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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

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.

Website of comics connoisseur Robert (Bob) A. Buethe: From AllExperts: About Bob Buethe Expertise Can answer questions about American (and some European and Asian) comic strips, cartoonists, and comic books. Also well-versed on topics related to cartooning techniques, composition, and art supplies. Experience Forty years reading and collecting comic books. Over twenty years as an amateur cartoonist. Extensive library of cartoon- and comic-related reference books. Publications: Hogan's Alley magazine Mensa Bulletin Mphasis

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.

This is an amazing website! To see the theory of facial expression and emotion described by Scott McCloud (which inspired this project), see pp. 80-101 of Making Comics. Description: Grimace is a free Flash-based web component which displays emotions through facial expressions of a comic-like face. It is based on the idea that the face can serve as an accurate representative of emotional information, which is difficult to express verbally. The face is simple yet highly expressive and can represent subtle emotional changes through arbitrary blending of 6 basic emotions. The design is derived from the book Making Comics by Scott McCloud. Possible applications include experimental research settings and the augmentation of textual descriptions on websites with emotional information.

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.

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

Contains an interesting discussion of what happens when a comic is adapted into a movie. Specifically "300," in 2007.

Internet Movie Database for "300." Contains comments on the adaption of the comic/GN to the big screen.

Index to the Holdings of the Michigan State University Libraries Comic Art Collection

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.

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.

About the works of artist Guy Peellaert.

WELCOME TO A SENSATIONAL WEBSITE DEDICATED TO ARCHIVING THE ART, LITERATURE, AND MEMORABILIA OF WONDER WOMAN