Inker – Operation and Maintenance – 001070 Rev E

Total Page:16

File Type:pdf, Size:1020Kb

Inker – Operation and Maintenance – 001070 Rev E Operation and Maintenance Manual MiTek® Inker Wood Truss Component Marking System Matthews 5100, 5400, and 8400 001070 Revision E Copyright © 2002, 2005 MiTek®. All rights reserved. Operation and Maintenance Manual MiTek® Inker Wood Truss Component Marking System Matthews 5100, 5400, and 8400 Applicability: 78830-501, 78830-502, 78830-601, 78830-602, 90458KIT, 90483KIT-501, 90483KIT-601 MiTek 001070 Machinery Division Date Created 1/27/2004 Revision E 301 Fountain Lakes Industrial Drive Revision date 12/29/06 St. Charles, MO 63301 Print date 12/29/2006 phone: 800-523-3380 Written by R. Tucker fax: 636-328-9218 Approved by G. McNeelege www.mii.com Revised by R. Tucker INKER Operation and Maintenance Manual MiTek® Inker Wood Truss Component Marking System Reporting Errors and Recommending Improvements To report errors or if you wish to recommend improvements, please complete the form at the back of this document and mail or fax the form to: MiTek 301 Fountain Lakes Industrial Drive St. Charles, MO 63301 Attn: Engineering Manager Fax: (636) 328-9218 We appreciate your assistance in helping MiTek provide unsurpassed machinery and support. Copyright © 2002, 2005, 2006 MiTek. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States of America. Return Goods Policy MiTek cannot accept return goods without prior authorization and are subject to a restocking charge. The Seller certifies the articles specified herein were produced in compliance with all provisions of the Fair Labor Standards Act of 1938, as amended, including Section 12 thereof. Rev. 6/98 Trademark The trademark was applied for and obtained in the United States and in select foreign countries. It may not be reproduced, used, or otherwise exploited without written authorization from MiTek. 001070 Rev. E ii INKER Table of Contents TABLE OF CONTENTS................................................................................................................................ III INKER AGREEMENT ................................................................................................................................... V MATTHEWS CREDIT APPLICATION .......................................................................................................... VII General Information ........................................................................................................1 SUPPLIES AND REPAIR INFORMATION.........................................................................................................1 Companies to Use for Supplies and Repair Services ...........................................................................1 Technical Questions and Repairs.........................................................................................................2 Preventive Maintenance Contract........................................................................................................2 Consumable Supplies ...........................................................................................................................3 PURPOSE.....................................................................................................................................................4 IDENTIFYING YOUR INKER ASSEMBLY .......................................................................................................4 OVERVIEW OF COMPONENTS ......................................................................................................................5 Installation .......................................................................................................................6 PREPARING FOR THE INSTALLATION ...........................................................................................................6 Hardware Requirements ......................................................................................................................6 Drawings to Use...................................................................................................................................6 Required Tools .....................................................................................................................................6 Understanding Your Saw .....................................................................................................................6 INSTALLING THE COMPONENTS ON A NEW SAW.........................................................................................7 Installing the New Parts.......................................................................................................................7 Installing the Inker Table Components ................................................................................................9 INSTALLING THE COMPONENTS FOR A FIELD INSTALLATION....................................................................10 Installing the New Parts.....................................................................................................................10 Installing the Inker Table Components ..............................................................................................13 WIRING THE COMPONENTS.......................................................................................................................14 PC Enclosure Wiring .........................................................................................................................14 Touch Screen Enclosure Wiring.........................................................................................................17 INSTALLING THE SOFTWARE.....................................................................................................................21 Removing Unnecessary Software .......................................................................................................21 Activating the Inker Software.............................................................................................................21 INKER SETTINGS .......................................................................................................................................22 Adjusting Photoeye Sensitivity ...........................................................................................................22 Setting the Communication Parameters.............................................................................................22 INSTALLATION CHECKLIST .......................................................................................................................23 Operation .......................................................................................................................24 STARTUP...................................................................................................................................................24 OPERATING THE SOFTWARE .....................................................................................................................24 Setup the Printer Type........................................................................................................................24 Setup the Comm Port and Communications Protocol........................................................................25 Setup the Printed Message .................................................................................................................27 The Main Screen ................................................................................................................................30 DURING OPERATION.................................................................................................................................32 How the Ink Works.............................................................................................................................32 How the Print Head Arm Works.........................................................................................................32 Maintenance ..................................................................................................................33 001070 Rev. E iii INKER FINDING MAINTENANCE AND TROUBLESHOOTING INFORMATION............................................................33 PREVENTIVE MAINTENANCE OVERVIEW ..................................................................................................33 Daily Preventive Maintenance ...........................................................................................................33 Periodic Preventive Maintenance ......................................................................................................33 HOW TO MAINTAIN YOUR INKER .............................................................................................................34 Cleaning Print Head Faceplate .........................................................................................................34 Flushing Print Head...........................................................................................................................35 Adjusting Air Pressure .......................................................................................................................35 Replacing Ink Filters and Cleaner Filters..........................................................................................36
Recommended publications
  • LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
    LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting
    [Show full text]
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
    [Show full text]
  • Jeff Lemire Writer Humberto Ramos Penciler Victor
    STORM ICEMAN MAGIK COLOSSUS CEREBRA NIGHTCRAWLER JEAN GREY LOGAN IN PURSUIT OF 600 ARTIFICIALLY-CREATED MUTANT EMBRYOS, COLOSSUS AND HIS TEAM OF YOUNG X-MEN WERE TELEPORTED A THOUSAND YEARS INTO THE FUTURE…AND STRANDED ON A DYSTOPIC EARTH MADE IN APOCALYPSE’S IMAGE CALLED “OMEGA WORLD.” WHEN STORM AND HER X-MEN ARRIVED TO AID THEM, THEY FOUND A TRANSFORMED COLOSSUS FIGHTING ALONGSIDE THE HORSEMEN OF APOCALYPSE TO RECLAIM THE ARK. UNFORTUNATELY, THE COMBINED POWER OF THE TWO X-TEAMS WAS NOT ENOUGH TO MAINTAIN POSSESSION OF THE EMBRYOS. NOW, IN A LAST-DITCH EFFORT TO SAVE THEIR SPECIES, THE X-MEN HAVE WALKED DIRECTLY INTO APOCALYPSE’S DOMAIN…AND INTO THE CLUTCHES OF THE FOUR HORSEMEN. JEFF LEMIRE HUMBERTO RAMOS VICTOR OLAZABA EDGAR DELGADO WRITER PENCILER INKER COLOR ARTIST VC’s JOE CARAMAGNA HUMBERTO RAMOS & EDGAR DELGADO LETTERER COVER ARTISTS CHRIS ROBINSON DANIEL KETCHUM MARK PANICCIA AXEL ALONSO JOE QUESADA DAN BUCKLEY ALAN FINE ASSISTANT EDITOR EDITOR X-MEN GROUP EDITOR EDITOR IN CHIEF CHIEF CREATIVE OFFICER PUBLISHER EXECUTIVE PRODUCER EXTRAORDINARY X-MEN No. 11, August 2016. Published Monthly except in January by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2016 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $3.99 per copy in the U.S.
    [Show full text]
  • Colorist Writer Title Page Design Assistant Editor
    COLORIST INKER PENCILER MATT YACKEY WRITER MARK FARMER ALAN DAVIS JIM STARLIN COVER LETTERER DAVIS, FARMER & YACKEY VC’S CORY PETIT VARIANT COVER DAN MORA & JESUS ABURTOV EDITOR ASSISTANT EDITOR TOM BREVOORT TITLE PAGE DESIGN ALANNA SMITH CARLOS LAO Editor in Chief: Axel Alonso Chief Creative Officer: Joe Quesada President: Dan Buckley Executive Producer: Alan Fine GUARDIANS OF THE GALAXY: MOTHER ENTROPY No. 1, July 2017. Published Monthly except in May by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2017 MARVEL No similarity between any of the names, characters, persons, and/or institu- tions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $3.99 per copy in the U.S. (GST #R127032852) in the direct mar - ket; Canadian Agreement #40668537. Printed in the USA. Subscription rate (U.S. dollars) for 12 issues: U.S. $26.99; Canada $42.99; Foreign $42.99. POSTMASTER: SEND ALL ADDRESS CHANGES TO GUARDIANS OF THE GALAXY: MOTHER ENTROPY, C/O MARVEL SUBSCRIPTIONS P.O. BOX 727 NEW HYDE PARK, NY 11040. TELEPHONE # (888) 511-5480. FAX # (347) 537-2649. [email protected]. DAN BUCKLEY, President, Marvel Entertainment; JOE QUESADA, Chief Creative Officer; TOM BREVOORT, SVP of Publishing; DAVID BOGART, SVP of Business Affairs & Operations, Publishing & Partnership; C.B. CEBULSKI, VP of Brand Management & Development, Asia; DAVID GABRIEL, SVP of Sales & Marketing, Publishing; JEFF YOUNGQUIST, VP of Production & Special Projects; DAN CARR, Executive Director of Publishing Technology; ALEX MORALES, Director of Publishing Operations; SUSAN CRESPI, Production Manager; STAN LEE, Chairman Emeritus.
    [Show full text]
  • The Dynamic Jerry Robinson
    Inspicio the last laugh Jerry Robinson, 1972. Photo: Kristen Robinson. The Dynamic Jerry Robinson By Jens Robinson y father, Sherrill David Robinson, known as Jerry Rob- inson, was born in New York on New Year’s Day in 1922 Mand died on Pearl Harbor Day in 2011. In between, he did a lot of historic things. BATMAN Jerry was a 17-year-old journalism student at Columbia Uni- versity in 1939 when he was discovered by Batman co-creator Bob Kane, who hired him to work on that fledgling comic as an inker and letterer. Kane, with writer Bill Finger, had just created the character Batman for National Comics, the future DC Com- ics. Within a year, Jerry became Batman’s primary inker, with George Roussos inking backgrounds. Batman quickly became a hit character and Kane rented space for Robinson and Rous- sos in Times Square’s Times Tower. By early 1940, Finger and Kane discussed adding a sidekick. Jerry suggested the name “Robin” after Robin Hood books he had read during his boyhood, saying, in a 2005 interview, that he was inspired by one book’s N.C. Wyeth illustrations. The new character, orphaned circus performer Dick Grayson, came to live with Bruce Wayne (Batman) as his young ward in Detec- tive Comics #38 (April 1940). Robin would inspire many similar sidekicks throughout the remainder of the Golden Age of comic books. Jerry Robinson and his startling invention -- The Joker Batman’s nemesis, the Joker, was introduced around the same time, in Batman #1 (Spring 1940). Most comic historians credit my father for the iconic villain, modeled after Conrad Veidt in the 1928 movie, The Man Who Laughs.
    [Show full text]
  • Andrew Wendel Artist Resume
    Andrew Wendel 183 Franklin Street, Apt 6 Brooklyn, NY 11222 (347) 228-6082 [email protected] Obiective Freelance, long-term and short-term contract work in illustration, particularly storyboarding, comics, and editorial. Open to the possibility of a full-time or part-time position in illustration, art direction, or creative direction. Qualifications Highly skilled in rendering the human figure, with emphasis on mood, lighting, credible body language and anatomical accuracy. Expert at composition, design, and storytelling. Production artwork has been fully digital since 2011, but I remain proficient in a variety of traditional media: pencil, pen and ink, marker, oil, and gouache. Excellent conceptual and language abilities. Familiar with art history, cinema, and underground/countercultural esthetics. Experience Storyboard, Advertising, and Production Artist Brooklyn Roasting Company 2017-present Wayart, Inc. 2015-present Famous Frames New York, NY 1999-2015 Black & white and color storyboards and comps for a variety of clients, including Barbarian Group, Barker DZP, Mustache Agency, PMI, Humble, Darren Aranofsky, BBDO, Big Picture, Bradley and Montgomery, New Science, Totem, 360i, Lippincott, Wee Beastie, AdPeople, Saatchi & Saatchi, Publicis, Viewpoint Studios, Curious Pictures, Digital Kitchen, Comedy Central, EyebalINYC, and many others. Emphasis on quick turnaround, high productivity, and ability to meet deadlines. Freelance Illustrator, Cartoonist, and Designer Ongoing From the age of fifteen, l have worked for a variety of clients in many capacities, from "big-foot" cartoons to painted album covers, logo and label designs, photorealistic portraiture, and virtually every visual art application. Clients have included Brown University, Polygram Records, Nascar, The New Yorker, DC Comics, Crusade Comics, Doig Eliot Schur, Phoenix Design, Coca-Cola, Mercedes, and numerous rock bands and concert promoters.
    [Show full text]
  • A M E R I C a N C H R O N I C L E S the by JOHN WELLS 1960-1964
    AMERICAN CHRONICLES THE 1960-1964 byby JOHN JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chroncles ........ 4 Note on Comic Book Sales and Circulation Data......................................................... 5 Introduction & Acknowlegments................................. 6 Chapter One: 1960 Pride and Prejudice ................................................................... 8 Chapter Two: 1961 The Shape of Things to Come ..................................................40 Chapter Three: 1962 Gains and Losses .....................................................................74 Chapter Four: 1963 Triumph and Tragedy ...........................................................114 Chapter Five: 1964 Don’t Get Comfortable ..........................................................160 Works Cited ......................................................................214 Index ..................................................................................220 Notes Introductory Note about the Chronological Structure of American Comic Book Chronicles The monthly date that appears on a comic book head as most Direct Market-exclusive publishers cover doesn’t usually indicate the exact month chose not to put cover dates on their comic books the comic book arrived at the newsstand or at the while some put cover dates that matched the comic book store. Since their inception, American issue’s release date. periodical publishers—including but not limited to comic book publishers—postdated
    [Show full text]
  • Superhero Comics
    European journal of American studies Reviews 2018-2 Gavaler, Chris, Superhero Comics Katherine Marazi Electronic version URL: https://journals.openedition.org/ejas/13283 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Katherine Marazi, “Gavaler, Chris, Superhero Comics”, European journal of American studies [Online], Reviews 2018-2, Online since 25 July 2018, connection on 11 July 2021. URL: http:// journals.openedition.org/ejas/13283 This text was automatically generated on 11 July 2021. Creative Commons License Gavaler, Chris, Superhero Comics 1 Gavaler, Chris, Superhero Comics Katherine Marazi 1 Gavaler, Chris. Superhero Comics 2 London and New York: Bloomsbury Comics Studies, 2017. Pp. 376. ISBN: 978-1-4742-2634-9 3 Katherine Marazi 4 Despite the ubiquity and current overabundance of superhero productions, academic publications and courses on superheroes are not as widespread. Fortunately, over the past decade traditional and online MOOC courses focused on superheroes as well as academic publications resulting from either conferences or individual research have grown in numbers and importance. One such publication, Chris Gavaler’s Superhero Comics, aims to historically and thematically inform readers on the form, contexts and genre of superhero comics. Beginning with “What is a superhero comic?” a question most readers today may feel fairly confident in answering, Gavaler provides a historic and thematic account of just how complex the answer to this question is. 5 Gavaler adopts a genre approach focusing on “the tradition of superheroes in superhero comics” whilst examining “pre-comics characters to the extent that they maintain a defining influence on their comics descendants” (2). Terminology is insufficient in fully understanding what comics are.
    [Show full text]
  • The Power of the Panel: How American Comic Book Media Utilizes the Panel to Alter Audience Interaction
    Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2021 The Power of the Panel: How American Comic Book Media Utilizes the Panel to Alter Audience Interaction Austin Biese Michigan Technological University, [email protected] Copyright 2021 Austin Biese Recommended Citation Biese, Austin, "The Power of the Panel: How American Comic Book Media Utilizes the Panel to Alter Audience Interaction", Open Access Master's Thesis, Michigan Technological University, 2021. https://doi.org/10.37099/mtu.dc.etdr/1199 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Visual Studies Commons THE POWER OF THE PANEL: HOW AMERICAN COMIC BOOK MEDIA UTILIZES THE PANEL TO ALTER AUDIENCE INTERACTION By Austin J. Biese A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Rhetoric, Theory and Culture MICHIGAN TECHNOLOGICAL UNIVERSITY 2021 © 2021 Austin J. Biese This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Rhetoric, Theory and Culture. Department of Humanities Thesis Advisor: Stefka Hristova Committee Member: M. Bartley Seigel Committee Member: Carlos M. Amador Department Chair: Scott Marratto Table of Contents Acknowledgements ..............................................................................................................v Abstract .............................................................................................................................
    [Show full text]
  • Creating-Comic-Books.Pdf
    Creating Comic Books Presented by Tango Comics Creative Team Rich Perez -Ron Ong -Rage Ledbetter -Francis Penavic [email protected] Tango Comics L3C, http://tangocomics.com ©Copyright 2018 Agenda • Story/script – Rich Perez • Preparing the layout – Ron Ong • Inking/Coloring – Rage Ledbetter • Lettering – Francis Penavic • Print vs Digital – Rich Perez • Recommended Reading / Research • Tools of the Trade - Tango Comics L3C, http://tangocomics ©Copyright 2018 About Tango Comics • Established in 2009 – First publication Descent of the Dead – Second publication The Infinium in 2010 – Motivated by a desire to inject quality stories and artwork back into the industry – Wanting to do something besides our current day jobs which weren’t very fun – Ronald Ong – Artist of The Infinium – Francis Penavic – Artist of Descent of the Dead, Letterer for both Descent & Infinium – Rage Ledbetter – Inker, Storyboard artist, and script editor for Descent & Infinium – Rich Perez – Writer and creator of Descent Tango Comics & The Infinium, editor, color embellisher, Our Family Stand-up Philosopher Tango Comics L3C, http://tangocomics Portrait ©Copyright 2018 One in a Billion The Story written in 1987 re- written in 2000 • Come up with an idea and re-written yet • again & rebranded Create Your World! – Make a Rule as The Infinium © Book and Character Encyclopedia in 2009 – Since 2009 70+ more • Develop an outline for a story arc revisions! • Write it and be prepared to re- write at least 50 times! Plot outline and story arc for The Infinium • Get it copyrighted!
    [Show full text]
  • LEONARD STARR Vol
    Roy Tho mas ’Thunderclap of a Comics Fan zine FEATURING: AN FOUR-COLOR FIST-FEST! $ In8 th.e9 U5SA No.110 June 2012 . s c i m o C C D 2 1 0 2 © & M T 6 o 0 g o l 5 ” ! m 3 a z 6 a h 7 S 7 “ 2 & s 8 e o 5 r e 6 h 2 ALSO: m 8 a z a h S 1 LEONARD STARR Vol. 3, No. 110 / June 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich Proofreader Rob Smentek Cover Artist Emilio Squeglio (pencils) & Joe Giella (inks) Cover Colorist Contents Tom Ziuko With Special Thanks to: Guest Writer/Editorial: Emilio Squeglio (1927-2012) . 2 Jack Adams Paul Levitz “I Think I Worked For Every [Comics] House In The City” . 3 Heidi Amash Barbara Levy Ger Apeldoorn Alan Light Part I of Jim Amash’s decades-spanning interview with noted comics artist Leonard Starr. Richard Arndt Jim Ludwig “The Will Of William Wilson” Lost Pages—In Color! . 23 Jean Bails Dick Lupoff Mike W. Bar Pat Lupoff Continued from last issue, here’s the final pair of pages from the unpublished JSA chapter. Rod Beck Will Meugniot Mr. Monster’s Comic Crypt! The Covers That Never Were! . 25 John Benson Brian K. Morris Jerry Bingham Will Murray Michael T. Gilbert reinterprets Simon & Kirby and Carl Pfeufer (or is it Bill Everett?).
    [Show full text]
  • A Pictorial History of Comic-Con
    A PICTORIAL HISTORY OF COMIC-CON The 2010s THE NOW AGE OF COMIC-CON Comic-Con exploded around the world in the “now” age of social media. It became the show everyone wanted to go to as it expanded into other sites, including hotels and the new San Diego Central Library, creating a downtown campus. COMIC-CON 50 www.comic-con.org 1 OPPOSITE PAGE, TOP ROW LEFT: Jill Thompson sure was pleased to get an Eisner Award. 2010 RIGHT: Manga great 2010 COMIC-CON 41 Moto Hagio had one COMIC-CON 41 request of Comic- Con: Could she please meet Ray Bradbury? NOTABLE JULY 22–25 SECOND ROW, LEFT TO RIGHT: Former GUESTS DC Comics publisher San Diego Jenette Kahn was an Inkpot Award Convention recipient; artist Jillian Center Tamaki; Darkseid schemed. BERKELEY BREATHED THIRD ROW, LEFT: Syndicated cartoonist, Attendance: J. J. Abrams and Joss 126,000 Whedon had a meet- Bloom County, Opus ing of the minds in Hall H. MATT FRACTION Comic-Con entered the second de- RIGHT: Comic book cade of the new millennium with writer Brian Michael Comic book writer, still more expansion to the nearby Bendis with his Inkpot Award. Iron Man, Iron Fist hotels. It added a second day of pro- gramming to the Indigo Ballroom in BOTTOM: The cast of the Hilton San Diego Bayfront, which The Big Bang Theory MOTO HAGIO hosted the Eisner Awards for the very backstage in Hall H. first time. Events such as the CCI-IFF, Manga writer-artist, the fan groups meeting room, and THIS PAGE, TOP A Drunken Dream the anime rooms moved offsite to the AND RIGHT: DC Comics celebrated and Other Stories Marriott Marquis Hotel and Marina their 75th anniver- next door.
    [Show full text]