Blank Page Anxieties

These people ought to know who we are and tell that we are here

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smallpresspreviews:

Dirty Diamonds 5

by Alexis Cooke, Alison Wilgus, Ann Uland, Anne Mondeel, Ashley Austin, Carey Pietsch (Guest cover artist),Claire Folkman (Editor), Crystal Kan, Cyn Why, Denise Clamors, Dre Grigoropol, Faye Stacey, Jackie Huskisson, Jenny McKeon, Jillian Fleck, Julie Mills, Kelly Froh, Kelly Phillips (Editor), Miranda Harmon, Mouna Toure, Nicole Rodrigues, Patsy Chen, Sage Coffey, Sara Goetter, Scotty (Crystal Jayme), Silvia Carrus, Stevie Wilson, Tamara Ansing, Vicky Leta, Win Evans, Yao Xiao, Yui Wei Tan

Published by Dirty Diamonds

Dirty Diamonds is an all-girl comic anthology.

The milestone fifth issue of DIRTY DIAMONDS will be making its American debut at SPX, and this one’s a doozy! Edited by Philadelphia cartoonists Kelly Phillips and Claire Folkman, our first professionally printed book features 32 artists from six different countries all telling stories about the medium that means the most to them – comics! Read stories about these artists’ best, worst, and first experiences with comics.

FEATURED ARTISTS:
Alexis Cooke
Alison Wilgus
Ann Uland
Anne Mondeel
Ashley Austin
Carey Pietsch
(Guest cover artist)
Claire Folkman
(Editor)
Crystal Kan
Cyn Why
Denise Clamors
Dre Grigoropol
Faye Stacey
Jackie Huskisson
Jenny McKeon
Jillian Fleck
Julie Mills
Kelly Froh
Kelly Phillips
(Editor)
Miranda Harmon
Mouna Toure
Nicole Rodrigues
Patsy Chen
Sage Coffey
Sara Goetter
Scotty (Crystal Jayme)
Silvia Carrus
Stevie Wilson
Tamara Ansing
Vicky Leta
Win Evans
Yao Xiao
Yui Wei Tan

Perfect-bound – 112 pages – color cover / b&w interior – 8.5”x11”

$12

For more information, or to pre-order the book, visit dirtydiamonds.net

Filed under dirty diamonds comics

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smallpresspreviews:

QUARTER MOON: WATERS

by Daniel Elisii, Dave Proch, Mike Sgier, Andrea Tsurumi, Rob Woods, Farel Dalrymple, and Steve Mardo

Published by Locust Moon Press

The fourth issue – and the wettest, wildest one yet – of our quarterly anthology magazine plumbs the mysteries of the deep, from the ocean floor to the neighborhood pool. Rob Woods debuts Philly’s greatest new undersea superhero, Fishboy, right here. He’s joined by Andrea Tsurumi, Mike Sgier, Daniel Elisii, and Dave Proch on aquatic comics, as well as Farel Dalrymple for a new sketchbook entry. Front & back covers by Steve Mardo.

44 pages, blue & white, perfect bound.

ISBN: 978-0-9899076-4-4

September 3, 2014

$6

Order here

Filed under quarter moon locust moon comics waters

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austinkleon:

Roger Ebert’s sketchbook and thoughts on drawing

While I was watching Life Itself last night, I noticed two or three drawings in the mix of images, none of which were commented on.

Had I been reading his blog more carefully, I would’ve come across this blog post, “You Can Draw, and Probably Better Than I Can,” where he explains how he met a woman named Annette Goodheart in the early 1980s, who convinced him that all children can draw, it’s just that some of us stop:

The break in our childish innocence comes the first time we use an eraser. We draw a chin and think it looks nothing like a chin, and in frustration we erase it. That’s it. Our bond of trust with our artistic instinct has been severed. We will be erasing for the rest of our lives. I speak here not of great and accomplished artists, for whom I hold great awe, but for you and me, whose work, let’s face it, will not soon be given a gallery show.

It seems to me Annette said something like this: Begin with a proper sketch book. Draw in ink. Finish each drawing you begin, and keep every drawing you finish. No erasing, no ripping out a page, no covering a page with angry scribbles. What you draw is an invaluable and unique representation of how you saw at that moment in that place according to your abilities. That’s all we want. We already know what a dog really looks like.

When he was in London, Ebert bought a Daler sketchbook and a drawing pen across the street from the English National Opera.

I settled down in a nearby pub and began to sketch a glass, which is no more than an arrangement of ovals and lines. I continued to draw throughout the 1990s… I sketched mostly on vacation. I had the time. In Chicago there was always a deadline, someplace to be, a phone ringing. On vacation I found a cafe or a park bench, or was waiting for a concert to begin, or whatever.

He soon found out that the quality of his drawings didn’t matter at all — it was the mere fact that he drew them:

That was the thing no one told me about. By sitting somewhere and sketching something, I was forced to really look at it, again and again, and ask my mind to translate its essence through my fingers onto the paper. The subject of my drawing was fixed permanently in my memory. Oh, I “remember” places I’ve been and things I’ve seen. I could tell you about sitting in a pub on Kings’ Road and seeing a table of spike-haired kids starting a little fire in an ash tray with some lighter fluid. I could tell you, and you would be told, and that would be that. But in sketching it I preserved it. I had observed it.

I found this was a benefit that rendered the quality of my drawings irrelevant. Whether they were good or bad had nothing to do with their most valuable asset: They were a means of experiencing a place or a moment more deeply. The practice had another merit. It dropped me out of time. I would begin a sketch or watercolor and fall into a waking reverie. Words left my mind. A zone of concentration formed. I didn’t think a tree or a window. I didn’t think deliberately at all. My eyes saw and my fingers moved and the drawing happened. Conscious thought was what I had to escape, so I wouldn’t think, Wait! This doesn’t look anything like that tree! or I wish I knew how to draw a tree! I began to understand why Annette said finish every drawing you start. By abandoning perfectionism you liberate yourself to draw your way. And nobody else can draw the way you do.

As he wrote in a Facebook post, “An artist using a sketchbook always looks like a happy person.” 

Knowing Ebert himself drew means a lot to me, as the only direct contact I ever had with Ebert was this Facebook post where he praised one of my drawings.

He published a little paperback with some of his drawings (Two Weeks In Midday Sun: A Cannes Notebook), but, unfortunately, it’s out of print. Luckily, you can read all of his thoughts on drawings and flip through some of his drawings on Flickr.

Filed under: Roger Ebert

Filed under roger ebert drawing sketchbooks

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Quarter Moon: Waters from Locust Moon

I have a story in the latest issue of Locust Moon’s Quarter Moon anthology. I’m very happy with how it turned out, and I’m proud to be included with the lineup in this issue. You can buy it from the link, or visit Locust Moon Comics in Philly. 

Filed under comics quarter moon locust moon comics waters

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piddlebucket:

thisiswhiteprivilege:

softboycollective:

TUESDAY 8/19: Ferguson PD presented a table full of fabricated evidence at this morning’s press conference - allegedly seized from protestors and stopped cars. The Colt 45 Molotov with a white bandana was the crowning glory, turns out you can’t even buy glass 40’s in Missouri. Stay classy, FPD

I seriously think white supremacist are coming in the area to frame the protesters, but it could just be the cops

Nah I think that’s exactly what’s going on.

(via mattfractionblog)

Filed under signal boost ferguson

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Decided to try out some different papers with the “Guardian” print. This is a Kitakata paper. There’s a fair amount of underprinting in this one, which I’m not always a fan of, but I think it works well with the texture of the paper. #prints #printmaking #nofilter

Decided to try out some different papers with the “Guardian” print. This is a Kitakata paper. There’s a fair amount of underprinting in this one, which I’m not always a fan of, but I think it works well with the texture of the paper. #prints #printmaking #nofilter

Filed under printmaking prints nofilter