A smart idea from the mind of Ray: Little books that act like arts grants.
If you make real money for a living I don't know why you wouldn't buy a Coffee Money Zine. You will get bored with your new gadgets.
From Ray: "The purchase of a CMZ pays for one month's worth of coffee, and allows me to loiter in the coffee shop from 7 - 8:30 a.m. every weekday while I practice writing. CMZ sponsors get 30 days of little drawings, some good, some not, much like my own notebooks. The concept for each one is different.
For the inaugural CMZ, the idea was to just put pencil to paper and draw, without any pre-concieved idea. Which, you know. Not always a huge success, but sometimes, fine."
WHERE DOES THE MONEY GO? $22.50 - - 15 X single americanos ($1.50 after tax) $37.50 - - 15 X double americanos ($2.50 after tax) $3.85 - - - Price of single notebook $10.00 - - Shipping $73.85 total
We've put together a generous selection of our most spine-tingling horror and monster comics and, for the month of October, we're brutally slashing the prices by up to 25% off! From mildly macabre all-ages adventures to classic creepfests to down-the-rabbit-hole Lynchian nightmares, we've got your Halloween heebie-jeebies right here.
(Above: Rhea Patton's Richard Sala-inspired jack-o-lantern from last year.)
Jason T Miles pointed this out to me. I am sincerely honored to be part of the Comic Book Database but I'm way, waayyy more thrilled to have my lifelong dream realized of being cover artist for Tony Millionaire's Billy Hazelnuts!
Which isn't to take away from the fact that I was a cover artist for Peter Bagge's legendary Hate comics before I ever learned to drive, nor that I lettered the entirety of the Beasts! anthology (I bet you thought those were typefaces, didn't ya???). Internet: I love you and your, shall we say, Facts!!
* [Note to CB Database people: Please don't take this "inaccurate" information off your site. In fact, I'd really appreciate you mentioning my stint as editor of Raw magazine and co-creator of Maus.]
** [Why am I not on Wikipedia? I'm very, very important! (See CB Database).]
In Barcelona, Spain, there lives a man who seems to be a fountain of creative energy. Possibly a horse. A man or a horse who compulsively creates art with a diversity of style and intent. I find him hugely inspiring-- one of these men or horses that imbues every little scrap of paper he touches with honest-to-god life. Some of it very polished and commercial, much of it feeling dashed off in an intuitive dervish.
Sometimes it's like someone who speaks only in semaphore trying to speak braille. But my view is biased since I can't speak Spanish and his prolific art and music sites (he has five or six sites of work going at once) carry all the more mystique for their foreign language and different cultural influences. Likewise, his work is best taken as an oeuvre. Immersion tells you more than you get from trying to pick up the language piecemeal.
It's all fun. It all has a sense of humor. But there's a seriousness, a somber universe of characters with depth that underlies the work. (Right down to his weirdly anachronistic name that seems so annoyingly uncool that you're almost set up to be unamused.) I have no idea why that Black Cat series is so disturbingly funny to me but it's hilarious. Why that house collage feels so complete in its story but it does. Or why that comic page tells me so much when I'm unable to put together the linear story but it does. Mr. Ed gives comfort in understanding, not knowing.
The Journal's Bob Levin interviews Zap artist S. Clay Wilson, best known for his panoramas of sex and violence involving lesbian bikers, zombie pirates and a Checkered Demon. Alex Robinson, the Harvey-and-Eisner-winning cartoonist, will discuss his graphic novels Box Office Poison, Tricked and Too Cool to Be Forgotten. Our reviews section tackles Ware, Hergé, Huizenga, Spiegelman, Hernandez and more. Plus a cartoon chat with Joe Matt and a special back-to-school section featuring a gallery of undiscovered potential comics masterpieces by the 2008 graduating class of the Center for Cartoon Studies.
Adam Grano is upset with me being too blanket-statement-y in my post on scanners. I'm like that. I just wanted people to be aware of what to look at in their scans. Adam has a better idea of what to look for in a scanner brand. Here's his scholarly response:
"I don't deny that some cheap scanners are shitty. I was just arguing that the pinup scans look more affected by jpeg compression than JUST a shitty scanner. I'd wager that if he upped the resolution a bit and sent you an LZW compressed tiff, it'd look a lot better. Maybe still not flawless, but better. At home we have a $150 Epson and it's great. Epson is the only brand of cheap scanner I would recommend to anyone. HPs are shit. Canons, even though (or possibly because) they're thin and you can stand them up on your desk, are shit. And even some Epson all-in-ones are shit. Cheap Epsons are acceptable. Not great. I understand you're emboldened by your experience with your scanner at home, but just like any product (especially at an entry-level price point) you just need to do the research to find out who is going to provide the best product at the best price.
In conclusion, the blanket statement that cheap scanners are "the devil's work" is misleading."
So sayeth the savvy Grano, grumbling in the corner refusing to post anything for you, our beloved Flog readers, but still hostile towards kindly me.