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Why Comics Are More Important Than Ever | Bill Kartalopoulos. Seven years after the Kindle debuted and more than twenty since the web went public, the publishing field still contemplates a transition from print to digital, a change that seems inevitable every time a baby swipes an iPad on Youtube. But anyone whose attention span has been radically rewired by the internet intuitively knows what scientific voices like Professor Maryanne Wolf are beginning to suggest: our brains process print media and digital media very differently when we read. Both modes have their strengths: digital media may favor executive multitasking and multimodal information processing, whereas print promotes "deep reading," contemplation and the synthesis of new ideas -- foundational skills for our civilization.

So what are we supposed to do with this information? Do we accept the loss of deep reading in exchange for skills that can keep pace with our accelerating technology? Speaking to PRI International recently, Wolf offers a third way. Questions for Cartoonists: Sam Alden — Darling Sleeper. What is your ideal time to be creative? I try and get as much work done in the morning as possible, run my errands and do normal person stuff in the afternoon, and then squeeze in a few more hours of work after dinner. When I’m on deadline for something I work throughout the day. Where does most of your creativity take place? My studio has a very nice angled work desk, with natural lighting and a view of the forest. But I can’t spend more than three hours at a time there without getting restless, so I do a lot of my writing and pencils in coffeeshops or at friends’ houses. What are your primary tools?

6B Austria Woodless graphite stick and an 05 mechanical pencil. For ‘Lydian’ you’re creating pixel art. Most of the Lydian strips were drawn in a Microsoft Paint clone. How does writing factor into your process? I usually thumbnail about five pages in advance, and have a general idea of the story arc as I’m working. What is your method for pacing and timing? Is there anything new to your process? The Digital Comic Museum - Free and Public Domain Comic Books. The astonishingly incompetent superhero art of Fletcher Hanks. The other day I was trying to describe the work of Fletcher Hanks to a comics collector friend of mine, a fan of Spider-Man and the X-Men and Daredevil, and I made the following analogy: Fletcher Hanks is the Shaggs of superhero comics…. they have the same combination of fascinating (ahem) “excellence” and off-putting weirdness, the same feeling of a direction very much not taken, the same outsider status, the same fervent adoption by devotees.

Hanks drew superhero comics for a terribly short time—1939 to 1941—before dropping off the map altogether. It’s a bit of a miracle that we have so many of his comics in print, and much of that is due to the heroic labors of Paul Karasik, a former RAW employee of Art Spiegelman’s who also collaborated with David Mazzucchelli to create a graphic novel version of Paul Auster’s novel City of Glass in 1994. Hanks was born in 1887. We know he was married and had a son but then packed up and left around 1930.

Fletcher Hanks I like graphically. Ler BD. Image & Narrative. David M. Ball. Aug In what must no doubt be the remaining 3 seconds of my 15 minutes, I was interviewed by the venerable comics reporter and reviewer Chris Mautner about the series I’m editing for the University Press of Mississippi: Critical Approaches to Comics Artists. Our inaugural volume, The Comics of Joe Sacco: Journalism in a Visual World (the cover image is very much a work in progress) will hit bookshelves in the summer of 2015. I couldn’t be happier with the results: a multidisciplinary, intellectually rigorous, and eminently readable collection of essays edited by Daniel Worden.

It will be followed by two volumes that are both in the process of completion: The Comics of Hergé and The Comics of Charles Schulz, edited by Joe Sutliff Sanders and Jared Garner respectively. We’re planning ten volumes in five years in what I hope will be an invaluable and lively addition to any comics studies bookshelf. Apr April 23, 2014 | Tagged Alison Bechdel, Princeton GSS | Comments Off Here goes: 1. 2n. 3.

Download 15,000+ Free Golden Age Comics from the Digital Comic Museum. The Digital Comic Museum offers free access to hundreds of pre-1959 comic books, uploaded by users who often offer historical research and commentary alongside high-quality scans. The site’s moderators and administrators are particularly careful to avoid posting non-public-domain comics (a complicated designation, as described in this forum thread). The resulting archive is devoid of many familiar comic-book characters, like those from Marvel, D.C., or Disney. On the other hand, because of this restriction, the archive offers an interesting window into the themes of lesser-known comics in the Golden Age—romance, Westerns, combat, crime, supernatural and horror.

The covers of the romance comics are great examples of popular art. Interested in understanding how homefront American culture reflected fighting in World War II and Korea, and the anxieties of the Cold War? The museum holds some unexpected and forgotten titles, like the Mad Magazine knock-off “Eh.” Related Content: Making Comics (dotCom) - Let's make comics! Nina Bunjevac. Viñetas Serias - Congreso Internacional de Historieta y Humor Gráfico. Quotes On Comics | Random quotes on comics. Some hilarious, some dead serious. Chris Ware reinventa el cómic. ¿Esto qué es? Los medios anglosajones llevan disfrutando de él más de un año y alguno ya lo ha definido como el Ulises de James Joyce de la novela gráfica.

Sin embargo, una vez se destapa la enorme caja (sí, es una caja) de Fabricar historias (Reservoir Books), que caprichosamente Chris Ware (Omaha, EEUU, 1967) hace repetir al milímetro a todas las editoriales del mundo que se atreven a publicar esta maravilla (60 euros), sólo podemos caer en el asombro y tratar de definir el trabajo como todo lo que no es. Evidentemente, no es un libro ni una caja de juegos reunidos. Aunque podría serlo. Tampoco es una novela y dudo mucho de que queramos apellidarla gráfica, porque ha ejecutado una deconstrucción del género de tal magnitud, que la narración ha sido desmigada en fragmentos en forma de tiras, folletos, librillos, librazos, pósters, revistas, un tabloide… contiene hasta algo parecido a un juego de mesa. Antes de analizar la obra que, sin duda, marca un hito en la historia del género (sea.

Ilustraciones de Philippe Caza. Esta galería compila una muestra de la obra de Philippe Cazaumayou, alucinante maestro del cómic francés. El trabajo de Philippe Caza es una bienaventurada simbiosis entre el cómic underground, la psicodelia y el imaginario de la ciencia ficción. Y cómo no, si su imaginación es de naturaleza extraterrestre. Admirador de Robert Crumb, Moscos, Griffin y otros parteaguas del cómic estadounidense, el ilustrador francés atravesó distintas etapas y consiguió los mismos efectos psicotrópicos, fuese en blanco y negro o a color.

Lo que en su momento, en su época gloriosa, los 1970s, fue un trabajo excepcional que pasó relativamente desapercibido en revistas y fanzines, hoy se aprecia como obra de culto. Y es que Caza nos recuerda que otros mundos son posibles: hay cíclopes con rostro de pulpo, caballeros de fina estampa sentados junto a un florero y una escafandra, posiblemente esperando a alguien cuyo rostro no podríamos siquiera imaginar. Y aquí una muestra de su trabajo durante los 70s: Cómic con mayúsculas. Crumb. Obras completas Robert Crumb, 1968 Da igual que el primer número de Zap Comix apareciera hace ya cuatro décadas. El espíritu de su creador, Robert Crumb, sigue siendo un referente obligado para el, hoy superpoblado, universo del tebeo independiente en Estados Unidos. Paracuellos Carlos Giménez, 1977 En la historieta española hay un antes y un después de Paracuellos (Random House). Maus Art Spiegelman, 1973 A principios de los setenta, el estadounidense Art Spiegelman se embarcó en la ardua tarea de recrear, viñeta a viñeta, las memorias de su padre, un judío polaco que sobrevivió al internamiento en Auschwitz. ...).

Watchmen A. Los superhéroes existen desde los años treinta. Black Jack Osamu Tezuka, 1973 La conquista mundial del manga, con series de tebeos capaces de alcanzar cifras de ventas mastodónticas, nunca habría sido posible sin el trabajo de Osamu Tezuka. El regreso del caballero oscuro Frank Miller, 1986 Alack Sinner Muñoz y Sampayo, 1975 Fue en Barcelona, un día de junio de 1974. RED WINDOW. SVETLIN ILLUSTRATION. Nyctalope. Mathilde Payen. At Work Inside Our Detention Centres: A Guard’s Story · The Global Mail. Nómadas y bárbaros: breves apuntes acerca de la edición alternativa de cómic en Colombia.

* Editor, promotor de la escena del cómic en Colombia y América Latina. Es el director de la revista Hay Festival 2014, Cartagena de Indias NÓMADAS Y BÁRBAROS Breves apuntes acerca de la edición alternativa de cómic en Colombia Intervención de Daniel Jiménez Quiroz* en la mesa “ Pintar y contar: La novela gráfica y la edición ilustrada”. 30 de enero, 2014. Antes de abrir esta mirada acerca de lo que vamos a suponer es la escena del cómic en Colombia, permítanme hacer un reconocimiento a la actividad cultural del Hay Festival en Cartagena, así como a la Librería Cálamo, por su potente vocación de difusión y su ambiciosa apuesta por la dinamización de nuestro oficio desde la organización de este evento.

Colegas , van mis saludos por su elaborada labor selectiva a la hora de construir catálogos que han sido, por su influencia y exquisitez, capítulos destacables de la edición gráfica en nuestro ámbito. FRMK | frmk. Alternative Comics | Publisher of cool creator-owned comics and graphic novels since 1993. Moonhead Press. Colección Científicos. Martha Verschaffel. One million mouths. Artists Authors. Gérald Auclin. THE PROJECTS. A Festival of Experimental Comics and Narrative Arts August 22-25, 2013 The Projects brings together experimental artists from comics, animation, and other narrative arts for a four-day festival of workshops, exhibitions, panels, performances, projections, collaborative projects, and intensive creative mayhem! Guest artists each have a small space to curate however they please and visitors are invited to join in the fray.

The festival is a free event, oriented toward creative process, idiosyncratic expression, and inspiration, leaving behind the flat model of comics as commerce. NOVO DOBA | festival nesvrstanog stripa. Sparkplug Comic Books. CATAPULTE MAGAZINE. SóloParaMoscas. Best American Comics: the Notable Comics of 2013 | Drawing Words Writing Pictures. As you may know, Matt and I have been the series editors for the Best American Comics (Houghton Mifflin Harcourt) for the past six years. That means that, every year, we tried to get our hands on every comic published by a North American cartoonist (which is the USA, Canada, and Mexico), or anyone who makes his or her home here, and then read them all to sort out the best 100 or so comics of the year.

(Of course, we couldn’t possibly see everything, but we tried.) These best 100-120, we then handed on to the year’s guest editor, who picks his or her favorite 25-30, which go into that year’s volume. Then, Matt and I got to make our list of everything else we think comics readers should have read that year. It’s called the Notable Comics list, and it comprises virtually all the comics we sent to the guest editor that weren’t picked, as well as a number of others that we think are noteworthy for various reasons, but that we didn’t send to the guest editor. Hilary Allison, Bad Words A.G. P. Main : Jon McNaught. The bus. Stripologie.com. Valentín Vañó. NNCORE, Nordic Network for Comics Research. The Nordic Network for Comics Research, NNCORE, is funded by the The Danish Council for Independent Research | Humanities for a two year period starting from September 2011, and the activities will culminate in an international conference to be held at the University of Helsinki, in the spring of 2013.

NNCORE consists of members from all the Nordic countries and Estonia, including both junior and senior scholars, who all have comics as an important component in their work. At the Helsinki conference the NNCORE members present decided to create an interim board to manage the transition of NNCORE from externally funded research network to a full-blown association from 2014.

The interim board will meet in the fall of 2013 and soon thereafter we will post more information about the future of NNCORE. The academic study of comics is experiencing a rapid growth, and with NNCORE we want to make sure that the Nordic countries are at the forefront of this development. Töpfferiana. Reprodukt. L'Association | Maison d'édition de bandes dessinées fondée en 1990. Edmond Baudoin. Laureline Mattiussi. TOTT. Mattotti.com = the official website of Lorenzo Mattotti. Brechtnieuws. Brecht Vandenbroucke. Le Cri du Crabe. Rachel Deville | bande dessinée-illustrations-dessins. Sempiternelles ritournelles. BD fanzine Vignette - Matthieu Chiara. Artenofu. PURE BASURE. EDIE FAKE. Otto Nuckel, Destiny, the Graphic Novel. INTRO : dunja jankovic. Demian5.com. Stephen Vuillemin on Giphy.