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Todd Hignite's text for the Abrams' pretty The Art Of Jaime Hernandez is like the best testimonial ever written for a fancy tribute dinner, the kind of speechifying that makes you tear up a little bit in shared love for the subject of its adoration. One reads a lot of writing about cartoonists, but very little of it makes you want to shake the writer's hand, as is the case here. The love that many comics fans have for the work of Jaime Hernandez may be unique in comics because he's an artist that brings out that emotion in people that I would suggest are largely distrustful if not outright contemptuous of how frequently such feelings are expressed on behalf of so many other artists working in the medium. Jaime is a a comics artist people that find it hard to love artists love. Further, I think that people love Jaime for all the usual reasons one may love a comics artist, and then some folks love him a little more for all the reasons they love a great artist working any medium, and then a few folks love him that much more for being the avatar of a certain kind of relationship to comics, growing in seriousness of intent and human scope just as they were ready to read stories like that.

With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen

With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen

alfred_kubin.jpg Marked by eerie, nightmarish imagery, the work of Alfred Kubin seems awfully appropriate on Halloween. The Austrian artist mined the depths of the human subconscious to craft some of the most enduringly spectral drawings, watercolors and lithographs. The recently-released monograph "Graphic Works 1897-1910" accompanies the retrospective by the same name that is currently on display at the Neue Galerie New York, which focuses on his earliest works drawn at the turn of the century.

About the works of artist Guy Peellaert.

The stage version of The Intergalactic Nemesis projects the comic book artwork panel-by-panel while three actors perform the voices, one foley artist creates the sound effects, and one keyboardist plays the score, all live.

From Lori Lynn Taniguchi: I consider Penny Arcade to be a singular phenomenon: not only is it a wildly popular comic on gamer culture with heavy "bromance" language, vulgarity and shock value, but it is also an unparalleled business venture. Not even the very rare self-sufficient webcomics online can boast a huge, yearly gaming expo in Seattle and an immensely successful charity for sick children in St. Jude hospitals. The writer and artist have created not only an entertaining webcomic, but have grown themselves into a culture icon with lasting and far-reaching influence, all with an aw-shucks-gamer-next-door quality.

The mission is: "To serve as a professional endeavor to create, make, and deliver to the public professional grade comic books and/or graphic novels. The HTH Graphic Novel Project produces stories that consciously serve the community in a positive way. We seek to encourage the help, support, and critique of professionals in related industries to the project in order to create the best products possible. The project is free to join. We, the members, recruit and encourage membership based on enthusiasm and seriousness towards meeting project goals and deadlines. We do not discriminate towards any person based on age, gender, race, or handicap."

Article outlining some problems with the Japanese animation industry.

Don Jackson teaches "the art of sequential storytelling" as a constructivist pedagogical method to help students develop higher-order thinking skills. His "Cognitive Comics" approach grew from Jackson's original enterprise of developing interactive multi-media comics for promoting literacy in teaching English comprehension.

SPX 2010 will be held the weekend of September 10 and 11, 2010 at the Marriott Bethesda North Hotel & Conference Center in Bethesda, MD, just one mile outside the nation's capital, Washington DC. In its fifteenth year SPX now serves as the preeminent showcase for the exhibition of independent comic books and the discovery of new creative talent.

Scott McCloud's official webite, with links to his speaking engagments and the livejournal blog his family contributes to as well as news about his projects and appearances.

Belgian advertising illustrator Guy Peellaert was one of the first cartoonists to embrace Pop Art and incorporate Andy Warhol's appropriation of mass market iconography into his work. His first comic, Les aventures de Jodelle, (Jodelle's likeness based after yé-yé chanteuse Sylvie Vartan) appeared in 1966, swiftly followed by 'Pravda la Survireuse' (her visage modelled after Françoise Hardy) for the magazine 'Hara-Kiri' in 1967.