Triumph and Tragedy and Things
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2022 Cartoonist Studio Prize Winners
The Beat and The Center for Cartoon Studies are proud to reveal the winners of the tenth annual Cartoonist Studio Prize Award in both the Print Comics and Webcomics categories. Each of the 2022 Cartoonist Studio Prize Award winners will receive a $1000 prize and a Wacom One Creative Pen Display.
The tenth Cartoonist Studio Prize Award for Print Comic is awarded to
Stone Fruit by Lee Lai, published by Fantagraphics.And the tenth Cartoonist Studio Prize Award for Webcomic is awarded to
Blind Alley by Adam de Souza, www.blind-alley.com.
Avery Kaplan, at The Beat, has the full story.
Comics Benefit for Ukraine
A benefit anthology featuring an all-star lineup of comic book creators, with all proceeds being donated to Ukrainian refugees.
And they are not kidding about an All-Star lineup:
Plus: Alex Ross, Arthur Adams, Dave Johnson, Bill Sienkiewicz, Joshua Dysart, Pia Guerra, Peter Kuper, Joe Jusko, Richard Starkings, John Workman, Ken Bruzenak, Roy Richardson, Kevin Nowlan, Laura Martin, Tom Luth, Todd Klein, Scott Dunbier, and more.
More about the comic and available prints at Zoop.
Reminder: all proceeds being donated to Ukrainian refugees
The MoCCA Arts Video Fest
MoCCA has set up videos of various panels from their Fest earlier this month.
Robert Pollack, Trina Robbins, Kim. A. Munson, Mike Mignola, Art Spiegelman, Joost Swarte, Rebecca Sugar, Ken Quattro, Stanford W. Carpenter, Craig Yoe, Roz Chast, Maggie Larson, Barbara Smaller, Bishakh Som, Liza Donnelly, and, of course more.
Let There Be Book
New Yorker cartoonist Liana Finck on moving beyond the magazine cartoon.
The set-up has to be something most of your readers will recognize, so that they’ll get the joke. Here are some that New Yorker cartoonists rely on often: desert island, cocktail party, therapist’s couch. A set-up often contains a twist: there is a dog at the cocktail party, or the person stranded on the desert island is wearing skis. Choosing the set-up is the hard part. Once you have your set-up in place, you can forget about structure and be purely creative. I’ve always wondered if it was possible to make a longer project more like a cartoon or joke. I thought that if only I could find a really expansive set-up, it would carry me along and keep me from falling into the horrific questions real novelists and graphic novelists have to ask themselves, such as What am I doing? and Why? I’d be able to let the premade structure do the heavy lifting of storytelling and focus on making my fun little jokes.
Literary Hub brings us Liana’s thoughts about expanding the single panel cartoon.
Ask a Cartoonist a Question
I’ve heard stories from various cartoonists on the duration of time between selling a cartoon and it appearing in the magazine — sometimes it’s a week or two, other times it can be years. Sometimes, cartoonists even resign themselves to the fact that their work may just be lost at the bottom of a drawer somewhere, or the idea got spiked (killed) for some reason they’ll never know about.
The cartoonist still gets paid if the cartoon doesn’t run, but due to ‘first run’ exclusivity in the contract when you sell a cartoon, you aren’t allowed to post the cartoon or sell it to anyone else until it has run in the New Yorker first.
Jason Chatfield on what happens when your sold cartoon gets lost in the editor’s drawers.
Classic vs. Modern
David Apatoff compares a recent street scene to a classic street scene.
There is obviously no single recipe for a good illustration. Different treatments can be used to achieve different moods or themes. But in my view the ingredients I’ve listed above, combined with others, create a huge difference in the quality of these two treatments of a similar scene.
“I Just Made Up the Number”
Scott Adams gets more publicity from his podcast and twitter feeds than from his Dilbert comic strip these days. A recent Twitter thread by Scott grabbed the attention of a blogger.
Nevermind the above tweet, casually saying he’s had a gun pointed at his head 5 times, he also sent out the following tweets:
The real winner though? We already know. “Number of incurable health issues I cured in myself: 3”. DING DING DING! … Amazing! I would love, no…I NEED to know what 3 “incurable” health issues he has cured, and how. And why isn’t he selling these cures to the pharmas for billions of dollars?!?!? Keeping these treatments a secret is literally killing our children, Scott!
Nate’s column at Barstool Sports.
Circling Back to That Opening Comic Above
Since joining The New Yorker in 1978, Chast has established herself among the greatest artistic chroniclers of the anxieties, superstitions, furies, insecurities and surreal imaginings of modern life. Her works are typically populated by hapless but relatively cheerful “everyfolk,” and she addresses the universal topics of guilt, aging, families, money, real estate and more. She has been called a “certifiable genius” by David Remnick, the editor of The New Yorker.
Roz Chast, noted cartoonist for The New Yorker and best-selling author, will deliver the 2022 Robert and Pamela Jacobs Lecture with a talk called, “Can’t We Talk About Something More Jewish?” on Wednesday, April 27 at 4:30 p.m. in the Campus Center Auditorium.
The lecture, which is free and open to the public, is hosted by the UMass Amherst Department of Judaic and Near Eastern Studies. Chast will speak about her work, and its connection to Jewish themes and her Jewish background.
More about Roz and her lecture at UMass website.
all illustrations © their respective copyright holders
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