§ At the FLOG blog, Jacob Covey goes on at some length to discuss his dislike of giclée (digital) prints, as opposed to old school hand printmaking:
Meanwhile there is a mind-boggling craft involved in all traditional print-making that makes any hand-crafted print far more valuable than any digital print. Perhaps it sounds snobbish to make these distinctions but the truth is that giving something a French name in order to sell it is far more snooty than my position which is as an advocate for the value of Art in this Age of Mechanical Reproduction. Aside from the fact that giclée prints are far more expensive per-unit than most any other process, I simply find it consumerist and soulless to actively convince people that a digital print has any value beyond decoration or as reference material. It is, as a kind of Platonic thing, not capable of being Art. For example, screenprinting is perhaps the most common and well-known non-printing-press, print-making technique [entertaining Aesthetic Apparatus instructional video here]. It’s potentially cheap and easy if also messy. It can be as simple as one-color screened on paper or something complex and nuanced like this 24-layer Gary Baseman print from Decoder Ring. But it has SOUL that resonates back through generations of our ancestors who developed hands-on methods for spreading information and art.
§ John K. piles it on again with his ideas of the two most important tools of the cartoonist but sweetens the medicine with pictures of cool old comic strips.
You can’t learn the basics faster than by copying the drawings from classic model sheets. Save yourself 4 years of debt piled up at a cheesy animation school that doesn’t teach you anything. If you combine these two broad concepts: 1) strong drawing principles with 2) fun wacky cartooniness and creativity, you get the best kind of cartoons – like the WB and Tex Avery cartoons. Lots of control, without losing the idea that cartoons are supposed to be magic, ridiculous and fun.