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description=5 posts published by jenvaughn, srbissette, Chuck, and Robyn Chapman during August 2010;

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archives, 2010, the, blog, monthly, august, don, flowers, and, his, lovely, ladies, exploring, power, of, comics, part, caboose, zines, these, top, cartoonists, ccs, summer, workshops, about, favorite, places, contact, stats, meta,

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the sections i basically assemble a mix to try to give students a sampler of what the medium offers from various genres creators and eras rd from the beginning decades ago i started creating my own handouts to explain some concepts each time i taught the class i expanded the existing handouts and added some new ones soon i had enough substantive handouts that they were operating as the de facto textbook for the course those handouts were the precursor to the power of comics luckily matt had been developing very similar ideas and approaches in his class the work each of us had already done meshed very well into the beginnings of an introduction to comic books textbook as for creative works i usually provide a pool of choices for each of the five analysis assignments the hsu library has extensive graphic novel and trade paperback holdings so students don t have to buy books for most of their assignments we always start with a spirit story and i hand those out from my personal collection of kitchen sink reprints some years i have required all the students to read the same book for one of the assignments i used maus and watchmen but i ve also used some overlooked gems such as it s a bird and uncle sam srb what were your goals once you both rolled up your sleeves and decided to collaborate on this project rd by the time we started working on the power of comics there were scores of books and hundreds of articles written by comic scholars but there was no one book that served as a gateway to that growing body of literature there was no textbook that synthesized the best of the insights from the academic literature and made them accessible to an undergraduate student with no background in the subject matter every established academic field has such texts i think matt and i both entered into the task with the hope that such a textbook might help establish comics studies as a field mjs for me the primary objective was to create a textbook that would allow a college instructor to hit the ground running hence we have a lot of pedagogical tools in the book from discussion questions to learning activities to a glossary and so on secondarily i wanted to make some small contribution to the vindication of the medium the fact a college textbook for comics arts studies exists and is in use if by no one else than randy and me is a positive nudge forward for the field i hope srb let s talk about your process how long did it take for this to take shape from conception to publication and what were your stages of collaboration rd testing the waters for this project goes back to the 1990s randy scott the librarian who oversees the incredible comics special collection at michigan state university and his graduate assistant at the time peter coogan published a comic studies newsletter that was instrumental in creating a community of comics scholars one project peter undertook through the newsletter was a directory of comics scholars i send a survey to everyone in that directory asking them what they would want in a comics textbook the results were part of a paper i presented at the comics arts section of the popular culture association conference and from that audience i got more direct feedback one of the main things i learned was that it was going to be impossible to have one book that would please everyone those of us working in this field are coming at comics from diverse disciplines and perspectives however the experience did influence the early version of my outline from that outline i began to construct a few well matt referred to them as chapters but that s generous fragments is more accurate perhaps working on my own i would eventually have finished a textbook but certainly not before matt working on his own would have published his book we made continuum s deadline mostly because he has a discipline and attention to detail i sometimes often lack i was lucky matt sought me out rather than just starting to work on his own mjs i started working on the power of comics in 2005 when i taught a course in media research with a focus on comics scholarship with my students functioning as research aides i began to pull together an outline for what a comics studies textbook might look like then in 2006 i headed out to comic con international for the first time outline in hand hoping to find some publishers who might be interested in the prospect while i was there i attended the comics arts conference and read in randy duncan s biography that he had written a comics textbook i hadn t run across this book in my research so i introduced myself to randy asking after the book it turned out that randy had written several chapters of the book which he was using in his class at henderson state but hadn t published it we talked exchanged outlines and chapters when we got back to our respective campuses and realized that we had about 80 overlap in our vision of what a comics textbook should look like from there we negotiated that remaining 20 and came up with basic design of what you see now we both took the leads on key chapters but inevitably we began rewriting one another as we moved forward even adding sections to one another s chapters to help flesh them out as we proceeded however we were in constant contact with one another throughout the process talking editing and commiserating whenever appropriate randy is an incredibly gracious collaborator and i m lucky to get to work with him ___________________________________ to be continued next week note this interview is 2010 stephen r bissette all rights reserved posted with permission of all involved 1 comment posted in education teaching caboose zines posted on 08 20 2010 by chuck leave a comment liz mason sent over a pile of her zine caboose liz seems to be from chicago thanks liz they will have a place in the schulz library zine garden forever chuck forsman leave a comment posted in uncategorized tagged caboose zine zines these top cartoonists posted on 08 16 2010 by robyn chapman 1 comment today we have a guest entry by ccs alum al b wesolowsky below he offers a thorough overview of the comic strip time capsule these top cartoonists tell how they create america s favorite comics look for more entries by al in the future robyn chapman these top cartoonists by al b wesolowsky figure 1 these top cartoonists tell how they create america s favorite comics is a snapshot of newspaper comic strips in 1964 when that form routinely commanded two pages in daily papers and a separate comics section in color on sundays since the mid 1990s however newspapers have struggled financially as the explosive growth of the world wide web has created a new model for the delivery of content and more than a few have ceased their print versions altogether newspapers have always relied upon advertising as their principal source of income and declining advertising revenues means decreased budgets for comic strips fewer sales by comics syndicates fewer comics and ever decreasing reproduction sizes for the strips these top cartoonists serves as a reminder of the role comic strips played in popular culture only a few decades ago and provides biographical details and personal reminiscences by 39 cartoonists from alphabetically alfred andriola kerry drake to chic young blondie it is a large format publication akin to the instructional manuals one sees in art supply shops with titles such as how to draw animals or landscapes for the beginner although most of the entries do contain a few sentences on tools materials and process this is not a how to book figure 2 each page is devoted to a single cartoonist or more accurately to a single strip since a number of the artists identify their writers and assistants with a photograph of the cartoonist and a few sample drawings or panels from their work the reproductions of the comics are beautiful retaining crisp details and deep blacks that allow an all too brief glimpse of the quality of drafting in many of the strips recall that the artists produced at least six of these strips every week month after month year after year a rate of work that seems impossible when we consider the pace for say creating a graphic novel those who maintain web comics that are updated frequently however will appreciate stress of the need for new content at short intervals i grew up with most of the strips covered in these pages since my family took both the morning and evening papers younger folks may not be aware that most major american cities once had at least two competing papers each with their own set of comics each day i had several full pages newspaper sized pages too not dinky tabloid pages of new comics to pore over with characters i loved and worried about gus arriola s gordo v t hamlin s alley oop milt caniff s steve canyon roy crane s buz sawyer walt kelly s pogo mort walker s beetle bailey alfred andrioli s kerry drake and many others present in these top cartoonists figure 3 each page contains a statement by or about the artist with a few essential biographical details credit is given to those colleagues today we would call them writers who provide continuity and to assistants who drew in some cases backgrounds or figures lettered or inked the pencils most entries mention the schedule of producing daily strips which often precluded any real vacations for the cartoonists each entry has a paragraph or two that describes the working process brainstorming stories penciling lettering inking and packing and shipping the boards but never in any detail still one appreciates that these cartoonists were able to make a living at work that they clearly loved with several comments along the lines of i can t believe that i get paid to do this only a few samples from each strip are reproduced but just about every entry discusses the writing behind the art without good writing we are told the strip will have little appeal regardless of the quality of the drawing there is a particularly salient comment from hal foster prince valiant i have emphasized the story idea here because of all the aspiring young students who have asked my advice not one has seemed to consider it at all their interest was in the pens and brushes the paper size how to draw a funny figure and would i introduce them into my syndicate mr foster would surely have approved of the emphasis on writing in the ccs curriculum a particular strength of this book is the wide range of artistic styles on display from the simple stylized work of mort walker beetle bailey al jaffe tall tales mel lazrus miss peach and frank o neal short ribs through the more figurative work by roy crane buz sawyer hank leonard mickey finn and dick brown the jackson twins to the masterful renderings by hal foster prince valiant john cullen murphy big ben bolt leonard starr on stage and milt caniff steve canyon of the comics covered in this book only a few such as mary worth and beetle bailey are still seeing new material little orphan annie down to a handful of papers was cancelled earlier this year and i think that mort walker b 1923 is the only cartoonist in the book who is still alive and active but hardly surprising for a book that was published nearly 50 years ago figure 4 figure 5 figure 6 figure 7 every one of the cartoonists is male although female colleagues are identified such as ruth harding the scenarist and letterer for archie credited here to bob montana dale messick the woman who created the long running strip brenda starr would have been a welcome addition to these pages hilda terry s teena ceased in 1964 possibly explaining its absence but martha arguello marty links was still doing mary lou as arguello s bobby sox was renamed in 1951 at the time these top cartoonists was published it s true that newspaper strips were predominately done by males but one suspects that gender inclusivity was not in the editor s mind cathy guisewite s cathy did not begin until 1976 and lynne johnston s for better or for worse three years later what value does these top cartoonists have for us today other than as a nostalgic reminder of the glory days of the newspaper comic strip an art form that seems to be disappearing along with its natural medium of newsprint i think that it is a valuable survey of this uniquely american graphics form from a time when newspapers remained the principal source of news and commentary and it shows the longevity of certain strips that outlived their creators such as mutt and jeff associated here with al smith who had inherited it from ed mack who had taken over from bud fisher who had started the strip in 1907 are there webcomics that will continue to appear to a readership as did mutt and jeff for over 70 years some three generations time will show us will historians in 2070 be able to reproduce the run of joe ekatis webcomic t h e fox 1986 1998 we will see at present a combination of digital and print distribution as with girl genius by phil and kaja foglio seems to offer the best chance of longer term preservation these top cartoonists also gives us a glimpse of the process these artists and writers used to maintain the pace of output over decades and of the astonishing variety of styles that serve the medium of comics this last may be the most interesting aspect of the book since webcomics likewise display a wide range of approaches to tell their stories writing drawing composition design and lettering all combine to give any strip its identity while we appreciate the kindred spirits that drive walt kelly s pogo and gary trudeau s doonesbury we would never confuse kelly s politically bemused swamp denizens with trudeau s spot on skewering of political and cultural foibles doonesbury may seem to have been around forever but it began as a strip in the yale campus newspaper in 1968 four years after the publication of these top cartoonists figure 8 al b wesolowsky all images from these top cartoonists tell how they create america s favorite comics and are the property of their respective rightsholders images 1 the cover of these top cartoonists tell how they create america s favorite comics compiled by allen willette introduction by mort walker allied publications inc ft lauderdale fl 1964 a margaret harold publication soft cover 40 pp index black and white photographs and drawings index 2 each page is dedicated to a single comic strip 3 alfred andrioli s kerry drake is wearing a fedora that seems several sizes too small an odd lapse for so skilled a cartoonist 4 mel lazrus miss peach uses a simple expressive line for its stories about grade school pupils 5 crisp drawing simple backgrounds and good spotting of blacks characterize the jackson twins by dick brooks 6 john cullen murphy s big ben bolt shows a level of skill that seems improbable at the rate of six strips a week 7 one can add nothing to the book s caption except to say that the panel is by leonard starr on stage 8 walt kelly s pogo ruminates on the great american pastime with ...