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Skedrawdles: sketches + drawings + doodles
abcofreading:

Adrienne Adams


I love Halloween-ish illustrations!

abcofreading:

Adrienne Adams

I love Halloween-ish illustrations!

(via hicockalorum)

rebeccasugar:

ianjq:

indirect teardrop
I did this effects animation for the latest episode of Steven Universe. We wanted this to be a stylized, floaty, less realistic version of a real droplet so it was a little bit of a challenge! 

Teardrop animation by Ian JQ

rebeccasugar:

ianjq:

indirect teardrop

I did this effects animation for the latest episode of Steven Universe. We wanted this to be a stylized, floaty, less realistic version of a real droplet so it was a little bit of a challenge! 

Teardrop animation by Ian JQ

groeneinkt:

70sscifiart:

The collected escapades of Space Cat

!!!

Whoa! I’ve been doing drawings to revive a science-cat character from the 80s/90s, and these would have been too hard to resist - I’m glad I didn’t see them until now!

thenearsightedmonkey:

Dear DrawBridge Students,

Here is Vivian G. Paley.

She’s talking about how to talk to kids and more.

Sincerely,

Prof. Bootsy

rileymillion:

Owl at Home.

I love Owl. He’s such a 3-year-old, wondering about the world, and being completely baffled.

(via groeneinkt)

nevver:

What we’re reading, Sara Drake

➜ SPX: Laser Eyes & Fire-Breath, Annie Koyama on Koyama Press

comicsbeat:

http://ift.tt/1tYuEHg

by Zachary Clemente

koyama SPX: Laser Eyes & Fire Breath, Annie Koyama on Koyama PressOn Sunday of the 20th annual Small Press Expo (SPX), The Beat grabbed a strange, backless hotel couch surrounded by vacated folding tables with Annie Koyama, the past, current, and future Publisher at Koyama Press, the renown Toronto-based small-press publisher dedicated to promoting and supporting a wide range of emerging and established artists. Their published work including comics, graphic novels, art books, and zines such as Safari Honeymoon, 100 Crushes, Very Casual, and Grey Supreme.

Comics Beat: As someone who has only recently been paying attention to Koayama Press, I’m curious what the “mission of Koyama Press” is and how it has evolved or changed over the years?

Annie Koyama: My mission is to help primarily emerging artists and get their work out there. But after seven years, I’m not only working with emerging artists anymore. […] I’ve got Renee French and Julia Wertz here [at SPX], so that’s how it’s evolved. However, it hasn’t changed. I still choose to work with primarily emerging artists – it’s very satisfying to get their work out there.

CB: You originally came from producing films and commercials before jumping whole-hog into comics. What things came with you?

AK: Only that as a producer, I was organizing and managing stuff. Those skills are transferable to anything for the rest of life. I know how to organize stuff from events to tours – I can organize anything! I just transfer [those skills] to production schedules for going through a book, working with artists, that sort of thing. It’s all relatable.

Lose 3 Michael DeForge SPX: Laser Eyes & Fire Breath, Annie Koyama on Koyama Press

Lose #3 by Michael DeForge

CB: When working on your 10 books a year, do you consider the influence that the name Koyama Press carries on the independent comics scene?

AK: No…I choose what I like. I hope that what I put out influences the scene because someone who didn’t hear about Victor Kerlow will now know about Victor Kerlow or now they know about John Martz – so hopefully it’s influential in that way. I have to stand behind the work [I publish] for a good 10 years, so why would I publish anything I don’t love? I only do 10 books a year and work way too hard, so I have to love every single one of them.

CB: It is literally your name on the book.

AK: Yes, but it’s their [the artist’s] name too, so I owe it to them to work my hardest to get their book out there. Some of the people who work with me could go to other publishers, but they choose not to – so I work hard for them because of that.

CB: On the panel about Micro-Press, you talked about the ethics of making comics, especially when printing overseas. What is your “ideal” comics-making world like?

AK: For comics printing? That everyone had enough money to print locally and employ local people. It’s very simple but it’s never going to happen so we make the best of it. I have that choice: I can print locally and [publish] far fewer books or I can choose to print more books and get more artists out there. So for now and since day one, I choose to get more artists out there.

CB: I would think a lot of people would say that a good way to accomplish that goal without the problems of physical printing would be a digital route. Has this been something you’ve considered?

AK: Yup! I’m moving into that in a month or so, it’ll be announced properly soon. I waited a long time because I didn’t like the resolution on some tablets and that sort of thing, but I think that it’s changed a lot. So soon, very soon.

CB: Would it be through ComiXology or something like that?

AK: It will be through one of those places initially, but it won’t be an exclusive thing.

CB: Have you seen The Private Eye? It’s a pay what you want digital comic formatted wide-screen hosted by the creators themselves. It’s an interesting that options like this are possible.

AK: Any of my artists could also do something like that, but there are people who would prefer to read their work in a certain format or through app so we hope people will buy from where we’re going. Though, some of my artists prefer to put their work up for free, so it’s up to them.

CB: Also that kind of method requires an already-existing base of followers that’s strong enough to support it.

AK: That’s right.

attack from space2 SPX: Laser Eyes & Fire Breath, Annie Koyama on Koyama Press

Attack From Space by Jon Vermilyea

CB: That’s something I feel Koyama Press has become. Someone enjoying work published by you will likely get some satisfaction out of other Koyama-published works.

AK: I’m hoping so, but it’s a pretty diverse catalog so I’m sure you won’t like every single book I do. But if you read Jesse Jacobs you might like something else […] it’s not too much of a stretch to go to Renee French from Jessie. There are connections.

CB: I love that some publishers, behind their bigger name, just have one person picking the work. The same sort of thing happens with Eric Stephenson at Image Comics. Different scale, but the same idea.

Another thing mentioned at the panel was the vacuum left in the comics scene that was filled by you and other micro-publishers. What would you say your relationship is with the rest of the comics industry?

AK: I think that in our alternative part [of the comics industry], it’s so small that we are, whether you like it or not, in the same boat. For the record, I don’t consider Koyama a micro-publisher anymore. When you have a large distributor and you’re doing a certain number of titles and paying out [to artists] in the traditional way […] these things make you not “micro” anymore. I’m sure my runs are a lot higher the other people at the panel. But yeah, I think we’re in the same boat together – I love all the other micro-publishers, I think more people should sprout up and do it as long as they know they’re doing it for love mostly and not for money. There’s room for more people to do what they love – don’t wait for a publisher to ask. There’s just not enough of us to publish all the great work I see out there.

Annie Koyama is the Publisher at Koyama Press. She kicks ass, takes names, and publishes 10 amazing books every year. It was an honor and delight to sit down and chat with her at SPX this year.

annie mation SPX: Laser Eyes & Fire Breath, Annie Koyama on Koyama Press

Annie-mation by David Huyck.

I love Annie and all the amazing work she publishes and supports!

(via spx)

duttonart:

Back Alley – Fort Bragg, CA

Nice one! I spent a summer near Ft. Bragg and it is a beautiful, weather-worn coast town in northern California. I have many fond memories of sitting on the beach with my wife and a meal of fresh bread, fancy cheese, and a big shared bottle of beer.

duttonart:

Back Alley – Fort Bragg, CA

Nice one! I spent a summer near Ft. Bragg and it is a beautiful, weather-worn coast town in northern California. I have many fond memories of sitting on the beach with my wife and a meal of fresh bread, fancy cheese, and a big shared bottle of beer.

austinkleon:

Clive James is dying and just published this lovely poem in The New Yorker. It reminds me of the practice of Japanese Death Poems.

On jisei:


  In the death poem or jisei, the essential idea was that at one’s final moment of life, one’s reflection on death (one’s own usually but also death in general) could be especially lucid and meaningful and therefore also constituted an important observation about life. The poem was considered a gift to one’s loved ones, students, and friends. The tradition began with zen monks, but was also popular with poets, whose poems were often just as solemn as those of monks, or entirely flippant and humorous. The poems are often full of symbols of death, such as the full moon, the western sky, the song of the cuckoo, and images of the season in which the writer died.


Here’s another poem by James.

Filed under: death, poetry

austinkleon:

Clive James is dying and just published this lovely poem in The New Yorker. It reminds me of the practice of Japanese Death Poems.

On jisei:

In the death poem or jisei, the essential idea was that at one’s final moment of life, one’s reflection on death (one’s own usually but also death in general) could be especially lucid and meaningful and therefore also constituted an important observation about life. The poem was considered a gift to one’s loved ones, students, and friends. The tradition began with zen monks, but was also popular with poets, whose poems were often just as solemn as those of monks, or entirely flippant and humorous. The poems are often full of symbols of death, such as the full moon, the western sky, the song of the cuckoo, and images of the season in which the writer died.

Here’s another poem by James.

Filed under: death, poetry

austinkleon:

Edward Gorey’s covers for Doubleday Anchor Paperbacks

From goreyography.com:

In April 1953, Anchor opened up a new market for paperbacks: the “serious” or academic book. They were the brainchild of twenty-five year old Jason Epstein who convinced Doubleday of the market need for such books in paper editions particularly suited for college use. Epstein’s research so impressed the Doubleday executives that they created such a line and made him editor. The format was the same as the taller mass market size (Signet, Ballantine, etc.), but higher in price: 65¢ to $1.45. Anchor was well received from the start, reaching a mass audience through trade book outlets, campus bookstores and some drugstores. And they had Edward Gorey in charge of the covers.

As art editor, Gorey was responsible for the total cover package, supplying the lettering, typography and design layouts. Often other artist contributed the actual illustration: Leonard Baskin, Milton Glaser, Philippe Julian and even Andy Warhol; but Gorey then designed the finished product lending a uniform appearance to the whole line.

Gorey worked in this capacity from 1953 until 1960, a period which roughly corresponds with Anchor’s first two hundred titles. About a fourth of these have line drawn covers by Gorey. He also designed various covers for Vintage, Capricorn, Compass and other publications that followed Anchor’s lead.

Browse a wonderful set of these covers on Flickr→

Filed under: Edward Gorey