Stories tagged CCS Visiting Artist

Keith Knight’s “K Chronicles” in Vermont Seven Days

Seven Days, the Vermont alt-weekly, now includes K Chronicles by Keith Knight. Knight, a recent visiting artist at The Center for Cartoon Studies, has been publishing his semi-autobiographical webcomic since 1993 and it is syndicated across the country. In 2015, Knight published a collection of 20 years of strips commenting on police brutality, They Shoot Black People, Don’t They? With the current political and social issues, his body of work is even more important. As Seven Days writes, “Black Lives Matter protests across the country show: Art about race and racism is as much a part of this moment as COVID-19 case counts.”

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MariNaomi’s Cartoonists databases for visibility, academia, inspiration, and community building

When someone is looking to recruit creators for their comics, MariNaomi has put together some fantastic databases: Cartoonists of Color, Queer Cartoonists, and Disabled Cartoonists. These databases spotlight marginalized comics creators and are used by booksellers, librarians, academics, editors, book publishers, event organizers, readers, and more.

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CCS Visiting Artist: Lucy Bellwood

Lucy Bellwood is a professional Adventure Cartoonist and educator based in Portland, OR. Her documented expeditions include rafting trips through the Grand Canyon, cutting-edge oceanography in the Pacific, and an expedition aboard the last wooden whaling ship in the world. Her talks and essays explore the intersections of community, authenticity, and financial
sustainability for creators. She is the author of Baggywrinkles: a Lubber’s Guide to Life at Sea (Toonhound, 2016), an educational memoir about her time working aboard tall ships, and 100 Demon Dialogues (Toonhound, 2018), a helpful guide to living with imposter syndrome.

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Upcoming Visiting Artist: Campbell Whyte

Image result for "home time" comic cover

Campbell Whyte was born in Perth, Western Australia, and makes comics that explore the play between the fantastical, the historical, and the autobiographical. His Eisner-nominated graphic novel, Home Time (TopShelf, 2017), took almost ten years to make and is a wild adventure through a Perth of the imagination.

When not making comics, he runs the monthly Comics Maker Network, teaches comics-making at the children’s art school Milktooth, and helps coordinate the annual Perth Comic Arts Festival.

Image result for campbell whyte
photo courtesy of Light Grey Art Lab

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Visiting Artist: KC Green

Comic by KC Green

KC Green has completed work for Mad Magazine, Adult Swim, Cartoon Network, Oni Press, Boom! Studios, and probably others. He’s most known for the phrase/comic “this is fine” where a dog burns to his supposed death. But it is a cartoon, so no one takes it that seriously.

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Visiting Artist: Hillary Chute

Work by Hillary Chute

Hillary Chute’s book Why Comics? From Underground to Everywhere will be out from HarperCollins in December 2017. She has taught at the University of Chicago and Harvard University and is professor of English and Art + Design at Northeastern University. She is also the author of Disaster Drawn: Visual Witness, Comics, and Documentary Form (Belknap, 2016), Outside the Box: Interviews with Contemporary Cartoonists (University of Chicago Press, 2014), and Graphic Women: Life Narrative and Contemporary Comics (Columbia University Press, 2010), as well as associate editor of Art Spiegelman’s MetaMaus (Pantheon). She has collaborated with cartoonists such as Spiegelman and Alison Bechdel, and has written for publications including Artforum, Bookforum, The New York Review of Books, and Poetry.

Hillary Chute

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Next Up: Paige Braddock

Paige Braddock’s long-running comic strip, Jane’s World, was the first gay-themed work to receive online distribution by a national media syndicate in the U.S. Braddock is also the creative director at Charles M. Schulz Creative Associates. She has illustrated several Peanuts children’s books and the Snoopy U.S. postage stamp, issued in April 2001, was designed by Braddock. In 2008, Braddock co-created a line of science-fiction graphic novels with writer Jason McNamara titled, The Martian Confederacy and in 2015, she began publishing her own line of graphic novels for children with Andrews McMeel titled Stinky Cecil in Operation Pond Rescue and Stinky Cecil in Terrarium Terror. She has also written a series of lesbian romance novels with this publisher under the pen name, Missouri Vaun.

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Next Up: Industry Day

In addition to our weekly Visiting Artist Seminar, a special Industry Day event is scheduled every spring. Professionals from the comics industry descend on White River Junction and The Center for Cartoon Studies. The entire day is set aside for the event with guests take part in a panel where the state of the comics industry and publishing are discussed at length. This year’s guests include Robyn Chapman (First Second), Calvin Reid (Publisher’s Weekly), Sheila Keenan (Penguin Random House), Tanya McKinnon (McKinnon McIntyre Literary Agency), Kevin Czap (Czap Books).

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Visiting Artist: Rebecca Mock

Rebecca Mock speaks at The Center for Cartoon Studies.

An instant favorite, Rebecca Mock spoke frankly about the trials and tribulations in pricing her work. She discussed openly how she prices her work now because it benefits only the big companies when artists don’t engage in conversation about how much they make. Rebecca is a freelance illustrator, comic book artist, and animator. Her first graphic novel, Compass South, was written by Hope Larson.

Rebecca Mock explains.

Rebecca is most well known for her beautiful art and “quitely contemplative” gifs, as Benjamin Starr wrote on Visual News. The students asked about how she gets her atmospheric color palettes. The trick is that she uses swatches to easily change the colors. Then she goes through forty or fifty iterations before finally finding the colors she likes.

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Visiting Artist: Ken Fisher

Ruben Bolling is a pseudonym for Ken Fisher, the author of Tom the Dancing Bug. His pieces demonstrate concern about the power of large corporations and satires about the way government has been corrupted by money, and, particularly since 9/11, Bolling’s concerns of war.

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