Teaser video for a documentary about the Center for Cartoon Studies.

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

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.

From Lori Lynn Taniguchi: Out of the all american webcomics which are modeled directly off of the Japanese manga influence, Megatokyo has got to be the most famous. Fred Gallegher has accomplished what many of us in our mary-jane ways have always wanted: to accummulate an adoring audience to our art and story which places us and our friends in the world we love so much, we want to be seen INHABITING it. His art was not very good to start, but with persistence, and some kind of viral popularity, his skills have substantially improved, and his patently shoujo-manga storylines became a trademark. I think the main character is probably very sympathetic to many men who feel bewildered and fascinated and ultimately manipulated by women. Add in a little gamer culture and technology, and you're appealing to pretty distinct kind of guy. Personally, I think the storyline's a little harem-style to be really original. But the fact remains that I believe it to really be the culmination of a lot of desires in webcomics at the time.

The Graphic Classroom is a resource for teachers and librarians to help them stock high quality, educational-worthy, graphic novels and comics in their classroom or school library. I read and review every graphic novel or comic on this blog and give it a rating as to appropriateness for the classroom.

Prof discusses a new course on Comics and Graphic Novels. Focus is on history and cultural background.

Interesting comment about whether or not superhero comics qualify as literature.

From the site: "The Center for Cartoon Studies (CCS) offers a two-year course of study that centers on the creation and dissemination of comics, graphic novels and other manifestations of the visual narrative. Experienced and internationally recognized cartoonists, writers, and designers teach classes. The school is located in historic downtown village of White River Junction, Vermont, in the old Colodny Surprise Department Store."

Prof. Phoebe Gloeckner's course, also at the University of Michigan.

UPenn Call for Papers listing on "Comics, Graphic Narrative, and Sequential Art"

Copyright © 2005, 2007, 2008 Eric S. Rabkin

Includes definitions, general info, history and culture, games, genre explanations, etc, regarding anime.

Syllabus for a course at the University of Michigan taught by Eric Rabkin, listing some useful resources.

Regarding a type of manga called yuri... of relationships between girls, sexual or otherwise.