If you couldn’t make it to MoCCA, or missed Frank’s panel with Gary Panter and Raymond Sohn for any other reason, here’s an audio recording of the proceedings. (Thanks, Ray!)
Also, Squally Showers has put together an excellent visual companion to the talk.
MoCCA MadnessPictureBox will be at the MoCCA Festival this weekend, June 6-7, 11 am- 6 pm.
69th Regiment Armory
68 Lexington Avenue, between 25th and 26th Streets
NYC
PictureBox has booths 301, 339, 338
So, without further ado:
New from PictureBox for MoCCA!
Mat Brinkman: MULTIFORCE
Yes, you read that correctly — the entire saga at full size. 22 pages of comics genius. Sneak attack.
Ed Nukey Nukes and Jocko Levent Brainiac: PEE DOG 2: THE CAPTAIN’S FINAL LOG
A 60 page opus d’filth from 1986 co-created by an artist we publish whose name rhymes with Shmary Kanter. Just 500 made.
Lane Milburn and Frank Santoro: COLD HEAT SPECIAL #9
Not a season goes by without a slice of such goodness.
Devin Flynn and Gary Panter: DEVIN AND GARY GO OUTSIDE SPECIAL EDITION
Hand-collages unique objects. Just 100 made!
Raw Dog: REAL DEAL BACK ISSUES
First printings how available!
Lauren Weinstein: TWO GHOST STORIES zine
And new work from Matthew Thurber, Anya Davidson, Taylor McKimens, and others!
And…:
Festival Signing Schedule
Special Event: Frank Santoro and Gary Panter in conversation at 3:45 on Sunday in the programming room.
Saturday:
11 am-12 pm: Frank Santoro
12 pm -2 pm: Lauren Weinstein and Frank Santoro
2-3 pm: Matthew Thurber
3:00 pm-5 pm: Lauren Weinstein
5 pm – 6 pm: Frank Santoro
Sunday:
11:30 am – 12:30 pm: Lauren Weinstein
12:30 pm -1:30 pm: Frank Santoro
1:30 p.m. – 3:30 p.m: Gary Panter and Devin Flynn
4 pm – 6 pm: Lauren Weinstein
See you soon!
Saturday JUNE 13th noon to six
COMICSCLASS2700
with FRANK SANTORO
“DISCOVER THE HIDDEN TEMPO OF COMICS”
Hey Everybody. Your friendly neighborhood loudmouth here, Frank Santoro. I’m doing a workshop class in New York City at the infamous Westbeth artists’ co-op on June 13th. Be there or be square. It’s gonna be an intense, small class of six people. Not for beginners. Come ready to draw.
The focus will be on the student’s contour line drawing and composition. This class will explore the process of improvisation within a rigorously structured page design. Meaning students will learn how to find a framework of harmonic points on the comics page. These points act like a “tuning fork” and provide page proportions which allow the drawings to unfold in sequence while firmly remaining “in key”.
Seriously. See, the problem I see with most comics is that often there is a real lack of a consistent narrative pace. Comics can be structured like songs and utilize tempo, rhythm, harmonies and melodies to change the pace of a story. It’s this invisible structure that will be explored, diagrammed and discussed.
And as for the drawing end of it, we will be drawing in a contour line style. No shading, just lines. And no color. Students will be making a manuscript, a “print dummy” of sorts for making their own 16 page zine. Each student will be “improvising” upon a pre-existing story structure designed by myself. Straight ahead, no-frills drawing and composition, transitions and sequencing will be the order of the day. I will be working with each student one on one to really explain how structure and improvisation can unlock one’s narrative vision.
Email me: capneasyATgmailDOTcom if you’re interested and I’ll fill you in on the details. It’s 40 bux. Noon to six with a lunch break. June 13th. Saturday. Space is limited to six people. Thanks.
[UPDATE] THE CLASS IS FULL . I’m making a wait list and hopefully will be doing this again soon, so please email me if you’re interested and I’ll let you know what’s up.
If you want to listen to the TCAF “Post-Kirby” panel Frank mentioned in his last post, the audio has been posted by Inkstuds.
FRIDAY
The drive from NYC to Toronto was fun. Dan, Dash, the books, and me. I drove most of the way. It’s a hoof, for sure. Basically ten hours when it’s all said and done. Dan’s a decent navigator, but he likes those Google directions, and I prefer Ye Olde Atlas, so a few times we goofed and missed a turn. For the most part we found our way and got there in one piece. Dan backed into the gas station and crunched the bumper a bit in Buffalo. So, y’know, the usual drive to a con for me and Dan.
Dash is whatchacall a good conversationalist, so he and Dan riffed on all things comics most of the way. The future of print magazines, new subscription models, online comics, animated shorts, oh yah—Dash has these new short animation pieces that he showed me and Dan on his iPod. All hand drawn by him and Jane Sabrowski they look fantastically modern, fresh. Dash sees no distinction really between comics and animation. It felt like reading a solid short comic story. Only two minutes long but just shimmering with a very particular pacing. Remarkable detail and movement.
Dan’s finishing up his second Art Out Of Time book and we talked about John Stanley. Somehow that led to Trevor Von Eeden. Lay-outs. That’s the connection. Comic book page lay-outs. John Stanley horror comics and their page designs. Thriller and how it was DC’s “art” comic. Crazy art by Von Eeden colored by Lynn Varley. And how DC’s other “art” comic at the time, Ronin, was also colored by Varley. Everyone knew she was the secret to Miller’s successful visual breakthrough (don’t laff) on Ronin, but she was also the real reason why early Von Eeden is so good. And then, after Ronin, she mostly only worked with Miller. Things that make you go hmm…..
John Stanley, Lynn Varley. These were the important matters of the day. Then it was Steranko. And Mazzucchelli. Dash did an interview with Mazz for an upcoming Comics Journal. They talked about Steranko.
Dan’s curating a Mazz show for MoCCA. I still haven’t read Asterios Polyp. Dash didn’t know that Richmond Lewis colored Iron Wolf by Mignola and Chaykin. Chaykin! Chaykin was into Steranko. That led us back to Photoshop and animation. Chaykin should do animation. I could do all the backgrounds. Dash would color it. Chaykin would just have to draw the figures over my lay-outs. Cody Starbuck 3000.
Then we were there, we made it, Friday night. This year’s TCAF was in the big Reference Library in Toronto. I was skeptical of the new venue but it turned out to be perfect. We dropped our books off. Checked into the hotel. Went and got burgers. Walked around, got a drink. Dan tried not to smoke cigarettes.
SATURDAY
I spent almost all day Saturday behind the table, pricing my “curated back issues” for the discerning Toronto crowd. In other cities my back issues cause a riot. But in a town that boasts one of the best comics shops in the world—The Beguiling—most of the TCAF attendees were like, “Oh yah, I have all these…” I was shocked. “What? You have Dennis The Menace Goes To Mexico?”
Somebody was rifling through my sets when he pulled out Gilbert Hernandez’s Speak Of The Devil and pointed to the “hype-up” sticker I affixed to the bag. “Is this really the GREATEST MINI-SERIES EVER?”
I was ready to deliver my best fastball sales pitch when the gentleman stopped me and introduced himself. “Hey Frank, it’s Robin McConnell.” Whew. I was getting ready to go off like some used car salesman loudmouth, ha ha. And I thought I had recognized his voice, he of Inkstuds fame, but i didn’t have a moment to register it all. In all the rush to set up the PictureBox table and arrange our wares, I’d almost forgotten about the panel discussion we we doing in the early afternoon that Saturday.
The panel was basically about how old mainstream comics from the last 30 years had a lot of influence on how alt comics were formed. More or less. I think, really, Robin and I wanted to just throw the ball around in front of a crowd. So we got some other folks who are equally comics-crazy to join us: Dash Shaw, Dustin Harbin, and Robert Dayton.
Robin moderated the panel. But I hi-jacked it early on and spent maybe a little too much time trying to guess if the audience had really read all the stuff we were riffing on: Ditko, ’70s Kirby, Steranko. I think my fellow panelists were being polite and just let me TRY and explain why mid-70’s Kirby is important to me as an artist. Once I just spoke “normally” and let someone else talk, the panel occasionally assumed some sense of order. Dustin tried to be a voice of reason. When the audience jumped in was when it really went somewhere. It was fun, anyways.
[UPDATE FROM TIM: You can listen to the panel here.]
(I think at this point I’ll leave the panel description to anybody but me. Please feel free to add your voice in the comments. I’m completely unreliable recalling whatever it was I was ranting on about—and even listening to the mp3 Robin sent me hasn’t helped. Ask Dash. Ask Robert Dayton. But don’t ask Dustin. Or Bill K. (Just kidding, geez…))
Back at the table, business was brisk. I sold a Dennis The Menace to a little girl for 3 bux. She seemed happy. Even Dan was happy. He was only grumpy cuz it was pretty hot in the room we were in once it filled up. It was packed for most of the day. I barely walked the floor to see friends cuz of the traffic at our table. We did okay. I was selling Cold Heat sets at an unexpected clip. People were actually bringing their copies of Storeyille from home to be signed. Saturday just blew by. It was great.
SAT NIGHT
The bar was packed so we had to go upstairs on the enclosed roof. It was loud. Dan hobnobbed with Mr. Oliveros and Mr. Tomine.
Gabrielle Bell, Dash, and I made of list of comics we’d like to “cover”—like we would re-mix a Crumb story or something. But it was just an excuse to ask Gabrielle to collaborate on a Cold Heat Special. She said “maybe” and laughed. I tried to flatter her by telling her that she had nice angles in her artwork. “Maybe.” I tried to compliment her color sense and that we could exploit her mastery by doing a full color offset job for the project. “Maybe.” I tried to buy her a beer. “Maybe.”
Dash has these ideas about re-mixing comics, like “covering” well known comics and just using it like a melody. Just riffing on it. Like sampling, but not. And he also has these interesting ideas about imitating TV formats. Wait, that sounds too literal. It’s more like trying to distill the melodrama out of the narrative. Boil it down. He showed me this Blind Date comic he did where he riffed on the reality dating show and used the format of the show to underpin the arc of the story or episode. Boy meets Girl, Boy loses Girl, you know what I mean. It was a short story, but it really made me think about how one could build comics more informally, how things like TV and YouTube have shaped our sense of narrative. After all, it’s the snippet of story, action, drama, that we like to experience in these other mediums, this instant unfolding. Dash didn’t bother with too much set up at all in the story, it’s all there, programmed into our heads already. So the focus was on the boiled down back and forth between the characters and their movement through space and time. It FELT like a 15-minute episode of a show and not a comic that I read in 3 minutes.
Back at the hotel, Dan asked me if I had seen Seth‘s new book. I hadn’t. Holy shit, Batman. George Sprott is a stunningly beautiful book.
SUNDAY
Got a slow start. Everyone was doing the slightly hungover shuffle. Went and had a coffee with fellow Pittsburgher Erin Griffin. Surprisingly, many coffee shops in Toronto have never heard of soy milk. Maybe I was mumbling.
Dash and I put some of our Cold Heat Special #3’s together. Dan realized I had “borrowed” the stapler from the PictureBox office back at SPX last year. “Hey, that’s where the stapler went!”
Walked the floor a bit. Talked shop with Brett Warnock. Said hello to Nate Powell. Stopped by Alvin Buenaventura‘s table. Said hi to Jessica over at D&Q. Stood in line to get a George Sprott book from Seth. The D&Q table was like a warship at battle. There was a line that stretched out the door for Tatsumi.
Met lots of people read Comics Comics who said they thought I’d be a jerk in person. That’s always nice to hear. I think. Sold some Shaky Kane and Brendan McCarthy comics to Tom K.
Tom K is one of my favorite cartoonists these days. His sense of space is impeccable. No surprise then to learn that he went to architecture school. So we stood around riffing on the Golden Section and how most artists and architects just take all that (knowledge and irrationality and measure and magic) for granted. Tom also has discerning taste in back issues and browsed my back issues for a good twenty minutes. I asked Tom about his MOME comics and if they were going to be collected. He said his recent move to Minneapolis (a year ago now, actually) has impeded his progress slightly on cranking out the comics. And everyone still thinks he lives in New York.
Dan had a panel late in the afternoon. There were still a lot of people milling around. Met plenty of nice people who wanted to talk about old comics. Jim Rugg came by and got a copy of Nemoto‘s Monster Men.
Then the show was over. And then Dan realized we could make it to The Beguiling before it closed. So we packed up quick and raced over there. We couldn’t let another TCAF go by without actually seeing this awesome store that we’ve always heard so much about. And, man, it really is an awesome store. Dash found a whole set of Mai The Psychic Girl for a song. I found a set of Star*Reach. And a set of Trevor Von Eeden’s Black Canary. Dan unearthed some rare Real Deal comics. We were in heaven. And our finds fueled a whole ‘nother round of riffing on old comics at dinner.
That’s what I love about TCAF, that there’s an opportunity to really share ideas and talk at length about comics. I mean, I talk about comics all the time anyways and at other festivals but when everyone gets together like this in a comics-hospitable environment like Toronto, man, there is like none of the guilt that goes along with some comics gatherings, that “What am I doing here?” feeling. So somehow the urge to just keep talking shop and imagining some bright future for alt/art comics sticks around. And the conversations go on for days essentially. Like I started to feel like Dan, Dash, and I were in a Chester Brown comic where he walks around town and goes to bookstores with Seth and Joe Matt and they’re all riffing on comics and art. It was pleasantly surreal. And genuinely enjoyable. We had a great time. TCAF is something special.
[UPDATE FROM TIM: Inkstuds posted the audio from the “Post-Kirby” panel Frank was on here.]
That‘s the Dan I know!
On the other hand, I don’t know if this report is accurate, Dan, but I would like to point out that you have had months to digest Asterios Polyp, so that’s no excuse–for you.
It’s impossible to tell much from this post that mentions Frank’s panel, but maybe more details will be revealed.
Also: I feel like maybe we should be arguing about this, but really, I get tired just thinking about it. Maybe you guys have the energy.
Reviews soon.
PictureBox alighted to Toronto for the weekend to set up shop, sell books, and enjoy a comics “vacation.” I drove up with Frank Santoro and Dash Shaw. Many things were discussed. We went to see Star Trek. It was very excellent. We ate hamburgers (twice, Hodler!) and enjoyed the company of our colleagues. Also, there were back issues to be had at The Beguiling. Always with the back issues.
Two handsome men and a lot of books. 
Which one of us bought these? I bet you can guess…
Tom Devlin reserves judgment.
Comic critic enforcers Jeet Heer and Bill Kartalopoulos loom large over PictureBox.
A fleeing Gabrielle Bell says “maybe” to Frank’s generous offer to collaborate on a Cold Heat Special. “Maybe means maybe,” says Bell!All in all, a truly excellent weekend. TCAF is the best comics festival in North America — it’s cosmopolitan but still feels very community oriented. Everyone retreats to one bar, everyone is accessible. It’s really quite nice. So hats off to Chris, Peter, and the whole crew.
UPDATE: I forgot to mention that my favorite surprise of the show was the English translation of Francois Ayroles’ Key Moments from the History of Comics. The Beguiling published this little chapbook, which contains one page cartoons mostly focusing on the great American and European cartoonists. It’s perhaps my favorite work of general comics history in years. A real gem. I have no idea how to get it, though I suspect it will soon be available from The Beguiling itself.
1. Tucker Stone interviews Frank and writes about Cold Heat.
2. A good, thorough review of that Fumetto Festival in Switzerland that Dan, Frank, Lauren, and Mark Newgarden kept going on and on about a few weeks back. I don’t mind that I didn’t attend, not at all. It sounds awful. I’m really glad I didn’t waste my time.
3. Lauren reports from last week’s SPX in Sweden, which I’m also glad I missed.
4. Gary Panter’s Zomoid!
5. I haven’t read Jamilti, and so can’t comment on the accuracy of this Guardian review of Rutu Modan’s collection, but I found it kind of interesting how the anti-comics-respectability meme idea-or-behavior-that-spreads-from-person-to-person-within-a-culture [Thanks, zik!] made its way in at the end. I’m probably forgetting a dozen different things, but I don’t remember encountering it in the mainstream press in quite this form before.
6. I didn’t actually have enough patience or interest to do more than skim this article from the same paper, but I’d say that in my case, my overindulgence in exclamation points stems almost entirely from having read too many comic books! I was surprised that Stan Lee didn’t get mentioned!
Done. And done!!!
UPDATE: Or not. One more quick one. If I wasn’t avoiding Twitter as much as possible on general principle, I would’ve seen this earlier. I had to google J.P., but it was worth it.
Fumetto was certainly a blast. Essentially the festival takes over the town of Lucerne, Switzerland, and mounts about a dozen exhibitions, holds panel discussions and demonstrations, as well as signings and tours. It’s a non-commercial festival, with one great store located in the festival center and that’s it. It was wonderfully well-organized, well programmed and just, well, kinda perfect. It’s also interestingly broad, encompassing illustration and art as well as more traditional comics. By the end, we were told, 150,000 people had been through the festival. For me, it was a great chance to be involved with a different vision of what a festival can be, as well as a fun international cultural exchange. After all, PictureBox was there in the form of an exhibition by Frank, Lauren and CF, as well as a show by Yokoyama. But so was Ever Meulen, with a wonderful little retrospective. And so was Blutch, the “artist-in-residence” who provided excellent new drawings everyday in his hotel lobby. Mark Newgarden mounted, for me, the best exhibition of the festival, with a conceptually tight showing of his original artwork and ephemera. Shary Boyle was there with a fantastic show, and so was David Shrigley, not to mention Daisuke Ichiba, Elvis Studio, Alex Baladi, and numerous others. Anyhow, here are some pictures from the scene and there is much, much more on Flickr. Thanks to Lynn Kost and the Fumetto staff for such a wonderful experience!
Elvis Studio’s show. 
Study for RAW cover and finish by Ever Meulen.
Newgarden made gorgeous large-format prints of Love’s Savage Fury.
Preggers Lauren is a great cook.
CF and Yokoyama bonded. 
Oh yeah, one day me and Frank went to see Lee Perry at his mountain retreat an hour from Lucerne. He and Frank collaborated on this Batman drawing.
At the feet of THE RULER.Here’s a quick look at what’s happening in Lucerne…
Group interview time! Santoro, Weinstein, me, Forgues, Yokoyama. Major topic: Hemingway and humanism. Also: war comics.
Very large painting by Yokoyama, circa 1994
Part of Frank’s installation.
Part of Lauren’s show.
Oh, there’s this.
Brinkman here in spirit but not body.
I do love Ever Meulen.
Mark Newgarden makes his presence known.
More later.
