We want to invite you to our two-day comics making workshop at SAW, Memorial Day weekend.
If you’ve never been to SAW, or never taken a class with us, now is your chance. Our Memorial Day Weekend workshop will be 2 days long and will feature a variety of large-scale jam, small exercises, and collaborative projects, Come for 2 hours or 2 days and pay-what-you-can.
Led by Philadelphia comics stars Pat Aulisio and Box Brown with Suspect Device maestro Josh Bayer !
Saturday and Sunday, May 25 and 26 11:00am – 5:00 pm.
The 2012-2103 Single-Year Program is now finshed, and our students are walking away having had a great education. Our program stands among the best in the country.
SAW is looking for serious students of comic book and sequential art. Whether your interest is personal stories, graphic novels, or genre comics or whether your concern is for entertainment, literary depth, or personal expression, then our program is for you.
We have taught comics to illustration students, writers and english teachers, fine arts If you have passion and a dedication to learning sequential art, then the SAW single-year intensive is for you.
We will do our best to announce receipt of your application within days, and do our best to inform you within 4-6 weeks of your acceptance. Right now, we still have slots available. Deadline will be announced as we creep near capacity.
SAW has monthly art shows, and shares courtyard space with a three other community organizations that hold frequent music shows, movies, open mics, parties and other performances.
SAW students are active participants in the Gainesville community, many participating in its monthly oral storytelling event, and some in the roller derby, the local radio station and other community projects.
SAW is surrounded by creative organizations, entities and artists. Gainesville’s monthly art event extends for 14 blocks and features contemporary painting, sculpture, printmaking, assemblage, drawing and film.
Tom Hart and Justine Andersen create all their professional and personal work at SAW, for clients ranging from MAD Magazine to The Department of Defense, as well as each of their ongoing memoir comics.
Our single-year program is designed to challenge students both technically and intellectually.
First year students learn the basics of cartooning and narrative art. As they gain skills and craft from our faculty, we challenge and guide them into new ideas and solutions that will turn them into artists.
The workshop will be about appropriation and tradition as well as collaboration. In a sense when Crumb steals from Bud Fisher or Box borrows a surfer from Pettibon or i start to emulate Pat’s background patterns or draw women based on a look I gleaned from Jackie Ormes (http://www.jackieormes.com) its an extension of the community of comics and the interpersonal relationships which drive the soul of the indie comics community.
We will be doing a lecture based on different swipes we use and other people use, and then doing some exercise that makes people do their own swipe exercises. Maybe we’ll do a Milt Gross shading exercise for example to get people loosened up. I was thinking of making people do a single panel gag/ political cartoon where they draw a demon or an industrial era robot threatening civilization- basically a Political cartoon that isn’t necessarily topical.
Then we’ll break people into different groups and find new ways for them to collaborate , a big project that we haven’t decided upon yet. so the theme will be collaboration, learning from responding to those around you, and also being willing to learn from historical figures- those cartoonists are your “friends” too.
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Memorial Day Weekend: Saturday and Sunday, May 25 and 26 11:00am – 5:00 pm.
Philadelphia comics stars Pat Aulisio and Box Brown with Suspect Device maestro Josh Bayer are coming to SAW for a Memorial Day Workshop full of Raw Power!
This class will be 2 days and will feature a variety of small exercises, collaborative projects and printing. Come for 2 hours or 2 days and pay-what-you-can.
The workshop will be about appropriation and tradition as well as collaboration. In a sense when Crumb steals from Bud Fisher or Box borrows a surfer from Pettibon or i start to emulate Pat’s background patterns or draw women based on a look I gleaned from Jackie Ormes (http://www.jackieormes.com) its an extension of the community of comics and the interpersonal relationships which drive the soul of the indie comics community.
We will be doing a lecture based on different swipes we use and other people use, and then doing some exercise that makes people do their own swipe exercises. Maybe we’ll do a Milt Gross shading exercise for example to get people loosened up. I was thinking of making people do a single panel gag/ political cartoon where they draw a demon or an industrial era robot threatening civilization- basically a Political cartoon that isn’t necessarily topical.
Then we’ll break people into different groups and find new ways for them to collaborate , a big project that we haven’t decided upon yet. so the theme will be collaboration, learning from responding to those around you, and also being willing to learn from historical figures- those cartoonists are your “friends” too.
————-
Memorial Day Weekend: Saturday and Sunday, May 25 and 26 11:00am – 5:00 pm.
Philadelphia comics stars Pat Aulisio and Box Brown with Suspect Device maestro Josh Bayer are coming to SAW for a Memorial Day Workshop full of Raw Power!
This class will be 2 days and will feature a variety of small exercises, collaborative projects and printing. Come for 2 hours or 2 days and pay-what-you-can.
Really, the New Yorker magazine? Marvel Entertainment drew that image? Not Jack Kirby and Don Heck? Really?
Sure, your art department was happy, having ironically depicted the goofy, clunky, first comic book appearance of Iron Man to illustrate the review for the new-fangled, shiny, 3D movie version of the hero-robot. Sure, the legal department cleared it because, yes, a court of law has upheld the fact that a corporation created this art. But your massive fact check department let an attribution like this slide?
When every other week your back pages feature an “illustration” or two that’s nothing more than some Photoshop fun with stock photos, the person doing the shopping gets credited as well as the people who snapped the pictures and the syndicate who bought them. Why couldn’t the same respect be extended to one of pop culture’s most tragically under respected creators?
A couple years ago a Harry Bliss cartoon appeared in your caption contest which was an homage to Kirby’s cover to Tales to Astonish #39. It features a typically lumpy and dumpy Kirby monster scaling the wall of an apartment building, and a typically upper-middle class New Yorker cartoon character talking on the phone and sipping red wine, completely unaware of his impending doom. There was a bit of a tizzy when the denizens of the internet pointed out that the cartoon was based mostly on a Kirby drawing, and Kirby wasn’t credited. Although I think an “after Kirby” note probably should have accompanied the new drawing, I’ll never begrudge a cartoonist for appropriating existing work. Especially when the very meat of his joke is taking a hokey comic book monster and putting him into the context of snooty, high-brow Manhattan everyday life. But this is different. This straight-up is a Jack Kirby drawing. Of Iron Man. Illustrating a review of Iron Man 3. With no credit.
The New Yorker has done so much for comics. You give cartoonists who think in terms of one-liners a chance to actually make a career of it. With the influence of Françoise Mouly and Art Spiegelman, you’ve helped to legitimize alternative comics among the literary elite. Please stop treating Jack Kirby, who those few of us who are more interested in comics than in superheroes call “King,” like nothing more than a finger in the hand of the corporate master he once served.
DISCLOSURE: I know some people who work at the New Yorker, and happen to be madly in love with one of them. I’ve also been madly in love with the magazine ever since I was a little boy flipping through each issue once it arrived in order to find all the cartoons, swears and boobs within.
The workshop will be about appropriation and tradition as well as collaboration. In a sense when Crumb steals from Bud Fisher or Box borrows a surfer from Pettibon or i start to emulate Pat’s background patterns or draw women based on a look I gleaned from Jackie Ormes (http://www.jackieormes.com) its an extension of the community of comics and the interpersonal relationships which drive the soul of the indie comics community.
