Snake Pit; Notes on Adolescent Depression and Suicide
Snake Pit is a thirty-two page comic with card a stock cover. This printed version has several additional illustrations by Cara Bean not featured on the website.
Xuebing Du
PUT YOUR BEARD IN MY MOUTH

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Snake Pit; Notes on Adolescent Depression and Suicide
Snake Pit is a thirty-two page comic with card a stock cover. This printed version has several additional illustrations by Cara Bean not featured on the website.
That’s Not Who We Are
((Excuse me while I weep for the future))
I still have my squirrels.
He ordered the government to halt ads and emails, which could mean fewer signups and higher premiums.
He may stop the ads, but nothing beats old fashioned word of mouth. Make sure everyone you know (and those you don’t know) they can still sign up for obamacare/ACA until January 31st!
the more people sign up, the less eager republicans will repeal it, especially those in swing states and districts, and we only need three GOP senators to vote no on repeal.
Hey folks, PLEASE reblog info about this if you can today. They have cancelled all ads and emails alerting people to the fact that the deadline is at the end of this month in an attempt to sabotage enrollment. Jan 31st is the last chance people will have to get on this plan.
Doesn’t have to be this post, just please spread the word however you can!
Here’s the last panel of a comic I recently drew for a post election comics feature for @pen_america - yesterday’s events underscored what I was trying to say in a big way! #resist
Here is a shortened version of a letter I just sent to my neo-con uncle. I am not an expert in politics, race, or communication, but I wanted to speak to him as best I could from the common ground we do share, using words I hope he will be able to hear & understand.
Sending love. Don’t give up.
Dear Uncle, it meant a lot to me to talk to you last week. I believe you are breathtakingly wrong on almost every single issue, but of course our underlying concerns are the same: we want good lives for our loved ones, and for Americans, and for human beings in general. We want people to be good to one another. We want things to be fair. We want as many people as possible to live in dignity, health and safety, with access to as much happiness as this often cruel world will allow.
Why have we come to such different conclusions about how this could come about? I think it’s partially because we have a fundamentally different idea of what our world looks like now. Our sources for news hardly overlap, and we both think the other’s preferred media outlets are biased & inaccurate. That can make discussion seem impossible. I’m sure you feel the same frustration. This is a challenge we have to face when talking together.
Why does Trump’s election disturb me so much? Policy-wise, I suspect another republican would have supported most of the same things Trump will. I profoundly disagree with, but am used to: financial deregulation, social conservatism, funding cuts to & privatization of government institutions, rollback of environmental protections, shrinking of social safety nets, tax cuts many consider unnecessary, etc etc etc. Beyond that, I think Trump lacks the competency or temperament for the job, that he’s morally bankrupt, that he lies, & that he’ll use the office for personal gain. The thought that he will be this country’s Commander In Chief is a grim one.
A weird thing about Trump is he’s crappy in ways I had thought most of America agreed on: he’s vulgar & vain & mean & often incoherent, he’s disrespectful of POWs, etc. I don’t think that personality stuff is more important than the policy stuff, but it makes his popularity feel very bizarre.
There are many other more serious issues. The way Trump treats & talks about women is one, his VP’s policies towards gay Americans is another. I am afraid his belief that global warming isn’t real poses an existential threat for humanity. But the thing that is most heartbreaking to me about Trump’s popularity, and his election, is how it will affect non-white folks living in America.
Keep reading
hotshawce:
betseyswardlick:
I followed @sashayed‘s advice and called my state senator. It was scary but I didn’t die, and YOU CAN’T POSSIBLY DO A WORSE JOB THAN I DID so why not give it a try!
Another thing to give a try is the CCS 1 Week Workout, a free (!) comics workshop that comes straight to your email! If you (LIKE ME) can’t do literally anything without tiny elves coming into your inbox to yell at you about it, THIS IS THE WORKSHOP FOR YOU!
…….hey so friends, if you are interested in looking at my work as a REAL CARTOONIST PERSON WHO EXISTS, TOTALLY, that tumblr up there @betseyswardlick is gonna be the one to follow. MANY THANK.
Yes yes yes! You’re doing it! You’re doing the comics and being a rad human being this is fantastic! Everything is hard but we are still doing it.
EVERYTHING IS HARD BUT WE ARE STILL DOING IT!
Hey internet, Betsey is FINALLY posting comics on tumblr and you should read them.
Betsey!!!! Yay!
The Sequential Artists Workshop (SAW) invites you to submit your drawings to The Witching Hour! The drawings will be part of group show around the theme of “the witching hour” with artists all over the world at SAW’s space in Gainesville, Florida. The exhibit will be open from 7 - 10pm, followed by a comics reading by SAW alumni, local and visiting cartoonists. Full line up to be announced. SUBMIT YOUR DRAWINGS: All submissions must be in black and white, 8.5 x 11 in (21.6 x 28 cm). Please send submissions as 300dpi jpegs to [email protected]. In the email body, please include the name you want to be published as, and (if you have one) a website, tumblr or instagram handle. Deadline August 5, 2016.
RSVP to the Facebook event, if you like.
Exhibit date changed to October 28th!
NEW DEADLINE: October 10th!
Be in an art show!
4) tightening the facial expression a bit before inking. The penciling is light and loose. I’ve punched up contrast so photo can see, but actually it’s much lighter. I always use HB. Darker than HB would leave the graphite mark after erasing, lighter than HB tends to leave scratch mark. HB is the goldilocks rule: just perfect.
HB pencil is an inker’s friend.
Dear Students,
A message to you!
Sincerely,
Professor Drogo?
Tom Hart, Rosalie Lightning
This is a comic book about the unexpected death of Tom’s daughter, Rosalie. I read the story as Tom was drawing it and posting chapters online, but I didn’t read my copy of the paper book until this week, because I didn’t know if I could handle it. Of course, I could, because it is so great.
Here’s a little intro video that Tom did that explains the background and shows a lot of great images of him working:
Tom kept a Tumblr blog while he was working on the book that you can go back and read—if you go to the archive, you can get to the first post, and work your way forward, watch the book take shape. You can also read Tom’s posts on his blog about dealing with Rosalie’s death.
(On first glance, because my son and I watch so many videos and read so many books about musical instruments, I thought that panel in the top right was a guy playing an upright bass—a fitting mis-seeing, as you’ll see later.)
A lot of the book is about Tom and Leela’s grief, of course, but it’s also about looking and seeing…
…and using images (ones both made and seen) as a way of understanding the world around you:
Tom and Leela go for walks and signs like “fire lane” take on new, horrible meanings.
He also looks back to movies and stories he experienced with Rosalie:
The book is also about moving — moving out of New York city to Gainesville, Florida, so they could get out of debt and have a better life for Rosalie…
And then trying to move on after her death.
I have a blurb on the back of the book, but really, Dylan Horrocks (himself a terrific cartoonist) probably says it best:
Rosalie Lightning is a landmark book: the culmination of Tom’s craft and his whole approach to cartooning as a potent, personal, intimate artform. It’s viscerally powerful, deceptively simple and direct, honest and heartfelt and generous. There are layers of complexity and depth in this book, and a raw intensity that won’t be denied. It’s a book about why we live and why we make art. I know the subject will frighten some people away, but there’s really no need. It’s the most loving, joyful, real comic I’ve read in a long time.
Highly recommended. Will be in my top ten this year.
This is the book I recommend to everyone.
Q&A WITH MIRANDA HARMON
A MAGICAL CARTOONIST
Miranda Harmon is 24 years old and lives in Gainesville, Florida and is a graduate of the Sequential Artists Workshop. Her work focuses on the magic found in real life events.
What made you want to be involved with the project?
I was invited to be a part of Sweaty Palms and thought it was a good fit for me! My favorite comics to make are autobio and I’ve made comics that address mental illness in the past. I’ve struggled with anxiety for most of my waking life. I find a lot of my problems with mental health are eased when I make comics about them!
One of the things I like about your work is how personal it all is! How does it feel sharing such personal experiences and feelings online?
It used to be very easy, because it felt like when I put anything out onto the internet it was just for a handful of friends and strangers. It was almost like the livejournal days, when I kept a blog full of my intense 12-year-old feelings. It was only powerful to me if I knew that people could see it, even though only a few people did! And because social media has been around during the entire time I’ve been making comics, my journal comics were always broadcast for anyone to see.
But recently, I feel like I have an audience, with both the comics world and a bunch of people I don’t know! This feels great, but it also makes me hesitate before putting my personal comics online. Nothing would actually stop me, because I’m addicted to putting comics on the internet. But I hesitate! For some reason it’s always easier to share these feelings with complete strangers than with my friends and family. I’ve had friends approach me and tell me they were worried about me because of my comics. My family, too. I don’t want to upset them, but I want to be honest in my work.
How did you get into comics as a means of expressing yourself?
I’ve been drawing since I was a little kid, and my family always supported that. About halfway into college I started feeling like comics was something I could participate in. I think it became a reality when I started using the internet and going to comics shows, around when I was 20-21 years old. I’ve never been good at taking pictures, so making journal comics helped me remember moments and feelings from different stages of my life. When I started taking comics seriously, I was not very happy or secure with myself. Drawing comics gave me a new sort of control over my environment and experiences, and how the world saw me.
Do you have any advice for those wanting to get into comics?
Really, what you can do is just start making comics! Make a lot of comics that you want to make, don’t worry about the subject matter too much. Make journal comics about your day, even if that seems boring to you at first, they’ll get interesting as you do more of them and you’ll start to see your value as an artist. What works for me doesn’t work for everyone, but if I’m not happy with a drawing, I find it better to move on to the next one rather than redraw.
But I would also say that the most important thing you can do, besides making comics, is making friends with other people who make comics. It’s so hard to make anything in a vacuum! Don’t worry if you can’t immediately connect with your heroes, because your peers are right there! Reach out to them. The people coming up with you are the most important.
So much of the economics of comics now is tied into social media, but don’t worry if it feels like nobody is watching. Just do as much work as you can and be friendly and things might start to happen. Nothing is guaranteed (and please understand that I can only speak to my own experiences) but you’ll start to feel like a part of something big. You’ll be surprised! I am.
You can see more of Miranda’s work on Twitter, Tumblr & her website.
Love Miranda!
Virtual Open House
Curious about SAW? Ask us your questions, watch us play tour guide on Periscope and get a virtual tour of the school, listen as we spill our deepest, darkest comics-related secrets. Thursday, June 2nd at 9pm EST. Feel free to ask us before hand, we’ll still answer!
See you on the internet!
This is us tomorrow night at the Virtual Open House!
Join us at 9pm EST on the tumblr-space or the twitter-sphere to ask all your SAW and comics questions!
Testimonials and happy faces. Apply now for 2016-2017
Ask me about this if you are interest. What a great place.
“Responsive drawing is the ability to experience deeply the things we see or envision and to set down their essential characteristics and meaning in some direct way. It is knowing where to begin, how to proceed, and when to stop. Responsive drawing is choosing and relating wisely from among the parts and impressions that constitute our subject; it is the ability to join percept to concept, to fuse thinking and feeling, to merge inquiry and intuition. In other words, it is the ability to respond sensitively and concisely to those qualities in the subject that we find attracting and important.”
-from the art of RESPONSIVE DRAWING third edition by Nathan Goldstein
A montage of Images & excerpts from THE SHIRLEY JACKSON PROJECT: COMICS INSPIRED BY HER LIFE AND WORK, from the 9 talented artists who thus far have either shown me their work-in-progress or submitted their final stories.
In descending order: the title page from Robert Triptow’s “The Haunting of Fernwood Drive”; The title page from Asher & Lillie Craw’s illustrated essay, which will touch on stories such as “The Daemon Lover,” “Like Mother Used to Make,” and novels The Haunting of Hill House and We Have Always Lived in the Castle; another page from Maggie Umber’s silent adaptation of “The Tooth”; a scene from “Cabinet of Blood,” Rob Kirby’s rendition of a true vignette from Shirley’s life; Colleen Frake’s Shirley from her riff on “The Lottery”; a variety of poisonous fungi from W. Woods (from you know what novel, right?!), and the thumbnail page from Ninth Art guru/publisher Dan Mazur’s very creative 9-page mash-up. Cover art by the amazing Mr. Michael Fahy.
See the full works from everyone plus SO MUCH MORE this fall! Rest assured, THE SHIRLEY JACKSON PROJECT WILL BE AWESOME.
I would like to invite you to join me for two upcoming free cartooning workshops with me!
MAY 7th at the Cambridge Public Library
2:30–3:30 PM:
A Doodling Comics Workshop
This playful workshop opens with a few sketching games to inspire your imagination. After generating interesting characters and settings, we will explore how words and pictures can come together to build comics. Topics include storytelling, page design, pacing panels, word bubble coherency, and methods for solving drawing problems. In the end you’ll be ready to write and draw your own stories inspired by the activity. Creative people of all ages are welcome.
MAY 14th at the Jonathan Bourne Public Library
2:00-3:00 PM:
A Creative Cartooning Workshop for Adults and Teens Bring yourself and your sense of humor and artistic adventure -- paper and pencils will be provided. This program is free but participants are asked to sign up in advance at the library. Call (508) 759-0644.