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what are the haps

Works at Dinosaur Comics Lives in Toronto TOTALLY MARRIED Speaks all of the languages ever Born on October 20th
birdlord:

My friend Tim Maly and I wrote a book about surveillance this year! It’s just back from the printer, and boy are its arms tired??
If you live in Toronto, you can get your paws on it at Word on the Street in Queen’s Park this Sunday. It’ll be at Coach House’s booth, #146. I’ll also be doing a little reading there, at 3pm.
If you don’t live here, the best place to get it online is on the publisher’s website here. It’s heading to the bookstores this afternoon, and should be stocked within the next few weeks!

This book looks PRETTY GREAT, not gonna lie

birdlord:

My friend Tim Maly and I wrote a book about surveillance this year! It’s just back from the printer, and boy are its arms tired??

If you live in Toronto, you can get your paws on it at Word on the Street in Queen’s Park this Sunday. It’ll be at Coach House’s booth, #146. I’ll also be doing a little reading there, at 3pm.

If you don’t live here, the best place to get it online is on the publisher’s website here. It’s heading to the bookstores this afternoon, and should be stocked within the next few weeks!

This book looks PRETTY GREAT, not gonna lie

chompsky:

Good morning

Dogs

Jenn and I were going through some old boxes of stuff and discovered that she was actually a published cartoonist before I was!!
Daaaaaaaang

Jenn and I were going through some old boxes of stuff and discovered that she was actually a published cartoonist before I was!!

Daaaaaaaang

davidmalki:

I was at the library over the weekend, and they have all kinds of crazy books there! I was browsing the ‘eroticized autobiography’ section, hoping to find some inspiration, when I came across THIS book by RYAN NORTH.
Inside the front cover, the dedication starts right up with an indication of what’s to come:

This book is shouted from the rooftops at all the haters, all the squares, all the sugar-pushers, all the downtown cruisers, all the eagle-boys, all the late-night mamas, all the daddies with their packs on, all the servers, all the waiters, all the rack babies, all the dollar hustlers, all the soda jerkoffs, all the brownstains, all the bronyboys, all the nerdlovers, all the sandy wigglers, and all the 3am jonesin’ candyattic crashers who made this ride as real as it got.

I think that last bit is a reference to Joey Comeau but as for the rest ???
I wanted to check it out and read more but it was ‘REFERENCE ONLY’ and also it was really, like, sticky? That may have just been my library’s copy BUT in the colophon it also says:

Titles set in Ostrich Sans
Text set in Curlz MT
Coated in Rio Grande sticky wax
Each copy kissed by the author or his representative

I’ve already got ENOUGH copies of stuff kissed by Ryan or his representative so I said NO THANK YOU
[ BOOKWAR ]

All I will say in response to this UNADULTERATED SASS is:
man it figures that Malki would stand up for both the daddies with their packs on AND the sandy wigglers, no surprise there
Rio Grande sticky wax is a great deal, especially in bulk
Curlz MT is beautiful and I’m so sorry you can’t see that David Malki and I know you probably think you’re SO COOL by saying you hate it just like you hate Comic Sans just like everyone else (CONFORM MUCH??) but I bet you couldn’t tell me why you hate it just that the LAMEstream Media told you to and yeah I bet you’ve got opinions about Papyrus too, BIG surprise there, but maybe next time before opening your mouth you open your EYES to how beautiful type can be??
For example an old poem got finally FULLY REALIZED here thanks to a little thing called me and another little other thing called oh I don’t know CURLZ MT:

I rest my case
[bookwar]

davidmalki:

I was at the library over the weekend, and they have all kinds of crazy books there! I was browsing the ‘eroticized autobiography’ section, hoping to find some inspiration, when I came across THIS book by RYAN NORTH.

Inside the front cover, the dedication starts right up with an indication of what’s to come:

This book is shouted from the rooftops at all the haters, all the squares, all the sugar-pushers, all the downtown cruisers, all the eagle-boys, all the late-night mamas, all the daddies with their packs on, all the servers, all the waiters, all the rack babies, all the dollar hustlers, all the soda jerkoffs, all the brownstains, all the bronyboys, all the nerdlovers, all the sandy wigglers, and all the 3am jonesin’ candyattic crashers who made this ride as real as it got.

I think that last bit is a reference to Joey Comeau but as for the rest ???

I wanted to check it out and read more but it was ‘REFERENCE ONLY’ and also it was really, like, sticky? That may have just been my library’s copy BUT in the colophon it also says:

Titles set in Ostrich Sans

Text set in Curlz MT

Coated in Rio Grande sticky wax

Each copy kissed by the author or his representative

I’ve already got ENOUGH copies of stuff kissed by Ryan or his representative so I said NO THANK YOU

[ BOOKWAR ]

All I will say in response to this UNADULTERATED SASS is:

  1. man it figures that Malki would stand up for both the daddies with their packs on AND the sandy wigglers, no surprise there
  2. Rio Grande sticky wax is a great deal, especially in bulk
  3. Curlz MT is beautiful and I’m so sorry you can’t see that David Malki and I know you probably think you’re SO COOL by saying you hate it just like you hate Comic Sans just like everyone else (CONFORM MUCH??) but I bet you couldn’t tell me why you hate it just that the LAMEstream Media told you to and yeah I bet you’ve got opinions about Papyrus too, BIG surprise there, but maybe next time before opening your mouth you open your EYES to how beautiful type can be??
  4. For example an old poem got finally FULLY REALIZED here thanks to a little thing called me and another little other thing called oh I don’t know CURLZ MT:
  5. I rest my case

[bookwar]

In this post: bookwar  curlz mt  david malki  wondermark  
In my view, the entire purpose of a comic script is to communicate what you’re thinking to your artist!  So anything that supports that will do the trick.  I’ve seen some of Alan Moore’s scripts for Eddie Campbell on From Hell and he’ll have parts where he’s like “Okay this actually won’t show up on the page at all but here’s some cool backstory and here’s where I’m going with this” which I love: the more an artist knows your intentions, the better the two of you can work together.
My scripts are pretty straightforward: usually just a listing of panels, a scene description, and then dialogue, like

Panel 1:
Marceline is standing (well, floating) with her hands on her hips, clearly upset.  In the background zeppelins are crashing out of the sky and into the Candy Kingdom.  Candy citizens are running around, screaming.  Buildings melting like candy, liquid sugar pouring out of water towers, etc.  A candy disaster!
MARCELINE: I thought I said “NO RAPPING ALLOWED”, Jake.  Now look what’s happened!
Panel 2:
We pull back to see that Marcy’s floating behind Jake, who was clearly in the middle of beatboxing, not realizing she was there until just a minute ago.  He’s frozen in place, eyes wide, hands still in front of his mouth.
JAKE: Uh
Panel 3:
Jake turns around to face Marceline and shrugs, smiling weakly.
Panel 4:
Marceline, hugging Jake.
MARCELINE: Aw, I can’t stay mad at you.

A lot of people do scripts differently: some include lots of panel layouts (I generally don’t unless it’s critical, since the artists I work with are AWESOME and always come up with really great ideas), some write it like it’s a screenplay, etc.  There’s no wrong answers here: as long as your script communicates clearly to your artists what you’re talking about, it’s a good comics script.
One final piece of advice is to write out your script, then leave it for a few days and come back and read it again.  If what you read isn’t like what you remember imagining, add whatever detail you need to your script until they match up!

In my view, the entire purpose of a comic script is to communicate what you’re thinking to your artist!  So anything that supports that will do the trick.  I’ve seen some of Alan Moore’s scripts for Eddie Campbell on From Hell and he’ll have parts where he’s like “Okay this actually won’t show up on the page at all but here’s some cool backstory and here’s where I’m going with this” which I love: the more an artist knows your intentions, the better the two of you can work together.

My scripts are pretty straightforward: usually just a listing of panels, a scene description, and then dialogue, like

Panel 1:

Marceline is standing (well, floating) with her hands on her hips, clearly upset.  In the background zeppelins are crashing out of the sky and into the Candy Kingdom.  Candy citizens are running around, screaming.  Buildings melting like candy, liquid sugar pouring out of water towers, etc.  A candy disaster!

MARCELINE: I thought I said “NO RAPPING ALLOWED”, Jake.  Now look what’s happened!

Panel 2:

We pull back to see that Marcy’s floating behind Jake, who was clearly in the middle of beatboxing, not realizing she was there until just a minute ago.  He’s frozen in place, eyes wide, hands still in front of his mouth.

JAKE: Uh

Panel 3:

Jake turns around to face Marceline and shrugs, smiling weakly.

Panel 4:

Marceline, hugging Jake.

MARCELINE: Aw, I can’t stay mad at you.

A lot of people do scripts differently: some include lots of panel layouts (I generally don’t unless it’s critical, since the artists I work with are AWESOME and always come up with really great ideas), some write it like it’s a screenplay, etc.  There’s no wrong answers here: as long as your script communicates clearly to your artists what you’re talking about, it’s a good comics script.

One final piece of advice is to write out your script, then leave it for a few days and come back and read it again.  If what you read isn’t like what you remember imagining, add whatever detail you need to your script until they match up!

In this post: writing  adventure time comics  adventure time  

wolfhard:

Jeremy the Garbage Boy.

This is what Jeremy is doing now. He’s the garbage boy in the city of Circle Squirrel.

A++

kateordie:

archiemcphee:

Simply watching Adventure Time is often enough to make us hungry for sweets, but now we have an actual edible Candy Kingdom to tantalize our tastebuds. This mouthwateringly awesome Gingerbread Candy Kingdom was made by Redditor IHaveAFluffyCat (who actually does have an adorable fluffy cat).

The amount of time, effort, and candy that went into this work of edible art is amazing. It’s beautifully detailed from top to bottom, but we’re particularly impressed by the Gumball Guardians, whose sugar glass heads contain real gumballs.

Click here to see a complete gallery of step-by-step process photos.

[via Reddit]

Wooooaaaaaaahhhh!

A+ would eat

chompsky:

Today is Noam Chompsky’s Birthday (Observed)!
Happy birthday to my best dog buddy, pictured here with some rolled-up ham I put on his paw and told him not to eat until I said so because I loooooooove him.

I do, I loooooooooove him!!

chompsky:

Today is Noam Chompsky’s Birthday (Observed)!

Happy birthday to my best dog buddy, pictured here with some rolled-up ham I put on his paw and told him not to eat until I said so because I loooooooove him.

I do, I loooooooooove him!!

In this post: chompsky  
birdlord:

“How do you represent a place where there is no edge?” asked Jeff Carney, director of L.S.U.’s Coastal Sustainability Studio. A wall of his studio on the university’s Baton Rouge campus contained various map-like representations of what he calls South Louisiana’s indeterminate landscape. As Carney put it, “We don’t have a shoreline. We’re not Florida. It’s not like you’re on solid ground and then you step into water.” That “unclear edge,” Carney said, “creates problems with land ownership, insurance, all of these things. We don’t deal with ambiguity very well.”
- Thanks to Ryan for sending me this cool story about the difficulties in mapping the disappearing Louisiana coast!

It’s a really good article!

birdlord:

“How do you represent a place where there is no edge?” asked Jeff Carney, director of L.S.U.’s Coastal Sustainability Studio. A wall of his studio on the university’s Baton Rouge campus contained various map-like representations of what he calls South Louisiana’s indeterminate landscape. As Carney put it, “We don’t have a shoreline. We’re not Florida. It’s not like you’re on solid ground and then you step into water.” That “unclear edge,” Carney said, “creates problems with land ownership, insurance, all of these things. We don’t deal with ambiguity very well.”

- Thanks to Ryan for sending me this cool story about the difficulties in mapping the disappearing Louisiana coast!

It’s a really good article!

qwantzfeed:

EARTH’S SECOND WORDS: “but first I gotta bang bang the boogie to the boogie say up jumped the boogie to the bang bang boogie”

more comics!  rad merchandise! cool patronage!

ALTERNATE, MORE-EDUCATIONAL LAST LINE: Now what you hear are my first words: I’m talking with my tongue!  And lan-guage acquistion happens best when we are young.

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About

the haps: they may be here!

I create a comic called Dinosaur Comics and I a run an awesome network called Project Wonderful and I even have my own Twitter account

online.