When in the course of human events it becomes necessary for me to dissolve the bands that have connected me to Meghan, a decent respect to the opinions of mankind requires that I should declare the causes that impel me to the separation. So here is why I want to break up.

When we first…

Got another piece on Hot Hot Phone! It’s about BREAK UP.

Read it. Follow it. SUBMIT to it.

If I had a nickel for every time a girl told me I’m some weird amalgamation of their previous boyfriends…well I’d only have 3 nickels, but I would still have no idea how to respond to that.


@FrancoiseMouly talks to Julie from @SevenImp about visual literacy & TOON Graphics #KIRKUS:


 talks to Julie from  about visual literacy & TOON Graphics 


Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)

From the same interview with

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.

I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).


George Herriman, 1921


George Herriman, 1921


Wixáritari (Huichol) yarn paintings by the ‘Huichole’ people; indigenous to the states of Nayarit and Jalisco [Zacatecas, Durango]; North Western Mexico.

22 Panels That Always Work by Wally Wood

I normally not a fan of Buzzfeed junk, but man I’m a real sucker for art history jokes.


Excerpt from Anete & Rūta Daubure's mini kuš! “Domino”. Coming soon, find out more on our blog!


Blutch - From “Lune l’envers" Editions Dargaud - 2014

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