this is still the ultimate popeye comic panel
Hello! I love your work and was wondering how I could go about getting one of your designs on my body. Do you usually ask for some compensation for using one of your designs??
No compensation necessary. But I would love to see a photo of the completed tattoo!
Hung some drawings yesterday. You can see them in person at Floating World Comics (@floatingworldcomics) all month, but the opening thingy is tomorrow (Thursday, January 05) from 5-7pm. The last few images are detail shots of some of the monsters I drew. Hope to see you there!
#inkdrawings #originalart #firstthursdayportland #floatingworldcomics #sophiefranz #fareldalrymple https://www.instagram.com/p/CnAD8RlpjZQ/?igshid=NGJjMDIxMWI=
You're probably all well aware of ZCMAG and the Zine Crisis discord server. If not, consider this your invitation to join! This manifesto obviously owes much to Bread and Puppet Theater's Cheap Art Manifestoes, and Jugendstil design. It can be printed and and assembled into a simple zine which I hope you'll consider distributing as widely as possible. (Instructions here.)
“Better put some flowers in your hair, Agnès, it won’t be long now” Laid Waste, a graphic novella of the Black Death, by Julia Gfrörer
what’s your policy on getting pieces of your art tattooed?
Be my guest! I would love to see a photo of the finished piece. :)
Doodles from a talk on The Best American Comics 2018 with Bill Kartalopoulos, Julia Gfrörer, Julian Glander @awfulland, Kevin Hooyman @hooyman, and Julia Jacquette at @strandbooks 10-3-2018.
I bought a new comic today (Laid Waste by Julia Gfrorer) and what a fucking power move with the dedication
Julia Gfrörer: “A lot of apocalypse scenarios (because, as has been pointed out many times this week, it’s a genre) don’t address very much what happens to people who are receiving medical treatment, people who are disabled, people who need certain types of interventions in order to have any kind of quality of life. And I think in a lot of stories, those people are just assumed to have died while the able-bodied people are, you know, building their New Eden or whatever. Like, I mean, it’s kind of an implicit, uh, genetic cleansing, right? ‘Cause the idea is that all the weak people die off.”
Gretchen Felker-Martin: “A lot of apocalyptic scenarios are very, very fascist in a lot of different ways, and are really sort of silently built upon the idea that anyone undesirable is now dead.”
From their podcast “Lament Configuration,” discussing Felker-Martin’s new book, Manhunt (which follows trans, fat and disabled people in the apocalypse)
I mean if we’re going to be 100% viciously based in reality, that is exactly what does happen when the institutions of society people take for granted collapse. If they’re not functioning, nobody will be minding the proverbial store taking care of people. This is also why the people who stand to lose most in revolution shouting loudest for it are literally building the gallows and tying the rope to hang themselves and expecting to be cheered on for it.
Of course in a real-life collapse of civilization scenario there’s a lot of factors omitted in most fiction for the same reasons you seldom see people taking a shit or figuring out how the logistics of a story works in any kind of realistic way.
The extent to which this person has missed the point is honestly staggering
I feel bad for Julia and Gretchen that internet doofuses constantly line up in front of them with the worst opinions ever seen, just begging to be made fun of Like both of these ladies are pretty good about presenting their ideas in easy-to-parse ways, even in their unscripted podcast (a medium that’s usually notoriously wending) where they just talk about complicated things. You usually have to WORK to misunderstand them
People are constantly inventing new ways to be wrong just for them, it’s like they’re cursed or something
Julia Gfrörer: “A lot of apocalypse scenarios (because, as has been pointed out many times this week, it’s a genre) don’t address very much what happens to people who are receiving medical treatment, people who are disabled, people who need certain types of interventions in order to have any kind of quality of life. And I think in a lot of stories, those people are just assumed to have died while the able-bodied people are, you know, building their New Eden or whatever. Like, I mean, it’s kind of an implicit, uh, genetic cleansing, right? ‘Cause the idea is that all the weak people die off.”
Gretchen Felker-Martin: “A lot of apocalyptic scenarios are very, very fascist in a lot of different ways, and are really sort of silently built upon the idea that anyone undesirable is now dead.”
From their podcast “Lament Configuration,” discussing Felker-Martin’s new book, Manhunt (which follows trans, fat and disabled people in the apocalypse)
I mean if we’re going to be 100% viciously based in reality, that is exactly what does happen when the institutions of society people take for granted collapse. If they’re not functioning, nobody will be minding the proverbial store taking care of people. This is also why the people who stand to lose most in revolution shouting loudest for it are literally building the gallows and tying the rope to hang themselves and expecting to be cheered on for it.
Of course in a real-life collapse of civilization scenario there’s a lot of factors omitted in most fiction for the same reasons you seldom see people taking a shit or figuring out how the logistics of a story works in any kind of realistic way.
The extent to which this person has missed the point is honestly staggering
Julia Gfrörer: “A lot of apocalypse scenarios (because, as has been pointed out many times this week, it’s a genre) don’t address very much what happens to people who are receiving medical treatment, people who are disabled, people who need certain types of interventions in order to have any kind of quality of life. And I think in a lot of stories, those people are just assumed to have died while the able-bodied people are, you know, building their New Eden or whatever. Like, I mean, it’s kind of an implicit, uh, genetic cleansing, right? ‘Cause the idea is that all the weak people die off.”
Gretchen Felker-Martin: “A lot of apocalyptic scenarios are very, very fascist in a lot of different ways, and are really sort of silently built upon the idea that anyone undesirable is now dead.”
From their podcast “Lament Configuration,” discussing Felker-Martin’s new book, Manhunt (which follows trans, fat and disabled people in the apocalypse)
The concept of “obscenity” is tested when we dare to look at something that we desire to see but have forbidden ourselves to look at. When we feel that everything has been revealed, “obscenity” disappears and there is a certain liberation. When that which one had wanted to see isn’t sufficiently revealed, however, the taboo remains, the feeling of “obscenity” stays, and an even greater “obscenity” comes into being. Pornographic films are thus a testing ground for “obscenity,” and the benefits of pornography are clear. Pornographic cinema should be authorized, immediately and completely. Only thus can “obscenity” be rendered essentially meaningless.
Nagisa Oshima, from “Theory of Experimental Pornographic Film” (1976)
what does hand gesture you have mean? The one with index and middle fingers crossed with thumb and index finger touching and it has a third eye on the palm of the hand. I can't seam to find any info on the internet about it.
I don’t know either! It was a commission, I just drew what the person asked me to draw, sorry.
I’m interested in tragic love stories, obsessive sex, conflicted morals, betrayed trust, unreasonable demands, lies, self-harm, suicide. I can already tell this is an asshole answer, but I’m trying very hard to be honest. I like pain. I’ll chase anything that bleeds.
Vision | Library Journal
Gfrörer (Laid Waste) presents a haunting exploration of the painful vulnerability that results from a desire for human connection in this exquisitely drawn erotic thriller. A Victorian-era spinster named Eleanor feels trapped living with her younger brother Robert and wife Cora. Attending to Cora as her mental and physical health rapidly decline requires Eleanor’s constant attention, precluding her from finding time to undergo surgery on a cataract growing over one of her eyes. Her only meaningful relationship is with the disembodied spirit that possesses the mirror in her bedroom, which showers her with praise and affection when it’s not flying into a jealous rage. Meanwhile, Robert seems increasingly unhinged, and Cora insists that she’s the victim of mysterious disturbances during the night. Eleanor’s desire to join her disembodied lover in the inky void within the mirror is complicated when she develops an unexpected attraction to Cora’s doctor, setting in to motion a chain of tragic events that will alter—or end—the lives of everyone involved.
VERDICT Gfrörer’s deliberate pacing creates a sense of creeping dread and impending tragedy in this memorably disturbing, sexually charged ghost story.
(via Vision | Library Journal)
Source: libraryjournal.com
Vision
Julia Gfrörer.
Fantagraphics, $16.99 (96p)
ISBN 978-1-68396-315-8
Gfrörer (Laid Waste) continues to build her reputation as one of the foremost contemporary horror cartoonists with this dense and disturbing psychological twist on the haunted house story. Eleanor, a quietly frustrated woman living in an unnamed late 19th-century city, lost her shot at happiness when her fiancé was killed at war and has resigned herself to a life of spinsterhood, rooming with her sneering brother in their family’s town house and playing lady’s maid to his sickly, neurotic wife. When she ventures out, it’s usually to visit the doctor who corrects her failing eyesight with painful treatments. But in her time alone in her room, Eleanor hears a seductive ghost communicating with her through her bedroom mirror, sympathizing with her woes and encouraging her to release her repressed desires. Is this fantasy, or is the ghost, and other spirits haunting the family, real? The comic plays endless variations on the theme of vision, with images of mirrors, eyes, blindness, reflective knives, invisible presences, and the classic Victorian scenario of diving through the looking glass. Gfrörer’s twitchy, shuddering black ink work has an antique quality perfect for period fiction, while her storytelling suggests layers of Gothic menace under a placid surface and recalls classic writers such as Shirley Jackson. Gfrörer punctuates the subtly sinister domestic drama with bald sensuality and grotesque violence. This taut, titillating nightmare is guaranteed to haunt readers. (Aug.)