think I was aware of this and, if I was, I’d forgotten. So many years and beers ago, you know. But now I’m fully aware of this fact thanks to this wonderful graphic novel series. So, that is the basis in reality for this series but Harambat takes it much further and places a select bunch of our writer heroes in quite a madcap adventure involving a crime-solving robot who may or may not have just committed murder! So, lots of fun for all ages, even for much older kids at heart such as myself.
Panel excerpt: Our main characters all in row.
I really like to showcase panel art. There are so many reasons to do this. The main reason is to simply get a closer look! This makes sense, just as you would focus on a particular passage in any novel. It gives us a moment to savor the process. What is key about Harambat is that he loves to draw. This is quite evident in the above example. Too many young aspiring cartoonists believe that any scrawl that they produce is priceless. That wrongheaded thinking is much too ingrained in the indie comics community. Yes, there is a place for spontaneity and a loose and sketchy style can be quite legitimate. But look at the dazzling results you get from rigorous care in the pursuit of refined essentials. Everything reads as very crisp and clear! You want that kind of clarity!
The Detection Club page excerpt
Harambat is an auteur cartoonist who truly loves to write and draw economically. It is a very functional approach that makes it easier to tackle such an ambitious project that involves characters with formidable back-stories. We’re talking about some of the greatest popular writers of all time–either intimately known by readers or at least recognized to some degree. There are expectations already in place. Many readers coming to this graphic novel already have some notion as to who Agatha Christie was and expect someone unusual and clever–and will expect the same from her contemporaries. Any reader attracted to this book is already curious about the world of mystery and crime fiction and related matters. Harambat is there to deliver on all counts: he fills in the blanks, connects the dots, and thoroughly entertains. All the characters are drawn in a direct and clear way, easy to keep track of, easy to relate with. Then you bring in the villain, an eccentric billionaire living on some secluded tropical island with a huge robot at the center of a murder mystery. Bingo! What a premise to kick off this series!
The Detection Club: Part 1 is an 86-page book, available in digital format on various platforms. For more details, visit Europe Comics, your home for all European comics, all digital, all in English.
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.