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Bud Fisher—Pioneer Dean of the Comic Artists
Syracuse University SURFACE The Courier Libraries Winter 1979 Bud Fisher—Pioneer Dean of the Comic Artists Ray Thompson Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons, and the American Popular Culture Commons Recommended Citation Thompson, Ray. "Bud Fisher—Pioneer Dean of the Comic Artists." The Courier 16.3 and 16.4 (1979): 23-36. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. ISSN 0011-0418 ARCHIMEDES RUSSELL, 1840 - 1915 from Memorial History ofSyracuse, New York, From Its Settlement to the Present Time, by Dwight H. Bruce, Published in Syracuse, New York, by H.P. Smith, 1891. THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES Volume XVI, Numbers 3 and 4, Winter 1979 Table of Contents Winter 1979 Page Archimedes Russell and Nineteenth-Century Syracuse 3 by Evamaria Hardin Bud Fisher-Pioneer Dean of the Comic Artists 23 by Ray Thompson News of the Library and Library Associates 37 Bud Fisher - Pioneer Dean of the Comic Artists by Ray Thompson The George Arents Research Library for Special Collections at Syracuse University has an extensive collection of original drawings by American cartoonists. Among the most famous of these are Bud Fisher's "Mutt and Jeff." Harry Conway (Bud) Fisher had the distinction of producing the coun try's first successful daily comic strip. Comics had been appearing in the press of America ever since the introduction of Richard F. -
Beowulf: the Graphic Novel Created by Stephen L
ORIGINAL GRAPHIC NOVEL THE GRAPHIC NOVEL TUFSOtTUFJOJOHFSt4UVEBCBLFS Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Writer Stephen L. Stern Artist Christopher Steininger Letterer Chris Studabaker Cover Christopher Steininger For MARKOSIA ENTERPRISES, Ltd. Harry Markos Publisher & Managing Partner Chuck Satterlee Director of Operations Brian Augustyn Editor-In-Chief Tony Lee Group Editor Thomas Mauer Graphic Design & Pre-Press Beowulf: The Graphic Novel created by Stephen L. Stern & Christopher Steininger, based on the translation of the classic poem by Francis Gummere Beowulf: The Graphic Novel. TM & © 2007 Markosia and Stephen L. Stern. All Rights Reserved. Reproduction of any part of this work by any means without the written permission of the publisher is expressly forbidden. Published by Markosia Enterprises, Ltd. Unit A10, Caxton Point, Caxton Way, Stevenage, UK. FIRST PRINTING, October 2007. Harry Markos, Director. Brian Augustyn, EiC. Printed in the EU. Carlos Barrera (order #4973052) 71.204.91.28 Beowulf: The Graphic Novel An Introduction by Stephen L. Stern Writing Beowulf: The Graphic Novel has been one of the most fulfilling experiences of my career. I was captivated by the poem when I first read it decades ago. The translation was by Francis Gummere, and it was a truly masterful work, retaining all of the spirit that the anonymous author (or authors) invested in it while making it accessible to modern readers. “Modern” is, of course, a relative term. The Gummere translation was published in 1910. Yet it held up wonderfully, and over 60 years later, when I came upon it, my imagination was captivated by its powerful descriptions of life in a distant place and time. -
Mythology Crossword
Name: _____________________________________ Date: _______ Period: _______ Mythology Crossword 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 Across 26. images shown in very large view, often 9. large, full page illustration that introduces a 2. objects used to contain a characters thoughts focusing on a small portion of a larger story 6. comics of non-English origin object/character 11. person who does most/all of the art duties, 10. self contained, book length form of comics 27. The space between each panel/panels implies artist is also writer 15. text labels written on characters in comics Down 12. text that speaks directly to reader 16. text / icons that represent what’s going on in 1. objects used to contain words that character 13. images that are in reverse position from the the characters head speaks previous panel 17. images that show objects fully, from top to 3. rectangles where narrator or character shares 14. One drawing on a page containing a segment bottom special info w/ reader of action 18. person who fills speech balloons and captions 4. term popularized by cartoonists, the medium 19. words that indicate a sounds that accompanies with dialogue/other words is capable of mature, non-comedic content, aswell comic panel as to emphasize hybrid nature of the medium 21. Periodical, normally thin in size and stapled 20. A singular row of panels together 5. images that run outside the border of the panel 23. scripts the work in a way that artist can 22. -
Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives
Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Fall 1976 Connecticut College Alumni Magazine, Fall 1976 Connecticut College Follow this and additional works at: http://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Fall 1976" (1976). Alumni News. Paper 196. http://digitalcommons.conncoll.edu/alumnews/196 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. The Connecticut College Alumni Magazine Kurt Vonnegut dedicates the new library EDITORIAL BOARD: Allen T. Carroll '73 Editor (R.F.D. 3, EXECUTIVE BOARD OF THE ALUMNI ASSOCIATION Colchester, Ct. 06415), Marion Vilbert Clark '24 Cassandra GOBS Simonds '55, President / Mariana Parcells Class Notes Editor, Elizabeth Damerel Gongaware '26 Wagoner '44, First Vice-President / Mary Lee Min~er Assistant Editor, Cassandra Goss Simonds '55, Louise Goode '46 Second Vice-President / Britts Jo Schem Stevenson Andersen' 41 ex officio McNemar' '67, Secretary / Ann Roche Dickson '53, Treasurer CREDITS: llIustration at top of page 6 from photograph by Directors-at-Large, Ann Crocker Wheeler '34, Sara Rowe Larry Albee '74. Heckscher '69, Michael J. Farrar '73/ Alumni Trustees, . Elizabeth J. Dutton"47 Virginia Golden Kent '35, Jane Smith Official publication of the Connecticut College Association. Moody '49/ Chairman ~f the Alumni Annual Givi~ Pr?gram. -
Cartooning Across the Pond the Big Reuben Wrap Up! This Past
Cartooning Across the Pond The Big Reuben Wrap Up! This past Memorial Day weekend the National Cartoonists Society, had its annual Reuben Awards Weekend in not-so-sunny San Diego, CA… well, we did see some sun on the final day of the festivities, but for most of it we experienced what native San Diegans call “May Gray”. That hardly got us down, however. The weekend was a lot of fun. They usually are, but this one seemed to be turned up a notch. Most of the events took place at the beautiful Omni hotel right at the start of the famous Gaslamp District. Friday, May 23rd The ball got rolling Friday with a terrific slate of guest speakers. As NCS president, I have many things I have to do and oversee throughout the weekend, so I rarely get to catch many of the speakers, but I did get to see the majority of the first three of the day who I thought were great, and I heard nothing but raves about the others: Eddie Pittman- Freelancer, animator and creator of the online graphic novel Red’s Planet, Eddie shared his work from various Disney features like “Mulan” and “Lilo and Stich”, to TV’s “Phineas and Ferb”, to his excellent web comic (which was nominated for a divisional award). Chris Houghton- The second recipient of the Jay Kennedy Memorial Scholarship for cartooning, Chris is a great success story. He’s worked on several animated TV shows, comics, MAD and more, including his own comic Reed Gunther. Greg Evans- The Reuben Award-winning creator of the syndicated comic strip Luann, Greg shared stories of some of his early tries at syndication, and about his 29 years doing Luann. -
Young Howard the Making of a Male Lesbian a Novel by T.L. Winslow (C) Copyright 2000 by T.L. Winslow. All Rights Reserved. This
C:\younghoward\younghoward.txt Friday, June 07, 2013 2:30 PM Young Howard The Making Of A Male Lesbian A Novel by T.L. Winslow (C) Copyright 2000 by T.L. Winslow. All Rights Reserved. This novel is a work of fiction. Names, characters, places, and incidents either are the products of the author's imagination or are used fictitiously, and any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. -1- C:\younghoward\younghoward.txt Friday, June 07, 2013 2:30 PM PREFACE This is my secret autobiography of my childhood. I keep it in encrypted form on my personal computer where only I can get at it. My password is pAtTypUkE. I don't want it to be published or known while I'm alive, but kept only for my private masturbation fantasies. I will supply the password to it in my will, with instructions to my lawyer to release it fifty years after my death. In case anybody cracks it, beware of the curse of Tutankhamen and respect its privacy. In the extremely unlikely event that somebody does crack it and publish it, I'm warning you: at least have the human decency to obliterate my name and label it as fiction. I make millions a year and can hire detectives and sue your ass off can't I? Labelled as fiction about a fictional character, I have plausible deniability and so do you. Humor me, okay? Note from the Editor. This document was indeed hacked and then mutilated as it circulated furiously around the Howard fan sites on the Web, with many Billy Shakespeares making anonymous additions. -
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. -
Jnt£Rnationa1 Journal of Comic Art
JNT£RNATIONA1 JOURNAL OF COMIC ART Vol. 14, No. 1 Spring2012 112 113 Graphic Tales of Cancer catharsis, testimonies, and education. Michael Rhode and JTH Connor1 Cartoons, Comics, Funnies, Comic Books "Cancer is not a single disease," said Robert A. Weinberg, a cancer While names work against it, and demagogues have railed against it, biologist at the Whitehead Institute and the Massachusetts Institute comic art has not necessarily been for children. 8 And cancer is not the only of Technology. "It's really dozens, arguably hundreds of diseases."' illness seen in comic art-- characters have died of AIDS in the "Doonesbury" comic strip and the Incredible Hulk comic book, and survived AIDS in Peeter's autobiographical Blue Pills; "Doonesbury"'s football-star-turned-coach B.D. Few people in North America are unaware of or unaffected by the popular suffered a traumatic amputation of his leg in Iraq; "Crankshaft" coped with and professional publicity related to the incidences of the various forms of Alzheimer's disease; Frenchman David B. cartooned a graphic novel on his cancer, the search for a "cure for cancer," the fund-raising runs and other brother's epilepsy; Haidee Merritt drew gag cartoons about her diabetes; similar campaigns in support of research into its causes and treatment, or the "Ziggy"'s Tom Wilson wrote a prose book on his depression, and Keiko To be pink-looped ribbon that is immediately identifiable as the "logo" for breast won awards for her 14-volume fictional manga about autism. 9 Editorial cancer awareness. Study of the history of cancer through professional medical cartoonists have long addressed the link between tobacco use and cancer, 10 and surgical literature is an obvious and traditional portal to understanding as did Garry Trudeau who has long opposed smoking as seen in his Mr. -
COMIC Books: RE-EVALUATING HIGI-4 and LOW Using Narrative in Art Has a Long History
Kenny McBroom AR 695 Independent Study Fall2008 COMIC BooKS: RE-EVALUATING HIGI-4 AND LOW Using narrative in art has a long history. Using comic related narrative imagery in art is certainly nothing new as well. In the last century, comic strips and books have become an almost everyday element in our lives. Furthermore, hundreds ofbooks, if not more, have been written arguing the importance of comics. A mere few condensed points will be discussed in this paper regarding some interesting features of comics, as well as their potential as objects of high art. A few examples each of standout contemporary comics (they've come a long way from Mutt and Jeff) will be provided. Are- interpretation of the traditional high art definition will be offered. An examination into comics' unique formal and conceptual potential will be gone over, as well as a look at comics' art historical roots. Finally, some examples of comics' incorporation into both the gallery space and academia will be given. There are numerous perspectives one needs to take into account when considering comics as high art. So rather than just picking a couple, and exploring them for pages and pages, included in this paper are several tiny samplings of various points of view on the subject. The comic book, as we know it, originated in 1833 with The Adventures of Obadiah Oldbuck, and in 1897 with The Yellow Kid from McFadden's Flats. The Yellow Kid himself is considered by most comic scholars to be the first comic character (fig.1 ). 1 The definition of a comic character is an individual whose successful recurring appearances led it to a certain degree of popular notoriety. -
Give Your Letterer a Work-Ready Script!
Presents… The Paradigm I The Paradigm The Paradigm Auteurship in Comics It's been several decades since the late Brandon Tartikoff first identified comic books as the next big thing in dramatic narrative. He was right, of course, but unfortunately too ahead of the curve for three important reasons. One, the technical facility to recreate the fantastical nature of mainstream superhero comics on film or video--and let's not kid ourselves, that's the sort of comics he was talking about--simply didn't yet exist, and two, most of his fellow executives, his senior by ten to twenty five years on average, had little interest at best, and genuine contempt for the material at worst, and were unable to see its potential value. And three, of course, is the tragedy of a very young Tartikoff dropping dead--well before the world in which the comic book would be the driving force behind a billion dollar industry he knew it would come to be. Naturally, none of those billions trickle down to those of us who actually do comics. Rather, it's the descendants of those executives who didn't share Tartikoff's vision that reap the benefits. There are actually a number of people wielding power in Hollywood with an actual lifelong familiarity with comics--but there are far more men-- and a few women, but not many--who used to beat up guys like me in High School for reading comics, now making bank off the same shit they ridiculed. Who said irony was dead, right? And then there's that slew of all too good looking men and staggeringly beautiful women, who put on horn- rimmed glasses and similar paraphernalia so as to convey their "nerdishness" or "geekdom" in order to patronize a readily flattered and easily manipulated swarm of enthusiasts. -
Comic Books: Superheroes/Heroines, Domestic Scenes, and Animal Images
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1980 Volume II: Art, Artifacts, and Material Culture Comic Books: Superheroes/heroines, Domestic Scenes, and Animal Images Curriculum Unit 80.02.03 by Patricia Flynn The idea of developing a unit on the American Comic Book grew from the interests and suggestions of middle school students in their art classes. There is a need on the middle school level for an Art History Curriculum that will appeal to young people, and at the same time introduce them to an enduring art form. The history of the American Comic Book seems appropriately qualified to satisfy that need. Art History involves the pursuit of an understanding of man in his time through the study of visual materials. It would seem reasonable to assume that the popular comic book must contain many sources that reflect the values and concerns of the culture that has supported its development and continued growth in America since its introduction in 1934 with the publication of Famous Funnies , a group of reprinted newspaper comic strips. From my informal discussions with middle school students, three distinctive styles of comic books emerged as possible themes; the superhero and the superheroine, domestic scenes, and animal images. These themes historically repeat themselves in endless variations. The superhero/heroine in the comic book can trace its ancestry back to Greek, Roman and Nordic mythology. Ancient mythologies may be considered as a way of explaining the forces of nature to man. Examples of myths may be found world-wide that describe how the universe began, how men, animals and all living things originated, along with the world’s inanimate natural forces. -
A Module Compiled By
A Module Compiled by: Dr. Ekawati Marhaenny Dukut, M.Hum. FACULTY OF LANGUAGE AND ARTS SOEGIJAPRANATA CATHOLIC UNIVERSITY SEMARANG 2016 ii GRAPHIC NOVELS MODULE FOREWORD In the Faculty of Language and Arts of Soegijapranata Catholic University, students majoring in Linguistics or Literature are not only required to speak English actively but also to write actively. There are a number of writing courses to be taken, but all of them are geared so their thesis writing meets the minimum academic standard. This module, however, is created for students who want to write creatively. Not only will students have a mastery of writing good narratives, but students can develop them in accordance to the theory of writing a story that is developed into a novel with an interesting plot like that learned from the Introduction of Literature course. As the name suggests, this Graphic Novels module aims to provide students the opportunity of creating their own graphics, too. For that purpose, students are advised to exercise their drawing skills either in free hand or by use of various electronic media and drawing softwares, such as the Adobe Flash or Coreldraw. I would like to thank the writer of this module for her time and effort of creating such a creative writing course and module. Finally, I do hope that students do benefit from this module. Angelika Riyandari Dean of the Faculty of Language and Arts GRAPHIC NOVELS MODULE iii SYLLABUS Course description: This course especially prepares students to make graphic novels/ comic books, i.e. a book that more or less follows the Manga cartoon drawing of the Japanese people.