On Tuesday, February 11th, the NY Comics & Picture-Story Symposium will host a lecture from Conor Stechschulte, along with Christopher Adams, at 7:00 PM!
Stechschulte will present a comprehensive look at the ideas and influences that lead to the making of The Amateurs, his debut graphic novella about a severed human head that still seems to be talking. Stechschulte will discuss the lessons he learned while making the book, and discuss how he's applied those lessons to his current comics work. He adds: "Other topics that may or may not be glancingly addressed: accidental dismemberment, the true sound a screaming pig makes, drawing comics while standing up, and what affineurs and cartoonists have in common."
Don't miss this chance to learn more about this up-and-coming artist!
We are currently accepting applications for a Junior Design position. This is a full-time, hourly position in our office (telecommuters need not apply). If you don't currently live in Seattle, you must be willing to relocate.
• Thorough InDesign and Photoshop knowledge required. Any other programs are a plus. • Strong layout and typography sensibilities. • Detail oriented -- both in your work and in your ability to track change requests and stay on top of deadlines. • Work well independently as well as with the various personalities of editors, artists, and authors, taking in and utilizing feedback. • Ability to design interesting, unique solutions that respect and adhere to the vision of the artists we package.
The primary role as a Junior Designer will be doing book production, meaning you will be laying out templated books and occasionally creating original designs. You will also design ads (print and web), postcards, posters, etc. You will need to be a nimble designer, capable of solutions on a quick turnaround and able to maintain a steady workload. You will be responsible for sending press ready files to printers, so pre-press skills are a plus.
The right candidate could be anyone who is technically sound and enjoys production work. Knowledge of comics is helpful but it needn't be an obsession.
Interested parties email resumé and samples (or links to same) to
We are pleased to debut the final cover art for The Complete Peanuts 1950-1952 Softcover Edition! The acclaimed, award-winning series, in paperback, with a new design by art director Jacob Covey, and following the same release pattern as the original hardcovers: 2 volumes per year, with an annual slipcased 2-volume set. This first volume arrives in early Summer and you can pre-order now.
(By the way, we premiered this image yesterday on The Complete Peanuts Facebook fan page, so you hardcore Schulz-philes ought to go give that a "like" if you want first dibs on stuff like this!)
Forget these icy cold temperatures -- Fantagraphics is heading to sunny L.A., baby! Join us on Sunday, February 16th for the 3rd Annual L.A. Zine Fest!
It's gonna be HOT, in a figurative, if not literal, sense: our own Ron Regé, Jr. will be presenting a multi-media presentation for The Cartoon Utopia, and the great Esther Pearl Watsonwill be hosting the excellent Zine Hut with her husband, artist Mark Todd!
And for the real scorcher: Jaime Hernandez will be the Keynote Speaker! He'll be in conversation with Charles Hatfield, author and professor of English, CSUN, discussing his groundbreaking work on the legendary Love and Rockets series!
This wonderful event is FREE and open to all, so, come by and see us from 10:00 AM to 5:00 PM!
L.A. Zine Fest is located at the Helms Bakery District Parking Garage (between La Dijonaise and Vitra) on 8703 Washington Blvd. Check out their website for lots of helpful tips on how to get there and where to park, and heads up, two lanes of traffic on the 405 from Getty Center Dr. north to Ventura Blvd will be closed! (They're calling it "jamzilla"!)
Screenings are scheduled for Sunday, February 9th at 3:00 PM at Cinemagic, and on Sunday, February 16th at 1:00 PM at Cinema 21 (small theaters).
To promote their Fantagraphics book Bosnian Flat Dog, Andersson and fellow Swedish artist Lars Sjunnesson toured the countries of former Yugoslavia with a mummified Marshal Tito in a refrigerator.
Now comes the documentary, Tito on Ice, which takes Super 8 footage of their tour and animates it with cardboard cutouts and garbage and other recycled materials. The result is a surreal trip through the Balkans that is part promotion, part performance art, and part history of Marshal Tito and the dissolution of Yugoslavia in the early 1990s. It’s also about the underground arts and music venues that popped up when the country split apart.
Through it all there is a comics creator’s eye at work: live-action interviews suddenly switch to animation, and more than 50 sets were built for the film, all shot and animated on Super 8 film. Tito on Ice is a joyous trip through the war torn subconscious of an underground artist.
Virgil Partch burst onto the pages of the nation’s magazines with his captivating cartoons virtually overnight. His irreverent observations inspired a new breed of post-war comedians and cartoonists. Known by his signature, “Vip,” his work adorned books, advertisements, album covers, beer cans, cocktail napkins, and other accoutrements of mid-century American culture. The show at Fantagraphics Bookstore will demonstrate the diverse range of Partch’s appealing aesthetic.
The opening this Saturday coincides with the festive Georgetown Art Attack, featuring colorful visual and performing arts presentations throughout the historic arts community. Fantagraphics Bookstore & Gallery is located at 1201 S. Vale, only minutes south of downtown Seattle. Open daily 11:30 to 8:00 PM, Sundays until 5:00 PM. Phone 206.658.0110.
Mark your calendars for Saturday, February 22 when we host a signing by talented young cartoonist Gregory Benton followed by an in-store session with original Fleetwood Mac guitarist and Rock and Roll Hall of Fame member Jeremy Spencer.
Conor Stechschulte's debut book The Amateurs is off at the printer. Dig the beautiful watercolor cover art... the comical silhouettes... the sparkling river... the taint of gore... What could have happened? Pre-order the book (out in May) and find out...
Fantagraphics and comiXology continue to bring you the thrills and chills via techonological frills with Sucker Bait and Other Stories illustrated by the amazing Graham Ingels (written by Al Feldstein). 25 classic horror stories involving swamps, maniacs, and dismemberment by the artist so good at gruesome, grisly depictions of the endless corruption of flesh and nature he earned the nickname "Ghastly."
And as with our other EC comics, you can also try out a few stories for just 99 cents! That's not EVEN a dollar like the picture states below (but let's get real, pennies are worthless -- unless you've got NINETY-NINE!). Try out one of three stories drawn by Ghastly Ingels:
Today is the centennial of the birth of William S. Burroughs, and as part of the official "Burroughs @ 100" celebration we're offering limited-time savings on our momentous art book and memoir by artist Malcolm McNeill detailing his troubled collaboration with Burroughs — 25% off each volume, or 1/3 off when you order them together! Author James Reich recently talked to McNeill about Burroughs at the International Times, so go give that a read once you've taken advantage of these deals:
In 1970, William S. Burroughs and artist Malcolm McNeill began a small collaborative project on a comic entitled The Unspeakable Mr. Hart, which appeared in the first four issues of Cyclops, England’s first comics magazine for an adult readership. Soon after, Burroughs and McNeill agreed to collaborate on a book-length meditation on time, power, control, and corruption that evoked the Mayan codices and specifically, the Mayan god of death, Ah Pook. Ah Pook Is Here was to include their character Mr. Hart, but stray from the conventional comics form to explore different juxtapositions of images and words.
Ah Pook was never finished in its intended form. In a 1979 prose collection that included only the words from the collaboration, Ah Pook is Here and Other Texts (Calder, 1979), Burroughs explains in the preface that they envisioned the work to be “one that falls into neither the category of the conventional illustrated book nor that of a comix publication.” Rather, the work was to include “about a hundred pages of artwork with text (thirty in full-color) and about fifty pages of text alone.” The book was conceived as a single painting in which text and images were combined in whatever form seemed appropriate to the narrative. It was conceived as 120 continuous pages that would "fold out." Such a book was, at the time, unprecedented, and no publisher was willing to take a chance and publish a “graphic novel.”
However, Malcolm McNeill created nearly a hundred paintings, illustrations, and sketches for the book, and these, finally, are seeing the light of day in The Lost Art of Ah Pook. (Burroughs’ text will not be included.) McNeill himself is an exemplary craftsman and visionary painter whose images have languished for over 30 years, unseen. Even in a context divorced from the words, they represent a stunning precursor to the graphic novel form to come.
Sara J. Van Ness contributes an historical essay chronicling the long history of Burroughs’ and McNeill’s work together, including its incomplete publishing history with Rolling Stone’s Straight Arrow Press, the excerpt that ran in Rush magazine, and the text that was published without pictures.
Observed While Falling is an account of the personal and creative interaction that defined the collaboration between the writer William S. Burroughs and the artist Malcolm McNeill on the graphic novel Ah Pook Is Here. The memoir chronicles the events that surrounded it, the reasons it was abandoned and the unusual circumstances that brought it back to life. McNeill describes his growing friendship with Burroughs and how their personal relationship affected their creative partnership. The book is written with insight and humor, and is liberally sprinkled with the kind of outré anecdotes one would expect working with a writer as original and eccentric as Burroughs. It confirms Burroughs’ and McNeill’s prescience, the place of Ah Pook in relation to the contemporary graphic novel, and its anticipation of the events surrounding 2012. The book offers new insights into Burroughs’ working methods as well as how the two explored the possibilities of words and images working together to form the ambitious literary hybrid that they didn’t know, at the time, was a harbinger of the 21st century “graphic novel.” McNeill expounds on the lessons of that experience to bring Ah Pook into present time. In light of current events, Ah Pook is unquestionably Here now.
Observed While Falling presents a unique view of the creative process that will be of interest to artists, writers and general readers alike. A perspective evoked by a literary experiment that has endured for forty years and still continues to “happen.”