Hey so i’m excited to announce i’m teaching a drawing class this fall, 10 classes at Syn Studio in Montreal, emphasising the physicality of drawing from technique to capturing motion and energy in your art.
Some unconventional aspects will be moving live models, field trips to events, and even a free 1hr T’ai chi class [included in base cost] to help you get into thinking about how your body and joints work both for tool use and relating to bodies in motion. Followed by an hour of drawing the T’ai chi instructor!
I’m hoping it proves to be a fun and engaging class! I’m happy to hear we already have a few students signed up, there’s still spots for open so consider joining us for it!
First class is Saturday the 5th of October 4:30 to 7:30pm.
Class dates are all at the same time.
Oct 5, 12, 19, 26
Sept 2, 9, 16, 23, 30
Dec 7th, final class.
Year end party & exhibit TBA Early Registration price is $410.
Regular registration rate is $470. *Early Registration Deadline: August 7th at 11:59 P.M.
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].
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, mypages, 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!
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.
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.
Multi-award winning Art and Adaptation by Royal Academy heavyweight Ramón Pérez.
Award winning packaging by Eric Skillman.
Ramón’s a friend, and it’s been inspiring to watch him become deservedly highly sought after. It may be laying it on a little thick calling this book one for the ages, but I just did. I will have no choice but to cop to being bias. But I’m confident you will agree.
A year or so ago it was while loitering around the Toronto studio he shares with the rest of the Academy gang that I first saw pages from this rather brazenly epic realization of a reputedly esoteric rich early script, by one of my all time heroes. The Muppet Man. Mr Fraggle. When he said what the spreads he was inking were for, I think I cursed under my breath for an extended period.
You could already see this was a gorgeous project. Leaning over Ramón’s shoulder when he’s working tends to be routinely rewarding, but all the more so in this case.
Reading the book myself this summer finally was an almost-unadulterated pleasure. I was initially thrown by the strange lettering phenomenon associated with old Melrose Mernly [his friends call him Sven]. But after it reoccurred a couple of times I got it, and recognized it for the bit of fun inventive surrealism it is, an echo of Henson’s own penchant for psychedelic audio phenomenon.
This book is filled with playful formalistic inventions that for me put it on par with Asterios Polyp and the like. I think many are fairly novel, but despite and often because of it, all still a fabulously smoothly reading, rolling, kinetic comic.
A race meant to take 10 minutes to Eagle Mountain takes a wrong turn into a maylay of chaos.
The large wordless sections can be pored over, but I encourage you to read it all at least once, in only the time it takes to get the story point and move on.
The ease at which you can register what has been drawn narrative wise is remarkable. Storytelling as sharp as you will find here, for a story so surreal is an impressive accomplishment. Ramon makes it look easy. I also happen to know it was completed in an impressively short time, too.
This is a jealousy inducing book. His discipline is always impressive, and it’s on full display here. What it brings to a quite recognizably worthy bit of the Henson legacy is worth every cent and minute.
Jimmy Beaulieu is the founder of Quebec publishing house Mécanique Générale, and an autobiographical cartoonist with a penchant for romantic angst. This was how I first encountered him.
I think it was at a Comic Jam hosted by Rupert Bottenberg, or a BD festival perhaps. He’s an extremely likable geeky guy who loves pop music, pop art and sexy ladies unabashedly. A fastidious editor and designer and easy maker of many friends.
He and a group of said friends were publishing great inventive self-published B&W comics when I first moved to Montreal. Several were even wordless so I could enjoy them without issue. I really loved checking out their latest stuff, and was always frustrated by my hopelessly poor language skills when it came to reading Jimmy’s auto bio work.
BDANG is a sub imprint of Conundrum Press, a small but prolific Canadian publishing house. Under it publisher and author Andy Brown is translating and publishing several French books
In 2010 one of them was the collection and translation of two of Jimmy’s extended works, Quelques Pelures and Le Moral des Troupes [winner of the 2005 Prix de l'Espoir Québécois], They document his life between the late ‘90s and early ‘00s. Additional pages were added to the collection, and Jimmy played with parts of the text of the second part to try to round out the story and smooth out his sophomore spots.
I’ve read it in fits, it’s got scope! Coming in at an impressive 250 pages of comics. It’s hard to read in a sitting, but perfect I think for browsing through on transit or keeping by the throne.
Jimmy adopted early an easy, fast, light-handed style of art, well-suited to a personal journal comic. It evolves visibly over the body of work, going from pleasantly naive to deceptively skillful. He often apologizes for his drawing, but I find it enjoyably expressive and his girls are adorable! Being so often the subject of his attention, this pays off for an appreciative reader. He captures people’s pantomime well. The tones and textures lend themselves to a gauzy soft focused nostalgic story about the coming of age of a shy cartoonist from Quebec City who slowly falls in love with Montreal, and moons over hot cupid-like young mothers and full-figured redheads.
There are many small gems, like one of the short, newer epilogues to act one. An entry titled ‘rocket man’ where Jim shares an internal monologue about waiting for his employer at a book fair in Autumn of 2000. Withdrawing from caffeine and suffering a night of poor sleep, on a day he marks as his 2977th of celibacy! Oh dear. He talks about the city landscape while imagining Mecha Kaiju destroying a Montreal industrial park, then that the underwear models on the billboards are there to distract him from the urban destruction. It’s subtle in execution and quite poignant.
I think one great target audience for this collection would be young adult and romance readers looking for sprawling, ranting, romantic, sometimes silly stories of transplantation. Finding love in lots of the wrong places, but finally one right. Feeling inadequate. Facing death for the first time. Raging over pop culture and ranting about popular culture. And being in love with the making of comics. I also know for a fact at least one American comics editor has confessed to having used this book to seduce a girlfriend.
Jimmy has matured a lot since this early work. You’ll find a lovely recent example of his work in Carré Rouge, a romantic fictional story set around the recent protests in Montreal, published in multiple languages online.
Rupert and I first met at a comics jam in Montreal in the ‘90s when i worked at Marvel and was chafing at constraints. Another cartoonist friend and I were talking during a NY convention, and he gave me a zine of Rupert’s, saying I should meet him. This is also when I first heard about Comic Jams, spectacular incarnations of which Rupert hosted in a svengali fashion at the time.
You may have noticed a trend in my book selections? Yes, well, it’s what I’ve been reading of late. Catching up on the work of many friends.
The title Traumstadtdenken is a German neologism, meaning “Dream-City-Thinking.” A reference to a painting by Paul Klee, “Traumstadt,” that had a significant impact on Rupert.
The book is a collection of comix, drawings and odds ’n’ ends spanning 10 years stitched together with bits of connective symbolically narrative sequences. My one complaint is that the packaging of the book seems to have been been poorly proofed, with the margin’s feeling too close cropped on some pages for my comfort.
It’s informative to know he also paints highly designed abstract art, collects and fabricates pop art sculptures and toys, and recently has been globe-hopping as a founding member of the breakout art collective EN MASSE which i’ve had the honor of being a guest member of.
Whatever he is drawing on–in a comic, on a wall or canvas–his rendering is always superbly skilled and highly graphically attractive. This book is filled with perfect cartoony chiaroscuro pages that often invite you to project your own meaning or interpretations. Rupert has always been a fan of wordless art that can be read by anyone. Several sequences here are examples of that. He provides rich symbolic visuals that suggest lots of ideas, and are just really fun to look at. There is no attempt to present an over-arching story here, page numbers are consciously dropped. There are times where narrative is very strong, a story can be found with ease. Is even clearly intended. But where words appear, it’s usually to cloud the issue and add new silly twists to things.
When I first saw his work I fell in love with his lines. We’ve shared an appreciation for improvisational doodling and abstraction. I hope more people can discover his work as I have. This collection is an excellent place to start.
You should also check out his webcomic with author Claude Lalumière, Lost Myths.
Been working though the last week of my holidays, but took the night off drawing and trying to fix a wonky wacom driver, and went to the ol’ Casa del Popolo [my first sign painting gig 8 years ago] with Ange. Watched Glass Passenger, who were foot lifting and fun.
But the night was taken by The Unsettlers [seen above in their 'cabaret' configuration] who stomped us late into the night. My second time catching the band, if they play in your neck of the woods be sure to grab someone and go see them raise the dead.
Found this on you tube about a project by a local artist i know. Emily Rose Michaud & company built it in the winter. Miss Janet made this excellent 6 min doc about the day Emily and a team of volunteers set it up together over the course of one very cold day. The Garden lived on, you can keep up with their progress here. It’s pretty damn cool.
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Local illustrator Salgood Sam and author Jim Munroe create a post-Rapture work in Therefore Repent!
by VINCENT TINGUELY
When prolific indie author, quick and dirty filmmaker and DIY organizer Jim Munroe got a grant to create Therefore Repent!, a full-length “post-Rapture” graphic novel, Montreal-based, long-time Munroe fan and sometime collaborator Salgood Sam jumped at the chance to render it. “I’d read an early Munroe novella at a zine fair when I was 19 or 20 and I really liked it,” says Sam. “I’ve been following his stuff ever since. When you really identify with a writer’s vision, they’ve tapped the voice you hear inside yourself, they’re appealing to you on that level.” Sam spent more than a year meticulously bringing Munroe’s ideas to life, drawing on skills honed in both the indie comics realm and through years of grunt work for the likes of Marvel. “Jim’s a good writer to collaborate with because he was into gearing it into what I was into doing,” Sam says. “I didn’t have to do any contortions to visualize the script as I was reading it.” Munroe agrees. “He’s perfect, because he can do the hipsters and the hellspawn,” says Munroe. “He can do urban settings very well and true to life, but also fascinating fantastical things.”
Therefore Repent! begins with the arrival of the fascinating and fantastical Raven and Mummy in a near-future Chicago. Munroe, who’s based in Toronto, set the story in an American city because, as he quips, “They go together like peanut butter and jelly, America and the Rapture.” 144,000 Christians have floated up to heaven, Jesus has joined George W. in the White House, and heavily armed angels from on high are descending to do the Lord’s dirty work on Earth. Things would seem quite hopeless for the rest of us godless (i.e. not fundamentalist) sorts, except that magic is afoot…everything from Eastern cosmic insights to transubstantiation actually works. Soon enough, a grassroots magical insurgency starts to form.
“I was inspired by this idea that the most powerful people in America purport to literally believe in Christians floating into the air, into heaven, which is what George W. Bush says he believes in,” says Munroe. “That’s pretty mind blowing, that in their own mythology they’d have something that wild-especially when the conservatives have problems with Harry Potter.”
After a more ambiguous approach to the idea of evil in An Opening Act of Unspeakable Evil, Munroe decided to go for a dark fantasy scenario in which, if miracles, angels and such were to be given free play, then other forms of magic would be just as valid. “Well, if people are going to float into the air, how about less top-down magical manifestations?” Munroe says. “Religion is very top-down, it’s God or who God specifically anoints. But if there is magic from on high, then it is going to emerge from below as well, if people are willing to explore it and not kowtow to the powers that be. I like the idea of it being nascent in all of us, but only if we embrace it-individual power, rather than waiting for other people to anoint us. The whole DIY, coming from the grassroots thing.”
Therefore Repent! launches this Saturday, Dec. 8 at 7 p.m. at the Drawn & Quarterly Bookstore (211 Bernard W.)
This is the Atom feed for my work diary. This feed is published from my web site at www.salgoodsam.com