
for the @guardian review
A digital scrapbook by the author of Steal Like An Artist and other bestsellers.
The Little Nun strip by Mark Newgarden
These were strips Newgarden drew in the late 80s/early 90s for The New York Press. Here’s what he said about them in an interview with The Comics Journal:
I was really trying to work with a lot of self-imposed limitations: No dialogue, pantomime strips with no close-ups, or very few close-ups. No “camera” moves. They were influenced a lot by [Ernie] Bushmiller, [Otto] Soglow too, who did The little King. It was always pantomime, the Little King character, anyway. He would only have the other characters talk. But in The Little Nun, no one’s allowed to talk. It’s all pantomime. You rarely see that stuff anymore. It’s a relatively hard thing to do. It’s not an easy thing at all. You almost have to draw like Bushmiller or Soglow, you have to be crystal clear and ultra simple in your drawings to make them read. A lot of people still have trouble reading pantomime strips. They are not used to looking at the pictures that closely. They’re used to reading it from balloon to balloon and then going on to the next thing.
They were hard. They took a long time. I did all The Little Nuns on gridded graph paper and it was like a lot of math. Slavishly making minute changes—the kind of stuff Bushmiller did as second nature. But it was a lot of slow work with rulers and Rapidographs and drafting stuff.
I have loved these strips ever since I saw them in the Chris Ware-edited McSweeney’s 13.
I always think of style as something that’s the distance between what you want something to look like, and what your hand and brain make it look like unintentionally. And there’s quite a gap there, and there’s some interesting stuff in that gap.
Some original drawings (as posted on Twitter) from Eleanor Davis’ wonderful, wonderful book about biking from Tuscon to Georgia, You & a Bike & a Road.
Showing people how to make comics and tell their stories by drawing and writing things by hand on paper in a way that is nondigital, non-searchable, non-‘scrapeable’ or monetizable now feels like something of a revolutionary act. Being a cartoonist and being recognized as a cartoonist means more to me now than it ever has.
If you draw, the world becomes more beautiful, far more beautiful. Trees that used to be just scrub suddenly reveal their form. Animals that were ugly make you see their beauty. If you then go for a walk, you’ll be amazed how different everything can look. Less and less is ugly if every day you recognize beautiful forms in ugliness and learn to love them.
Lynda Barry in Family Circus
This is so great: Jeff Keane drew Lynda Barry into a Family Circus strip:
I’d always heard that great art will cause people to burst into tears but the only time it ever happened to me was when I was introduced to Bil Keane’s son, Jeff. As soon as I shook his hand I just started bawling my face off because I realized I had climbed through the circle.
And how I did it was by making pictures and writing stories. To me the Family Circus has always been my wished for family. My soul family in the image world…
COMICS ARE MIRACULOUS!!! They are IMMUNE SYSTEMS! They are TRANSPORT SYSTEMS!!! They are TIME TRAVELING DEVICES!!
If you can, try to get a copy of The Best American Comics 2008 — Lynda drew a beautiful comic for the introduction with more about what Family Circus and comics meant to her growing up:

Filed under: Lynda Barry
John Lewis, March: Book One
Wonderful comic. As good as everyone says it is. Can’t wait to read the rest of the trilogy.
Filed under: my reading year 2017