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PictureBox may be the only comic book publisher to win a Grammy Award, as Dan Nadel helped design the packaging for Wilco’s 2004 album A Ghost is Born. What might be more remarkable is that despite such a high-profile achievement, it isn’t likely to be how the small yet innovative comics house will be remembered when it closes at the end of year. Instead, at least in comics circles, PictureBox will be remembered for somehow capturing and releasing a mercurial yet eye-catching merger of music and imagery that manifested as graphic novels, art books and magazines.
For all intents and purposes, PictureBox is Nadel. He’s an accomplished editor, designer, publisher and curator of “visual culture,” as he describes it. “Each project comes from my own tastes and relationships, and are rooted in what I believe in,” he wrote on the PictureBox website. “Since it’s just me running this thing, you’re pretty much seeing me through those books and this site.” Looking through the PictureBox catalog proves that to be true. It’s like walking into the house of the kid down the street who had a collection of comics you never heard of but instantly wished you had. Where did he find these people, these mad geniuses? Maybe if I read everything, I’ll understand.
There’s a horrific beauty to the art of Renée French. With her most recent work, H Day (published by Picturebox and set to ship on October 15), the beauty is built on pain, given that the book’s creation was partially fueled by French’s struggles with migraines. The last graphic novel that both challenged and engaged me in such a manner as H Day did is likely Joshua Cotter‘s Driven by Lemons. I’ve been interviewing French for a number of years, and I never tire of discussing her craft with her. Back when I last interviewed her, we briefly discussed a (then upcoming) project, Towcester Lodge, and I was glad to find out the fate of that project (as well as how H Day grew out of that creative effort). French is one of the special guests at this weekend’s APE 2010. My thanks to French for her time, and to Robot6 6’s own Sean T. Collins as well as Picturebox’s Dan Nadel for helping make the interview happen.
Tim O’Shea: How early in the development of H Day did you realize the bed scenes would play such a pivotal part?
Renée French: I’d been doing line drawings and diagrams of the inside of heads, sort of diagrams of the pain that comes with a migraine, and once I decided to try to draw the stuff I visualize when I’ve got a headache, (the city drawings) the diagrams progressed into the sequence that is in the book (the bed drawings). How confusing is that?