Friday, October 31, 2014

"Political Suicide"


Been doodling Don (R-NRA) for many years now (almost as much as the other cornucopia of buffoonery): brandishing his oosik, headless, emerging from an outhouse, one slice in a sandwich, urinating on endangered species, spewing toxic lies, etc.


But this latest round of appalling idiocy epitomizes the pure hypocrisy and arrogance of someone who's been wallowing in the proverbial trough of "government largess" for over forty years. So, once again - maybe for the last time - it was back to the drawing board for another take, hopefully one that encapsulates the myriad of charm offensives committed over his record of stellar statesmanship.

"The last guy who touched me ended up on the ground breakdancing"

By definition of a caricature is "a picture, description, or imitation of a person or thing in which certain striking characteristics are exaggerated in order to create a comic or grotesque effect." And so the challenge here is in depicting someone who already is a cartoon. Still, nobody's laughing: suicide is a serious issue in Alaska (link to helpline).


Now, not that looks are everything, and it would mean no more drawing from a deep, dependable well of inspiration, but it's definitely time for a change - a fresh face. Besides, Forrest is pretty funny-looking will be really fun to draw.

Sunday, October 26, 2014

Follow-Up Post: 24 Hour Comics Day Alaska 2014

 
YOW! What a turnout for this year: set all-time records for not only participating artists - over thirty - but also a whopping ten people completed all their pages! Not to mention the eighteen of us still creating our brains out right on up to the deadline AND the totally mind-blowing level of quality work on display through the whole event – we have some serious sequential art skills in our neck of the woods. Here's the landing page for backlinks to some previous 24 Hour Comic Days here in the Interior, and hope to see you in 2015!


There was a great cross-section of ages & abilities, and diversity of styles & techniques on hand, from traditional pen & ink, pencil, watercolor and digital.


Even everybody who dropped in for a few quick sketches, a handful of panels or a dozen pages kicked some artistic arse. Sure appreciate everyone who stopped by just to say hi and check out the work-in-progress, and it was great to have so many different kinds of people interested and involved.  Special Thanks to: Kevin and the awesome staff at The Comic Shop of Fairbanks for hosting yet another completely insane blowout.

SurReal Estate: Before & After

Just a handful of works from some of the attendees - really wish I could have gotten more from everybody, but here's a few samples:


Also big thank-you’s from all of us goes out to the 24 Hour Official Support Crew: Lucas for the pile of pizza pies: Alex for b-fast; Tanya for the creative juices; Diane for the bonus homemade mac & cheese;The Fairbanks Daily News-Miner + KTVF Channel 11 for the coverage; and most importantly everybody for the laughs + inspiration.


And last but not least here's a wonderful segment done by Katie Luper for KTVF Channel 11 News featuring a couple quick interviews, a demo piece and some footage of the event. I spliced in a quick montage of some of the images posted here at the end too so as to make a nice little encapsulation of the event: enjoy!

Saturday, October 25, 2014

"Trouble in the Sacred Grove"

"If we want to construct a healthy and resilient world for ourselves and our fellow creatures, we could do worse than look to the lowly beavers for hints on how it can be done. They build a vibrant world for themselves and so many others by weaving one small limb into another, stick by stick by stick." - Chip Ward

Here's an excellent big-picture essay, "Why You Should Appreciate the Humble Beaver," on how ecologically crucial Castor canadensis is, and how the work of these "geoengineers" can literally save the environment which our own species seems hell-bent on destroying.


Incidentally this particular panel brought to a close the unprecedented outpouring of Castor canadensi-themed material that spanned over a couple months in the newspaper. At least could sorta  pace 'em out a little bit here on the blog - News-Miner readers must have been under the impression that I went dam nuts.
Well, more nuts than usual.


Friday, October 24, 2014

Bless My Bottom


The Significant Otter just recently went through her second paperback copy of Watership Down, so for a gift I ordered her a special edition hardcover version, which ought to last a wee bit longer. I'm so proud of her and everything she's done: it's an inspiration to see firsthand someone achieve so much, and do whatever they set their mind to regardless of the inevitable speed-bumps Life throws up in the way.

“Silflay hraka, u embleer rah!”

Wednesday, October 22, 2014

Yo Beav


Quick little reminder that a buncha folks will be hanging out drawing tonite for the Big Draw's Jam from 7-9pm up on UAF Campus at the Arctic Java coffeehouse in the Wood Center (see the local group's page for more info here).
BONUS: There'll also be some really wonderful works on display in the current exhibit - come have a cuppa joe + sit for a doodle or two!

Sunday, October 19, 2014

The Big Draw + Campaign For Drawing

Pic: Brooke Sheridan

    Some intriguing panels have begun popping up at various locations around campus: keep an eye out for a "Community Canvas" and take a minute or two to add a drawing of your own. This is part of a global event called The Big Draw, which is hosted by the Campaign For Drawing. Read more about the local event in this issue of Latitude 65 in the Fairbanks Daily News-Miner (big hat-tip to organizer Brooke Sheridan at UAF's eLearning).


"The Campaign for Drawing has one aim: to get everyone drawing! Drawing helps us to understand the world, think, feel, shape and communicate ideas. It is fun, accessible and invaluable - in education and everyday life." 
   Not having had a clue about the event or anything about the gig or the organization I read up on their history and learned some interesting things about them (along with some invaluable educational ideas like TEA: Thinking, Expression and Action).


   After teaching Beginning Drawing for well over a decade I have a personal penchant for dispelling the many myths surrounding the medium: a big part of the job is predicated on the assumption show anyone can and everyone should draw, and be creative - just create! Not all that much different than cooking or automotive repair, it's a basic skill that can be learned, and enjoyed, and used for a myriad of reasons. It's lamentable that back in the day, everybody was considered a certain, special kind of artist, but now, what with such specialization, an artist is considered a certain, special kind of person. Plus "drawing" itself is at times held in comparative disdain within the Fine Arts, viewed as somewhat of a gateway or mere stepping stone to other, more prestigious and respectable artforms within academia, like painting. As an analogy, a live symphony performing classical music may be one of the apex experiences in music, but more often than not it's equally rewarding and "real" to hang out in a parking lot tailgating with folks at a bluegrass festival. It's all music... it's all good.


   When the question was posed in relation to this event from the newspaper editor "Why should people draw?" this was what I left for a quote: "The urge to use the end of a burnt stick (or in my case, a Sharpie) and leave a mark on a cave wall carries throughout the ages, arguably all the way down to the graffiti on bathroom stalls, defacing classroom desktops and textbooks, and our first instinctual experimentation with crayon on our childhood bedroom walls." The rest of the comment was along the lines of how most weeks I can be seen in many local establishments from cafes to bars bent over a sketchbook: while drawing out in public isn’t so much of a “performing art” and many artists aren’t comfortable on display, demonstrating it dispels the mystery of making art, and points up the accessibility of it for anyone, regardless of age or skill. Plus there are the studies that show the “white noise” of a background in a public place paradoxically improves focus, and it gets you out of the cabin studio, which can help the creative process. 
   Again: It's all good... there are as many different reasons for drawing as there are personal styles. Perhaps the pertinent question from my side of the easel is not so much "why draw" as "why aren't you drawing?" and this Big Draw event is a great opportunity to, well, literally illustrate the objective.
“The Campaign for Drawing was launched in 2000 by the Guild of St George (website here), a small charity, to commemorate its founder, the great Victorian writer, philosopher and artist, John Ruskin. An independent art education charity since 2006, the Campaign still upholds Ruskin's belief that drawing helps us to understand the world and respect it more.
The Campaign for Drawing raises the profile of drawing as a tool for thought, creativity, social and cultural engagement. The Campaign has created a new regard for the power of drawing to help people see, think, invent and take action. [...] Its long-term ambition is to change the way drawing is perceived by educationalists and the public..." 
   Locally - their Google+ Group info is here - there will be a Drawing Jam at the spiffy new digs in the expanded/renovated UAF Wood Center at Arctic Java on Wednesday, October 22nd, from 7 - 9pm. I'll be hanging out doing demos, so stop on by for a cuppa joe and joke.


"Drawing is a means of obtaining and communicating knowledge" - John Ruskin 

Saturday, October 18, 2014

"Beaver Scat"


I had the pleasure of drawing this as a demo for a small class of students, most of whom were too young to get either allusion, jazz or poop. Also yet another example of the waffling/transitioning between a wash on the original pen + ink piece versus the usual digital shading on the final print version.


Trivia: the phonetics are from a transcription by Justin Binek of a 1954 Sarah Vaughan improvised solo "Shulie a Bop" (over "Summertime").

Friday, October 17, 2014

This Weekend: Cartoon & Comic Art Documentaries


Just a brief announcement on a Review + Discussion of a couple documentaries that we're hosting tomorrow (Saturday, October 18th) at 12noon in the Media Classroom (room #340) at the Rasmuson Library on UAF campus. This is in conjunction with the Cartoon & Comic Art course offered through Summer Sessions, and we will be analyzing the content of both films in terms of how the diverse cast of contemporary creators and their respective work efforts can relate to and inspire our growing creative community here in the Interior. It'll be a nice opportunity to network with some other local talents at varying stages of their careers, from amateur to professional, whether practitioner or fan.

Sunday, October 12, 2014

Cartoon & Comic Art: Resources

Sharpie shrapnel: leftovers destined for the mental mulch-pile

   Following up on a previous post on the Cartoon & Comic Art course, thought I'd reply to a couple queries and credit a specific handful of the many resources that were culled from to construct the class. Of course, that got outta hand, and this link-heavy page is the result. These range from countless encounters and interactions with individual cartoonists working both in the field as creators and educators, as well as experiences in workshops where one has the opportunity to pick the brains of other artists. Institutions such as SCAD, MCAD, The Center For Cartoon Studies, SAW and others provide a great place to develop lasting professional relationships and gain insight on different techniques, and gain invaluable, personal perspectives on the many fascinating facets of the field.

   Disclaimer: there is simply no end to the number of material out there, and so this is only an abbreviated - by no means definitive (see here for another excellent roster) - sampler from literally looking over my shoulder in the studio at the stuff on my own shelves. Some are out of print, but there always seems to be a new crop budding in the bookstores, which is a fabulous occurrence. Even from many overall duds there is usually - sometimes - an idea or two worth copying to add to the mix, at least for the accruing compost-heap that constitutes a defacto textbook.
   Also this list is slightly skewed towards an emphasis on generating material for single-panel
ideas, and is most decidedly not appropriate for all ages - classroom usage requires prudent editing. Plus there is the list of resources linked on the right-hand side of the blog too.


The Cartoonist's Muse: Mischa Richter and Harald Bakken
The Naked Cartoonist: Robert Mankoff
Cartoonist and Gag Writer's Handbook: Jack Markow
Writing With Pictures: Uri Shulevitz
Drawing Words and Writing Pictures + Mastering Comics: Jessica Abel and Matt Madden
Understanding Comics + Making Comics: Scott McCloud
Cartooning: Philosophy and Practice: Ivan Brunetti
Comics and Sequential Art + Graphic Storytelling and Visual Narrative: Will Eisner
How To Make Webcomics: Guigar/Kellett/Kurtz/Straub (the Penny Arcade folks)
Cartooning: The Art and The Business: Mort Gerberg
The Art of Humorous Illustration: Nick Meglin
Wizard: How To Draw
Everything You Ever Wanted To Know About Cartooning...: Christopher Hart
Comic Book Design: Gary Spencer Millidge
The DC Comics Guide to Writing: Dennis O'Neil
How To Draw and Sell Comic Strips: Alan McKenzie
Cartooning The Head and Figure: Jack Hamm
The Pen and Ink Book: Joseph Smith
How To Draw Cartoons by Clare Briggs


Anthologies: Flight, Titmouse, MOME, Popgun, The Best American Comics, Best Editorial Cartoons of the Year, Dark Horse Presents etc. These are my preferred method of showcasing the range of subject matter and diversity of style that are possible within the world of contemporary comics.


Panelists + Strippers: Harry Bliss, Shannon Wheeler, B. Kliban, Don Martin, Dan Piraro (Bizarro), Hank Ketchum (Dennis The Menace), Charles Schulz (Peanuts), Patrick McDonnell (Mutts), Mark Tatuli (Lio), Bill Watterson (Calvin & Hobbes), Richard Thompson (Cul de Sac), J.N. 'Ding' Darling (editorial panels), etc.


Graphic Novels: One could say this is a "desert island" list of sorts, though it would have to be a pretty good-sized island. But I try and take these titles with me to classes as examples, the number of which is dependent on the size of the bag, box or bin (and whether or not a parking spot close to the door can be had, or if I use my new little luggage-roller setup):

David Petersen, Linda Medley (Castle Waiting), Jason, Seth, Tony Millionaire, Marjane Satrapi (Persepolis), James Kochalka, Bryan Lee O'Malley, Johnny Ryan, Alison Bechdel (Fun Home), Carl Barks, Winsor McCay (Little Nemo in Slumberland), Vera Grosgol, Shaun Tan (The Arrival), Grant Morrison (We3), Robert Crumb, Harvey Pekar, Eddie Campbell, James Sturm (Market Day), Craig Thompson (Blankets), David Laskey (Don't Forget This Song), Fiona Staples, Art Spiegelman (Maus), Maurice Sendak (Where The Wild Things Are), Alan Moore/Dave Gibbons (Watchmen), Charles Burns (Black Hole), Jim Woodring (The Frank Book), John Porcellino (King Cat) Gene Luen Yang (American Born Chinese), Ben Towle (Midnight Sun), Joe Sacco (War’s End), Barry Windsor-Smith, Bill Willingham (Fables), Joshua Cotter (Skyscrapers of the Midwest), Rutu Modan (Exit Wounds), Jim Ottaviani (Bonesharps, Cowboys and Thunder Lizards), Daniel Clowes, Jeffrey Brown, Eiichiro Oda (One Piece), Neil Gaiman (Sandman), Chris Ware (Jimmy Corrigan: The Smartest Kid on Earth), James Vance/Dan Burr (Kings in Disguise), Raymond Briggs (Fungus the Boogeyman) etc. etc. etc.

Along with industry honors such as the Eisner Award, Harvey and the Ignatz Awards, comics have been picking up increasing amounts of accolades from related fields like the Hugo, Locus, Bram Stoker, and World Fantasy Awards, even the Caldecott and Hans Christian Anderson Awards. Aside from self-publishers, some standout publishers of alternative/independent material include: Image Comics, Vertigo, Dark Horse, Top Shelf, Oni Press, Fantagraphics, Drawn and Quarterly and Last Gasp.



Probably the closest I've ever come to deviating from the longstanding compost-heap approach to generating a default "textbook" for the class has been a masterful overview recently published in Comics Art from Paul Gravett. At the very least it'll be required reading for the advanced students, as I haven't yet come across such an excellent survey that touches upon so many facets of the artform.
Comics Art is a new book by British comics expert, curator and historian, Paul Gravett, published on 7th November by Tate [Publishing, who describe it partly as:] “Richly illustrated with many images taken from original artwork and rare artifacts, Comics Art gives a fascinating, accessible guide to some of the special properties of sequential art, such as panels, page layouts, speech balloons and wordless or ‘silent’ narration. It addresses concerns about how comics perpetuate stereotypes and support the status quo, while assessing their growing significance, notably through autobiography and reportage, as vehicles for provocative voices often silenced in other media. Comics Art also explores the diversity of styles, media and approaches now possible in the medium and exciting developments in digital comics and in comics conceived for galleries and installations.” – Rich Johnson, Bleeding Cool


Back in 2009 I briefly mentioned in a post about the only DVD I routinely play for classes: "Independents: A Guide to the Creative Spirit" by director Chris Brand. It's still a must-see in my book, especially for the aspiring comic artist, though any art student would benefit from the commentary and insight from the wide range of creators.

An important supplement to the daily exercises and weekly critiqued assignments within the studio is constant exposure to websites, YouTube videos and podcasts of creators and their respective works (many of which are posted on the blogroll to the right). And of course the time-honored, traditional methods of studying and deconstructing the works of the masters, historical and contemporary, and most importantly, the time and space to practice.

But in the end, one of the best selling points about comics is you really don't need much at all (re: degrees, classes, textbooks, training) of anything else other than some paper and a pencil, some pens, and eraser. And a library card. And maybe a photocopier, and/or scanner + computer. 
And...

Saturday, October 11, 2014

"Torpor"


Never too early to start thinking about the inexorable pull indoors as the days grow darker and a chill sets in every evening.


I attempted in earnest to resist the current fad of nostalgic binge-watching episodic installments of shows, since unlike books I generally start to lose interest if not momentum in a series that spans over years. Only one of the listed shows I bother to stay current with, the others failed to capture my interest long enough to merit maintaining any attention. But as usual, participation in fads isn't a prerequisite to commentary.