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Comic-Con hit TMZ after America’s Next Top Model winner and media personality Adrianne Curry, dressed as Catwoman, chased down and whip-punched a man who thrust his hands down the tights of another model dressed as Tigra. As horrible as Sunday’s attack was, could this incident help us deal with such harassment more effectively?
Curry’s superheroic response to the sexual attack on her friend Alicia Marie underscores the importance of taking sexual harassment at comic conventions seriously. Comic conventions have experienced exponential growth in recent years, filling not only convention venues but downtown city streets into volatile vectors for sexually inappropriate behavior. And contrary to the stereotype-ridden TMZ video, dorky fanboys are not necessarily the only culprits – downtown San Diego has become a five-day Festival, with the Red Hour striking anew each time you walk out the Convention Center doors.
How to deal with the problem of harassment within and without Comic-Con was attracting the attention of multiple media outlets even before the attack on Alicia Marie — in fact, after I scheduled this post for publication on The Beat, even Perez Hilton found the Adrianne Curry incident to be a source of moral outrage. Over the next couple posts I want to add a legal perspective, since this happens to be an area in which I have clocked a few villains of my own, albeit with words instead of a whip.
Before we do, however, I want to address a thought that may have popped into the minds of some readers, namely, the notion that women such as Currie and Alicia Marie are themselves somehow asking for it. I actually witnessed a vivid expression of this mindset when a cosplaying woman outside the Con tried to fend off a guy’s come-on by handing him a business card and promoting her own work. The guy responded by contending that there was no other way for a man to take the way she dressed than as a sign that she was looking to get laid.
This exchange stood in stark contrast to the professional discussion I’d just had with a longtime of the annual Comic-Con Masquerade, the amazing Broadway actress and theme-park entertainment designer Diane Duncan. Last Friday when we were walking through the convention chatting about cosplay she stopped to point out what she thought was a standout example of excellent craft, a woman dressed as Poison Ivy whose costume exhibited a number of characteristics that would have done well for her had she worn it for the Masquerade competition instead. The costume had a sensual vibe, yes, but that was an extension of the workmanship — whether the cosplayer’s aim in such artful attention to detail was self-expression, marketing a product, promoting her own business or a combination of all three, baiting men for sex was not the point.
As it turns out, the cosplayer was none other than Adrianne Curry, and as I read up on her and other models who cosplay I found myself in rather familiar territory. In advising on ethics and other legal matters in the fashion industry, it’s all too common to run across men who view what women wear as a sign of sexual availability, as opposed to a form of stylized expression that for many women in modeling, marketing, retail and design is an integral part of their professional identity.
The intrinsic connection between cosplay and fashion got me thinking about another connection they share: namely, unfortunate loopholes in current sexual harassment law. Although we often use the phrase “sexual harassment” when speaking of unwanted advances to cosplayers and fashion models alike, from a legal perspective the term typically refers to sexually inappropriate behavior in certain employment contexts. For example, because models are typically independent contractors, not employees, they are often not protected by sexual harassment laws, and a similar principle applies to comic convention cosplayers who are not there in the course of employment — regardless of how egregiously inappropriate the behavior may be, it technically is not a violation of sexual harassment law, nor would it fall under the purview of a typical harassment policy.
Within the fashion industry, this lacuna is being addressed primarily in two ways: through legal reform and private action. New York, for example, recently enacted a law that extends the protections in child labor laws to underage models, and efforts are ongoing to give volunteers and independent contractors new legal protections when sexually harassed. At the same time, the campaign against harassment within the industry is giving rise to new standards and practices that go beyond the limits of sexual harassment law while taking advantage of more general protections that other laws already provide.
We’re seeing a similar strategy evolve among cosplayers in regard to private action, most prominently in the work of Geeks for Consent, whose signs could be found throughout the convention center this year. I was glad to meet the group’s intrepid director, Rochelle Keyhan, briefly during Comic-Con, and have considerable regard for its efforts to call attention to this important issue. However, it’s also clear that a sharp divide persists between those calling for a more rigorous sexual harassment policy and Comic-Con itself, which has taken the position that a sufficient policy already exists. Awareness, as they say, has been raised, but the ideal provisions of a convention harassment policy remain a matter of dispute.
In my next post, we’ll take a deeper look at the Geeks for Consent campaign, the Adrianne Curry incident and existing law to see whether we can devise a new policy that will address the concerns of all sides in the ongoing debate. Meanwhile, if you have any opinions or experiences pertinent to this important discussion, please feel to leave them in the comments thread or shoot me an email at email@example.com.
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Depicting pure heart
This morning I put the finishing touches on a new portfolio and tomorrow I head to L.A. for the SCBWI Summer Conference
. I hope to see you there!! :)
"Annedroids" creator J.J. Johnson talks to Cartoon Brew about science-based kids programming, the challenges of making live-action/animation hybrids, and why not understanding the animation process can work to a producer's benefit.
By Matthew Jent
Oh, gang. What a fun panel.
Moderated by legend-in-his-own-time Mark Evanier, “Cover Story: The Art of the Cover” took five artists, gave them five of their own covers apiece, and had them talk about them. The covers had been chosen ahead of time, without the artists’ knowledge, and Mark hoped at least one of the choices would be a cover the artist didn’t like.
“Even if we take some potshots at your covers — it’s coming from a place of affection. Even Rembrandt had a worst painting.”
The Cover Story panel: Evanier, Conner, Staples, Brooks, Lee, Sakai.
We’d be here foreverlong if we went cover-by-cover, so let’s just hit some highlights.
“Jack Kirby hated doing covers,” Mark explained. “He never knew when to do them. Before the comic, he didn’t know what the most exciting scene would be. During the comic, he didn’t want to interrupt his flow. When he was done, he wasn’t emotionally invested in that issue anymore.”
“I agree with Jack,” Amanda said. “I prefer sequential storytelling. I like Norman Rockwell — when you can look at a piece of art and tell lots of things are going on in it.”
Barbie #42. Marvel Comics. Art by Amanda Conner.
“Okay — this was before I got into storytelling. Boy, they made me make her way too skinny.”
JSA Classified #4. DC Comics. Art by Amanda Conner.
“Y’know — geez, lookit her boobs! I wanted to pull a moment of time out to focus on the cover, a moment that happens in between panels. So you don’t see this in the book, but it still moves the story along. Paul Mounts colored it — I put the stars in the background, but he did the burst. If I trust him and leave the background blank, he goes in and does a nice design.”
This cover gave Mark the opportunity to tell a Wally Wood/Power Girl anecdote, with Amanda’s encouragement: “Wally said, ‘I’m going to make her boobs larger every issue until somebody stops me. I think they just took him off the book instead.”
Zatanna #12. DC Comics. Art by Amanda Conner.
“Okay, I don’t always do big boobs, guys. This is another example of moments in time you don’t see often. Zatanna lives in San Francisco now, and I wondered, what does she do every morning, before she goes to fight things that want to destroy the universe? Probably the same things I do: get a cup of coffee, and a muffin, and read her iPad. Except, on the Golden Gate Bridge. My favorite thing is showing well-known superheroes doing an everyday thing that you and I do.”
“Last night were the Eisner Awards, aka the Fiona Staples Show,” said Mark, by way of introduction. “The best thing about the Eisners is that whoop from the audience when they agree, yeah, that’s the one that deserves it.”
Done to Death #1. Markosia Publishing. Art by Fiona Staples.
“This was my first issue of my first comic. It was an oil painting, before I did everything digitally. They cropped it, but — that would have been my call. It’s an awkward place to cut off the image, at a joint, at the neck.”
Saga #18. Image Comics. Art by Fiona Staples.
“For Saga, the cover is part of the entire package. We don’t give away much story on our Saga covers. I usually do the cover before he scripts it — Brian told me, put Lying Cat on this one and make it dark. I had a feeling something bad was going to happen, so I gave Lying Cat a bloody mouth, like she’d taken a bite out of one of our heroes.”
“For the last few years, I’ve been pretty exclusively a cover artist. It’s not really storytelling — I’m trying to sell the book. The cover has to be done the month before Previews hits — if we’re lucky, we have a short paragraph of what happens on the inside. The beauty of designing a character as a cover artist — I don’t have to worry about the interior artist who has to draw every angle of that character for 22 pages.”
Amazing Fantasy #1. Marvel Comics. Art by Mark Brooks.
“My first for Marvel, ten years ago. It was introducing a new Spider-Girl. I really stunk at foreshortening, so her leg looks really weird. Joe Quesada designed the character, but I put in the pouches around her wrist — I still don’t know what purpose they would serve.” (An audience member shouts out — chaptstick!)
Cable/Deadpool #14. Marvel Comics. Art by Mark Brooks.
“One of the few times Cable got one up on Deadpool. But to keep them in frame, I had to have him hold the gun by the trigger and almost let it fall down, over Deadpool’s head. To this day, I think it looks very weird.”
Mark Evanier chimed in that, in earlier days, Marvel would have rejected this one because the figures obscured the title.
“That’s different now,” Brooks said. “I can pretty much cover up the entire title, as long as it’s with the main character of the book.”
Deadpool #30. Marvel Comics. Art by Mark Brooks.
“In the original solicit, Deadpool was dressed like Jimi Hendrix. Marvel found out Hendrix’s estate is very litigious. I had to go in and take out the striped shirt, take off the wig, and flip it so he wasn’t playing left-handed.”
“I always think I enjoy covers, but I always regret doing them. I’m not a fan of showing these out of sequence, because I’m afraid the same re-used images are going to crop up. I won’t have a lot to say about these because they were all done in a mad rush to get into the solicitations.”
Before Watchmen: Ozymandias #3. DC Comics. Art by Jae Lee.
“This was done for solicitation. It was an Ozymandias book, but the cover features the Comedian. Where this fight was happening, they were surrounded by falling action figures. I hadn’t finished it, so I cropped it and said, is this good enough for now? I said I would come back and finish it later. But I never finished it.”
Batman/Superman #8. DC Comics. Art by Jae Lee.
“This was tough. It’s my second time drawing a car. I’ve been doing this 22 years and managed never to draw a car. I don’t know how to draw cars, so it has to be mangled. I don’t know how artists draw those things. The tires — I don’t know how you guys do it.”
“Also, Power Girl was much bigger than Superman, so we had to reduce her digitally. But then her head looked too big, so we had to reduce he head separately. It became a kind of Frankenstein project. I have a hard time looking at it.”
Amanda chimed in by saying she has no problem with cars, but hates drawing mangled wreckage.
“Oh, we should trade off,” Jae said.
“I hate doing covers. I hate it with a passion. I have been doing covers with the same character for the past 30 years, so it’s difficult to think of a different situation for that character. The covers are done months ahead of time, and my writer, who is me, often has no idea what is going to happen in the interiors.”
Usagi Yojimbo #46. Dark Horse Comics. Art by Stan Sakai.
“This was a commission — a guy commissioned me to do a kite festival. So it was four connected pages. We used it for two consecutive covers. The colorist is Tom Bluth, who is my colorist of choice. In Tom’s case, it’s always — do what you want, Tom. I give him very little direction. I’m surprised sometimes by his choices, but it’s always better than I would color things.”
Adolescent Radioactive Blackbelt Hamsters #1. Eclipse. Art by Stan Sakai.
“Strictly a job for the money.”
“That’s funny,” Evanier added, “I worked for Eclipse — I don’t remember there being any money.”
Usagi Yojimbo #101. Dark Horse Comics. Art by Stan Sakai.
“In Usagi, there’s always a little skull when somebody dies, and a guy always writes in saying how many skulls I had in that issue. So for this cover I drew as many skulls as I could. But then the guy didn’t write in, and I was disappointed. There was no logo, but Usagi is iconic now — when people see Usagi, they know it’s a Usagi cover.”
Donald Duck Adventures #32. Walt Disney Publications. Art by Stan Sakai.
“Aw, I hate working for Disney. They kept saying ‘do it on model,’ but they didn’t give me any models! I must have drawn this duck’s head 7 times. The problem was, I was following the European design, which I prefer, and it’s a little different there.”
Evanier closed the panel by thanking everyone for participating, and saying he hoped panels like these remind folks that there’s always a story and a person behind the design choices of covers.
“These panels remind people — someone actually designed that. It gives people an appreciation for the art of the cover.”
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Anymade is a multidisciplinary design firm based in the Czech Republic. Founded in 2007, the studio’s portfolio is filled with work exploding in color and type.
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A collection of rarely seen drawings by former Disney artist Jesse Marsh, who drew the "Tarzan" comic books for nearly twenty years.
Posted on 7/29/2014
Until I read the August issue of Watch, I hadn't known that they'd killed off Linda, the deputy and one of the most interesting characters, in Under the Dome 'cause I'd given up watching it. The producers had already killed off most of the interesting characters! It reminds me of the original V towards the end. They got rid of the characters with character and kept the kinder even though they had to give the youngest a growth hormone--or something...
The article explained--as I've read in similar articles--why they love this practice... I think it's because they have the power to do so. They think they're gods...
Speaking of kids, how is Robot-Boy going to grow up in Extant? Are they planning to tranplant his his head every year or so?
Photo by Sarah Dunn, courtesy of Warner Bros. Pictures.
By Hannah Lodge
Evangeline Lilly has made a name for herself by starring in classic portrayals of good vs. evil. Whether she’s eluding the Man in Black as Kate in Lost, fighting Orcs in The Hobbit Trilogy, or taking on new roles – such as Hope Pym in Marvel’s upcoming movie, Ant-Man – Lilly’s work is part of large legacies followed by devoted fan bases.
Lilly, who was a self-described loner in high school with a penchant for listening to Beethoven and writing, has an affinity for this fan base. “These are my kind of people, and they get me,” she said. “They don’t want me to be some kind of boring pin-up, girl-next-door type. They like the more eccentric, strange side of me.”
And so this year Lilly attended San Diego Comic Con in hopes of sharing more of that darker, eccentric side, by telling her own story: The Squickerwonkers. A children’s story that Lilly describes as a “graphic novel for beginners” with a chilling band of marionette puppets and the little girl who becomes a part of their world, The Squickerwonkers moves away from the stories of good vs. evil that Lilly’s characters are often associated with.
“It’s your actions that come to define who you are and can create negative consequences in your life, but that doesn’t make you innately unlovable,” she said. “Because all of the characters in these books have vices and do things that are naughty, but they’re all really loveable.”
Lilly wrote the first draft of the story when she was only 14 years old, and through collaboration with Illustrator Johnny Fraser-Allen, whose design credits include The Hobbit Trilogy and Tintin, was finally able to realize her dream of becoming a published author. Lilly said that the heart of the story has remained the same all of these years, but that through Fraser-Allen’s artistic vision, she was finally able to realize what her story should look like – and 40 re-writes later, has come up with the final version, which will be published by Titan Books in November.
“The thing I had always known about the Squickerwonkers was that they were human, but not human,” she said. “So when he [Fraser-Allen] painted me a picture of marionette puppets on that stage, I went ‘Oh my god. That’s it. That’s exactly it. They’re human, but they’re not human.’”
In her personal time, Lilly does her fair share of both writing and reading. She connects with her fans by holding virtual book discussions over Facebook and Twitter. Over time the same core set of fans tends to show up, many of whom Lilly recognizes – and in a way the discussions have evolved into her very first book club, in electronic form.
“I was a very reluctant social media person. I thought it was something that disconnected people more than connected them,” she said. “I got very frustrated being in the public eye for so many years and not ever being able to actually speak directly to my fans, always having a second party be in the middle of that communication. So nine times out of ten I would read something or see an image of myself and think: but that’s not me. I felt frustrated at being generally misrepresented. So I finally decided OK, well, this is a way I can have direct access to the people who are interested in my work. And I can say this is who I am, so at least if I’m going to be perceived by the public, I can have some sort of control over that perception.”
Lilly said she recognizes that moving into literature can be an uphill battle, pushing against the notion that The Squickerwonkers is the product of a vanity project. But for Lilly, being a famous actress was never a goal; rather, an unexpected detour on her path to being a writer. In fact, Lilly said that her rise to stardom was exactly what she expected – and that she had very low expectations.
“It actually was everything I thought it would be, and I thought it would be pretty hellish. So that’s disappointing,” she said. “I never dreamed about being a movie star. I never dreamed about that kind of life, and never envied it. When I’d be at the grocery store and line up, I’d see tabloids and think: those poor people, what a miserable life… Acting is a fantastic creative outlet for me, and it’s a way of telling stories, which is what I’m really passionate about. I just happened to get a great opportunity to do it for a good amount of money, and at the time I was one of the brokest people I knew… And for me me this has been a sort of roundabout way to get to my dream, which is writing.”
And now that she’s pouring her passion into her own writing project, Lilly said she has an easier time looking at movie scripts through a less critical lens.
“By the end of Lost, I used to throw scripts across the room when no one was looking,” she said. “Now that I’ve started writing my own stories, I’ve surprisingly let up a lot when it comes to the acting side of things. Where now instead of being obsessive about it being a good story, I just want to go and have fun.”
Lilly said The Squickerwonkers will be a series of books, with the next releases each focusing on one character from the Squicker-world and how his or her vice led to the character’s demise. Lilly also plans to personally put out an interactive edition of the book, complete with voice acting from actor Sylvestor McCoy, known for his roles in The Hobbit Trilogy and Doctor Who.
In spite of her recently-announced role in the Marvel movie Ant-Man, Lilly said she’s reaching a point in her life where acting will likely become a smaller part of her world than writing.
“In a week, I’ll be 35. So the reality of being a female actress who is nearing 40 means there will be less and less work available, and that suits me just fine,” she said . “I hope that it’ll be more 25/75.”
Lilly’s still readily available to snag her dream role, though, which she said would be a part in a Wes Anderson film.
“He is right up my alley. He is quirky and strange but beautifully and incredibly aesthetic,” she said. “I would kill to do a Wes Anderson film.”
The Squickerwonkers is available online and in stores November 18.
It seems like every time SDCC rolls around, there’s a referendum on the state of comic conventions in the mainstream media and in the comics media. Sure enough, Comic Con ’14 rolls around and the same old song repeats. Let’s break the state of things down into the two components that get most of the dander up.
#1: A consumer convention is different from a trade show.
This year it was the New York Times that issued an article that didn’t really have a clue that there are two different type of conventions. It’s always somebody. I don’t think enough of it to link to it, but I’ll link to one of the responses here at The Beat. Before I go over the differences between the two, let me drop some credentialing on you. I’ve produced interactive exhibits for trade show booths. In the medical industry. Where they think nothing of spending $250K-$500K on trade show booth materials and staffing. Oh, they’ll use the booth and elements of the booth at multiple shows, but that’s there to illustrate the vast difference in budgets involved (although the TV and movie folks spend a bit more on their marketing than the publishers).
Convention centers usually have a little bit of government oversight. Not always, but usually. They’ll be partially funded with an eye on “economic impact.” How is this measured? Hotels around the convention center, bars and restaurants around the convention center. Taxis. Car rentals. Bonus points for things that can have a tourist tax on them. As I understand it, part of the problem with WonderCon and San Francisco is that the “economic impact” doesn’t hold a candle to a medical show or a tech show. Hold that thought, we’ll come back to it.
With a trade show, most people are staying in the hotels near the convention center or in a designated corridor of business class hotels. There will be all kinds of after hours activities. Multiple restaurants/bars/clubs rented out for the evening with open bar. 20-50 person steak dinners for extended sales pitches. Most of those people not getting their meal bought for them will have a decent expense account and go to the GOOD (read: expensive) restaurants either around the convention center or in that business class hotel district.
SDCC is unusual in that it does have tradeshow levels of private events. I’m not sure if the head count invited to those private events is the same (and the venue gets paid by head count), but they have them. It completely misses out on the expensive meals, though. That said, I’ve often wondered if the inflated hotel prices have really been taken into account in the SDCC economic impact studies.
Now, if we step away from SDCC and just talk about conventions in general. A regional convention, where the bulk of attendees aren’t staying overnight, loses out on all of the above. Maybe a slight a hotel room bump and some casual dining dollars. A national show – one where you have a lot of attendees flying in – is going to get a hotel bump (but possibly more action for the tourist hotels, which may not be valued as much) and a casual dining bump, but not the big dining dollars.
The per attendee dollars spend in the community can’t touch a trade show. Period. If the show is big enough, it can even out, but consumer shows are more of a “fill in the open dates” scheduling item in the greater scheme of things.
Don’t kid yourself, though. SDCC is big enough, Anaheim and Las Vegas were drooling over getting that kind of attendence in town. Nothing wrong with full planes, hotels and taxis.
Wonder Con, though, that’s another story. No steak dinners. Barcon might not be at a hotel bar. You’ll have more people staying in different neighborhoods. Lots of locals. It’s just not going to track. Should there be a Wonder Con in SF? Absolutely. Do they have a fight with Moscone over economic impact? Yeah, that’s probably legit from an oversight perspective. It would be nice if the tech industry leaned on some politicians for that. Locals can be served too, not just out of towners.
#2 The new <insert here> is ruining conventions
Comic conventions, by and large, are pop culture conventions. There, I said it. There have always been celebrity autographs at all the shows I’ve ever been at. I remember the Chicago Comicon, under the original management, would have huge crowds for the Babylon 5 and Kevin Smith panels. I was even part of that with a “Mystery Babylon Theater 5000″ panel (before the pirated the idea at SDCC, thank you very much). This is not a new thing, so much as it’s been more fully integrated. It’s also part of conventions opening up to a wider audience. Sorry, the audience is less focused than it used to be and commerce patterns have changed.
The person shouting the loudest about the changes this year seemed to be Chuck Rozanski of Mile High, who’s gotten a lot of PR by declaring he wasn’t bringing his retail booth(s) back to SDCC. Rozanski is taking the position that he’s lost too much business to the publishers selling convention exclusives at their own booth. He’s not the only one making complaints. I’ve seen some complaints on the social channels that cosplayers are taking up space that could be occupied by comics fans who might buy something.
These are old trends that get brought up every year like they’re new things. One of the consequences of comic shows being more of a pop culture convention is that you have a wider demographic. Wizard World Chicago morphed into an autograph show where pretty much all the comics activities were in Artist’s Alley. Some cosplayers come to convention for the comics and just enjoy dressing up. Some come for the anime or movies and like dressing up. And yes, some of the cosplayers are just there to dress up. So what? I know people who like to wear bow ties, too. There’s also a growing trend of conventions as primarily a social experience. You go to meet friends you see at conventions and to meet new people with common interests. This seems particularly big on the anime side of the aisle.
There’s also been a looooooong developing story on the changing face of commerce at conventions. It seems like the comics portion of shows is moving towards the direction of high end/rare back issues and hot books or deep discounts. And perhaps a slice of “things to get signed by convention guests.” Back issues are now something of an online shopping item. And Rozanski ought to know about that.
To be honest, the Chicago shows – particularly Wizard – turned into such a deep discount flea market at one point that I started getting an attitude about paying $5 for tpbs. I mean, a couple places were selling them for $4. That’s the nature of the beast and I expect you really can’t pull that off at a national show. (And we all have a friend who only goes to a convention the last day of the show to see what kind of fire sale prices he can get, right?)
With the more diverse crowd, you have increased opportunities to sell stuffed animals, t-shirts and novelties to people who aren’t there strictly for comics. Nothing wrong with that, either.
Ever notice that nobody complains that the bootleg video booths aren’t nearly as prevalent as they used to be?
Is the complaint about the publisher booth having exclusives and diverting dolloars valid? That’s a complicated question.
- Are attendees spending money there instead of at retailer booths?
- Are the exclusive item lines so long attendees don’t have time for retail shopping?
- Since it’s not weird somebody would buy a convention exclusive instead of a back issue they could order online, is this an argument about who should be the one selling the convention exclusive? (Comics should be the textbook case study of “channel conflict.”)
- Are the consumers spending more time in Artist’s Alley instead?
Yes, Artist’s Alley and the retail section are in conflict. If I’m buying something and the person is in Artist’s Alley, unless the retailer has a pretty big discount, I’m buying it from the artist every time. Supporting the artist directly is a full-on trend these days. See Kickstarter. See Patreon.
Do the publisher’s exclusives detract from Artist’s Alley sales? I’m not sure. I know a few people who swear by shows like Wizards put on because they don’t have much by way of publisher’s booths, so the comics fans at the show can go straight back to Artist’s Alley. Sometimes they mention not having to compete with the exclusives, more often just that Artist’s Alley is where the comics part of the show is at.
As these conventions get bigger, more vendors want to get in and the price for the booths keeps going up.
But you know what else is absolutely true? The booth prices are getting more expensive for the publishers, too. And comics is not exactly a high margin business.
The demographics of the attendees are getting broader. Exhibition costs are going up. Buying patterns are changing. Direct to consumer sales anger is flaring up again. Alas, very few things in this world stay exactly the same. This seems like a few different heads all coming to a head and it’s been a few years in the making. Whether this extends down to the next layer of conventions – your NYCC, Emerald City and Wonder Con — remains to be seen.
Pull up a chair, for an adventurous novel with a lovely fantasy feel. Skyships, blunderbusses and gale cutters give this the perfect pinch of steampunk, but doesn't get in the way of the narrative. Though the fine-print on the cover says this is a... Read the rest of this post
By: Julie G,
Blog: Book Hooked
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A high school music festival goes awry when a young prodigy disappears from a hotel room that was the site of a famous murder/suicide fifteen years earlier, in a whip-smart novel sparkling with the dark and giddy pop culture pleasures of The Shining, Agatha Christie, and Glee.Writing
Incredibly well done. I have absolutely no complaints in terms of the writing. I felt like the author took a setting I'm unfamiliar with (high school music festival) and made it something immensely relatable, through characters that I had nothing in common with. If that sounds like a feat, it's because it is. My high school experience and myself as a high-schooler was so far removed from these teens, but they are written in such a way that I found myself connecting with them regardless of our differences. I particularly fell in love with Rabbit, one of a set of twins. While his sister is the outgoing star of the show, Rabbit is more serious and reserved. I loved that the twins roles are reversed right away and the way that their character dynamics shift when Rabbit is suddenly the popular twin. Entertainment Value
Yes, yes, yes! Such a fun story to read! Things move along at a fast pace, the characters are compelling, and I loved the plot twists and turns. Several delightfully unexpected events occur that left me particularly stunned/moved/thrilled. It was definitely a pleasure to read and something that I had a hard time putting down.
The one negative in terms of entertainment value for me is a bit of a spoiler - nothing major, but I'm going to type it in white to avoid spoiling anyone who wants a totally pure reading experience. Highlight from here to see the spoiler: Two characters engage in a "happy" affair, which is one of my pet peeves in books. I don't like affairs that we're supposed to root for, that are "romantic", or that don't show any of the devastating consequences. So that took away a bit from my ability to enjoy.Overall
I highly recommend giving this one a try. The coming of age aspects reminded me a lot of Tell The Wolves I'm Home, so I'd recommend it to fans of that one for sure. I also think anyone who participated in vocal or instrumental music will love it, as will fans of twisty, delightfully dark and funny mysteries.
Thanks to Netgalley for providing me with a copy to review.
By: Rachel Frankel,
Blog: Illustration Friday Blog
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In my journey towards becoming somewhat of a graphic designer, I’ve gone through many bouts of chocolate-fueled rage, cursing when I can’t figure out how to line up my beziers correctly, or how exactly to create a seamless repeat pattern. Although there are loads of tutorials online, the Australia Graphic Supply Company is set to become the “square one” learning source for budding designers and typographers of all types (pun not intended).
Self-described “pixel-wranglers,” Dave and Laura Coleman are a husband-and-wife team working out of Sydney, Australia, focusing on a wide range of visual services from photography and branding to illustration and tattoo design. While Laura mostly manages operations & finances, Dave handles the creative side of their shared business–and both of them share a serious passion for design, photography and lettering.
They host a selection of their own client work on their website, but the primary focus is on their community and growing tutorial section. What’s neat to see is that their tutorial aesthetic matches up perfectly with that of their professional projects–the aim is clearly to give the viewer proper insight into the process of creating high-quality design and typography while simplifying the process down to layman’s terms.
One of my favorite tutorials was Creating a Hand-Lettered Logotype from Beginning to End–I’ve included some screenshots and a video below.
Dave and Laura were briefly living and working abroad in Oviedo, Spain, but are now in the process of returning to their home base in Sydney. To follow along with their adventures, check out their travel blog.
I’ve also included a couple links to my other favorite tutorials below:
No Pain, No Grain (How to Create a Seamless Vector Wood Grain Pattern)
So What’s the Big Deal with Horizontal & Vertical Bezier Handles Anyway?
I can’t wait for more exciting tutorials and developments from the AGSC. Thanks so much to Dave and Laura for sharing their knowledge with us! Follow along with them on theirwebsite, Twitter, and Pinterest.
Originally posted on heylookawriterfellow:
Last week, the lovely and talented Kid Lit Reviews won my second Win a Doodle Contest. So she gets a doodle on the subject of her choice.
Kid Lit, who, it turns out, is a devoted animal rights activist, gave me her request:
How about a Great Dane standing guard over a few dogs that are behind him? The Dane is the rescuer and has rescued these other dogs from the mean streets and bad homes and now refuses to let anyone else harm them.
Okee doke, Kid Lit; your wish is my command.
Filed under: Children's Books
THE DAUGHTERS OF MARS sounds like an excellent read. What do you think?This week marks the 100th Anniversary of the start of World War I. Atria Books is recommending Thomas Keneally’s DAUGHTERS OF MARS as an important read regarding this complicated and brutal war.
The trade paperback edition of THE DAUGHTERS OF MARS is available now.
Thomas Keneally began his writing career in 1964 and has published thirty-one novels since.
They include Schindler’s List, which won the Booker Prize in 1982, The Change of Jimmie Blacksmith, Gossip from the Forest, and Confederates, all of which were shortlisted for the Booker Prize. He has also written several books of nonfiction, including his boyhood memoir, Homebush Boy, The Commonwealth of Thieves, and Searching for Schindler. He is married with two daughters and lives in Sydney, Australia.
With Comic-Con winding up there has been a smattering of word on Tumblr and Reddit about a young female cosplayer dressed as Rgoer Rabbit being attacked and left bleeding by the side of the road. The story has been reported on Tumblr and Reddit, and after speaking with the girl’s parents, I have ascertained that it is unfortunately true. The SDPD is currently investigating the crime. I have removed the names from this, but if you have any more information, please do not contact the family directly. Call the San Diego Police Department at (619) 531-2000. I repeat, DO NOT CALL THE FAMILY. Several people have already spoken with them and with their daughter in the hospital they do not need any more distress fielding phone calls.
According to the girl’s mother, her injuries are severe, and indicate a vicious beating. Here is the account of what occurred from Tumblr:
IF YOU WENT TO SAN DIEGO COMIC CON OR KNOW ANYONE WHO HAS, PLEASE READ.
One of my dearest friends was found on the side of the road, unconscious and bloody. She was wearing this cosplay on the day it happened. She was last seen with friends when she ran off after a disagreement. Please, please, please, if you have ANY information or saw her anywhere, contact her mother. The full information is down below. This isn’t okay and it’s sickening to know that this happened at a place people truly can enjoy themselves. Please spread the word.
”I just received a call from the San Diego Police Department and my daughter REDACTED aka REDACTED was found on the side of the road covered in blood with no ID unconscious. They are unsure what happened to her. My husband is on his way to the police station and then the hospital. If you have any information on what happened to her please send me a facebook message or call me at REDACTED. Thank you in advance”. -REDACTED
Obviously this crime is going to be added to the current discussion of all the issues regarding Comic-Con, harassment, cosplay, crowds and more. It’s a stark and heartbreaking reminder that even if Comic-Con is a wonderful fantasy world brought to life, there are real life predators out there. Have fun but play safe and sane. My heart goes out to this girl, who was an experienced cosplayed who had recently been to Anime Expo, and her family. Her mother says it was her dream to go to Comic-Con. Let’s hope that her attackers are caught and when she’s recovered she can come back in style as a heroine.
Ten-year-old Oliver Crisp encounters a shy Rambling Isle, a myopic mermaid, and a talking albatross in search of his parents in this gorgeously illustrated adventure. Will Oliver rescue Mr. and Mrs. Crisp? Or will he be engulfed by the Sarcastic Sea? A hilarious read-aloud for the whole family! Books mentioned in this post Oliver and [...]
Douglas Florian is a poet and artist who has created poetry picture books that explore a wide variety of subjects. Over the years I have greatly enjoyed reading these books, and it is interesting to see how he applies his considerable talent to take on a new topic that interests him.
Harcourt, 1996, 978-0152023669
Birds truly are remarkable animals. They come in a dazzling array of colors, live on every continent, and make their homes in all kinds of places. In this wonderful picture book Douglas Florian pairs short poems with his artwork to give readers a true celebration of birds.
Over the millennia birds have evolved to suit many kinds of environments. Some birds, like the egret, sail on water and then rest on the beach making it seem as if there is a “feathered hat” lying on the sand. Dippers love to dip and dive in waterfalls. They are so aquatic that one wonders if they would be happy to “trade / Their oily wings for flippers.” They are such good swimmers that it is possible that the little birds might “think that they are fish.”
Birds come in all shapes and sizes. The spoonbill is tall and thin with a beak that does indeed look like a long-handled spoon. In his poem about this rather odd looking species, Douglas Florian wonders if the spoonbill uses its bill “for stirring tea” or does it “use it as a scoop / For eating peas and drinking soup.”
With clever touches of humor and insightful descriptions, this collection of poems will give young readers a colorful picture of twenty-one bird speci
The stork has a bill that is perfectly suited for the environment it lives in. Wading through shallow water, the bird uses it rapier like bill to stab frogs and other creatures. Woodpeckers also have beaks that are perfectly adapted so that they can get to their chosen food - insects that live in wood and sap that runs through wood. Not only are these beaks perfect for creating holes, but woodpeckers also use them to communicate.
Alloy Entertainment, a division of Warner Bros. Television Group, has partnered with Amazon Publishing to launch a digital-first imprint that will publish young adult and new adult novels, as well as commercial fiction.
The new imprint is called Alloy Entertainment. The imprint launches with three new titles: YA title Imitation by Heather Hildenbrand; coming-of-age story Every Ugly Word by Aimee Salter and sci-fi fantasy adventure Rebel Wing by Tracy Banghart.
Alloy Entertainment will be part of Amazon Publishing’s Powered by Amazon program, meaning that it will use Amazon’s marketing and distribution tools to reach readers.
New Career Opportunities Daily: The best jobs in media.
I won't have much time at all to do the artwork for this book, but that's fine. I know how I want it to look, and it will be a lot of fun.
At the moment I am painting with brushes made from horsehair. It seems to suit it. - I'll need to dig out my lightbox so I can follow my roughs a bit more closely. This drawing was made free-hand on top of a rough colour sketch, which explains why the crocodile is skipping more than he usually would - I was following the jaunty watercolouring I'd put down first.
Join Roan Novachez in his second year at Jedi Academy. Roan's adventures in pilot training, food fights, poetry tests, and general middle-school awkwardness make for a fun summer read that's hilarious and engaging. An addictive mix of comics and text from the great Jedi mind of Jeffrey Brown. Books mentioned in this post Star Wars [...]
By: Michelina Ouellette,
Blog: Michelle Can Draw
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Picturebook Complete: 1,000,000 points!
Super exciting announcement! As some of you might have heard, the picturebook I have been working on from Feb- June has been printed and is (almost!) available for purchase. I just received my hardcopy this weekend, and it is beautiful!
When I was contacted by Plymouth Puzzles about creating a storybook to accompany their upcoming line of Christmas reusable gift bags I was thrilled! The book, Santa’s New Tradition, follows the story of a little girl as she discovers the waste caused by wrapping paper and decides to make a positive change.
I really enjoyed working on this book and am super excited to see it up for sale (looks like late August/ Early September release).
More coming on my process of idea to final later- and thanks for reading!
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I had a super busy school year with school visits and conferences and such. I had a wonderful jumpstart at a writers retreat with my home girls.
After that I hit the ground running, or rather sitting, pen and paper in hand. (Yes, I write longhand.)
|(l to r) Kirby Larson, Winston the Wonder Dog, Susan Hill Long, Augusta Scattergood, me)|
Came home and stayed focused despite the gorgeous New England summer weather and my gardens and other distractions calling to me.
My only breaks have been a stroll at beach or bog with the dogs. But today I'm floating on a little island of time.I have no idea exactly what that phrase means, but I like it, so I'm using it.My work-in-progress is temporarily simmering on the back burner, ready to be buffed and polished and Bo-toxed into shape.So today I'm free floating and it's been bliss.Started the day with a 5:30 bog walk. (I have to time my visits so there aren't any other dogs for my shelter dog to fist fight with. She sometimes has, um, issues.)
Then I came back and picked fresh flowers from the garden (which look a little limp now but, oh well).
And THEN, I've been hunkered down with this all day.
|Song Writers on Song Writing by Paul Zollo|
Writers, songwriters, readers, music lovers, and anyone who isn't dead would love this.It's a big fat book full of interviews with the BEST songwriters.
Pete Seeger, Bob Dylan, Carole King, Paul Simon, Brian Wilson, Randy Newman, Neil Young, Leonard Cohen, Frank Zappa, Carlos Santana, Lou Reed, k.d. lang, Merle Haggard.....on and on and on.I find myself whipping out the yellow highlighter every few minutes.Feeling even more inspired to get back to my simmering word pot.
Signing off from my Island of Time