I’ve found to enjoy and come to love the similarities, rather than the differences between cartoonists. At the center there is a dialogue that we all exchange in. Some of us embellish our drawings with wonderful textures and breathtaking realism, while some of us decide to beautifully reduce and captivate in simplicity and economy. Some of us ravish in color while some celebrate in black and white. When you think of everything that we see now and everything that has been, it can be overwhelming to sift through it all. There are simple observations of style. Immediate reactions that grab us, appeal to our eyes, pull us in,and make us read that first page. At a glance the differences are overwhelming. But when you look close, beyond that immediate or subjective appeal, you find there is something there, waiting to be found. Something that links every cartoonist to each other. Something that has and always will be there; an observation of life. We’ve all seen that that there is something in life worth depicting, something worth replicating, in our own personal way, under our own control. The simple fact is, that through drawing that story,we’ve engaged in a conversation greater than ourselves. And for everyone who picks up that pencil, they will take part in that observation. Some will hone their craft more than others, but with that individual’s expression and the history; with all the masters, the amateurs, the underground, the mainstream, whether japanese, belgian, french, american, etc, we all share that connection to the special world of comics. It is a form of art in thats history can be seen. It has cultivated an expression unique to itself and expanded. Many people criticize comics for being simple or inbred. But how far off they are. Comics are as expansive as music’s history and as uniquely complex and expressive as movies and novels. But the beauty of comics comes not from the range of it’s differences but from the language it has created that we’ve taken on, used, and built on. This secret language that allows for a world, diverse with its own backgrounds and means of expressions to come and speak through one language.
And maybe the next time you go through a stack of comics, or go to the book store, if you take a look ,maybe you might see what I see; that the beauty of comics is not because of it’s differences but because of the similarities we share.
I saw your answer to the person asking about scanning watercolors, and I want to add that scanners have trouble with watercolors because of the kind of bulb they use in the lighting element. It's not a complete kind of light, it's missing parts of the spectrum, relying on natural mixing of colors to fill in the gaps. Nobody as far as I know makes the kind of light you'd need to get a perfect scan, I've looked. I get best results taking photos under incandescent, halogen, or sunlight.
I am slowly being tempted to work digitally. I have fended off the notion for a long time but I’ve noticed it’s harder and harder to see what’s done digitally and what isn’t. Besides, some of the brush sets now look beautiful.
Rough House (apparently i can't put links in asks) is a comics collective based in austin, texas and the proud co-owners of two beautiful, bouncing risographs. we print stuff!
Since the guys at Rough House were kind enough to help out and answer my question, please go check them out by clicking here. So if anyone in the Austin, TX area who follows this blog (or otherwise) and is interested in risographs give them a shout. Heres a blurb from their website:
“The story goes that in 1962 Frank Stack published the world’s first underground comic book in Austin, Texas — followed shortly after by Jack Jackson. While the city’s influence on comics since has not been negligible, it has often slipped by with little fanfare. Rough House provides a platform for the work of Texas’ best cartoonists and invites international talents to join in that dialogue. We also publish singular and varied works under the Rough House moniker. “