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By: Heidi MacDonald
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Straight from the offices of Publishers Weekly, it’s More to Come! Your podcast source of comics news and discussion starring The Beat’s own Heidi MacDonald.
In this week’s interview special, Publisher’s Weekly’s Calvin Reid interviews indie comics master Dean Haspiel about his beginnings as well as his latest work, including The Fox from Archie Comics and Fear, My Dear: A Billy Dogma Experience from new publisher Z2 Comics. Haspiel, known for his work on such books as “The Quitter” with Harvey Pekar and “The Alcoholic” with Jonathan Ames is also a co-founder of the web comics collective Act-I-Vate. All that and more on PW Comics World’s More To Come podcast.
Listen to this episode in streaming here, download it direct here and catch up with our previous podcasts on the PublishersWeekly website, or subscribe to More To Come on iTunes
It is not every day you see Fantagraphics associate publisher Eric Reynolds and legend Abe Vigoda in the same place (as seen on Reynolds’ FB page.). But it happened last night at the Society of Illustrators opening for Drew Friedman’s Old Jewish Comedians show. Also in attendance: Gilbert Gottfried, Paul Shaffer, Robert Klein and JAY EFF Joe Franklin. And from the arty/comicksy crew many people, including Mark Newgarden, Bob Sikoryak, Stephen DeStefano, Karen Green, Cliff Galbraith, J. David Spurlock, Jim Salicrup, Charles Brownstein, Anne Bernstein, Kriota Wilberg, Scott Eder and many people I’m forgetting. It was one of those “only in New York” times. Sadly, I arrived too late to catch Mr. Vigoda, whose existence I recently celebrated here.
Friedman’s painstaking, eerie and unforgettable portraits of the vast world of old Jewish comedians have been collected in three books, all from Fantagraphics, available as one rib tickling compilation. The exhibit includes some items—presumably from Friedman’s own collection— of books, puppets, and other tchatkes of the Vaudevile-to-Catskills world, now long vanished. However, I did learn from the biographical cards accompanying each art piece that Jack Carter and Marty Allen are still alive, both in their early 90s! VERY old Jewish comedians.
The work itself is a monument to this world so far behind us in the rearview mirror, disturbing yet familiar, creepy yet humane. Friedman’s originals are tiny, they are actually blown up to be reproduced, but his level of detail survives in such a scale, and somehow gain a patina of memory. From Jerry Lewis to Buddy Hackett to Sophie Tucker, it’s a twilight world of schtick, and we’re fortunate that Friedman has captured it for posterity.
Also up at the Society — a huge display of the art of Jeffrey Catherine Jones, including Idyll and most of his most famous works. It’s probably the biggest display of his work ever mounted, and perhaps the only one. There will be a big event for this show in the 21st, including a showing of Better Things, the documentary of Jones’ life, directed by Maria Paz Cabardo. That will doubtless be another only in New York evening.
After quizzing a cross section of the attendees I came to the conclusion that the fanbases for Jones and Friedman don’t overlap too much. Perhaps the Venn diagram includes only Heidi MacDonald. But both are well worth seeing, as is the MoCCA gallery show of Charles Rodriguez.
I’ve been going to SoI events for a while, but I have to say since director Anelle Miller started expanding the membership and the events calendar, it has once again become a true clubhouse as it was in the great days of illustration—and last night’s vastly entertaining event was just one example.
By Matt O’Keefe
Since 2008 Jeff McComsey has been immersed in all things FUBAR. The New York Times best selling zombie series has consisted of three anthology-style graphic novels and a number of individual issues. In September Jeff ran a wildly successful Kickstarter for Mother Russia, the first FUBAR graphic novel to feature one extended story. I talked to him about writing/drawing the book – and a lot more!How did FUBAR Press first come together?
FUBAR was originally just supposed to be a convention book. Something with an attention grabbing title that for a few bucks more you got a custom WWII zombie sketch in. Jorge Vega and I put together a bunch of WWII zombie stories from some of my fellow small press creators and Steve Becker put together this gonzo booth complete with replica machine gun. We sold FUBAR: European Theater of the Damned at a few shows in 2008 and I saw a response from people who bought it that I hadn’t seen before. For the first time we thought we might be on to something fun that would also sell. We kickstarted our next book FUBAR: Empire of the Rising Dead and managed to land it on The New York Times Best Selling Graphic Novel list! Since then we’ve just been focusing on putting out more content and having something new for fans when they come by at the next convention.
Was there a big learning curve with running a small publisher?
There definitely is but there’s also a fantastic community of other guys and girls doing the same thing who are there for questions and support. From the beginning we grew FUBAR organically being careful to not go overboard and spend outside our means. We were fortunate to come up at a time where crowd funding was just getting to be a bigger force in indie publishing. We combined that with a big convention presence and year after year we’ve been able to grow the label and publish more and more.
You ran successful Kickstarter campaigns before Mother Russia. FUBAR: American History Z raised over $17,000. Then Mother Russia raised almost 96k. Were you prepared for that level of interest?
We were ready for it but I’m still surprised by the number of backers we ended up with in the end. Kickstarter was kind enough to feature us in their “Projects We Love” e-newsletter that goes out to almost the whole Kickstarter community during our campaign. As a result we ended up with a lot of backers that normally don’t back comic projects which is awesome for us and comics on Kickstarter in general.
A page from FUBAR: Mother Russia.
How’s fulfillment going?
It’s going great. Right now I’m plugging away on MOTHER RUSSIA and making sure the stretch goal comics and other stuff is ready when the book is done and printed. So far we have the T-shirts and onesies printed as well as four out of the five stretch goal comics are printed or at the printer.
A lot of creators using Kickstarter have struggled with the added cost of stretch goals, particularly in regards to shipping. Has that been an issue for the Mother Russia?
I think because we had done a few campaigns before this one we had good figures for exactly what each reward costs in terms of shipping going into it. We designed the stretch goals to be very economic but still get us and the backers the most bang for their buck. We chose to focus on adding comics as goals because they are both affordable to print and ship. Also as someone who backs a lot of comic projects on Kickstarter I like getting extra comics :)
Mother Russia is the first FUBAR graphic novel, and a comic with four-interconnected plots is a bonus in the Kickstarter. Are longer-form stories the future of FUBAR?
We have at least one more big anthology we want to do in the near future called FUBAR: BY THE SWORD that expands our historical zombie series to include all of world history and ancient history. After that we’ve got some things cooking for stand-alone material we’re excited to get out there, too.
How will Mother Russia be released for non-backers?
If you missed the campaign you can read the first eight pages here. If you like what you see you can still pre-order MOTHER RUSSIA here.
After the exclusive kickstarter printing we want to run MOTHER RUSSIA as a three issue mini series in shops sometime in the late Summer or early Fall.
Now that you’ve built a big fan base, are there plans to further grow FUBAR brand?
Heck yeah. As I mentioned above we have FUBAR: By The Sword in the pipeline as well as both Steve Becker (FUBAR art director and MOTHER RUSSIA cover artist) and Jeff McClelland (FUBAR story editor) are working up their own stand alone projects. In addition to that FUBAR is participating in Free Comic Book Day this year. We have a stand alone one-shot called “The Ace of Spades” written by Chuck Dixon with art by Steve Becker and myself. Chuck wrote an action packed zombie spec ops story for us and I’m excited to have worked on it and that it gets to be part of FCBD 2014.
FUBAR’s FCBD 2014 offering.
In addition to making comics, you’ve also been working as a freelance illustrator. Has this Kickstarter allowed you to devote yourself to FUBAR full-time?
It has. I was just about there before the campaign but now I don’t think I could pull it all off without having that extra time to devote to this project without going full-time. Really it’s two projects. First up is finishing the book and all the extra content and then it’s fulfilment time. Both of those are heavy duty projects. I have excellent help for both of those so I like our chances :)
Do you have any interest in working for one of the big comic book companies?
Absolutely. I love what we do with FUBAR PRESS and the freedom we enjoy writing and drawing our own books but there are some ace publishers I grew up reading that I’d love to work with. Companies like Dark Horse and Oni Press are a big reason why I do what I do. I’d love to get something in the new Dark Horse Presents. That book was a HUGE influence on me in my formative reading years and It’s been a goal of mine to get something in there since they relaunched it.
Are you pursuing adaptations of FUBAR into other media?
Not at the moment. I’m not against the idea of MOTHER RUSSIA the game or MOTHER RUSSIA the movie but making MOTHER RUSSIA a hot shit comic book first is my number one priority.
What have been the biggest surprises from the FUBAR: Mother Russia Kickstarter?
The biggest surprise is how fast my basement filled up with shipping supplies and comics for this campaign. It’s getting out of control down there!
You can learn more about the series at the FUBAR Press website. Follow Jeff on his blog and on Twitter @Jeff_Mccomsey.
Jen Sorenson has become the first woman to win the Herblock Prize, awarded each year to an editorial cartoonist “to encourage editorial cartooning as an essential tool for preserving the rights of the American people through freedom of speech and the right of expression.” Along with the praise, it offers a $15,000 prize. Sorenson’s Slowpoke Comics have been delivering pointed laughs for over a decade. She was a runner-up last year and won the Robert F. Kennedy Journalism Award in 2013, so you could kind of call this long-expected.
Clay Bennett of the Chattanooga Times Free Press was the finalist.
I’ve seen it noted widely that Sorenson is the third “alt cartoonist” in a row to win, following Matt Bors and Dan Perkins (aka Tom Tomorrow) last year, but in this day and age, with Sorenson and Tomorrow’s long-established careers and online comics the current delivery method, I’m not sure what is really so “alternative” about them.
The prize was judged by Perkins, Tony Auth and Sara Duke of the Library of Congress, and they said of Sorenson “Jen Sorensen’s strong portfolio addresses issues that were important to Herblock, such as gun control, racism, income inequality, healthcare, and sexism. Her style allows her to incorporate information which backs up the arguments she presents. Her art is engaging and her humor is sharp and on target.”
Michael Cavna caught up with the winner:
“Winning the Herblock is one of the finest moments in a political cartoonist’s life,” Sorensen tells The Post. “Being the first woman to win the prize makes it an extra-special thrill.
“I’m so grateful that this generous award exists for our profession.”
Sorenson is a super nice and talented creator; I’m pleased as can be to see her win this award.
While the odds are still low on him showing up to fulfill his duties as Grand Prix winner, Bill Watterson is slightly less reclusive of late than he has been for most of the 19 years since he quite Calvin and Hobbes. For instance he has drawn the poster for the film STRIPPED, a documentary about comic strip artists which also features an interview with Watterson. The piece is billed as Watterson’s first cartoon in 19 years (he’s shown a painting since then, a contribution to Project Cul-de-sac.)
Comic strips fans were probably already on board to see the movie, directed by Dave Kellett and Fred Schroeder, but the art by Wawtterson won’t hurt. Other creators interviewed in the film include Chris Hastings (Dr. McNinja), Anthony Clark (Nedroid), Danielle Corsetto (Girls With Slingshots), Dylan Meconis (Family Man), Kate Beaton (Hark, a Vagrant!), Greg Evans (Luann), Jeff Keane (The Family Circus), Jeff Smith (Bone), Jim Davis (Garfield), Scott Kurtz (PvP), Meredith Gran (Octopus Pie), Ryan North (Dinosaur Comics), Bill Amend (Foxtrot), Matt Inman (The Oatmeal), Mike Krahulik and Jerry Holkins (Penny Arcade), Cathy Guisewite (Cathy) and Mort Walker (Beetle Bailey).
By: Heidi MacDonald
Blog: PW -The Beat
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Straight from the offices of Publishers Weekly, it’s More to Come! Your podcast source of comics news and discussion starring The Beat’s own Heidi MacDonald.
In a More To Come interview special episode, Heidi talks with acclaimed indie comics creator Jeff Smith about his Eisner-winning kids’ fantasy epic Bone, his adult sci-fi tale RASL, the advantages and difficulties of being your own publisher, his new Paleolithic webcomic Tuki Save The Humans and much, much more on this episode of Publishers Weekly’s graphic novel podcast. in this podcast from PW Comics World.
Now tune in Fridays at our new, new time for our regularly scheduled podcast!
Stream this episode and catch up with our previous podcasts through the Publishers Weekly website or subscribe to More To Come on iTunes
Indie comics folk around Brooklyn and beyond have been quietly grieving over the imminent end of Cartoon House, a giant loft in South Williamsburg inhabited by a bevy of cartoonists over the years, and scene of many someday legendary comic book people events. In the first in a series of micropress profiles for Publishers Weekly, Robyn Chapman looks at the history of Cartoon House and the publishing companies of its three most prominent members, Bill Kartalopoulos, Austin English and Dave Nuss.
As cartoonists moved in, the parties became frequent and, at times, legendary. The final Brooklyn Comics and Graphics Festival after-party last November was packed shoulder to shoulder with cartoonists from Chris Ware on and featured a spontaneous wrestling match between Hot Dog Beach’s Lale Westvind and RAV’sMickey Z.
More than being an ideal party locale, Cartoon House offered Kartalopoulos, English and Nuss a comfortable space in which to publish. In a city where the one-bedroom “micro apartment” measures just 300 square feet, it’s a luxury to have enough space to store book inventory.
Cartoon House was indeed one of a kind, and the last throwback in the city limits of the group living situation that often fired up idealized visions of New York City: a big raw space where artistic folks could be wacky and creative. It was also the place where you could dip cookies into frosting and call it a snack. Cartoon House is definitely a “you had to be there” thing, and if it wasn’t as protean as Fort Thunder, it will probably give birth to as many stories.
Bill K. informs us that the final move out date is in November—the raw space will probably be divided up into a couple of apartments which will rent for sickening amounts. Will there be one more big party? It would be sad if there weren’t.
Esteemed comics scholar Jeet Heer has just written a book about RAW and New Yorker Art Director Françoise Mouly entitled In Love with Art: Françoise Mouly’s Adventures in Comics with Art Spiegelman. Art comics enthusiasts won’t need to know much more than that, but here’s an excerpt that reveals the behind the scenes story of the famous 9/11 New Yorker cover of black-on-black towers:
She still felt that no image—painting, drawing or photo—could do justice to what she and the rest of New York had just experienced. She had another idea: What about an all-black cover? A cover that, as per her neighbor’s argument, wasn’t a cover. Spiegelman wanted his image to run but thought that if the New Yorker was going that route, it should be combined with his own suggestion: How about a silhouette of the towers against a black background, black on black? “That actually felt like the most creative solution,” Mouly says now. She drew up a cover based on their ideas. “When I saw it, even before I presented it to my editor, I was like ‘Oh my god, this actually is the answer, the negative answer, to what I was looking for because it is such a strong statement.’”
It’s an interesting piece on the thinking that goes into the making of such a famed conceptual image.
Okay this is one project that really truly deserves all your support! IT’s The Scary Godmother Doll designed by creator Jill Thompson. As you can see from the pictures the detail and appearance is amazing. And for $5 you get A BRAND NEW JUST FOR THIS KICKSTARTER SCARY GODMOTHER COMIC.
A brand new, 10 page, painted Scary Godmother story created specifically for this Kickstarter. Follow the Scary Godmother and her Monster pals as they make their way to the Spectral Six Convention! The first new story in quite a long while! Plus cool pinups by some of comicdoms most excellent artists! Like Jaime Hernandez, for example!! Available to you as a digital PDF! (Wanna be IN this comic? Check out the I’M READY FOR MY CLOSE UP incentive below!)
The project has raised some money but has a bit to go, so if you want to see one of indie comics most distinctive characters get a fantastic doll, go check out all the incentives.
When the story broke about J. Michael Straczynski replacing Ben Templesmith with CP Smith, as artist on his Image series Ten Grand after Templesmith went into extreme radio silence, many wondered if Templesmith was okay.
We reached out to him and he emailed back to say he had apologized to JMS, and the communication breakdown had been entirely his fault. He explained he has just been through, in addition to some personal matters, “a rather catastrophic move to Chicago where a bunch of my stuff is missing and I got other people’s things, that only finished yesterday. It’s been a rather stressful time.” All this took him off the grid for a while.
But, he continued, “I’m the only one to blame and am apologetic.” He promises to get back on social media soon after he gets the rest of his affairs sorted and wishes Smith and JMS luck on the book.
If we can break into our own endorsement here, while it doesn’t change the Ten Grand problem, and it was an extreme example, these things happen. Templesmith is known as a fast and reliable (and excellent) artist most of the time, and moving sucks. Hopefully everything will be back on an even keel for him very soon and we wish him the best.
UDPATE: And JMS Facebooked:
Finally heard from Ben today…we had a great email exchange, very positive, we’re moving on but remain on really good terms regarding future work on other projects…more later.
“As more people are able to make a living doing it, I think we’re moving into an atmosphere were creators are able to define their careers more than creators in the past have been able to,” he observes. “Relying on Marvel and DC is no longer becoming a viable option, because the contracts aren’t viable and the rates aren’t set. They make the rules. A lot of people have fooled themselves into thinking that’s stability but are now realizing that it’s the exact opposite. The real stability is controlling your own career and being in a position to hire yourself, generating ideas that are enough to make you a sustainable income, and also controlling those ideas and your own destiny. That’s the new stability and that’s something people are realizing. I’m very optimistic that it’ll be something that is here to stay.”
Via a Graphic NYC
profile by Christopher Irving and Seth Kushner.
I don’t know why I didn’t think of her earlier. Becky Cloonan was featured in Oprah’s magazine for crying out loud.Becky teamed up with Brian Wood on Channel Zero in 2003. The book was originally published by AiT Planet Lair, but thankfully the good folks at Dark Horse recollected the series with a great introduction by Warren Ellis. Cloonan and Wood went on to create Demo: a beautiful series of stories about troubled youth with supernatural powers that landed her an Eisner nomination in 2005 for Best New Series. The duo also worked on Northlanders and Conan The Barbarian. In 2007 she was nominated for another Eisner for her work on American Virgin with Steven T. Seagle.
She also published one volume of East Coast Rising with Tokyo Pop, which earned her another Eisner nomination for Best New Series. Becky left her mark on Batman in issue #12, which started a new character Harper Row. She also teamed up with Scott Snyder again and provide art for Swamp Thing #12. Beckyalso co-created The True Lives of the Fabulous Kill Joys with Geard Way and Shaun Simon, and it’s set to release in June. Cloonan has been a long time advocate of creator owned comics and is currently self publishing The Mire, Wolves, and Dracula.
Here’s a special treat, everyone – Laura Howell, creator of Hell on Toast, The Bizarre Adventures of Gilbert & Sullivan, and the FIRST female cartoonist to draw for The Beano. Yes! The very first! Incredibly fun, handy with a pun, and excellent at delivering gags, Howell is one of the UK’s most underappreciated cartoonists. She also, her twitter feed informs me, REALLY likes biscuits. Incredibly prolific, she takes part in several mini creative events online every year, such as her strip-a-day marathon. Furiously funny, you can see more on her website, or find her on the twitters!
It was an inevitability that I’d mention Fionnuala Doran as one of our 24 women cartoonists. Having had work featured at various galleries around Ireland (where she hails from), she recently joined Studio YOLO under the keen, never-swaying eye of Dean Haspiel. Her work has a brilliant use of structure and style, cramping panels together in different and interesting ways to accentuate the important points in each sequence. Expressive and off-kilter, her artwork points her out as somebody I think we should all be watching out for in future. She’s my favourite!
She also has an obsession with corgis. You can find more from her over on her site!
The creator of 164 Days, Kirsty Mordaunt has a lovely sense of style in her character designs, which boosts them off the page. Based in Lincoln, the flattest place in the world, Mordaunt won the Northern Design Award for illustration in 2009, and has been pushing forward with her work ever since. After setting up 164 Days in 2011, readers have seen her linework become crisper and cleaner, and her art improving with every new page. I hope she builds up a gigantic audience over the next few months, because she’s brilliant. You can find 164 days right over here, or follow her on the twitters!
When I saw Clark and Lois 4ever seven years ago, I knew Ming Doyle was going to be something. Ming started out on various anthologies like Jennifer’s Body (BOOM! Studios), Popgun (Image Comics), and doing a weekly webcomic with Kevin Church called The Loneliest Astronauts. The story is basically what if Steve Martin and John Candy from Trains, Planes and Automobiles were stuck in distant space with no way to get back to Earth. Every week that went by the duo became better storytellers and gave more depth to the story. Due to scheduling conflicts the series ended in January 2012. Shortly after the cancellation, Ming and Church co-created created a Star Trek fan fiction web comic called Boldly Gone. The series lives on but the art duties were handed down to Bruce Mcckindale.
She used to host a snazzy podcast with Alexa Rose called Make Believers. They discussed what they saw on Netflix that weekend, fashion tips, music and books they were into, and gave listeners mixed drink recipes that were named after comic book characters.
Her prolific webcomic work seized the attention of the industry and landed her on a Girl Comics anthology that featured the Women of Marvel. Doyle was recently partnered up with Brian Michael Bendis to pencil Marvel’s Guardians of the Galaxy Infinite Comic. This past December Brian Wood, Jordie Bellaire and Ming debuted a six-part comic called Mara at Image Comics.
Ming’s one of the most prolific artists in the last decade and she has a bright future ahead of her.
First off, Kate Leth is a fan of The Spice Girls, so immediately you should be ready to welcome her into your world with open arms. Secondly, her webcomic series Kate or Die! is a fantastical piece of work, with each strip offering something new, but all drawn in her bouncy, glamorous style. Each new strip could be anything – something that happened to Leth in real life, a dream sequence, a quick gag, or a detailed explanation of how to apply othic makeup. It’s autobiographical, fantastical, informatical, hydromatical… like greased lightning! Erm, anyway. She’s currently working on a fair few projects including Adventure Time with Fionna and Cake for Boom, as well as continuing on with Kate or Die. You can find more on her site, or follow her over on the twitters!
I’ve mentioned Lala Albert here before but she continues to fascinate with her disturbing but compelling mythology of three eyed women. Much concerned with myth and alien life, her work can be seen in Vice and on her website. Her day job involves designing textiles such as this.
Alvert is interviwed at Berserker Magazin
I see a similarity between this and nature documentaries and books. We don’t really know what anything else is thinking and we can only assume. I’ve been really into exploring the similarities of different types of creatures. I have these DVDs Life in the Undergrowth, Life of Birds, Blue Planet. I started watching all of those around the same time and it was really overwhelming to see how the behavior of birds is the same as fish is the same as insects, and if you look, the same as people and other herd animals. I imagine the aliens I draw to be the future, what humans are evolving into. As we explore space, the way we are conscious and the way we communicate changes and we become the alien invaders. I see us starting to live like ants or termites. I like to draw my characters sharing a hive mind and crawling on each other.
Women’s History month is wrapping up, but we at The Beat don’t feel we celebrated it properly, so for the next 24 hours most of the Beat staff is collaborating on “24 Hours of Women Cartoonists” to spotlight some of our favorite creators.
* * * *
First up:Helen E. Hokinson, a single panel cartoonist and illustrator from the mid 20th century — a period where the contribution of women to comics seems to have been mostly uncredited or in parallel fields such as picture books. The New Yorker of the period was not without female contributors, however, and among the most renowned was Hokinson (1893-1949) who contributed 68 covers and over 1,800 cartoons to The New Yorker. She was the definitive delineator of the stuffy Turtle Bay matron, a rarefied creature of habit and privilege. She was well known in her day producing half a dozen books of her own cartoons and illustrating many more. She died in a mid-air collision in 1949.
Hokinson’s reputation has perhaps suffered from reports that she illustrated staff captions rather than writing her own cartoons—a common practice at the time. There’s much more about her and other women cartoonists at The New Yorker in Liza Donnelly’s history book, Funny Ladies: The New Yorker’s Greatest Women Cartoonists And Their Cartoons
Currently working on Monkeybrain’s Bandette series with Paul Tobin, Colleen Coover possesses the cleanest linework of any artist possibly ever seen. Well known for her breakthrough work on Small Favors, Coover works very often with members of Periscope Studios, most notably Tobin and Jeff Parker – with whom she worked on a series of stories in X-Men: First Class for Marvel. Moving between work for companies like Marvel and her own creator-owned projects, Coover’s sense of expression and artistic glee comes through in everything she does. Whether it be Spider-Man hiding from Mary Jane on the roof of her lounge, or talking squirrels in Gingerbread Girl, there’s an innate sense of humour and fun to her art style. You can find more on her blog, or follow her on the twitters!
Click the image to read Ava’s Demon
Michelle Czajkowski is sort of a big deal on deviantart. Michelle started her weekly webcomic “Ava’s Demon” in 2012, and is currently at page 392. She seems to keep her personal life private and lets her art tell you all you need to know.
This is the only photograph I can find of Michelle:
They say that behind ever Madman is Lara Allred. Fine, no one has ever said that but I still think it’s true.Laura has left her mark on countless books such as Fables, The Spirit, X-Force, Wolverine and The X-Men and award winning run on iZombie.
Laura is hands down one of the greatest colorist to ever grace comics. Laura, thank you for being so awesome and a inspiration to everyone around you.
Cynthia “Cindy” Martin worked in mainstream comics at the very WORST time to be female in mainstream comics — the 80s and 90s — despite this, she racked up a solid run on Marvel’s STAR WARS that’s considered some of the definitive comics work on the title. She also drew Wonder Woman and Spider-man. In recent year’s she been illustrating a number of non fictionYA graphic novels for Capstone. She’s also been made an honorary member of the 501st Legion—the Stormtrooper cosplay organization.
Recently seen as co-creator on Bucko with Jeff Parker, cartoonist Erika Moen is one of the many higher beings who works within Periscope Studios. Perhaps best known for her ‘naughty’ comics including DAR, her work is confrontational in the very nicest of ways. She’ll do something which you should be shocked by, only you’ll find – to your surprise – that you’re giggling along with it instead. Clean and vibrant, her art style is instantly recognisable, and she can jump from fart jokes to poignancy in an instant. Bucko was recently collected by Dark Horse, and you can find out more on her site, or over on the twitters!
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Writer, artist, and part-time jouster, Emma Vieceli is best known for her work with long-form works including Avalon Chronicles, Dragon Heir, and Vampire Academy. Brilliant at conveying excitement from her characters, her work has been much sought after – when not working on projects about King Richard III, she’s giving talks on creativity or contributing to anthologies and back-up strips for books like Comic Book Tattoo or Phonogram. She’ll next be seen on the next Alex Rider graphic novel adaptation by Antony Johnston, working her magic on the young spy’s next adventure. Find more on her site, or follow her on the twitters!