scanlations, scans from my collection, links to others' art, shit i could probably live without, but can't possibly. ...not necessarily in that order.
***personal work is at |


That feel where you wanna work on your project all night but you have to go to sleep because work.



Xurxo sent a revised version of the"Brief Manual for Cartoonists" by Moebius" Xurxo’s Tumbr here
I reviewed this thing and re translated a lot of it as well as corrected stuff from the auto correct and my own rushed mistakes.some points are more clear now and some remain ambiguous, they also are unclear on the spanish version. it’d be great to listen to how he actually said all these things, as some of them have clearly a colloquial humour element, for the crowd; like the stuff about editor demanding higher body counts, readers not buying books with poorly drawn women, grinning superheroes, aikido or jodorowsky’s dead horse allegation … which is something he did often speaking in public. "Brief Manual for Cartoonists" by Moebius
1. When drawing (by drawing), one must cleanse oneself of profound feelings; hate, happiness, ambition, etc.
2. It’s important to educate the hand, attain obedience, to fulfil our ideas; But we must be careful with perfection. To much perfection and too much speed, as well as their opposites are dangerous. 
When there is to much ease (looseness, fluidity), as on instant drawings, aside from there being mistakes, there’s no will of the spirit but only the body.
3. Perspective is of sum importance, it is a law of manipulation in the good sense of the word, to hypnotise the reader. 
It’s recommended to work on real spaces (directly from reality), more that with photographs, to exercise our reading of perspective.
4. Another thing to be learnt with affection is the study of the human body, the positions, the types, the expressions, the architecture of bodies, the difference between people. 
Drawing is very different when it comes to a male or a female; because in the male you can change the lines a little, there are some imprecisions that it can support to have. But with the female precision must be perfect, if not it may become ugly or look upset. then they wont buy our book! 
For the reader to believe the story, the characters must have life and a personality of their own, gestures that come from their character, from their diseases (illnesses); 
The body transforms with life and there’s a message within the structure, in the distribution of fat, in every muscle, in every crease of the face and the body. 
It is a study of life.
5. When a story is being made one can start without knowing everything, but making annotations (in the actual story) about the particular world of that story. That way the reader recognises himself and becomes interested (invested). 
When a character dies in a cartoon, and such character does not have a story drawn in his face, in his body, in his attire, the reader does not care, there’s no emotion; Then the editors say: ”Your story is worthless! There’s only one dead guy and I need 20 or 30 dead guys for it to work!”. But that is not true, if the dead, or the wounded or the ill or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). 
In these studies an attention for others is also developed, a compassion and a love for humanity (mankind).
It is very important for the development of an artist; If he wants to be a mirror, he must contain inside its consciousness the whole world, a mirror that sees (looks at) everything.
6. Jodorowsky says that I don’t like to draw dead horses. It’s very difficult. It’s very difficult to draw a body that sleeps, that’s abandoned, because in comics action is always being studied. it’s easier to draw people fighting, thats why Americans draw superheroes. 
It’s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for (costs) more, because it requires a love, an attention to the other, to the little things that speak about personality, about life. 
The superheroes have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
7. Equally important is the clothing of the characters, the state they’re in, the materials and the textures are a vision of their experiences, of their lives, of their situation within the adventure, that can say a lot with out words. 
In a dress there are a thousand folds;  2 or 3 must be chosen, but the good ones.
8. The style, the stylistic continuity of an artist is symbolic, it can be read like the tarot. 
I chose, as a joke, the name Moebius, when I was 22, but in truth (in reality) there is a significance to that. If you bring a t-shirt with a Don Quixote, that speaks to me of who you are. 
In my case, I give importance to a type of drawing of relative simplicity, in this way subtle indications can be made.
9. When an artist, a drawing artist goes out on the street, he does not see the same things other people see (normal people). What he sees is documentation about the way of life, about the people.
10. Another important element is composition. Composition on our stories must be studied, because a page or a painting, is a face that looks towards (faces) the reader and that tells him something. It’s not a succession of panels with out meaning. 
There are full panels and empty ones, others that have a vertical dynamism or a horizontal one and in all of that there is an intention. The vertical excites (cheers); the horizontal calms, an oblique to the right , for us westerners (western readers), represents the action that heads towards the future; an oblique to the left directs the action toward the past. Points (points of attention) represent a dispersion of energy. Something placed in the middle focalises the energy and the attention, it concentrates.
These are basic symbols for reading, that exert a fascination, a hypnosis (over the reader). 
A awareness must be had about rhythm; set a trap for the reader to fall into and he falls, gets lost and moves inside it with pleasure, because there’s life (inside the trap). 
The great painters must be studied, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen (studied) with that preoccupation for physical composition, but also emotional. In what way the combination of lines by that artist touches us directly in the heart.
11. Narration must harmonise with the drawing. There must be a visual rhythm even from the placement of words, plot must correctly manoeuvre cadence (tone), to compress or expand time. 
Must be careful with the election (casting) and the direction of characters. Utilise them as a film director and study all the different takes.
12. Careful with the devastating influence of north american comics in Mexico, because they only study a little anatomy, dynamic composition, the monsters, the fights, the screams and teeth (grin). 
I like them as well, but there are many other possibilities that must be explored.
13. There’s a connection between music and drawing. But that depends also on the personality and the moment. 
For around 10 years I’ve been working in silence, and for me the music is rhythm of the lines (the music he listens to).
To draw is sometimes to hunt for findings; an exact (fair, just) line is an orgasm!
14. Color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. There’s objective and subjective color, the emotional states (moods) of the characters influence the coloring and lighting can change from one panel to the next, depending on the space being represented and the time of the day. 
The language of color must be studied with attention.
15. At the beginning of a career, specially, one should attempt to create short stories but of a very high quality. There’s a better chance to finish them successfully and place them on books (anthologies) or with editors.
16. There are times when knowingly we head to failure, we choose a theme (subject), an extension (page length), a technique that does not suit us (convene). 
Must not complain afterwards.
17. When new pages are sent to the editors and are rejected, we should ask for the reasons. This reasons for failure must be studied and learn. 
It’s not about the struggle, with our limitations or with public or the publishers. It’s more about treating it like in aikido; the strength (power) of who charges is used to knock him with a minimum effort.
18. Now it is possible to find readers in any part of the planet. We must have this present. 
To begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in his own bubble; it’s communication with the beings closest to us, with oneself, but also with unknown people. 
Drawing is a medium to communicate with the great family that we have not met, the public, the world.
Mexico, August 18th 1996 compiled by Perez Ruizlink to the original article in spanish

"A hysteric […] perceives the lack in the Other, its impotence, inconsistency, fake, but he is not ready to […] complete the Other, fill in its lack - this refusal […]sustains the hysteric’s eternal complaint that the Other will somehow manipulate and exploit him, use him, deprive him of his most precious possession."

Slavoj Zizek (via alterities)

"Being both soft and strong is a combination very few have mastered."

Yasmin Mogahed  (via thatkindofwoman)

"He allowed himself to be swayed by his conviction that human beings are not born once and for all on the day their mothers give birth to them, but that life obliges them over and over again to give birth to themselves."

Gabriel Garcí­a Márquez, Love in the Time of Cholera (via lonequixote)

Comics, diversity


How can you say that comics is leading the way in diversity, when since my book, Prince of Cats came out- has there been one black artist/writer who has put out anything from marvel, DC, image… Dark horse? (Sanford greene?) And what about black women? The March, Harlem Hellfighters written by…

"Well John, if they are not going to make a distinction between Muslims and violent extremists, why should I take the time to distinguish between decent fearful white people and racists?"

Aasif Mandvi on The Daily Show (via nezua)

you really CAN. NOT. argue with that.

(via danny-d-danger)

"One of the greatest tragedies in life is to lose your own sense of self and accept the version of you that is expected by everyone else."

K.L. Toth (via lonehands)


When you grow up as a girl, the world tells you the things that you are supposed to be: emotional, loving, beautiful, wanted. And then when you are those things, the world tells you they are inferior: illogical, weak, vain, empty. The world teaches you that the way you exist in it is disgusting — you watch boys cringe backward in your dorm room when you talk about your period, blue water pretending to be blood in a maxi pad commercial. It is little things, and it is constant. In a food court in a mall, after you go to the gynecologist for the first time, you and your friend talk about how much it hurts, and over her shoulder you watch two boys your age turn to look at you and wrinkle their noses: the reality of your life is impolite to talk about. The world says that you don’t have a right to the space you occupy, any place with men in it is not yours, you and your body exist only as far as what men want to do with it. At fifteen, you find fifteen-year-old boys you have never met somehow believe you should bend your body to their will. At almost thirty, you find fifteen-year-old boys you have never met still somehow believe you should bend your body to their will. They are children. They are children.


Stevie Nicks (via whisperingwordsofwisdom)


Louis C.K. is one of the best comedians ever for multiple reasons.

I like Louis C.K., but I’ll disagree with him here. This position assumes that the joke teller will find it difficult explaining their bigoted joke, thus they will crash and burn. I’ve been around some racists/sexists who would gladly and proudly explain their racist/sexist joke in every racist/sexist detail. Some people just don’t give a shit. For a crash and burn to work, the joke teller must have a degree of shame. When people are dressing up as a murdered Trayvon Martin for Halloween giggles, I don’t think this approach will work. Those people have no empathy or shame. In fact, they enjoy and take pride in offending people. Some people are steadfast in their bigotry. You can’t shame everyone. Outfits like the Tea Party have made this crystal clear. We need to come to terms with that, and I think this approach is a weak point that progressives have. Some people cannot be shamed.

"The behavior of the man in question is considered normal in this business. And the few people who know about it consider it to be my fault for “falling for it” when he feigned interest in my work. In my pursuit of doing this work professionally I ran a gauntlet of this sort of thing."

Tess Fowler And Modern Day Misogyny In The Comics Industry - Bleeding Cool Comic Book, Movies and TV News and Rumors

We need to do a lot better than this.

(via iamdavidbrothers)

No. Fucking. Kidding.

Every time I have a conversation with another woman about conventions or pros to be careful of, every time we discreetly pass around names and tips for staying safe, it burns me up so badly to know that dudes are not, as far as I know, having parallel conversations about NOT DOING THAT SHIT IN THE FIRST PLACE. Certainly not with the frequency and volume and routine that we recommend wearing heavy shoes and not letting yourself end up alone in a corner with that one guy.

I’m putting this firmly on the men in comics, because, you know what? Men are the overwhelming majority of the folks in the industry with institutional and hiring power. Even most of the most senior women in editorial departments answer to one or more male boss, usually a dude who has been in the industry long enough and played its games effectively enough to be pretty solidly entrenched in the existing power structure, and, even if he is basically a decent human being, to have capitulated to and internalized and regurgitated appeals to tradition and status quo over things like personal dignity and safety and minimal professionalism.

Men in comics, especially men in positions of institutional power and popular visibility, you need to step the fuck up. It has been going on for so, so, so goddamn long. And the women who speak up get written off as squeaky wheels and malcontents and difficult, and patronized and blacklisted and quietly driven off, and everyone is fucking terrified to go public because the worst perpetrators are the most entrenched and protected.

So: If you’re in a position to speak up, and you’re not doing it; if you’re a boss who looks the other way while your male employees edge out and harass and sometimes even flat-out assault female colleagues and fans; if you’re a professional with enough of a name to command attention; and you see this and don’t speak up long and loud, fuck you. Fuck you so much, for standing by while shitheads poison the well because you were too afraid or apathetic to rock the boat when you were the only one with an oar. Fuck you for throwing your colleagues and people who could and should have been your colleagues under the bus, or standing by quietly while someone else did; for sitting on evidence and documentation; for not speaking up when you have the credibility and platform to make an actual goddamn difference.

I mean: When I said that one guy in the first paragraph, you knew who I was talking about, didn’t you? Doesn’t matter if we were thinking of the same names (and oh, you adorable, naive children who assumed that there could only have been one). What matters is that you knew and you didn’t do a fucking thing.

(via postcardsfromspace)

Rachel goes in, and she goes correct. Essential.

(via daviduzumeri)


ASM: Have you ever stepped back and realized that your work is considered important? Important in the industry, important academically?

PP: I’m hearing that, but…there’s a line that Frank Herbert has in Dune about when Paul Atreides sort of becomes the leader of the Fremen, where he has a meditation where he basically says that all roles and stations in life are temporary and in order to survive them, you must have a sense of the sardonic where you realize it’s the role, it’s not you. Otherwise it will consume you, and I tell Mark, my editor, when I wake up in the morning, especially since we’ve been traveling so much and being the face of Battling Boy. It’s like I’m the vehicle. This [gesturing at a copy of Battling Boy on the table] is what matters, I’m the vehicle. That’s how I really feel.


Sequential Wednesdays #23.1 – NYCC ’13 Interview With Paul Pope


But the 8-hour workday is too profitable for big business, not because of the amount of work people get done in eight hours (the average office worker gets less than three hours of actual work done in 8 hours) but because it makes for such a purchase-happy public. Keeping free time scarce means people pay a lot more for convenience, gratification, and any other relief they can buy. It keeps them watching television, and its commercials. It keeps them unambitious outside of work.

We’ve been led into a culture that has been engineered to leave us tired, hungry for indulgence, willing to pay a lot for convenience and entertainment, and most importantly, vaguely dissatisfied with our lives so that we continue wanting things we don’t have. We buy so much because it always seems like something is still missing.


"Your theory is crazy, but it’s not crazy enough to be true."

Niels Bohrto a young physicist

Danish physicist (1885 - 1962) - The Quotations Page

(via mudwerks)