Speakin’a’ Brooklyn – Martin Lemelman Update

Sketch & Final Art, "Reading the Forward," from Two Cents Plain ©2010 Martin Lemelman

Martin Lemelman stopped by Kutztown to share his new book, Two Cents Plain: My Brooklyn Boyhood. His graphic memoir published by Bloomsbury, is finally available in bookstores and at Amazon. Like any new parent Martin wants this book to start life on the right foot.

Young Martin as a Katzenjammer Kid.

He talked about the tremendous amount of follow-through an artist or writer needs to do when a new project is birthed. He is doing web interviews, pod-casts, and book fairs in Brooklyn, Montreal, and beyond. Locally, he will be at the Lehigh Valley Barnes & Noble, Oct. 17.  He’ll give a free lecture at the Tenement Museum on N.Y’s Lower East Side, Sept. 28th. The book’s website, designed by Prof. Todd McFeely, includes many preliminary sketches and sample pages for illustration students to consider. Martin is framing the book’s original artwork for exhibition. He is ready for any sort of presentation with Powerpoint slides and posters on foam core.

He sent advance copies to famous writers he admires to get jacket blurbs. One wrote back she didn’t do blurbs, but she liked getting free books, so please keep her on the list. The New York Daily News wanted an interview to run in a special Brooklyn edition in July, weeks before the book would be available in bookstores. He persuaded them to hold off and they recently featured Two Cents Plain with a story. The headline is catchy, Illustrator Documents Nabe’s Transformation.

Early reviews have been splendid: “Memory comes alive in this compelling amalgam of drawing, narrative and archival photography. A prolific illustrator of children’s books and an artist whose work has appeared in the New York Times Book Review …made a major leap into memoir with Mendel’s Daughter (2006), his debut in the genre. Where that well-reviewed volume focused on the Holocaust from the perspective of his mother, this follow-up continues the story of Lemelman’s family through the author’s Brooklyn boyhood. Though there’s an innocence to his tales of working at his father’s candy store—squashing cockroaches, playing pranks and exploring the worlds of the streets… —this was not an idyllic childhood, nor is it rendered sentimentally.” from a starred Kirkus review.

Zara Raab writes in The San Francisco Book Review the story is told “even-handedly, without an ounce of self-pity.”

Now that I’ve had the pleasure of reading Two Cents Plain, I gotta’ say, I feel like I have an advantage over some readers; I can hear Martin Lemelman’s voice on every page. It’s funny, I’m the same age as Martin, more or less, and spent much of my childhood in Elizabeth, NJ, not 20 miles away from Brooklyn. There are phrases in the book like, lime rickey, that I forgot I ever knew. But there are also deeply moving and memorable experiences unlike any I ever had.

Turn on the T.V.— Cartoon, sitcom, war movie, or police story, and you’ll hear stagey Brooklyn accents. These voices don’t always ring true, on the other hand, Martin Lemelman’s voice is authentic.

– K. McCloskey

Video Update: Hear Martin Lemelman’s distinctive voice, in a short video interview from the Georgetown University series, Faith Complex.

What Slowdown? Renee French rocks on!

Self-portrait, all art © Renee French

If only I had diversified my retirement portfolio and bought 100 copies of Marbles in My Underpants by Renee French in 2001. Today scarce copies sell for $100 or more. I’ve never met Renee French (Kutztown ’86, BFA, Fine Arts, Drawing). I’ve learned her fans are passionate about her work, and her graphic novels and comics are extremely collectible. One fan, KU Prof. Emeritus Dr. Tom Schantz, calls French “one of the most delightfully crazy and talented people with whom I have squeezed tube cheese.”

In July, I was at Copacetic Comics in Pittsburgh (PA’s best comics shop) and found a copy of The Soap Woman. This book was inspired by a very peculiar, yet real, body on display at Philadelphia’s Mutter Museum of Medical Curiosities. I didn’t buy it, my mistake. I did pick up the hip comic anthology, Mome, with French’s graphic story about a Snake Island that eats little children who swim alone. — great beach reading.
Then when I was at Evil Prints‘ Bootcamp in St. Louis, I told my fellow camper, Tessa Shackelford her art reminded me of Renee French’s. “I worship Renee French,” Tessa shrieked, “that’s what I’m going for!” At that moment, I realized the Kutztown grad was a cult figure.

I emailed Renee French to ask how she felt about the skyrocketing value of her books. “it feels silly” she wrote back, “i wish i could do something about it. i’d like for those books to be available and affordable for everybody, but you know, things go out of print and get harder to find and then that happens. Top Shelf is reprinting THE TICKING so that shouldn’t happen with that book for quite a while, and doing a second edition of THE SOAP LADY next year, i think. MARBLES is the tough one. not sure Top Shelf is gonna want to touch that one. we’ll see.”

From "H Day," to be released in October, © 2010 Renee French

I asked about her next book, H Day, to be released by Picturebox on Halloween; is that pub day a coincidence? or a clue to what’s inside?

Renee replied; “total coincidence. it’s actually going to debut at APE (the alternative press expo) in San Francisco, oct 16& 17…  a couple weeks before halloween.”  and inside? ..”swarms of insects, a huge disaster, hanging sacs, straw dogs, whirlpools, tall buildings, one survivor, and a giant ship.”

Asked for advice for aspiring illustrators, she said, “always be drawing or painting. get in as much time working on what you do, as you can. and seriously, if you don’t absolutely LOVE doing it, then don’t do it. it’s too much work for too little payoff if you don’t absolutely love it.”

Renee has added a new image daily for over two years to her blog, without missing a single day. (I aim for one entry a week.) I’d say she is dedicated to her art; she calls it “a serious compulsion.”

I’ve been thinking lately that I really need Photoshop CS5, the new turbocharged Mac Pro, and a Cintiq tablet to get started on my 8 page zine, so I asked Renee what sort of technology she used to create the haunting images for her 200 page book H Day?  Renee: “just a .3mm mechanical pencil with 2b lead. That’s all.” she wrote.  — Yow!

Sasquatch (detail) from Seattle Stranger © Renee French

Update 9/1/10: Great review H Day at Confessions of a Pop Fan.

Evan Summer’s China Summer

Popular KU Professor Evan Summer spent a portion of his summer in China at the Guanlan Print Original Industry Base. Seems an “Original Industry Base” is what we in the U.S. might call an “art and business incubator.”

The Chinese government has invested millions of yuan building a state of the art printmaking studio in Guanlan, not far from Hong Kong. Evan Summer was one of small number of international master printmakers invited to do a residency there. To read his article about the Guanlan experience, published at Printeresting.org, click here .

Evan Summer photo from http://www.guanlanprints.com

Printeresting.org calls itself the “thinking person’s favorite online resource for interesting printmaking miscellany.” It is updated often and always features fascinating stories and amazing printed images.  If you can read Chinese, check out www.guanlanprints.com to learn more about the Guanlan Print Original Industry Base.

The Hakka Village, artist's residences, at Guanlan. Photo © Evan Summer 2010

Cannonball Press

Friday the 13th was my lucky day. I traveled to Williamsburg, Brooklyn for Cannonball Press’s show, “Born Under a Bad Sign.”

99% Gallery, Willimsburg, Brooklyn

Cannonball Press artists Martin Mazorra and Mike Houston were on hand to meet their fans at the opening. 99% Gallery is on the ground floor a repurposed warehouse at 99 North 10th St, near the East River. The gallery was packed. Beer was courtesy of Brooklyn Brewery, thank you. Gallery-goers were snapping up artwork by Mazorra and Houston and other artists printed by Cannonball.

Mazorra and Houston are part of the “Outlaw Print” movement. Why outlaw? Some “fine artists” and critics despise outlaw printmakers as much as they disdain illustrators. Outlaw Printmaking is about democratic visual communication. It is free to look at. And if you have some cash, the artwork is not too expensive to buy and support. I was able to purchase original prints by Mazorra and Houston and add to my growing collection of works by the Mississippi maniac, Sean Star Wars.

Prints by Martin Mazorra and Mike Houston © Cannonball Press

Mazorra has a fine series of cuts that resemble Audubon’s Birds of America with avian personality disorders. Houston’s new series revolves around creating high-impact woodcut images to illustrate the text of workplace proverbs. His graphic craftsmanship energizes these sayings beyond the commonplace.

Martin Mazorra and Mike Houston selling prints.

Prints sell for a mere $20 a piece, or 5 for $80. These are all signed artist’s proofs or short run editions from original woodblocks. How do they do it? With the same efficiency printmakers have used since Durer’s day. They print one pass of basic black relief ink on 18 by 24 inch sheets of good quality, reasonably priced  paper (Mohawk cover stock.)

Detail from Party #2, Mazorra & Houston, giant woodcut on canvas, $10,000

In the true spirit of democracy they have a few things for museums and wealthy people.  Cannonball also produces elaborately detailed, eye-popping, mural-sized canvas prints that sell for several thousand dollars. The 99% show runs until Sept 12th. Cannonball’s next big event will be “Prints Gone Wild” at Secret Project Robot, Nov 5 & 6, 2010. Secret Project Robot is also in Brooklyn, but since it is a SECRET, I can’t provide a link, you’ll have to find it yourself!

Meanwhile, visit the Cannonball online store. You can buy a work of art for less than the cost of a case of beer.

Joe Lacey of L.A.

Ragtime For Robots © Joe Lacey

We got in touch with one of our most illustrious alums, Joe Lacey, to ask what he was up to. Joe works for the biggies: Mattel, Fisher-Price, Crayola and PEZ. He’s done packaging, books, magazines and ad campaigns in America and Europe. His sci-fi art is included in Spectrum Books’ “The Best in Contemporary Fantastic Art,” and he has won awards from The Society of Illustrators and The Art  Directors Club of Philadelphia.

A recent project, above, is The Happy Electropop Music Machineby Jean-Jacques Perrey &  Dana Countryman. Joe says he wanted to capture the look and spirit of electronic Moog music, first popularized in the 1960s. The robot is based upon the Ondioline, a French piano-styled synthesizer made famous by music legend Jean-Jacques Perrey. It was commissioned by Perrey, himself, for the CD.

Joe grew up in Sayre, PA.  After earning his BFA in C. D. from Kutztown in 1988, he went on to get an MFA from Syracuse. He taught illustration at Kutztown during the 1990’s before moving to California. He lives in Los Angeles with his wife, Darlene, and his dog, King.

Asked about his transition from traditional media to digital, Joe explains, “Versatility and the willingness to embrace new techniques or styles is
an important part of being a commercial illustrator. At the same time,
it is also a challenge to keep your work from looking overly trend
driven. This is an important part of my career. I have a love of both
technically driven art and the highly whimsical. I often combine the
two. Coming from a more traditional art background, I did not begin
working with computers until I was out of school. I remember walking into a client’s office where once stood rows of drafting tables, paints and markers. Overnight, they were all replaced with computers. I knew I had to make the switch. With my digital art, I strive for a painted feel and use few, if any, filters. This helps retain a hand-created look .”

The Musical Touch Of Leonard Nimoy © Joe Lacey

Leonard Nimoy was created digitally for www.maidenwine.com. This is a good example of both technical drafting and “digital hand painting.” The guitar incorporates both manipulated vector art and  textures. The figure is hand painted digitally with the use of a Wacom tablet.

Joe’s versatility is evident in his wide range of projects from science fiction art, toy packaging, and kids’ activity books. To see more artwork, or to purchase giclée prints,visit: www.joelacey.com.


Denise Bosler Explains SURTEX

…manufacturers were actively seeking work. Many exhibiting illustrators made deals on the spot.”

Dinosuar Lunchbox for Frecklebox, art by Denise Bosler

Why illustrators should know SURTEX

Every May, hundreds of art directors descend upon New York City’s Jacob J. Javits Convention Center to seek out new talent and new artwork to help their business and products to remain competitive in the market. SURTEX gives illustrators a chance to promote their work to these top manufacturers from around the world. Now in its 24th year, SURTEX is the only show in North America that is solely devoted to selling and licensing original art.

Illustrators who make deals from SURTEX contacts can find their art appearing on anything from giftware, gift bags, wrapping paper, greeting cards and canvas wall art to backpacks, ceramics, bedding, toys, wallpaper and textiles.

In 2010, close to 300 illustrators displayed work that ranged from traditional to contemporary and everything in between. In terms of the industry attitude, manufacturers were overwhelmingly positive and actively seeking work. Many exhibiting illustrators made deals on the spot—an unusual occurrence in these economic times.

Denise Bosler's "Monster" gift bag for Garven, LLC

Of the many commercial opportunities available for illustrators, licensing is one that provides the unique ability to use, reuse and profit repeatedly from artwork. Illustrators typically earn anywhere from a few hundred dollars for a one-time use image to thousands of dollars from a lucrative royalty deal. The best part about licensing is that the illustrator still maintains the copyright to the artwork and maintains the right to license the work again and again to other manufacturers.

For more info on SURTEX and art licensing visit www.surtex.com

-Denise Bosler

Denise Bosler, Professor of Communication Design at Kutztown University, is a licensed illustrator. Her work appears on gift bags, gift wrap, tins, plush, wall decals, lunchboxes, school supplies, stickers and Valentine cards. Visit her website to see more examples of her licensed artwork.

McCloskey Visits Evil


Tom Huck, Evil Prints

In recent years the most interesting artists I’ve met have been print-makers. I visited the studios of Mexican masters. Last summer I had the good fortune to study with the amazing Endi Poskovic, when he team-taught at Kutztown. Wanting to become a better woodblock printer, I asked Prof. Evan Summer to recommend the absolute best person in America to study with. He answered, “Tom Huck, heh, heh.”

Tom Huck told me I was welcome to come study at his shop in St. Louis in July. He calls it Evil Bootcamp and warned I would have to sleep on the printshop floor. I said fine, send me an invoice, since I might be able to get Kutztown University to pay for the course. The invoice was simple and direct, “Please Remit $666 -Payable to Evil Prints.”

Now, I was once a substitute member of the Kutztown University Faculty Professional Development Committee, so I knew there was no way they would sign off on this “666.” My wife suggested I send Tom Huck eight dollars cash and submit a less evil invoice of 558. Based on my limited experience with evil and my excessive experience with faculty committees, I decided it would be easier to just pay the 666 myself.

So I’ve ironed my best Darth Maul polo shirt and I’m off to St. Louis. When I get back I should have an interesting story to tell, heh, heh.

McCloskey and Huck

UPDATE: Since this was published, I’ve written a longer essay about  Evil Prints Bootcamp at the webzine, Commonsense2.com. Good News: Evil Prints will offer two Bootcamps in 2011, apply here.

The Sketchbook Project

UPDATE: 11/5/10 Sketchbook Project Deadline has been extended! You have until Nov 15, 2010 to order your blank sketchbook. At least a dozen Kutztown students and two professors are participating in the sketchbook project. The organizers, Brooklyn’s Art House Co-op also have two more participatory art projects in the works. One is a photo project called a Million Little Pictures. For ‘MLP’ you pay to receive a throw-away camera from Art House, choose a theme, and share your interpretation with the world. Shoot 27 frames on a single theme and then send in the results. They collect your contributions for a traveling coast to coast exhibition, much like the sketchbook tour.

Another project is the “Pockets” project. If you have never heard of The International Association for Empty Pockets, you are not alone. Check the site for details.

Two KU illustration students have already contacted us to tell us they are participating in The Sketchbook Project.

Kimberly Beyer wrote, “I discovered this website today and thought it was too awesome not to share. It’s a sketchbook project where you pick a theme, pay $25, and get a moleskine to fill up, and then you send it back and it gets put in a exhibit and then the Brooklyn Art Library!”

It should be noted that the Brooklyn Art Library is not part of either the Brooklyn Public Library or the Brooklyn Museum. The name does perhaps suggest that it might be associated with one of these two highly esteemed institutions. The fact is, two young 2006 Atlanta College of Art grads founded the Art House Co-op and Gallery in Atlanta, Georgia. They have since moved to Brooklyn and the new name reflects that move. That said, check it out, it looks like a good opportunity to add a few lines to your resume, and if it helps you fill a sketchbook, that alone is of value.

Each sketchbook gets a unique barcode and will be cataloged at the Brooklyn Library of Art. For an added cost of $20, they will upload a digital version of your sketchbook to their web library. Beyond Brooklyn, the upcoming Sketchbook Tour includes stops in Seattle, San Francisco, Atlanta. It will be in Texas at The Austin Museum of Art in March during the SXSW festival.

Art Beat at the PBS Newhour website wrote a brief essay about a previous sketchbook tour. If anyone has been involved with past tours, please let us know about your experience.

Fan Art: Works for Tom Whalen

Fan art has been very good to me. A serious love of comics and movies is what got me into art in the first place and it has recently been the key to getting a lot of internet notice and freelance work. Fan art images I’ve created have tumbled around the internet for a few years now and have directly led to a myriad of amazing opportunities. –Tom Whalen

Tom Whalen's Iron Man 2 drawn for the Italy's edition of Wired

Generally illustration profs at KU, as elsewhere, frown on fan art. Fan art is, by definition, derivative. Fans of Iron Man, or Star Wars, or Akira draw versions of their favorite characters from iconic, and copyrighted creations. Frankly, fan art is sometimes a pale imitation of the original.

Tom Whalen defies the stereotype; he’s had great success with fan art. The 1996 KU grad says fan art has opened doors for him. His gallery on Deviant Art and his own amazing Strongstuff website have gotten noticed by gallery owners and art directors, world-wide. He recently did a full-page illustration for Wired Magazine. It’s on page 114 of the current (July, 2010) issue and Tom says it is a dream come true to go into a bookstore and find his illustration on the newsstand. He’s exhibited his artwork at L.A.’s Gallery 1988, and has been commissioned to do movie posters for the Alamo Drafthouse, Austin, Texas.

Flight of the Conchords, Dublin, Ireland, concert poster, ©Tom Whalen 2010

The sheer number of Tom Whalen illustrations on the web make it clear he has worked hard for his success. And much of his recent work, like the concert poster above, isn’t fan art. He credits Martin Lemelman for helping him refine his skills during his last semester at Kutztown. He also is glad he went to KU, because it is where he met his wife, Kelly Swisher Whalen. After graduation Tom spent nearly five years as a graphic designer, until he found a job at Merion Publications, where he still works fulltime as an editorial illustrator. That’s right, he has a fulltime day job, and does all the other illustration work in his spare time! Naturally, Tom Whalen now has his own fans, if you’d like to read more check the fan sites, here, or here.

Artist Stops Googling and Finds Meaning

James Sturm is halfway through his summer without the internet. Oddly enough, he is writing an illustrated journal about the experience for the online magazine, Slate. You can find his work in their offline section.

Art from his Slate online journal about being offline ©2010 James Sturm

Anyone interested in graphic novels should know James Sturm. He is an award-winning graphic novelist and a founder of the Center for Cartoon Studies. His book, The Golem’s Mighty Swing, about a barnstorming Jewish baseball team in the 1920’s was called the the best graphic novel of 2001. His work is an extraordinary contribution to the field of illustration. His meticulous research and sold drawing skills evoke a sense of time and place that is truly remarkable.

Some of us from Kutztown met James Sturm on a field trip to the Newark Museum for their exhibition, Masters of American Comic, back in 2006. His offline experiment has revitalized his work. He notes that he is experiencing more moments of ‘synchronicity,’ finding connections between things that unfold before him naturally. It is rather mind-bending to sit at a computer, reading online, about the magic life that comes from being offline.

Besides reading more, I am more productive when at my office. Letters get written, calls get returned, and reports get finished. I am drawing more. My days don’t begin and end with me staring at my laptop. I don’t constantly feel humiliated by my inability to refrain from compulsively checking my e-mail. I feel less anxious as I move through the day. A certain texture has returned to my life…