So we made a bunch of posters to sell at the Stockholm Small Press Expo, reprinting three past covers of C’est Bon Anthology: Kolbeinn Karlsson‘s for vol. 20/21, Sarah Kläpp‘s for vol. 22, and my own (ancient, in comparison) for vol. 11.
It’s a super limited edition of 20 copies a piece, but if they somehow don’t sell out this weekend in Stockholm, they’ll probably go up on the C’est Bon Kultur webshop soon!
Yeah, sorry for the pulpy title, but the post warrants it
I made the above illustration for the Electric Sheep movie website, to go with their spotlight on Polish director Walerian Borowczyk. I made a fair amount of research into Borowczyk and his films in preparation for the illustration, which I will unload below the fold. Click on at your own risk: Continue reading
I came upon this via Twitter this morning: Sam Lavigne wrote a program that will turn any text into a patent application. Of course, that’s just delightful in itself, especially with the sample output he supplies: Kafka’s The Hunger Artist becomes “An apparatus and device for staring into vacancy”, and from the illustration idex to the Communist Manifesto (“A method and device for comprehending theoretically the historical movement”, PDF) we learn that
Figure 52 schematically illustrates the icy water of egotistical calculation.
Great, right? Being a big fan of machine-appropriated nonsense, this tickled my fancy enormously, but Lavigne’s inspiration for the program was just as exciting to me:
I was partially inspired by Paul Scheerbart’sPerpetual Motion Machine, a sort of technical/literary diary in which Scheerbart documents and reflects on various failed attempts to create a perpetual motion machine. Scheerbart frequently refers to his machines as “stories” – I wanted to reverse the concept and transform stories into machines.
Machines as stories, really? See, that’s another thing that alwaqys makes my mouth water, cross media metaphors Lavigne also provides this illustration from Scheerbart’s book which — apart from the obvious similarity to Mickey Mouse, there — immediately made me think of comics:
True, I think of comics pretty much all the time, so no surprise there. For instance, I’ve been evangelising about IKEA manuals as a form of pure, pantomime comics. However, Scheerbart’s approach adds a layer of complexity (cause and effect, directional motion) which 1) adds to the narrative potential of diagrammatic comics, and 2) is very tongue in cheek for his part, because he’s really having us on with the whole construction bit. Perpetual motion is, of course in violations of the laws of thermodynamics, and Scheerbart is merely using the form of technical schematics to his own, philosophically meandering ends.
I can’t claim to have a very technical mind, myself, but this caught my interest enough to look further into the visual techniques of diagrams, and hopefully work some of it into my own, idle comics experiments. Oh, and Das Perpetuum Mobile is available as online text, although only in German as far as I can see.
My second riff on Minutemen’s Please Don’t Be Gentle With Me. More about why and for what here.
Trying some typography & collage for this one. Basically made up of stuff I had in my scrap drawer that I keep for the same purpose. My ancient LetraSet transfer sheets are running low on certain letters, so I had to be creative — which I usually charge for, so that’s a freebie for you all.
So I jumped at the opportunity to do a comic for Warren Craghead’s Minutemen tribute anthology, which is going to be great no matter how bad my contribution sucks. There are a bunch of great people working on this that I know of, but I don’t think anyone has been officially announced so I’m not going to spoil the surprise here (or spread false information!).
The deadline is not until early July, so I figured I’d try out a few different approaches to the song I picked, Please Don’t Be Gentle With Me, and I’ll be posting them here as I make them. Now, these are sketches, and I’m trying some new things here, just so you know. I claim the right to post some things that may well be crap, in the spirit of creativity and process. First up, from yesterday:
Remember the crap disclaimer from five seconds ago? Apply at your leisure I always allow myself to start a sketchbook with a bad drawing, to take the pressure off breaking in a blank book. Also, any drawing after that will be better! Same goes for this, I suppose (I hope!).
I’m not sure I’m really going to use the lyrics of the song in the final version (Warren advises against it) but here I liked the way it acts as graphic elements, and lets me play with repetitions. At this point I think I kind of need to lean on the lyrics to find the tone of the song, and the proper visuals to go with it. Whatever, I’m artsplaining now.
will be up shortly! is right here >>
I might start posting everything from my own site instead of handing my strokes of genius to Twitter.
Marvel/DC writer Steve Englehart, interviewed in Comics Journal #63. Another quote, in a shakier snapshot (sorry for those!):This was 1981, I think we should give Englehart some slack for having a somewhat insular outlook. Those longer works existed outside the contemporary US mainstream, but working in a superhero monoculture, he wouldn’t know about them. Englehart does admits to not having read Eisner’s A Contract with God three years after its publication, though. So maybe he wasn’t that interested.
- being another catch-up post, and a potentially tedious exercise in recycling compositional elements:
So above are the basic elements I decided to work with. As I copied it, Imucked around with the copier settings, so there are certain colour changes in the following transformations: In hindsight, the one thing that I would have done different is to leave the words out of the original, but it wasn’t until I’d put them down that I thought of doing multiple variations. The wording (half quoted from an old Faith No More song) kind of prompted that, and since I’m running low on steam these days I’m taking any chance to cheat/inflate my output.