New Physics by Box Brown, 20 pages, two-color risograph , $5 now shipping.
I wants it
so I don’t even know who bartman is but I drew bartman a while ago! with a twisted arm.
Are you a cure record from 1987 because I want you to kiss me kiss me kiss me
Anna Christie (1930) dir. by Clarence Brown
<3 pre code dames <3
"really bad drawings, photographs that are so blurry you can’t tell what’s going on, insane unreadable typography— all the stuff that makes life worth living."
Dan Clowes, In the Studio, Visits with Contemporary Cartoonists
"Printing anything badly gives it a greater humanity— you can see that somebody made this. A lot of love still went into making them, as poorly as they’re done, which is fascinating to me."
Ivan Brunetti, In the Studio, Visits with Contemporary Cartoonists
Rhode Island Independent Publishing Expo
August 2nd and 3rd
12pm - 6pm both days at the Providence Public Library
I’m exhibiting at this!
Okay, SPX is officially jelly of RIPE because Gemma Correl is exhibiting. That’s awesome! Don’t miss a chance to see her stateside!
wut wut I must go!
more CDFNY sights
Bill Sienkiewicz 1986: Elektra: Assassin #2
Sienkiewicz found working with Frank Miller to be a much more rewarding, collaborative experience than his previous engagements. He liked how Miller “wrote from his gut.”
In this interview, he likens working with Frank Miller to two jazz musicians riffing off one another:
It worked like this: I would get the script from Frank, read it, laugh out loud through the whole thing, and make notes. Unlike other writers, who give every nuance and shade of every element in every frame, Frank would give a panel description along the lines of:” Panel 6: Garrett’s reconstruction.” and off I would run. After I did my twisted take on it, Frank would occasionally rewrite to incorporate my slant on things, or he would get inspired to go in a different direction altogether. It was like jazz. Frank and I riffed off each other. For example, the character of Garrett in Elektra: Assassin was supposed to be killed at the end of the second issue. When Frank saw what I came up with, he decided Garrett was too good visually to die just yet. Thing is, Frank’s writing really inspired me to play and to take chances, so if he felt he got anything decent from me, it was as a result of getting gold from him. Frank’s keen on letting creative collaborations breathe. That’s part of his brilliance. I can’t say enough good things about the guy himself, and his work. He’s like a brother.
Currently in court with my previous landlord over issues of property neglect and abuse, while simultaneously being evicted by my current landlord through bogus reasoning because he wants to raise the rent. Seriously, all landlords are bastards.