Tonight at 7 p.m.
Kim Deitch Q & A with curator Bill Kartalopoulos
Museum of Cartoon and Comic Art
594 Broadway, Suite 401
New York, NY
In a unique and wide-ranging conversation, Kim and Bill (Illustration Part-time Faculty) will discuss Deitch’s work and career to date. Deitch will present examples of recent work and will also preview images from his current works in progress.
Parsons Illustration Alum Abby Denson was recently written up in the New York Daily News. She talked about her own work, as well as the education value of comics. Here’s an excerpt:
Daily News: When did you get into comic art and comic writing?
Abby Denson: Well, I’ve been reading comics ever since I was a kid. The early comics I would read were the “X-Men,” and “Alpha Flight”, also “Uncle Scrooge” comics and things like that. When I got into college or when I was in high school getting into college I was more into “Love and Rockets” and reading “Ranma 1/2” by Rumiko Takahashi. Those were some pretty big influences. When I was in college, I pretty much ended up strictly reading black and white comics, whether it was indie comics or manga. I also liked Andy Watson, whose stuff is always great.At first, I didn’t think I would be into drawing [comics]. I mean, I went to Parsons School of Design for illustration but I really wasn’t into the idea of doing my own comic until I had a concept for a comic that kind of drove me through it. [Creating a] comic is a lot of work since you have to write it and then draw it. It’s double the work of just being a novelist or just being an artist, and usually not as well compensated (laughs). You have to have an idea to propel you to do the work; you really have to be passionate about the concept.
Read the rest of Abby’s great interview here. Currently, Abby is hard at work, writing a dessert column for L Magazine, illustrating, and getting ready to teach a class here at the New School. Way to go, Abby!
[art from Abby Denson’s Dolltopia]
Illustration Alum Brian Wood (’97) was recently interviewed for an article in the Village Voice. He talked about why San Francisco just isn’t as good as New York (to him), how his artwork has developed, and the critical and social reaction to his art. Here’s an excerpt:
Comic-book fame is a funny thing: Even as Hollywood pushes the medium further into the mainstream, a sense of geek solidarity remains. Writers and artists feel compelled to stay in touch with their fans; the fans, in turn, continue to treat creators like best friends. “I’m hesitant to compare him to an emo band, but I feel like Brian has that sort of connection to the audience,” says James Lucas Jones, an editor at Oni Press who worked with Wood on Local. “People feel emotionally invested in him.”
Wood’s own fame was cemented in the late ’90s, after the publication of the William Gibson–esque Channel Zero. He now calls it something of “an art student’s rant”—a ” ‘zine where everybody talks about what pisses them off.” But Zero led to a writing stint at Marvel’s Generation X and paved the way for the series Couriers, Couscous Express, and Pounded, about a rock band in New York. Eventually, Wood transitioned from occasionally drawing into writing full-time, mostly because he “had so many ideas, and not enough time to put them to paper.”
Make sure you read the rest of the article here. Brian also has a list of other articles about his work here on his official website. You can pick up a copy of his latest book, The New York Four here.
Congrats on your continuing success, Brian!
The school year is almost upon us, which means that the Illustration Department is looking for Federal Work-Study students! This is a great opportunity to work closely with members of the Department and get valuable experience with Photoshop, art installation, and various other exciting areas. We need people who are reliable, punctual, meticulous, and ready to try new things. If you have experience and expertise in taking photos, hanging art, working with digital imagery, or website development, you are exactly what we are looking for!
There will be an open interview process on Tuesday and Wednesday afternoons, August 19th and 20th AND Tuesday and Wednesday afternoons, August 26th and 27th. If you are eligible for Federal Work-Study and are interested in working for us, we invite you to stop by one of these afternoons between 2 and 4 p.m.
Bring a resume and be ready to tell us why you are perfect for the job. If neither of those dates work for you, make sure you at least email us so we know you are interested in a position. Working here in the department is a wonderful experience. It’s a chance to really get involved with departmental events and processe and generally, it’s a great opportunity.
Those dates and times again:
Tuesday, August 19th 2-4 p.m.
Wednesday, August 20th 2-4 p.m.
Tuesday, August 26th 2-4 p.m.
Wednesday, August 27th 2-4 p.m.
Requirements: Current student at Parsons or the New School, a resume, Federal-Work Study eligibility, enthusiasm, high levels of skill, and willingness to learn.
We hope to see you soon!
From the Illustration Inbox, we’ve got some news about Louisa Bertman (’92):
Louisa Bertman is honored to be 1 of 12 artists chosen to illustrate a page for the upcoming 2009 NPR Calendar. While painting Click and Clack, 2 large portraits were born as an offshoot of the actual NPR Illustration. Check out the portraits as well as her interview with those crazy Car Talk Guys! They’ve listed her this week under “Links We LIke” from their homepage.
Thanks for passing along the good word, Louisa, and congratulations!
Illustration’s own Adjunct Faculty Nathan Bond has been interviewed by the fine folks over at Sprayblog. Here’s a little taste:
SG: Describe your working process when creating a new work.
NB: My process changes all the time. I actually try not to get into any one habit. I believe it is important to always investigate new processes, to discover new techniques. Not repeating your work process is a great way to encourage and maintain that dialogue with the creative process.
SG: What kind of things do you do when you get blocked or find it hard to create something?
NB: Van Gogh said it best, “You do not know how paralyzing it is, that staring of a blank canvas which says to the painter: you don’t know anything.” The feeling that “you don’t know anything” isn’t an uncommon state of being for an artist. It’s the sentiment I hear most often from my peers, students and, I must admit, myself. When this happens I try to find back doors into my work. I find the ritualistic process of stretching and priming a canvas is all I need sometimes to get the juices flowing again. It really helps to get the brain out of the way. It is only our mind that creates blocks and that’s why meditation is another great way to bypass blocks. Anything to get rid of the self is key. Creativity comes to the relaxed mind.
SG: Where are you currently finding your inspiration?
NB: Looking and thinking about all these weird naked apes walking around the city. We are so fascinating. This is where my inspiration always comes from. Psychology and art have always been intertwined for me.
Make sure to read the rest of the interview here and see more images of Nathan’s work at his website!
Saturday and Sunday March 29-30, Tuesday April 1 @ 1:00 pmFestivalHUB @ Seaport | LMCC Swing Space210 Front Street at Beekman Street, NYC
Congratulations to all our faculty and alumni on their recent accomplishments!Want to see your news here? Email us!
The Illustration Department is proud to announce the publication of the Spring 2008 Parsons Alumni magazine, R:ED. This issue is devoted to covering topics in Illustration, whether it’s the life of newly appointed director of the Society of Illustrators Anelle Miller (Illustration ’74) or the work of up and coming current student Christine Young. Articles included cover things like the Illustration Department’s collaboration with Design Within Reach and recent symposium about “Illustration in the Age of Anxiety.” There are also illustrations by Illustration faculty members George Bates, Nora Krug, and Ben Katchor.
Here’s a link to the entire issue in PDF format–RE:D Spring 2008 issue! Congratulations to all our featured students, faculty, and alumni. If you graduated from the department, make sure you keep us (as well as the Parsons Alumni Department) up to date on your accomplishments and professional progress.
“Downpour”
Adjunct Faculty member Rodger Stevens sat down with the great people over at the Spraygraphic Sprayblog and held forth on his art, work ethic, and inspirations. Here’s a taste:
SG: What mediums do you work with?
RS: I work almost exclusively with wire but I wouldn’t kick wood, cardboard or string out of my studio.
SG: Describe your working process when creating a new work.
RS: I think about the thing before falling asleep; draw all about it on the subway; then the work becomes visible in my mind and I try to make it.
SG: What kind of things do you do when you get blocked or find it hard to create something?
RS: There are many things that bridle my ability to work: the demands of being a father for example, but being creatively blocked has so far not been one of them.
SG: Where are you currently finding your inspiration?
RS: Everywhere really. I think just about everything I look at, everything, plays a role in what comes out.
SG: How did you become a freelance artist/designer for companies such as MTV, Tiffanys & Co, Federal Reserve Bank, etc….
RS: Constant hustling; a determination not to be intimidated; a willingness to try anything; and an acceptance of rejection, of which there was/is plenty.
Catch the rest of Rodger’s interview here!
The fine folks over at Spraygraphic’s Sprayblog just posted an interview with Parsons Illustration Adjunct Faculty Sergio Ruzzier. Here’s a taste:
SG: Describe your working process when creating a new work.
SR: I usually do very few sketches, one or two are often enough. I am lazy. Once I have a clear idea of the composition, I do a detailed preparatory pencil drawing on plain paper. If I’m not happy with some elements (proportions, size, placement…) I sometimes scan that drawing and change stuff with Photoshop. Then, I trace that drawing onto the watercolor paper, ink it, erase the pencil, and finally color it.
SG: What kind of things do you do when you get blocked or find it hard to create something?
SR: Well, I usually get depressed, or restless… I don’t have any particular trick to overcome that. I just waste a lot of time thinking. If there is a deadline, then for some reason I always find the solution at the last minute.
SG: Where are you currently finding your inspiration?
SR: The inspiration can come from everywhere: a sentence I read in a book, or something I see while taking a walk, or a detail in a painting. But often it’s the same old ideas that I keep elaborating in different ways.
SG: Can you tell us a little about your children’s book career. When did you start that kind of work?
SR: When I came to NY I already knew that I wanted to do picture books. So I took my drawings and ideas to children’s book editors and art directors, but initially I was always rejected: they would say my work was too “adult”, “sophisticated”, and “European” (never understood what that means!). Even “disturbing”. There was probably some truth to that. Anyway, I kind of gave up for a while, focusing instead on my editorial work. Later, I met a few editors who believed in my work, and gave me a chance. That’s how I started. Now this is what I mainly do, writing and illustrating children’s books, and I really like it.
SG: In what ways has your books’ art and subject material changed over the years? Do you experiment with different art styles depending on the subject or characters?
SR: I don’t think the nature of my work has changed much over the years. Of course you have to adapt a little to your audience, some themes are very delicate… For example, I would love to do a picture book about death, but you have to find the right way to handle such a subject matter (in order to convince editor, publisher, salespeople, reviewers, booksellers, librarians…)
My art style is always the same, I think. I’m not very good at experimenting. And besides, I feel that if you have a personal style, one that has naturally evolved through the years, well, that’s your way of doing things, and you cannot really force it. It’s like your handwriting. Of course this is how I feel about my own work, but there are some artists (not many) who can handle beautifully different styles and techniques. One great example is Saul Steinberg.
Catch the rest of Sergio’s interview & see more images of his work here.