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.
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.
So I’ve been away from the scanner for a while and have only been posting 30 Days mobile snapshots to Twitter. I’ll have to go back and post proper scans later this week so everything is collected here. For now, here is the day’s work:
A return to form: Trying to squeeze some more images out of the objects in my kitchen Felt tip pen and ink wash. Got me one of those portable Pentel watercolour brush pens, and I filled it with an ink/water solution. Still getting to know it, but I like the possibilities it offers.
A while back I adapted a short story by Swedish author Pär Thörn, which is now published in the anthology “Ordningen upprätthålls alltid” (Order is always maintained) along with 22 other Thörn adaptations.
I haven’t done a lot of genre work the past years, so Pär’s terse, cynical noir stories were a nice change of gears. The 6-page story is drawn with a fat 2B graphite, gray tones are scans of torn paper.
Bonus point: According to the press release I’m now one of “Sweden’s most renowned comics artists”. I guess that makes me an honorary Swede at this point