Posts Tagged ‘links’
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Crosspost from spiltink.org:
This episode of the podcast I take a question from Andrew J. Hawthorn, who asked about “Narrative techniques or figurative tricks you can only do in comics?”
Tricky question to answer with JUST words. I’ll give it my best go but for sure this podcast will have a youtube version shortly, with some visual aids. And check out the description texts here for links below. Right off the top, you’ll find page Page 89 of Dream Life, “The roots of violence” on the left, and “A last dinner”, page 68. Both typifying two very different approaches to unconventional page layouts, structurally, and thematically. But each applying the kind of non linear collagen like sequences that do away with conventional panels altogether.
I name-dropped the following scribblers and geniuses in this episode, If you’re not familiar already, go check out their stuff: Bill Sienkiewicz! Dave McKean! Neil Adams! Barron Story! Sergio Toppi! & Diego Rivera! Check out the astounding DIA installation of the Detroit Industry fresco cycle here! And, Chris Ware’s Building Stories too!
As always, you can become a patron of the arts and subscribe here! Great news, the Patreon campaign has gone over $100 a month! Very encouraging to hit that mark at two months! I’ve just cleaned up the page a bit and set up a custom video playlist of my best stuff for the first page on patreon.
The Spilt Ink Podcast 009: “Like moving pictures, but not.” by Sequential Radio on Mixcloud
Music is, SadOceanSpaceBear & NASA in the opening. Diggin’ On Comix by Dr. John. Which some will recognize from the wonderful Comic Book Confidential, by Ron Mann. Closing out with Montreal’s The Unsettlers, “Disco Junkie”, off of Blood. And then Oscar Purrs!
Thanks again to Andrew Walsh & Troy Carlson, my newest patrons, along with Michelle Darwin, Emil Underbjerg, Tim Moerman, Ian Hodgkinson, & Shannon Becker! Plus, two secretive souls who will take no public thanks, but have it most assuredly. Merci beaucoup to you all!
[PreS: sorry you early birds if you got surprised by the auto-play, fixed now.]
Hah, that would be just my luck, as i’m finally getting half a hang of promoting myself publishing ventures at something approaching the pace it seems to take to get anyone to take your seriously online or noticed in the torrents of updates, the game would go and change from under my feet.
Being buddhistly inclined I liked a lot of what he had to say about applying mindfulness to your work in the digital sphere. I do try to do just that as much as my mind will allow. Also think I spotted some impracticalities too. Share Jim’s concern about the narrowing of focus and echo chamber effect [something he mentioned in passing in the interview].
We will see. Agree enthusiastically with the sentiment of it, as a card carrying member of the old slow action movement I’d far rather quality of interactions trump update cycles.
Over time I do think they count more. But when you’re still one of many, and growing numbers of creators trying to raise awareness of our work, and have as eclectic a reader base it seems I have, I’m not sure how much liberty I have to choose to overly narrow band broadcast. I feel like on the edges of your media domain you need to have fairly fast moving streams to match the pace of the rest of the web, to draw in readers to your core presentation. I don’t post on the blog here rapidly. No way I could keep up with a even once daily rate that Warren thinks of as a lower gear, while maintaining a good level of quality of content, and keep on top of my artwork. Beyond the usual challenges of content creation being dyslexic makes the process of writing and proofing laborious.
But Facebook, my pages, and twitter, G+ to a degree too, I can post small bits of thought or just promote other people’s stuff – something I agree with Dean Haspiel about being a important and valuable role to play, not just as being a community builder but also being someone anyone cares to pay attention too as well. Rather than someone who only talks about themselves?
I suspect some aspects of the slow web Warren and Jeffrey talk about is in part the privileged cruising gear of those who’ve established themselves. For those that describes It makes a lot of sense to economize your efforts.
At this point I follow the feed-back, post more where I find I get responses and less where I don’t.
Never was all in for twitter, it’s always been a semi-automated branch of my blogs. Don’t have a phone attached to my hip so it was never practical for me and too much of a distraction from the drawing table.
For the moment I get far more attention to my work on Facebook than anywhere else. My computer is seldom far from me so when I brake to pace around, grab a coffee, or set up a show to half watch, I often check in and poke around, like or share something, post a bit of work i’m in the midst of.
I tried promoting a couple of posts on Facebook recently connected with RevolveЯ. They got a lot more views but I remain unconvinced if it helped all that much. I did notice that you have to watch it with that, need to look closely at how the options are laid out for you when you set up a promoted post. Seems like a default was to keep promoting and charging after the budget I had set was spent. Not sure what to make of that but I was not pleased to find I was getting charged again without first being asked. As is too often the case it feels like communicating is not FBs strong suit. Incidentally it’s been amusing to watch as twice as many people who’ve added me as a contact in the past 6 months, did so in the last week on Flickr post instagram TOS fiasco. All good, welcome to all. I was never on instagram so works for me.
Speaking of attention…
Having a hard time getting some key comics news sites to pick up my press for RevolveЯ. Others have, but a few of the key players are being tough nuts to crack. Another round of press needs to be done, hoping I can get more traction in the new year. Wondering if I rubbed some the wrong way along the line or something? For sure not really being part of the convention circuit has not helped. Last show I did was TCAF, and that just as a civilian. Ran into one former editor I once worked with who now blogs, it was kind of awkward, as is to happen at these hectic things, but has not replied to an email since?
Be nice to go to more shows and have more fluid relations with the comics diaspora at large, have a chance to build solid friendships in person. But my lack of funds aside, when am I supposed to make time for that and still draw my books, and do all the other shit we have to do ourselves these days eh? Would love to, but we have to have a successful book first. For that we need the book we have to get coverage so people know it’s there to order or buy. A dog and tail game.
Best is if the word gets out more virally, and becomes something the diaspora can’t ignore. If you’re reading this, do us a favor and check out the book if you have not already, mention it to a few someones, share it blog it and if you’d like to review it contact me about that, be glad to oblige. I have lots of visitors and followers these days but outside a core group not enough sharing what they find to get that fantastic fractal spreading pattern going yet. Needs more cowbell!
On the other hand and not to seem to only gripe, I have had some nice windfalls!
Most recently I managed to get invited onto the CBC show to do some local color run after this great doc, Graphic Chicken Soup for the Graphic Soul, by David Gutnick. Thanks to David and Maria Turner, my boss at carte blache both for putting my name in for that. I’m on with an old acquaintance, Simon Bossé, in a piece called Growing up graphic. Our parents get all the blame.
Making it a more entertaining experience than planned I got nailed by the flu about 6 hours before the interview, vomiting all over the place very suddenly and sending my poor Ange into a cleaning frenzy. Managed to clear out the pipes and get it together to do it all over the phone, thanks to some nice editing, I even sound totally coherent.
Growing up graphic: CINQ A SIX | Dec 22, 2012 | 10:36 © CBC 2012
So that’s me for the year probably. Couple more retailers on board and some new distribution channels about to come online for RevolveЯ. I’m running behind on RevolveЯ Two right now due to last minute editorial decisions on my part, and the feeling like the slow moving soft launch is progressing well, but has not reached the sweet spot for the next Minimum Effective Dose. The next book dropping and it’s associated press releases, to help crank the series forward. Taking the time to color a story and add another to make it all that much cooler, less ignorable, and put it out in January instead of this month as I had planned originally.
Keep your eyes open for a kickstarter project from me and Mark Sable too in the new year.
As work on Dream Life book one gets done i’ll be jumping directly onto a story we have planned.
Happy Holiday and a grand old new year all!
I decided to upgrade
my portfolio plugin
and update the site
There were a few kinks but it’s all good now. It’s sweet.
Tablet users should look for and check out the full-screen option! It’s in the menu.
Used it to curate smaller illustration and design sets,
and added some old monsters I drew for a game.
Also created a proper abbreviated comic art samples page, for clients who don’t want
to wade through the full individual book sets.
Rich Johnston noticed on Bleeding cool that I had this GR2099 story up
at the same time so i’ve been getting a lot of hits from 2099 fans.
So let me point out a few of the other new, old pages of mine I posted.
Along with the unpublished Ghost Rider 2099 stories, “Horrorshow” & “Daddy Dearest“,
there’s an unpublished Ravage 2099 story up, sorry lost the script and the name.
A 10 page Spiderman 2099 story
called “Behind the Eight Ball“, published in Unlimited 2099.
A short Morbius The Living Vampire story
called “Drainage System”
that i’ve had on Flickr
for a while.
And I also have put up my previously unpublished art
from Raven Chronicles 13: Leader of the Pack!
Written by Scott K. Andrews.
My co creator on “Daddy Dearest“.
And last I’ve put up a set of three of the pages
I did for my first tryout for a job at one of the big two,
sample pages on Sandman for Karen Burger.
How ya been? I’ve been busy, doing shows like TCAF always take it out of me.
Takes a while to get back into the routine and catch up. I warmed up by rebuilding my home web page here, like the new look. Really converted to WP in a big way [have five sites working on the platform now] and i’m loving the themes from graphpaperpress.com [this is one with a few small mods and so is this and this]. I’ve installed wpStoreCart, working on building one now, wondering what kind of things to sell? Would love to have some feed back from you all. I’ve got posters and some books to start, anyone interested in that? What other sort of things would you be interested in?
Ok, comics, comics, comics.
On Revolver, PIN CITY, with new lettering.
And that’s just to start!
The newest edition of Carte Blanche is up – I’m the graphic fiction editor there. For lucky #13 we are happy to present a special feature on CRISIS. There’s a lot of great stuff in the issue, including two excellent graphic fictions stories by some heavy hitters.
From the Eisner Award–winning creator of ‘Too Much Coffee Man’,
Shannon Wheeler, a classic gag comic, ‘Oil Spill’.
And from James Romberger, of ‘Seven Miles A Second’, ’2020 Visions’,
‘Bronx Kill’, and ‘Aaron and Ahmed’, we are very proud to present
a 16 page short story, called ‘Raymond’.
We had many other excellent submissions we couldn’t accept,
but i’m pleased to present a few of them on Sequential HERE instead!
That’s two pages of my own comics and 5 other short stories!
PS: My editor In chief says we’ve not gotten enough feed back from the comics crowd yet so if you check out the site, take a second to tell carte blanche what you think about about it by filling out their short readers’ survey.
I was interviewed by my old friend Sam Agro for his blog MOVING PICTURES last week, the post went live yesterday.
SA: Do you think the future of comics lies in digital media?
SS: I don’t think it’s the whole future, but I do think it’s a big part of it. The internet proper is a great entry point for new talent to stretch their legs, get feed back, and learn if they care to. And for more experienced creators it’s a good place to prove something publishers are normally wary of taking a risk on, like unconventional and maybe demanding approaches to pacing and plot. And building an initial interest in a project.
Also, I’ve solely promoted my work online as a comic artist and illustrator, since 1998 or so. And I’d say about 80% of my income has come from inquiries via that.
Then with the new incoming ‘App’ market we have something that may well offer a viable alternative to periodicals, and the problems of overhead and distribution the direct market is struggling with. It’s got a built in monetary stream so that solves that issue, and the new tablets, e-readers and net-books offer an increasingly comfortable reading form factor. Too early to say anything definitive about it but it’s looking pretty viable. Any problems with it I see are more questions of execution and problem solving, than innate obstacles. —>
And as editor at carte blanche I have a shop talk blog post today, catching non-comics readers up with the evolution of the medium over the last 10 years, and adressing the nomenclature of comics, sequential art, graphic novels and graphic fiction.
What I still think of as comics has been going through a time of great change and growth.
When I decided to dedicate most of my time to making them in high school, it was in part because I was being kicked out, and comics were something you didn’t need a degree in. In truth, there were no degrees to be had in comics. If you wanted to learn more about the medium, you studied art, writing, and film, and extrapolated from these different media. If you achieved a professional level of skill there was little worry about competition; I landed my first paying jobs at Marvel after just one serious attempt to get work in the early 1990s.
While I was developing my own skills out on the edges of the scene in the late 1980s, the then lone journal of comics, inventively titled The Comics Journal, called for our bastard medium to be taken seriously by critics, and urged creators to take what they did seriously in order to bring the standards of their work up to where they might merit that attention. —>
For their final interview this year, the Fabler blog talked with your’s truly!
This is the first of a two parter, Kevin tells me the second will go up in the new year. In this part we covered mostly stuff i’m working on now, Dream Life, the rise and fall of it all, etc. We had a rambling talk via google chat, hoping some of the other stuff gets used in part two in the new year….
KD: Dream Life deals extensively with realms of the subconscious, a fact that is reflected in your fluid, shifting, often surreal approach to its art. Where did you pick up this interest in exploring the latent and manifest elements of the human psyche?
SS: It probably had something to do with my upbringing. Carl Jung was a huge interest of my father’s, and to quote one source, he was a ‘legendary acid dealer’, so the whole ‘consciousness-twisting’ thing was a pretty big part of my landscape growing up. My father died when I was really young, and there’s a whole host of ideas that he was really into that I was sort of indoctrinated in before having a chance to be conscious of that. Later in life when I started reading up on this stuff myself, it was kind of weird recognizing the stuff I read from my Dad talking about it when I was a kid.
Also some jawboning about lucid dreaming there for you in the blog.
Just two more left for this dream sequence to go.
That’s right, i wanted to open the story with a nearly wordless, twenty one page dream sequence! You can see how it might have been a little hard to convince a publisher to go for that without seeing it all done :)
By the end of chapter one though, i hope to have made my case. Colored 20 last night and working on some pencils for 40-46 today.
…man, kind of cutting it close for the trip. Getting there though, doing a dragon right now, in a novel pose i think, never seen someone do what we’re doing in this scene. Fun.
Can’t show you thought, sorry, secret stuff now, save for the big tada.
Took a few moments from some heavy inking work today to play though. Took a stab and composing the cover for one of my two projects for TCAF.
The text i laid-out a while back, didn’t know what art i wanted to use though at the time. So been sitting on it for the last two years. After i drew the page, it struck me it would be perfect for the job, need to shade it still for the interior, but might use it like this for the cover.
Want this to be ready for TCAF 2010, thinking probably a small run self published deal for now. Like this, looks handsome and would be easy to get printed well. Going to think on it for a bit but it feels right.
Shit, Piss, Fuck, Cunt, Cocksucker, Motherfucker, Tits.
I loved that man, damn.
Comedian George Carlin, a counter-culture hero famed for his routines about drugs, dirty words and the demise of humanity, died of heart failure at a Los Angeles-area hospital on Sunday. He was 71.
Remember my dad or someone going on about how cool this dude was, first time i became aware of him when i was a toddler. I loved listening to him and Cheech and Chong, trying to inmate them, though it was a long time till i was allowed to hear the most infamous of his routines.
Always thought he was insanely funny even before i had a clue about how ‘blue’ he was.
well done you cranky old dude.
Laughs are cathardic, and i had other reasons to need cheering, a good Carlin Jag can be had surfin’ youtube.
After getting some high profile but middling reviews of my work recently, it’s nice to have someone not be put off a bit by my detailed art…
LINK: I recently received from my awesome retailer a free advance sample of Jim Munroe and Salgood Sam’s Therefore Repent. It is a self-published graphic novel about the survivors of the rapture, those left behind and not taken to heaven. I think it’s a really interesting take on an apocalypse-based story. I’ve read the Left Behind books (the entire series) and I’ve spent a considerable amount of time reading about the “end of the world” in the bible. In fact, my dad spent a lot of time reading about prophecies and we had many discussions about it during his time. So with my apparent interest in the story, I ordered a copy and received it in the mail yesterday. Of course, I read it right away.
The story starts out with the main characters, Raven and Mummy, who have to deal with their relationship in a new setting in post-rapture Chicago. In a similar fashion to comics like Y: The Last Man or Wasteland, the narrative spends a good deal of time setting up what the world is like after the apparent crisis, and Munroe does a find job establishing a world that doesn’t seem as grim and hopeless as the bible does. One of the big details is that magic now works after the rapture, but those who do magic risk being grotesquely deformed for it. I really like this idea because it seems to really work with the biblical “Devil’s time on earth” stuff that the book of Revelations spouts. I also like this because it adds depth to the characters in the book. Salgood Sam’s art on these characters just tattoos your mind because he draws them so well.
So we have Raven and Mummy, two characters who use magic, and become deformed for it. I found that the relationship between Raven and Mummy being the central focus of the narrative to be well executed, and that the setting blending in around them works so well with the intended message or finality that Munroe has in the story. The end of the story may seem preachy, but it attempts to put a different spin on the way God works and the whole reasoning behind the rapture. It spoke to me and my own personal beliefs and yet it was not preachy at all. It was a very pleasant ending. Salgood Sam’s art is fantastic. I’d first seen his work on Sea of Red and I thought it was quite fascinating. This book is no exception and I actually like it a lot more. It may be in black and white, but his art really tells a story and if the word balloons were taken out, this story could thrive on his art. I really enjoyed his dog drawings.
If any of the rapture stuff interests you, I’d recommend this book. It will be available for release in 2008 from IDW, or you can buy it from Jim Munroe’s website www.nomediakings.org. It’s really a nice book to read and I’m glad to have come across it. I’ve passed my sampler along to someone in hopes they will enjoy this book as much as I did. Oh, and if you do buy it from Jim’s website, he autographs it and writes a little something, which is really neat! I think all writers should do that.
And don’t forget, the 15th of Jan, our IDW edition hots the comic shops. If you haven’t pre-ordered yours please do, more we sell this excellent book [thats not hype, I’m very proud of this book, think we did good here] the more time i can work on the next one before i have to think about the next paycheck. The Diamond catalog # is NOV073660, ISBN:978-1-60010-146-1.
Happy new years and best of luck in the new one!