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Film, Comic Books
The Slate Book Review and the Center for Cartoon Studies have announced the shortlist for the third annual Cartoonist Studio Prize, which honors one print comic and one webcomic released in 2014.
The shortlists were selected by Slate Book Review editor Dan Kois, the faculty and students at the Center for Cartoon Studies, represented by CCS Fellow Sophie Yanow, and this year’s guest judge, cartoonist Paul Karasik. Each winner receives $1,000.
For a long time, there were limited options to become a professional comic book creator. Option 1 was to just figure it out yourself, with lots of mistakes along the way. Option 2 was to go to a proper school to study fine art, which usually meant discovering on your own how to co-opt what was being taught for your own comics purposes. Option 3 was to buy How to Draw Comics the Marvel Way by Stan Lee and John Buscema.
But as the years have passed, more options have surfaced, reflecting the richer comics field that now exists. More colleges have courses or majors that specifically focus on comics, but if that’s not a deep enough immersion, there are now a number of alternatives. Sure, you could still choose between those original three options, or you can consider one of these five venues of learning, each fitting different styles and budgets for all kinds of creators. After all, everyone learns differently.
1. The Kubert School
Originally named The Joe Kubert School of Cartoon and Graphic Art, The Kubert School was the first and remains the only accredited school in the United States devoted entirely to making comics. The three-year vocational college for cartooning and graphic art is located in Dover, New Jersey, about 45 minutes from New York City. Founded in 1976 by comics legend Joe Kubert (Sgt. Rock, Tarzan, Hawkman), it is now run by his sons Andy and Adam Kubert, who have had a string of hit comics at Marvel and DC.
The shortlists were selected by Slate Book Review editor Dan Kois; the faculty and students at the Center for Cartoon Studies, represented by CCS Fellow Nicole Georges; and this year’s guest judge, Christopher Butcher of the Toronto comic book store The Beguiling and co-founder of the Toronto Comic Arts Festival.
Best Graphic Novel of the Year Shortlist
Awards | Slate Book Review and the Center for Cartoon Studies have awarded the Cartoonist Studio Prize for Best Graphic Novel of 2012 to Chris Ware for Building Stories, and the prize for Best Web Comic to Noelle Stevenson for Nimona. Each winner receives $1,000. [Salon.com]
Comics | Tom Spurgeon talks at length to Gary Groth, co-founder of Fantagraphics and editor-in-chief of The Comics Journal, about the prospects for young creators today versus years ago, changes at The Comics Journal, and Groth’s own interview with Maurice Sendak, which runs in the latest issue of TCJ. [The Comics Reporter]
A generation ago, becoming a comic book creator was usually a solitary and self-guided process. Sure, there was How to Draw Comics the Marvel Way, The Kubert School (still going strong), and a few other tools, but for the most part you were on your own. Today there is a blossoming variety of resources that are building a smarter and more skilled community of tomorrow’s comics makers.
One of the most recent additions is Comics Workbook, a new web magazine set up by cartoonist Frank Santoro (Storeyville, Kramer’s Ergot). As he explained on his own Tumblr, Santoro intentionally set out to put together a team of contributors that consisted of more girls than boys to “flip the script on this comics magazine thing”. Instead of looking to other comics sites, he turned to girls roller derby and the supportive community those teams create, and is trying to “copy their model.” The results are a rough yet immediate DIY vibe that displays comics and minicomics in-progress (such as “The Great” by Alyssa Berg, pictured here), brief yet hilariously brash reviews in comics form, a series of reflections on Ernie Bushmiller’s Nancy, links to interviews and reviews, and more.
Santoro is in the middle of teaching an eight-week correspondence course for comic book makers, and has written a series of columns examining layouts and color for The Comics Journal. So the guy definitely knows his stuff and has some interesting theories (even if they are beyond me as a non-artist).