Scratchboard illustrations from my sophomore classes gained nearly 200 views on day one. So here’s a gallery of their colored pencil projects.
Animal Head on Human Body
I have been using this assignment for years, getting imaginative combinations. Back in the day, students found three different photos: a head, body and background.
Lately I’ve seen students actually google the words “animal head on human body” on their phones. I think of this as a crowd-sourced substitute for individual creativity. Some use Photoshop’s lasso tool to put an existing head on a body, then use the Artograph projectors to copy their Photoshop collage. Still, I must admit, I am getting good work.
Sierra Fry’s art student bull is brilliant. His last name is Sharadin, which is the name of the art building here. Note the museum sticker on his sketchbook is from MooMA, not MOMA.
Kayliyn Gustafson based her image on her dog, Kip. I beefed up the contrast as I scanned this image to make her pencil marks in outer space less apparent. It looks stunning with this slight adjustment. I am all about using the computer to make drawings pop. Of course, you can’t do much unless the underlying drawing is excellent, like this portrait of Kip.
Samantha Fusco’s slugger looks like a Kutztown U baseball card. I told the students there is a university that has a slug for a mascot. Some found that info hard to believe. We leave you with an ambitious image below. It is tough to draw a motorcycle, let alone one ridden by a bulldog.
I suggest students use ordinary marker layout bond. Some prefer smooth bristol board. Recommended pencils brands are Prismacolor or Derwent. One tip with colored pencils is using a bit of isopropyl rubbing alcohol on a cotton swab to blend colors. If used everywhere the alcohol can make the colors mushy, but in moderation it’s a special effect worth trying.
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Nathan Hale is a fitting name for a graphic novelist specializing in historical biographies. I ran into him at the American Library Association convention in San Francisco. I asked if he was named for the hero of the American Revolution. He wrote One Dead Spy, about that hero. “No, I am named for my grandfather,” he said. Grandpa Nathan, born in Star Valley, Wyo, might have been named for the hero, though.
Nathan’s latest work, The Underground Abductor, is a bio of Harriet Tubman. He is hoping rumors that Tubman’s portrait might grace the ten-dollar bill come true, as it will boost sales.
Nathan studied illustration at Cornish College of Art in Seattle. For a time he specialized in natural history illustration. Now his historical graphic novels, published by Abrams, keep him at the drawing board. He has completed 5 in the ongoing series, Nathan Hale’s Hazardous Tales. Abrams has lesson plans linking his books to middle grade history curriculum.
Besides his full-time job as an illustrator, Nathan tours the country teaching cartooning to youngsters in his Cartoon Boot Camp. Just prior to the ALA convention he taught a Boot Camp in Santa Rosa California at the Charles Schulz Museum. I just checked their website, looks dreamy. They have an ice rink and a Warm Puppy Cafe. You can watch Charlie Brown specials all day long and meet professional cartoonists. Oddly enough, the Boot Camp experience went south for Nathan, his wife, and eight-year old daughter, Lucy. Nathan was stunned when a thief smashed the windows of their rental car with a sledgehammer and stole their luggage. They got some Peanuts’ T- shirts at the gift shop. Nathan’s wife presented him with a nifty T-shirt she had custom printed, see below.
It should be noted that the Hazardous Tales series has gotten many splendid reviews. Booklist, for example, on Treaties, Trenches, Mud and Blood, “Students bored to death by textbook descriptions of WWI battle maneuvers should be engaged by this entertaining, educational glimpse at world history.”
School Library Journal praises his recent work as “lively, rigorously researched, visually engaging stories.”
I asked if he had ever learned something from reader feedback. After some thought, Nathan opened Big Bad Ironclad! to show me the illustrated endpapers. The first edition, 2012, had a mistake on the map; he had incorrectly colored Kansas gray, putting it in the Confederacy. He got a letter from an upset Kansas librarian, then more from school children. He did an apology tour of Kansas schools. “I let the kids yell at me, throw popcorn,” he joked. He took responsibility for the mistake, said he had referenced a map drawn prior to the Kansas-Nebraska Act. In January, 1861, Kansas was admitted to the Union as a free state. His publisher, Abrams, has first-rate editors who check every sentence for historical accuracy. Nathan, however, never sent the editors the illustrated endpapers to proofread, just the interior pages. The map was fixed for the current edition, pictured below. Let that be a (history) lesson for us all.
Nathan writes a blog, Space Station Nathan. He admits to being too busy to keep it updated. He works hard and deserves his success. The blog archives have some nifty stuff. Look for the illustrated guide to inviting Nathan Hale to visit your school.
Women’s roller derby was a national sensation in the 1950’s. Today roller derby is again a sporting and pop culture phenomenon. I met the Australian illustrator and roller derby athlete Robin Tatlow-Lord in San Francisco last week. Robin learned to skate in South Australia, with Adelaide Roller Derby and currently skates with the Bay Area Derby Girls. She taught me a bit about modern roller derby. Must admit, I had some misconceptions. For example, I called the athletes racers. Robin notes, “The sport is also not really a race, and is more akin to football, even though it’s on a looped track. Roller derby skaters call themselves and each other players, not racers.”
Robin writes, “The kind of roller derby that has become really popular now is NOT a paid professional sport. It is a community-driven, unpaid ‘amateur’ sport (though played to an extremely high level of athleticism and competitiveness) and this has been a huge part of its popularity, because women can start up their own leagues and have full control over everything they do – from what they wear to which nights they train, etc. It’s also a real sport now – unlike 1950s and 60s roller derby, it’s not ‘staged’ or manipulated as an entertainment event. There are both flat-track and banked track incarnations of modern women’s roller derby – I play flat-track.”
I wondered is there some strange new intersection between roller derby and illustration? I wrote about Kutztown grad and illustrator Kate Santee who plays for the Lehigh Valley Rollergirls. Jessica Abel’s epic Trish Trash Roller Girl from Mars has just been released in France. Her fans, myself included, are clamoring for the English edition.
I asked Robin, A.K.A. ‘Bobby Dazzler’ a few questions. First, is roller derby big in Australia?
Robin: “Yes, there is definitely roller derby in Australia. That’s where I started, and played for 2 years. In fact, an Australian team,Victorian Roller Derby League, recently beat many of the top USA teams, and are now ranked fourth in the world.”
‘Bonnie Adventuress’ (above) is a portrait of her pal, skater Bonnie ‘Bone Shaker’ Dowling, painted on recycled paper. Robin’s colorful Fresh Meat series is drawn entirely with brush pens. According to Robin’s website, the line art illustration below is from a few years back when lacy bras and fishnet stockings were more common.
Question: There seems to be a new wave of comics and illustration celebrating roller derby. I am imagining this trend?
Robin: “I don’t think it’s an imagined trend – in fact, a friend and I have been throwing around the idea of putting together a roller derby comics anthology for some time now. There have already been comics compilations on the theme, but to our minds these weren’t as interesting as the comics and illustrations actually being created by real skaters and other people involved in the roller derby community.”
Robin wrote a guest post about the current crop of roller derby players who are also comic artists. Seems like the stars are aligned for that skater/creator comics anthology she mentioned. If your artwork fits that double bill, get in touch via her website. Meanwhile, do check out Robin’s website to see the full range of her talent.
I went to NYC for the 92nd meeting of the NY Comics & Picture-story Symposium. I’ve missed 90 meetings, but they are a welcoming bunch. The Symposium pops up someplace different each meeting, so you need to find it. The Symposium is free, info here. This is not Comi-Con. The emphasis is on D.I.Y., independent and innovative comics.
Tom Hart and Leela Corman, husband and wife artists and educators presented. There was a crowd of about 40. Tom and Leela arrived a bit late navigating their way into the SVA conference room with their baby Molly in a stroller. Tom shared a Powerpoint about the Sequential Artists Workshop, SAW, the one-room schoolhouse for comics they founded in Florida in 2011. As Tom’s eyes darted across the audience he gave shout-outs to old NYC friends. He taught cartooning for 10 years at SVA.
VISIT GAINESVILLE: More Lizards than Criminals! Tom spoke of their move to Florida. A New Yorker in the audience must have flinched. “It’s Gainesville!” said Tom. “It’s not what you think of when you think ‘Florida.’ We have WAY more lizards than criminals.” He’s working on a graphic memoir dealing, in part, with their exodus from New York. I read somewhere Tom just got tired of being a starving artist in New York. I recall one telling detail. He wore his useless wristwatch for months because he couldn’t afford a new battery.
SAW’s one room schoolhouse is in what looks like a mini-mall. Tom touted his Gainesville neighborhood, pointing out SAW’s proximity to the South’s oldest feminist/LGBTQ bookstore and the South’s oldest Infoshop. He explained the impetus for creating SAW, an affordable stand-alone academy for comics. “I had this vision of an intense, serious place, – The Paper Chase for cartooning.” (The Paper Chase was a ’70’s T.V. show about Harvard Law School with a hero named Hart, oddly enough.) Tom’s recollections of his time studying cartooning at SVA were not pretty. Nobody finished anything. -“It was terrible. They were all listening to The Cure and doing drugs,” he recalled. “and my mother had to take out a loan.”
“It’s not right. There are art schools charging $35,000 a year, and there are schools charging less, like $12,000. Even that’s too much.” he said. “SAW’s flagship program, a 1-year full-time comics boot camp costs $3,500 for the year.” SAW’s program includes master classes in life drawing, comics/art history “that begins way before Hogarth” lo-fi technique classes, and, naturally, critiques. They don’t have a lot of computers or software, but they do have a risograph printer. SAW is not accredited, but teaches the same stuff as accredited schools and the results are quite impressive. I wrote about SAW before and interviewed student Adrian Pijoan here.
Leela took to the podium. Besides teaching at SAW, she’s a zinester, illustrator, and belly dance instructor. A Powerpoint malfunction prevented her from showing much of her award-winning graphic novel Unterzakhn. Tom still asked her the question that irks her most, “Is Unterzakhn autobiographical?” She answered with mock annoyance,”It’s about twins! It takes place in a brothel! in 1910! The answer is, No!”
She shared work done for the Symbolia, the app ‘where comics meets journalism.’ I took some solace from her offhand remark, “I have to learn to draw again for every book.” The progressive Jewish mag Tablet published some of her most heartfelt work, – her graphic meditation on her Holocaust survivor grandfather and her own pain of losing a daughter. Their daughter Rosalie died near the age of two in 2011. “Since my first child died, I’ve tried to understand how my grandfather handled losing his entire family, and how he kept going.” As Leela noted, no one can understand this sort of grief, if they have not experienced it. Even then, it is beyond understanding. The full strip is here.
Secret Project GNAT
Tom returned to the podium to share a rather incredible comic he is editing for DARPA. The Defense Advanced Research Projects Agency are the folks who invented the Internet and drones. Really! Everyone is getting into comics. The GNAT project (Graphic Novel Art Therapy) is meant to help vets deal with PTSD. A declassified explanation of the overall project can be found here. Tom shared pages from a graphic retelling of the Odyssey for vets. He pointed out details including extraordinary inking by Justine Anderson, above. That final panel is drawn with a toothpick.
Tom looped back to his own memoir project. He posts his Rosalie Lightning work-in-progress online. He, too, spoke of his massive grief when baby Rosalie died. He recalled reading classic 1920’s Gasoline Alley strips by Frank King. When got to a panel where Walt panics about losing his baby Skeezix, he couldn’t bear to continue reading.
Maybe it was a catch in his voice, or a dip in Tom’s positive psychic energy, but as he talked about “losing our baby” something changed. It seemed even Molly, eleven months old, sensed it. She swung her wee body away from her mother’s breast toward her father. Leela held on as long as she could, but Molly went willfully horizontal, arms outstretched toward Tom.
Leela carried Molly across the room carefully shielding the girl’s eyes from the glare of the projector. Tom cradled Molly in his left arm and, as best he could, used his right hand to advance the slides. At one point he tried to pass Molly back to Leela. Molly refused to go that go far.
Nick Bertozzi seated near the podium managed to bounce Molly on his knee as Tom wrapped up his commentary. Tom apologized if he’d gone on too long. The room filled with applause. Molly’s eyes lit up as if the clapping was for her. I suppose some of it was. Grateful applause for the whole family: Tom and Leela and Rosalie and Molly.
There was time for a few questions, and someone asked how to help SAW. Tom was clearly relieved by the softball question. He’d totally forgotten to mention that key point. SAW depends on donations to keep tuition low. SAW will announce a new Indi-GOGO fundraiser in December. To help out visit the SAW site and sign up for the newsletter. They also have low-residency weeks if you haven’t got a year off.
Note: The 93rdNY Comics & Picture-story Symposium is Mon, Aug. 4, 2014, 7 pm, Dixon Place on Chrystie St. Free and open to the public. Presenters: Sophia Wiedeman & Anna Raff. Details here.
Urban Watercolor Sketching: A Guide to Drawing, Painting, and Storytelling in Color by German illustrator Felix Scheinberger. What a wordy title! Maybe it’s all one word in the original German? – Something like, um, –“AguaZityKunstenKolor.” *
I found this book quite wonderful, though it might not be ideal for an absolute beginner. Scheinberger does provide how-to lessons on stretching paper, selecting colors, and brushes. The best pages, though, are overflowing with his illustrated musings on the expressive potential of the medium. Watercolor is unfortunately often associated with hobbyists. This book will be a kick in seat of the pants for artists wanting to attempt something bolder, more inventive.
According to the vita on his website Felix was a drummer for various punk bands before studying illustration in Hamburg. That makes total sense, his best drawings have a punkish intensity.
He has a section called ‘Pimping Watercolors’ in which he writes, “When you re-wet watercolors, they lose their luminosity. Watercolors are at their most vibrant when they are left to dry without lots of manipulation.” Personally, that’s something I love about working with watercolors, they force you to take a break, now and then, to let the page dry.
Scheinberger is clearly a globetrotter. He shares one surprising workaround for sketching alpine landscapes in sub-freezing weather. He substitutes vodka or clear schnapps for water when sketching such icy landscapes. He specifically advises against using Jaegermeister and reminds us to wash the brushes thoroughly.
Felix Scheinberger has illustrated over 50 children’s books in Europe. Must admit I haven’t seen them, but the work he shares in this volume demonstrates a ferocious talent.
Urban Watercolor Sketching: A Guide to Drawing, Painting, and Storytelling in Color is published 2104 by Watson Guptill, $22.99. Available online and wherever books are sold.
* Note: The true title in German is “Wasserfarbe für Gestalter,” or according to Google translate, Watercolor for Designers.
I know of 3 Norman Rockwell Museums*, but only one Murray Tinkelman. The best of the Norman Rockwell Museums, the one in Stockbridge, Mass, bestowed the honor of “Artist Laureate” on Murray Tinkelman this weekend. He is only the third person to receive the honor, after artists Barbara Nessim and David Macaulay.
Tinkelman’s distinctive pen and ink drawings have gained gold medals from the Society of Illustrators, The NY Art Directors Club, and the Society of Publication Designers. Tinkelman began his illustration career in 1951 inking backgrounds for Sheena of the Jungle Comics. “Just vines and leaves, they never let me draw Sheena,” he said. Now in his 80’s, the man is still as sharp as a push-pin.
Murray Tinkelman has taught hundreds of illustration students at Parsons School of Design, Syracuse University, and now at the Hartford Low Residency MFA program.Bob Dahm, a 2007 grad of the Hartford program, rightly calls Murray “a walking encyclopedia of illustration.”
I learned that Murray is color blind. He jokes that he prefers the term “chromatically challenged.” Perhaps this explains why his most iconic work is black and white, done with a technical pen and india ink. His Knight on the Rhinoceros was on exhibit at the Rockwell Museum. The drawing is surprisingly large, about 20 inches square. It won the Society of Illustrators Gold Medal in 1971 and led to editorial work for the op-ed pages of New York Times, the Washington Post, and Atlantic Monthly.
His wife and partner, Carol Tinkelman was by his side during the event, as were their daughters and grandkids. Murray Tinkelman has a lot of accolades on his resume, but it was clear that he was touched by his new title bestowed by The Rockwell Museum: Artist Laureate.
Illustration superstars attended the gala award ceremony, including Istvan Banyai, Kinuko Craft, and William Low.Mark McMahon, who taught with Murray in the 90’s drove out with his wife Carolyn from Chicago. But, Bob Dahm certainly came the greatest distance – from Dubai!
Many former students, now teachers, were there. Jack Tom and Cora Lynn Deibler came from Connecticut. Deibler is a Kutztown U grad who earned her MFA with him at Syracuse. She recalled Tinkelman forcefully insisting (“He nearly grabbed my lapels!”) that she never neglect her own creative work for the sake of teaching. That jibes with my first Tinkelman sighting. In 1972 I took continuing ed illustration classes at Parsons in NYC. I never studied with him, but I saw him working in his faculty office on a massive line drawing during his breaks between classes.
I am grateful for the pleasure of carpooling to the event with the irrepressible Scranton-based illustrator, Ted Michalowski. During the drive to and from Massachusetts, Ted regaled me with legends of Tinkelman.
* NOTE: Years ago I visited the Norman Rockwell Museum of Philadelphia. It is now long gone. I’ve also visited the Norman Rockwell Museum of Vermont in Rutland. It is a sweet little place with some memorabilia and quality reproductions of Rockwell’s work. The Norman Rockwell Museum in Stockbridge, Mass, however, is the real deal. This was my first visit. The museum is substantial and houses an impressive collection of original Norman Rockwells. The view from the grounds of the museum is postcard perfect.
In the 1980’s I drew the occasional cartoon for the San Francisco Bay Guardian, an alternative weekly newspaper. Trina Robbins, the great underground cartoonist, drew a strip for them, too. We never met until last month at Pittsburgh’s PIX comics convention. Trina is the foremost expert on the history of women in comics. Her newest book, Pretty in Ink: North American Women Comics 1896-2013, published by Fantagraphic, is the definitive work on the subject. She showed me the hefty book. It is an impressive and important volume. I ordered a copy for Kutztown’s Rohrbach Library. Any school with an illustration major or a women’s studies major should order a copy for their library, too.
A free sample chapter from Pretty in Ink can be found here. It is a quite fascinating chapter about the Irish-American Rose O’Neill. O’Neill began her career in her teens, so young that nuns would chaperone her visits to Manhattan art directors. O’Neill’s 1896 comic strip may have been the first ever published by a woman. Her most famous creations were the Kewpies and the Kewpie doll, cupid-like sprites she claimed visited her in her dreams. She was the first woman to draw for Puck and in 1917 the first woman inducted in the all-male Society of Illustrators.
She studied abroad, including sculpture lessons with Rodin. She held great parties at her Washington Square townhouse studio in Greenwich Village. The press described her as one of the 5 most beautiful women in the world. She managed to be a suffragette, a sex symbol, and a doll-maker.
O’Neill’s pen and ink drawings for Puck are brilliant. The Rose O’Neill Museum, Bonniebrook, in the Ozarks in Missouri has an archive of hundreds of images, like the one above, worth exploring.
When I told Trina Robbins I taught the history of graphic design, she challenged me to tell her which female illustrators I included in my lectures. At the moment the only woman I could think of of was Violet Oakley, who painted the magnificent murals in the Pennsylvania Capitol Building in Harrisburg. Then Trina asked me if I taught about Mary Blair. Mary Blair? I had to admit I’d never heard of her. Trina shook her finger at me and told me I owed it to my students to look her up. She told me Blair is the subject of a show at San Francisco’s Disney Museum. (Full disclosure, I didn’t even know there was a Disney Museum in S.F.)
I did look up Mary Blair and learned she created much of the concept art for Disney’s greatest animated features including Alice in Wonderland and Peter Pan. Blair’s Little Golden Books are enjoying a renaissance as new readers appreciate her timeless style. Blair, who died in 1978, was inducted this year, 2014, into the Society of Illustrators Hall of Fame.
I asked Trina Robbins if it was hard finding historical information about women in comics. She said the research was tough in the beginning, but once she published her first essays, people came out of the woodwork to share comics by women. She had more to say in this 2008 interview at the International Museum of Women site. “I knew that there had been more women cartoonists, and the guys would always justify their attitudes by saying, ‘Well, women just don’t draw comics. Women have never drawn comics.’ And I knew that wasn’t true. So I did a lot of research and, of course, I was right. I found hundreds of women cartoonists. Really, really great women cartoonists.”
I’m happy I got to meet the legendary Trina Robbins. It is quite wonderful the definitive history of women in comics is written by a woman practitioner. I will read Pretty in Ink cover to cover and add more slides of women’s work in my historical survey of graphic design class. I promise.
Visit trinarobbins.com to learn more about women in comics. Trina has a free gift for visitors, an ebook, The Golden Age Comics of Lily Renée. The entire 200-page book is available in multiple formats, Kindle, Ipad, or pdf. Who is Lily Renée? –Another of those amazing women artists Trina Robbins wants the world to appreciate.