Random Thoughts

Gin & Comix edited by Philippe Lardy and José Ortega (267x356mm)

The only reason I know about this Raw-sized book is that it was mentioned in a “coming attractions” column by Eclipse — I’ve never seen it mentioned by anybody else ever. That I can remember.

Eclipse claimed that the book features student work from the School of Visual Arts, and that school is indeed thanked here… So I’m assuming these are all students (and teachers?) at the SVA?

Many of them seem to be from France, so perhaps it’s a mix of students and stuff reprinted from French comics?

The vast majority of the pieces are single page jokes of some kind. There’s an admirable difference in artistic approaches… (Alain Ceyssac and Alexander Ross.)

… but it also means there’s not much coherence, either. (Peter Hoey and Lionel Koechlin.)

We get eight pages of Jerry Moriarty’s narrative paintings. (He was a teacher at the SVA.)

Editor Philippe Lardy does the longest piece — eleven pages. But it’s pretty good, so…

David Sandlin gets a fold-out booklet.

Jonathon Rosen.

And this thing, by Mokeit, is co-copyrighted by Futuropolis, so this is definitely a reprint?

It’s a very odd book. What was the selection criteria here (beyond not being a woman — there’s apparently just a single page by a woman here)? There doesn’t seem to be much of a distinctive aesthetic here? If it’s just a collection of student work, why is there also the Mokeit thing?

Lardy is now a painter.

Ah, Lardy went to the SVA himself:

Philippe Lardy, born in Switzerland, is an illustrator and painter. He attended the School of Visual Arts in the late 80’s in New York. He co-published “GIN & COMIX” with Jose Ortega, inspired by RAW Magazine, bringing together an international showcase of artists.

I can’t find anybody anywhere who’s read this book on the internets, but you can pick them up for cheap:

This blog post is part of the Punk Comix series.

Acrylic on cardboard by Gary Panter.

This was allegedly painted for a book/exhibition Patrick J. Eddington was putting together — about cats. Which explains “More cats for Pat” on the back. The project was never finalised, I think? This web page has an overview of (some?) of the paintings that were to be featured.

This blog post is part of the Punk Comix series.

Down the Street by Lynda Barry (228x152mm)

In the previous Barry post in this blog series, I said that I was going to stop there — because Barry’s work has really moved away from the ostensible purported subject of the series. (And because I had nothing more to say than “mm-hm, look at that isn’t that nice”.)

But here’s the final final post about these Barry booklets.

In the previous book, two thirds of the strips were about the Arna/Marlys/Arnold characters, and with this book, the transformation of Ernie Pook’s Comeek is complete — it’s now all about them. (At least as far as what’s being reprinted goes — I have this sneaking suspicion that Barry’s not including all of her weekly strips in the collections.)

This one is still separated into themes, like “School”, but it seems pretty perfunctory now that it’s all about the same characters.

That’s a nice strip to get the book started — framing it all.

It’s true! I love how Barry’s not mellowing out Marlys (yet) — there’s a general tendency people have to make all characters more sympathetic and samey, and while Marlys does get more relatable, she’s still crotchety and unreasonable.

I love that drawing of the beaver. Very punk.

All the strips in this collection are four panels. Barry had previously mixed it up with six or even eight panels — but having each spread be a single strip is a very comfortable way to read this book.

The tone throughout the book is very consistent — a kind of wistful thing. Not nostalgic, but a feeling of mundane magic; of meaning in these things we’re remembering from our childhood.

The most interesting scene in Funny Ladies was when we got to watch Barry draw. She just does it straight in ink with a brush, which just seems awesome to me.

Here it’s downright lush.

We get another recurring character — Marlys now has a brother called Freddie, who’s more sensitive than the rest.

I totally wanted to have a lawn in my room when I was a child, too. I mean, not actually for real, but I remember thinking about how awesome that would be if it was possible.

And finally, Marlys gets an older sister — Maybonne — and the cast is complete.

Rob Rodi writes in The Comics Journal #127, page 54:

The last time I wrote about Lynda
Barry’s work (in Journal #114), I con-
eluded that “if there’s a last word on
childhood, it belongs to Lynda Barry.”
Since that time, the cartoonist has
released two collections of her strips
on childhckxi and its attendant joys and
traumas, the latest of which, Ihwn the
Street, has just been published. The
focus is almost exclusively on her
familiar group of characters: her alter
ego Arna Arneson, Arna’s brother Ar-
nold, and their cousins Marlys and
Freddie. As the minutiae Of their ju-
venile lives unfolds before us, Down
the Street takes on the rhythm (if not
the structure) of a novel. It reads less
like a collection of strips and more
like a sustained comics narrative; it’s
a completely-realized work of art.
Barry is at the height of her powers,
at her most potent and her most
poetic, and she only seems to be get-
ting better.

Indeed.

This blog post is part of the Punk Comix series.

Gripping Typos by David Lees, Gary Panter and others (255x356mm)

This is an oddball publication — it seems like it’s basically an ad for Andresen Typographics in Los Angeles — but it doesn’t say so explicitly. It doesn’t say when it was published, either, but Printed Matter says that it’s from 1985, and they’re usually right about things like this.

So we start with some jokey hokey oldee-tymee ads…

… and then launch into a short mystery involving a private dick and a secret ad (placed with Andresen Typographics). So I guess this artwork is by Gary Panter? It does look like it… vaguely… in some of the linework… but he’s certainly adapted his style a lot for this assignment.

This looks more like it. Pretty cool.

Apparently Andresen Typographics was open 24 hours a day? Three shifts. I guess they did typesetting and stuff?

And the reason for those jokey ads on the inside front cover becomes clear — here we get the same, but for Andresen. “Radio dispatched cars.” “Over 5,000 typefaces available”. Impressive.

Designed by Clive Piercy and Rob Dyer. Oh, and they’ve done a typeface based on Panter’s lettering — “Panter Casual”.

So.

Is this something Andresen would hand out to (prospective) customers? I guess it’d make some kind of impression… and this was when computer typesetting was coming in, so they had to do… something…

They designed fonts themselves.

Andresen was a big deal:

If typographers were kings, then the king of kings was Drew Andresen of Andresen Typographics. Mr. Andresen thought outside the box long before the term was coined. In doing so, Mr. Andresen brought his company and an entire industry to national prominence. Mr. Andresen’s combination of savvy business and marketing skills, long left out of the typography industry, carried the industry to new levels that others emulated.

And… it’s now Andresen Digital, and it seems to be basically the same company?

Well, that’s nice. It’s probably all because of… Gripping Typos!

This blog post is part of the Punk Comix series.