Process

Darryl Ayo is at it again with another in his ongoing series of rabble-rousing blog posts. This time he suggests that we need to take a look in the mirror in order to get comics more visibility.

Artist Paolo Rivera recounts an amusing story of how he found himself on Google's Street Viewstanding in front of Jim Hanley's Universe. He adds some interesting tips on how he uses the service as an art reference:

Ed "Wizzywig" Piskor has crated a Photoshop version of the famous 64-color chart used to color comics up until the advent of computer coloring and scanning in the 80s. It is, as he points out, rather than a crippling limitation, an invitation to actually think about color:

WARNING: EXTREMELY NERDY MAC CONTENT -- proceed at your own risk. As you know, I've been complaining about computer problems for a few months now, with tedious frequency -- but not as tedious as seeing a spinning beach ball is to me. Basically, every morning when I started up my iMac to get to work on The Beat it would take anywhere from 5 minutes to half an hour for the beachball to stop spinning and all the programs to start responding. Unbearable, right? You bet!

It's a busy week for cartooning events here in NYC, with so many you can't even get to them all. One we didn't want to miss took place last night, DRAWING THE LINE at the Society of Illustrators, a group chat about the cartooning craft by Joe Quesada, Walt Simonson and Jim Steranko. The panel was organized and moderated by artist Dennis Calero (X-MEN NOIR) as part of a move for the SI to get more involved in covering the graphic literature world. In the regard it was a total success, allowing three important artists talk about their work and approaches devoid of the promotional efforts that color most convention and bookstore appearances. Calero did a great job moderating as well, keeping the talk circling various aspects of the cartoonist's life, including dealing with "shortcuts", deadlines and the rewards of artwork, and showing a great knowledge of the trio's careers.

A bit of an interesting experiment going on over at the Drawing Words Writing Pictures blog, as two young cartoonists are learning how to make their way in the world -- without even drawing cartoons:

Via Matt Madden, Hillary Allison reveals a money saving technique for ink-slingers who favor the nib. Bonus: Elite Beat Intern Maggie Siegel-Berele stars as the ink-slinger in question.

Comedy writer Tom Gammill (Seinfeld, The Simpsons) has a comic strip called The Doozies, and has made a bunch of videos in which he teaches the ancient secrets of cartooning. In his 26th episode, he visits the Center for Cartoon Studies in Vermont and discovered things about the climate and the students. The humor is a bit, er, broad, but this video is quite charming.

Don't draw the bricks; draw the wall.

Talk about informed, could you have a better guide to the history of comics logos than the lettering master himself, Todd Klein? His research into the history of comics is as extensive as it is informed:

LACKADAISY artist Tracy J. Butler delivers some notes on cartooning and facial expressions. Her examples are anthropomorphic, but can be applied to all "cartoony" 'tooning styles.

FREAKANGELS artist Paul Duffield, who has a background in animation, shares some informed thoughts on motion comics proving that there is more you can say about the hybrid form than "Yuck." However, there is a conceptual problem, he says.