What is blood to a human is beer to a jaguar

"...The matter does seem to come down, as Beatrice Marovich suggests, to a matter of perspective. From one point of view, multiverse cosmologies are an internal, disruptive other to the western metaphysics of substance and politics of dominion. From another, they assist and reaffirm it. This is the reason that I find perspectivism itself such an apt cosmological motif: as Cusa knew, any cosmic body occupies the center of its own universe. As Einstein figured out, any body can be said to be at rest or at motion from its own perspective. And as Marovich reminds us, what is “universal reason” from one perspective is a limited, exclusionary exercise in categorical-material violence from another perspective, which is arguably more valid than the first. (To affirm a multiplicity of perspectives is not to say they are equally defensible.)

"To gain some perspective on these multiple constructions of perspectivism, I find helpful T├ónia Stolze Lima’s and Eduardo Viveiros de Castro’s work on Amazonian ontologies. As Lima explains, what is a “hunt” for the Juruna is a “warfare” for the white-lipped peccaries, who just like the Juruna see themselves as “human” and the other as “animal” (Lima, “The Two and Its Many,” 121). Similarly, a “snake” to the Matsiguenga is a “fish” to neighboring strangers; what is “blood” to a human is “beer” to a jaguar (Viveiros de Castro, “Exchanging Perspectives, 472). “What seems to be happening in Amerindian perspectivism,” Viveiros de Castro explains, “is that the substances named by substantives like fish, snake, hammock, or beer are…relational pointers” (472). In other words, every thing is only itself-to-something-else, or itself from a particular perspective. And something else from another."


Patient Suffering

-by Frank King, 1910

(Father Dearborn is a personification of Chicago)


For sale - LCRW


for sale
$100 (magnets not included)

pictured is 14x17, but I'll cut it down to 6x9 before mailing maybe?



I did a report for the Comics Journal on the Minneapolis comics show Autoptic

Here's some extra notes
from the cutting room floor:


The Grace Period is Over

Boston's Mayor Marty Walsh: "I'm pleased to announce the #BOSMeltNow [?-link] challenge has come to a close, as the pile officially melted today, July 14."
Leon Beyond covered this:


And-Then vs. Therefore

…the distinction between "and then" storytelling vs. "therefore" storytelling. The reason I'm writing is because I think that while it's true that your story is more of an "and then" kind of thing, and while I think that is FINE, maybe the story should maybe take on more of the characteristics of poetry? It could more directly announce itself as "not a story." That way the reader isn't misled and becomes confused and hostile: "what is up with this story? It just drifts around...what's the point???” I was reading Walt Whitman this morning and I remembered that poetry is a classic place for the "and then" storytelling. It’s a rhythmic musical form for language, consciousness, order, etc., instead of the "logic" of character. When the story’s form arises more immediately and primarily out of the characters’ wants and personalities, the logic of "why did they do that?" that you find in the classic 3-act dramatic form of storytelling and in general folk psychology…

…comics can be thought of as lists, and lists can be thought of as chants. W is associating a bunch of things together not according to therefore-logic, but in a ecstatic union-in-time, with rhythmic or musical logics, like a good DJ at a good party…

…still, you should learn the "therefore" style of storytelling…experiment with it, because it's a very valuable tool and generally more popular form of $torytelling. In general I think we read things for the story, but we remember the music. I don't know—I'll have to think more about this…

…look at the forms of the great poets and musical forms and think about how to translate those forms into comics… 


Sunday Painting

33 Twitter comic

Daily F            "Viral Webcomic"                                                                                          by Kevin H

Daily F webcomic 7/6/15 dailyf.blogspot.com.comic.web


7/3/15 - Notes on Method - Comics / Typography

"...I think you should try thinking about clarity[...]A crucial place to focus is on your lettering. In your sketchbooks, copy typography that appeals to you, and approach your cartooning the way good typography is designed, balancing positive and negative spaces so that your panels "read" quickly and clearly. Cartooning can be thought of as graphic design, and as a typography of icons, or maybe just as having good handwriting, if your handwriting also includes a system of complicated emojis. In your sketchbooks try developing your own fonts—nothing fancy, just letterforms you like—and then play around with using them in non-sequiturs and to say offensive things, whatever gives them energy and keeps it interesting. Create your own "fonts" of  imagery too–instead of drawing a character from scratch each time, create a system in which you limit poses and character sizes to a only a few standard sizes and views, then trace those into panels before customizing the figure to whatever the needs are of that particular moment in the story (e.g., BushmillerNeil Jam, Segar, etc.). Another recommendation is to use graph paper (e.g., G. Bell), or (I prefer this–>) paper with dots in a grid pattern (link). This will keep you on track with at least the horizontal and vertical lines. Grids are very important for clarity..." 

"...the greatest cartoonists often have their own individual "feel" for typography, their own "font suitcases." When we think of the great cartoonist X we can also usually think of what is [X]-ian, their style or aesthetic that includes more than just the comics—there's also the "types" of typography they tend to use, a sense of design ..."

"...a general rule to remember is that if your hand-writing is difficult to read, your cartooning is probably difficult to read. Experiment with shrinking and enlarging your panels to get a sense of what size is ideal for legibility in different contexts..."

0 1 2 3 4 5 6 7 8 9
a b c d e f g h i j k l m n o p q r s t u v w x y z
, . … : ; ? ¿! ¡ # $ & @ ¤ ¢ £ ® © ™ % ‰ * + - – — _ = ~ ∞
( ) < > [ ] { } “ ” ‹ › / \ “ ” „ ‘ ’ " '



I colored this Blobby Boys Strip and I also did the tones in the "Palm Springs" section of Crickets 4.

Here's an early version of the last page of that sequence:

I knew Sammy wouldn't go for the gradients, but I wanted to see how it looked.


.lcrw cover

"black and white artwork that is vaguely optimistic about the relationship between humanity and nature, for which I can offer you $xxx."


Alla Prima 16 (end)

previously — 
one /// two /// three /// four /// five /// six /// seven /// eight /// nine /// ten /// eleven /// twelve /// thirteen /// fourteen /// fifteen

Pages 58-61:


Alla Prima 15

previously — 
one /// two /// three /// four /// five /// six /// seven /// eight /// nine /// ten /// eleven /// twelve /// thirteen /// fourteen

pages 49-57: