The Unwarranted hatred for Comic Sans; The Comics Courier, a tabloid comics criticism newspaper; a Bob Foster obituary; the Kansas City studio of Walt Disney; and an Amber Waves Comics Kingdom news item.
New Comic Amber Waves Brings Heartfelt Tales of Childhood to Life
This crisp fall week welcomes a new strip available on Comics Kingdom by cartoonist and illustrator David Phipps: Amber Waves, a fresh and heartfelt tale of a kid, his family and friends, and the pithy and sometimes goofy animals that reside on the family farm.
The weekly Amber Waves updates on Mondays at Comics Kingdom; above is today’s issue.
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Walt Disney: Kansas City studio museum closer to reality
KANSAS CITY, Mo. (KCTV) – The dream of restoring Walt Disney’s Laugh-O-Gram studio is closer to becoming a reality.
A $2 million federal grant and roughly $500,000 in private donations have the project nearing the halfway point of its fundraising goal. You could even say the decades-long effort is finally building steam.
In all, the development needs just over $4 million more to complete the project. Donations of $10,000 or more will get you a 50% tax credit on your Missouri income tax. Donations can be made at ThankYouWaltDisney.org.
Cartoonist and animation artist Robert Michael “Bob” Foster passed away in hospice care on Sept. 30, 2024, from complications pertaining to a long, dementia-related decline in health according to his partner, Diane Stone.
The Comics Courier, A New Comics Criticism Journal
The state of comics journalism just got a huge shot in the arm with the launch of the Kickstarter for The Comics Courier, a new PRINT newspaper aimed at filling the void of serious comics criticism.
THE COMICS COURIER is the brainchild of Tiffany Babb (PanelxPanel, Popverse) and will be published IN PRINT as biannual tabloid sized newspaper dedicated to in-depth writing about comics.
With three days to go the project has garnered three times the monetary goal it set.
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Comic Sans Never Meant to Break Your Heart
What did Comic Sans ever do to us? The font was one of the typefaces preloaded onto Windows 95—where it stuck out like a sore thumb alongside more stately options like Arial and Times New Roman—and as its thick preschool curves metastasized across the web, the world enshrined it as the sworn enemy of taste. No font in the history of the written word (except maybe Papyrus) has ever inspired such ire.
Historically, much of the hostility has focused on Comic Sans’ tendency to pop up in inopportune places. When Dan Gilbert, owner of the Cleveland Cavaliers, excoriated LeBron James, that letter was written in Comic Sans. When a World War II memorial was unveiled in the Netherlands? That was also written in Comic Sans. Typography is an art form that aims to fade into the background of daily life, and yet somehow there’s one font we’ve learned to hate above all others. Simon Garfield, author of Comic Sans: The Biography of a Typeface—the first in his series of books about fonts—wants to know why.
We’ll start with the elephant in the room. Designed by Vincent Connare in 1994, it’s probably the most controversial font of all time, and has been long been held up as a crime against typography. But our experts beg to differ.
Comic Sans always makes me smile, even if the subject matter doesn’t, in which case it may end up being jarring.
Kevin Dooley
I used Comic Sans frequently in my Middle School classroom because I found it friendlier to students. Not for texts from literature, but on worksheets and slides.
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