whit taylor

That moment when @taylorswift is late to the Grammys….. Forget the Batmobile … It’s the Swiftmobile ! 💪👍🙌🏎
Listen to the awesomeness of the ONLY supercar in the WORLD with Taylor’s name on it ! The Swiftmobile is a 2015 Dodge Challenger Hellcat! It’s one of the fastest cars on the planet. It’s loud and proud and turns heads everywhere it goes ! Taylor, let me know when you’re ready to ride in your Swiftmobile !
@wildestdreams8913 @brianc6234 @thisnightiswonderstruck @jessicaswiftie1989 @jacindyyy @jamilovesswift @west-coast-taylor @wonderstruckblog @whit-tay13 @wishfulthinkingswift @taylorswiftedit @tayl0rrnation @welcometonewyork1988 @welcometonyitsbeenwaitingforyou @taylor-swiftgrotto @swiftysparkle13 @swiftieunite @swiftieonwildestdreams @messofadreamer-13 @meredithandolivianoitsbecky @waffleswiftt @put-my-name-on-the-topofyourlist @taylortwister @worldsoldestswiftie @swiftthisway @swiftinginanicedress13 @daddysaidstayawayfromjuliet @blank-space-swift @sammy-swiftie13 @itsbrittanyswift @kylejonaslovestaylorswift @swiftiesparkleshine @cleansaidithinkiamfinallyclean @shakeitoff6202 @shakeitoffliketaylor @blankspaceswifted

Comics Workbook Magazine #6 will debut at Comic Arts Brooklyn, Saturday, November 8th.

This is a bit of a homecoming for us. CWM#1 debuted at CAB 2013 and we never could have predicted the quality and enthusiasm everyone’s brought to the magazine in its first year. (#1-5 are available at Copacetic Comics.)

This new issue features a conversation between Patrick Kyle and Jason Murphy, an interview with William Goldsmith by Jamie McMorrow, Sara Lautman’s reviews of A Voice in the Hall by Sarah Schneider and Dragon’s Breath by MariNaomi, an interview with Ben Passmore by Sophie Lucido Johnson, an essay on the work of Klára Grančičová by Kimball Anderson, and an interview with Yumi Sakugawa by Whit Taylor. Cover by Jason Murphy.

Comics Workbook Magazine is edited by Andrew White and Zach Mason, and designed by Zach Mason.


We’re so proud to tell you that Whit Taylor’s The Anthropologists was included in the 2015 Best American Comics notables list.  If you haven’t checked out this excellent autobiographical examination of race and self, you can find it here in our webstore!

There are so many great artists in the collection and notables list this year - including Yumi Sakugawa (author of the Sparkplug book Bird Girl and Fox Girl).  Congratulations to everyone and thank you to Bill Kartalopoulos for his work on this anthology.

10 Tips for Cartooning When You Work Full-Time

I decided to write this piece in response to an essay that I read yesterday. To summarize, it was from a woman who explained that she was able to achieve her dream of becoming a writer because she was able to stay at home and work on her craft all day while her husband supported her financially. First off, I applaud her for being honest about this. For people in this position, they usually don’t want to talk about it. And not talking about it can make the rest of us, who work full-time, wonder what we are doing wrong to not be able to achieve the level of production that some others do. Let’s be honest: working on your craft full-time or even part-time can take you to another level. But this is not a reality for most of us, especially in our early careers. So we’ve got to make due with what we’ve got. Here are some tips I have been learning along the way.

1) Find a job that accommodates your cartooning IF possible.

I say IF because this is not always possible, and odds are you are already in a job that you may not be able to leave. Most non-artists don’t get the frustration of having to take a “day job” to pay the bills when what you really want to do is draw all day. When you know what you’re capable of, but can’t fully do it at the time, it can be demoralizing. Outsiders may think that you just want to devote more time to your “hobby” and say “well, I wish I could play golf all day too, but that’s not how the world works.” Having an artistic passion is beyond a “hobby”, especially if you feel that it’s the most authentic thing you can offer to the world. Some people will not get it and you have to accept that.

But I digress. Luckily for me I have a 9-5 that can somewhat accommodate my cartooning. Yes, you may be thinking that 9-5s suck, but the upside is that I can leave at 5 without expecting to work overtime and I have the weekends off. For others, professions like teaching are ideal because you get nice long breaks, sometimes including the summer. So if possible, look for a job that accommodates what you really want to do, which is make art. And most importantly, don’t feel guilty about it.

2) Enjoy office perks.

Assuming you will not get in trouble for it, take advantage of what your job has to offer that might help your cartooning. For instance, if you work in an office, check to see if you can use the printer/copier/scanner after hours. I work at an art school so I have Photoshop on my computer, which I sometimes use for my comics. I’m in no way endorsing stealing supplies from your office though!


This is vital, especially if you work a desk-job or something that requires you to be sedentary most of the day. You don’t want to become Quasimodo, so get to steppin’. Seriously though, sitting all day, and then sitting some more once you get back to your house (or wherever) to cartoon, will take a toll on your body.

I started to realize this recently when I noticed that my posture was getting worse. But it really hit home when I started to have pain in my right wrist and fingers. I type all day, so that, combined with drawing for a few hours each night, has made me worry about injuries. I consulted some people and am now trying to stretch and take more breaks. To start I would recommend checking out Kriota Wilberg’s excellent comic (No) Pain! A Guide to Injury Prevention for Cartoonists. If things are getting much worse though, consult a doctor.

4) Set a schedule.

Easier said than done, but I find that it really helps me actually get work done and move towards my goals. If you’re a morning person, try getting in a little time before work. And if you’re a night person, well, do it after work. You can set schedules like  “I’m taking 2 hours EVERY night to draw” or “by the end of the night I will have one page penciled”. Building that time into your already busy schedule can be trying, but it is necessary if you want to actually produce work.

5) Make the most of the weekends.

Weekends can get super busy, but try to set a chunk of time, at least on one day, to get some work done. I love the weekends because I’m the sharpest in the mid/late morning. It can be a routine to look forward to at a time that is not as rushed.

6) Quality over Quantity

So you set a schedule, but you’re tired as hell after a long day. It’s OK to take some time off. In fact, if you feel like the quality of your work is suffering, it’s super important. In reality, it’s always harder to make work at the level you want when you are working full-time, unless you are some sort of super human. I am guilty of this (no, I don’t mean being a super human). I am learning that I need to do the opposite of my impulse, which is to draw quicker and with less refinement (which is what I ultimately want). So I’m teaching myself to slow down, even if I’m not getting as many pages done each week. It’s OK. You are working full-time and that’s a reality.

7) Attempt to have a social life.

When you have to juggle a full-time job with cartooning, something has to give. For many, myself included, it can be your social life. Make your best effort to maintain some balance for two main reasons. Being a hermit can be good at times, but depriving yourself of social interaction can actually make you less productive because you are not restoring yourself and meeting all of your needs. And second, living in the world gives you stories and different perspectives…especially if you write autobio. So leave the cave.

8) Don’t neglect maintenance.

Again, juggling can lead to neglecting other aspects of your life. By maintenance, I mean things like cleaning your house, exercising, sleeping, and not wearing sweatpants all weekend. Well I guess the last one is optional. What I’m trying to say is, if you slack off on these other parts of your life, it will actually stress you out more. And that’s the last thing you need.

9) Remind yourself why you’re doing what you do.

Sometimes working all day while attempting to achieve your real dreams can seem futile. But you have to remind yourself of why you’re putting yourself through this self-imposed hell (I’m kidding … for the most part). Seeing your completed work is super satisfying, but beyond that it helps to get involved in the comics world, especially by going to cons. Sharing your finished product with others, checking out other stuff that’s being created, and making connections with other artists makes you realize that you belong to community of people with similar struggles and aspirations.

10) Be patient.

Things may progress slower for you if you’re working full-time, but know that sticking with it, putting out quality work, continuing to learn your craft, handling criticism and praise, and getting to know others in the comics community are what will help you get to where you want. So don’t give up!

-Whit Taylor


Here’s a segment from “Gestures,” a collaboration between Simon Reinhardt and Whit Taylor featured in Dog City #4.

Simon is one of the editors of Dog City and he has also self-published a variety of solo minicomics. Whit is the creator of the Ignatz-nominated Madtown High, the editor of the anthology SubCultures, and a frequent contributor to The Nib.

Dog City #4 debuts at SPX and is available for preorder now.

Comics Workbook Magazine #10 will debut at Comic Arts Brooklyn.

This issue is guest edited by Whit Taylor (who also created the cover) and includes a conversation between Sara Lautman and Scott Longo, an essay on Chantal Montellier by Dan Mazur, comics by Aatmaja Pandya, Hannah Kaplan, and Nicholas Offerman, as well as a discussion between Keiler Roberts, Scott Roberts, and Rob Kirby.

Comics Workbook Magazine #1-9 are currently available digitally through the Comics Workbook Rowhouse Residency campaign.

In-print back issues are available from Copacetic Comics.


This new trio of excerpts from What’s Your Sign, Girl? features the two signs ruled by the planet Mercury—how’s that for a theme, astrology fans?—namely, page one of my in-progress Virgo story and the first two pages from Gemini Whit Taylor’s wonderful 5-page story“The Duality.” 

More excerpts coming soon! What’s Your Sign, Girl? is coming this fall from Ninth Art Press, debuting at SPX.

Cartoonist and critic Whit Taylor has reviewed Cat PersonSeo Kim’s collection of hilarious comics featuring feline and human foibles—for Panel Patter.

Cat Person is certainly cute, but it is much more than that, making for a charming, funny, and relatable read.” — Whit Taylor, Panel Patter

Read the rest of Whit’s review here!

On Being a Black Female "Indie" Cartoonist

from Madtown High

[Note: I know some people do not like the term “indie” but in reference to the past post, I will use it]

A few weeks ago I asked Darryl Ayo the following question on Tumblr:

What are your thoughts on why there are such a small number of African-American female “indie” cartoonists? Or are we just not hearing about them?

After digital-femme gave feedback and Kate Beaton reblogged it, the whole thing blew up, which I was not expecting. I know it’s a bit after the fact, but I needed some time to respond adequately to the discussion. Here’s my attempt at it.

Keep reading


(via https://www.youtube.com/watch?v=vfhncaGl9o4)

Hey, we’re back on schedule! We love Whit Taylor’s comics, and we get in-depth about Anthropologists and her most recent effort, Ghosts. Amazing comics, great conversation!

Whit Taylor Links:

Hosts this episode:
Jacob Canfield (hoobhan.com // twitter.com/hoobhan)
Andreas Stoehr (pussygoesgrrr.com // twitter.com/astoehr)
Carolyn Nowak (carolyncnowak.com/ // twitter.com/carolyncnowak)
Ashley Avard (pussygoesgrrr.com // twitter.com/Sailor_P00n)

“Always Friends” by Secret Cities: secretcitiesmusic.com/


Born on 9-04-15: I got my brand new copies of What’s Your Sign, Girl? yesterday, and I’m so happy with it. It looks great! It’s a Virgo, like me. 

Let me show you a little bit of the book! Above, from top to bottom: there’s me (who else), proudly showing off the cover; then there are pages inside from Whit Taylor (Gemini), Tyler Cohen (Cancer), Cara Bean (Leo), me (Virgo), Eric Kostiuk Williams (Scorpio), and Annie Murphy (Capricorn). Covers were rendered by the incomparable Michael Fahy

Remember: I’ll be hawking What’s Your Sign, Girl? at SPX on Sept 19th & 20th. I’ll be tabling next to Dylan Edwards who (with help from me) will be repping for Northwest Press! I hope you’ll come by and see me/us at TABLE H12.

Remember, if you won’t be at SPX you can order WYSG any old time you want by clicking here. 

Whit Taylor interviewed Dog City on Panel Patter! Thank you Witt <3

Read on up, if you want to get hip to the making of this box anthology.
Interview available here.

Whit: What makes a mini-comic successful to you?

Simon: Well, I think you can make a successful mini-comic just by putting a good comic into print. But my favorite mini-comics, and the ones I’m most keen on including in Dog City, make use of the hand-made, small print run format to enhance the reading experience.

Some of the comics we’ve put in Dog City use the mini-comics format in obvious ways; for example, the do-si-do format of “Going in Blind” by Tom O'Brien and Alison Bannister couldn’t exist in a standard square-bound anthology. But other comics make use of the mini-comics format in subtler ways–Jenn Lisa’s comic “Garrettsville” has an immediacy and an intimacy to it that I think are bolstered by the hand-made format. You could easily include a comic like that in another anthology, but I think having it in it’s own little book, designed by the artist, heightens the sense that you’re getting a transmission direct from Jenn’s hands.

Luke: I agree with Simon on the points he made. 

I love to see anything that feels fresh, and does something I’ve never seen before, especially if it’s a new use of the words/pictures dynamic in a comic. But yeah, that’s a bit of a tough question for me to answer. Mostly, I just kind of feel it out. The mini-comics I like the most have that je ne sais quoi, or x-factor, whatever you want to call it. Something special. If I like reading it on a visceral level, then it’s a success for me.

I think something that strengthens the boxes over all, is the fact that each of us has slightly different tastes when it comes to comics and mini-comics. I am definitely most attracted to narrative work. I love to read a satisfying story, and a mini-comic seems like such a nice fit for a short, self-contained piece. I’d say that my tastes are probably a little more conservative than Juan and Simon’s. I don’t usually have a lot of patience for very abstract pieces, but I like to be convinced. So when Juan and Simon are both really excited about a cartoonist, or comic, it would take a pretty strong negative reaction for me to veto it’s inclusion. And I think that works both ways. Or all three ways.

Juan: Part of the success of a mini-comic is how it uses physicality to its advantage. By embracing a physical format a comic can gain a lot of levels of meaning and feeling that effect how readers experience a comic. I believe that the best format for a comic is the format that ensures a reader bring to the reading experience the necessary state of mind, as desired by the author. 

I always ask myself, “Why should this comic exist in print?”. If the totality of a comics’ effect on a reader arises solely from the comics content, the comic might not gain much from existing physically. Something that I love about print comics is by existing physically it demands focused attention from the reader. There’s a certain quieting of the mind that happens. There’s a preciousness to the reading experience that I like.

For me, a successful mini-comic feels like an artifact worth preserving. I like for comics form and their content to be in tune with each other, or deliberately out of tune with each other. There a so many different harmonies that comics makers can elicit between the form and content of their mini-comics!  If it’s a disposable story, I want a cheap disposable format.  Adding french flaps on a 16 page issue 2 of a sci-fi buddy comic or expensive, luxurious paper stock for a collection of autobio comics will likely have an averse effect on how harmonious the mini-comic reading experience is.

3 Comics Sites Producing Smart, Feminist Work

(No. 2) Mutha Magazine

Mutha Magazine- Founder Michelle Tea mentions that one of her aims for this site is to offer a space where all types of mothers can have a voice. The site, which features prose as well as comics, has some of the finest comics about modern motherhood from talented creators such as Tyler Cohen, Glynnis Fawkes, Summer Pierre, Keiler Roberts, Rachel Masilamani, and Lauren Weinstein. Beginnings End: A Comic by Rina Ayuyang was nominated for a 2014 Eisner Award for Best Short Story.

- Cartoonist Whit Taylor

Learn more about Nat. Brut!

13 Things I Learned at SPX 2013

This was my third year attending SPX and I always come away with new insights every year. This year was interesting for me, because I was up for an Ignatz Award too, which was totally unexpected, but great. I didn’t win (I mean, I was up against Michael DeForge, c'mon), but it was a great experience overall. Here are some things I learned this year.

1. Pack Smartly

This goes without saying, but can be difficult due to several factors. I got my comics reprinted last minute and wasn’t able to ship, so I had to bring them on the plane from Boston. I was dumb enough to pack them in a humongous duffel bag (see below), which I thought would be fine as long as I asked the flight attendant to label it ‘fragile’. Big mistake. Guess she forgot because when I went to baggage claim a) it was not labeled b) some of my comics were bent. So I got all pissy at one of the customer service reps (and we all know how productive that is) and arrived in a bad mood, even though it was partially my fault. So plan ahead!

(Fig A. Idiot!)

2. Dress Appropriately

Prepare for a variety of temperatures. It was 80ish degrees in Boston before I left, so I assumed that farther south it would be warmer, and didn’t bring anything but a flimsy sweater. It turned out to be pretty cool at night, but the most notable issue was that the ballroom was pretty cold on Saturday. So come prepared!

3. Eat Well

Eating right can be hard when you are on the go, at a table all day, and on a budget. I’ve made a lot of mistakes in the past regarding this, and yet I continue to make them. Last year in my recap I noted that I always end up with sloppy foods. The worst was when I was tabling at APE a few years back and my brother bought me a chili dog. Needless to say, that didn’t go well because a) it greased up some of my comics, and b) made me look like weirdo in front of attendees. So get with the program.

This year I didn’t do too well either. I ended up getting an la carte pasta salad at the show and thought I had made a steal for $2.50, but it turned out to be only a thimble’s worth of food. Like literally. I then ended up at Cici’s Pizza Buffet that night. My buddy had suggested it because it was cheap and because we had to eat quickly before the Ignatz Awards. Never eat macaroni and cheese pizza. I am lucky though that I did not get Salmonella from the salad bar.

What I would suggest is trying to pick up healthy snacks or things that are rich in protein. Beef jerky all the way. Drink lots of water. And stuff your face with hash browns at the breakfast buffet once if you are so inclined.

Fig B. (I did not eat this)

4. You Are Not Your Sales

To be honest, I didn’t do as well this year as I had hoped. This is probably for multiple reasons, both in and out of my control. It’s always important to consider your table set up and body language. Looking depressed? Well that shows. Being overly eager and intently watching people as they browse your stuff? Also not the best idea.

The show did expand in size this year though. Many people I talked to reported great sales, but some did feel that the competition was a bit higher due to the growth.

When you’re down about your sales though, think about how you act as a browser or attendee. There are so many amazing things, but only so much time and money. Just because someone doesn’t buy from you doesn’t mean they don’t like your stuff. It could be plenty of things. And if they don’t like your stuff? Well, that’s part of life.

But again, don’t base your self-worth as a creator on your sales. Consider how you can improve your presentation, but take it all in stride.

Fig C. Picked this up on the plane. You will probably make more in one day than Sky Mall makes in a year.

5. Get a Square

This may not be necessary if you are only selling items for under $5, but it’s definitely something to consider. I almost lost out on a few sales because I didn’t have one, but Melanie Gillman, my neighbor, was kind enough to let me use hers. So get one! It’s free!

6. Sell Things Other Than Comics

After observing and talking to lots of sellers, I realized that prints tend to do way better than comics, with the exception of comics from already established cartoonists. I don’t have enough knowledge about graphic novel sales though. If you can sell quality prints do it.

7. Meet Your Comics Heroes

Just to clarify, I am not talking about comic heroes such as Wolverine or Spiderman…because that would be impossible unless you’re on acid. Anyhow, it can be intimidating to approach the people who have inspired you so much, but saying hi respectfully can’t hurt. And yeah, be that cliched person who says you like their work, because, well, you do! Don’t be afraid to ask people about their process because, ultimately they probably started out like you.

8. Don’t Miss Out On That Signing

I really wanted to get a signed copy of March, but was hesitant because I wanted to man my table and the line was a bit long. Luckily my friend convinced me to go. I was so relieved I did though. It was an honor to meet Congressman John Lewis, Nate Powell, and Andrew Aydin and the book will be a much welcomed present for my parents, especially since my grandpa was very active in the civil rights movement. So yeah…take a break from your table, because this might be the only chance you get.

9. Trade

Trading comics is a long-standing tradition in the comics community. There’s something really equalizing about exchanging your work with other people. Many people though, do not share this sentiment. I believe there are some exceptions: graphic novels (uh duh), color comics which were expensive to print, exchanges of unequal value, and comics that you are running out of. But be generous if you can. Not only will you build relationships that way, but you might find something awesome that you never would have picked up on your own.

Fig D. The Loot

10. Embrace Your Awkwardness, But Not Too Much

Given our nerd-dom and the solitary nature of our calling, many cartoonists can be socially awkward, myself included. Shooting the shit and networking can be both nerve racking and exhausting, but you just gotta do it. Realize that for the most part, many are in the same position and it’s OK.

A note on booze: SPX and drinking go hand in hand for many and this definitely can ease any nervousness. Saturday night is notorious for partying (why do you think the show starts late on Sunday? Duh. Actually I can not confirm this) and is a blast. But one word of caution: don’t get sloppy. You may end up being that person who boldy interrupts someone’s private conversation that you’ve been listening to with a supposed insight, and then forget what you’re saying…not that I did this…

Which brings me to:

11. Don’t Be A Jerk

Don’t be a jerk, por favor. This goes for exhibitors and attendees. If you’ve seen another exhibitor at multiple shows and recognize their face, acknowledge them, even if you don’t know their name, are not familiar with their work, or just don’t plain like their work. People are practicing the same craft as you, are doing it because they love it just like you (hopefully), and are putting themselves out there just like you. Nod, waive, smile, or wink …ok, don’t wink, that’s creepy. But you get the point.

As for attendees, three pieces of advice: don’t be the person who stands there reading someone’s entire work and then not buy it. It’s poor form. If you are talking to someone at a table, make sure not to put your personal belongings on their neighbor’s merch. Also, if you are looking at someone’s work, please make sure to handle it with care and respect. No one likes to have their stuff mishandled.

So yeah…just sayin’

12. Reach Out to People You Only Know Through The Internet

In this day and age, many of us have never seen our followers or comics friends in person. Make an effort to seek people out who you talk to over the interwebs. As they say, the majority of communication cues are lost in the digital world, so it’s always nice to get to know people in the real one.

13. Practice Gratitude

So things didn’t go according to plan. So you didn’t make the sales you wanted. Practice gratitude. Be grateful that you were able to table (Damn you TABLEGEDDON!) Be grateful that you arrived alive (ok, I’m not trying to sound all morbid, but travel day was Friday the 13th). Be grateful that your most personal work has resonated with other people. And be grateful that you’ve met and caught up with so many amazing and talented people. Really, it’ll change your perspective.



It’s clear that Taylor did some serious soul-searching and healing in order to produce this book, and the narrative reflects the intensity of that journey. She points to the vastness of evolution, the infiniteness of the universe, and the richness of epic storytelling through her encounters with her idols. And then she zooms in on the finite, the smaller instances of single life spans with individual stories of loss, letting go and death. And finally, she confronts her own story and somehow balances it between those two extreme benchmarks. The resolution: a deep exhale, and acceptance that, even in mid-sentence (which is how the book ends), you can really, truly learn to let things go. But that takes a long time and a lot of dedicated work to do that.

Fresh Comics #7: Giving Up The Ghost