Gretchen Hasse

I am a visual storyteller. My inspiration includes travel journals, videos that I produce for social justice groups, and life lessons that take a really long time to learn.

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It’s application time!

Applying to grants, residencies, and requests for proposal is a crucial part of the artist job description. I just finished a couple applications that felt like poetry to me; the one I’m working on currently is definitely NOT POETRY. Sometimes it flows and sometimes it just doesn’t. You gotta keep your good ramblings about your work on file, so you can draw on them when necessary. That’s what I’m doing now.

I also made an appointment with a friend to give me feedback, so I know I have to get this mess into some sort of shape before I present it to him. Creating personal accountability like that is another tactic I find very helpful.

Wish me luck!

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I have, for the most part, overcome my post-election catatonic state. Right now I am throwing a lot of things against the wall and seeing what sticks, but one thing I am definitely focusing on is my work on the comic book about climate change.

In addition to the mechanics of it, I plan to address the issue in the context of how different communities experience both the threat and reality of climate change. It's a tall order; but I am reaching out to a lot of really smart and generous people, who seem pretty eager to share their knowledge. I am so grateful for them

Today's lesson is: have a good idea? Need help? Just ask. You might be surprised.

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I have settled into the regular habit of twice-weekly webcomic updates. Now I am beginning to focus on my next major goal, which is to publish one printed Freaks’ Progress title per year.

These books will focus on character backstories, and each will also have its own underlying theme. In spring 2017 I will publish Bar Bunny, which I have already written, and am illustrating right now.

I am also starting research for the story of Fred Franklin, pictured above. Fred is Ronda’s son, he works at the Coffeee Shop, and he is passionate about the environment. For his story, I am reaching out to people who work in the field of environmental science, and starting a course of self-education so I can write a compelling story with some solid background in it. This will take a while; I think his book will launch in 2019 or 2020.

This is also a personal challenge. Climate change terrifies me, and I would much rather ignore it. But that does no one any good. I benefit every day from the efforts of people who went before me and chose not to ignore injustice. I want to be that for those who come after me.

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I’m back in town, and I have settled into a routine with the large canvases I am painting for Chicago’s Lifeline Theatre. I’m working on them in the training space at Chicago Women in Trades. So far I go there once a week, and I am progressing slowly but surely. We set up this arrangement for this project, and I am very grateful for the space.

It’s times like these when I kinda wish I could have a studio. But space is really expensive in the city. That might be something I put on my five year plan: getting a centralized, dedicated art space, preferably in conjunction with other people so we can work in community. Let me think about how I can make this happen...

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I haven’t updated in a while because I’ve been traveling and working on sooo many things… and now I’m back in town and trying to return to my regular work rhythm.

One fantastic bit of news is that I have been chosen to participate in a six month residency that focuses on “creating the foundation for a sustainable creative career.” It’s called Field/Work, run by the Chicago Artists Coalition.

I’m especially excited for this particular residency, since we are talking about exactly the type of thing I want most to work on. I feel strong in my creative skills and goals, and I am very positive about how those will grow – but the business and making-a-living part of it is a constant challenge.

I realize that’s true for all artists, and increasingly for people in all fields. It is a rough world to survive in, let alone to thrive. So far, the residency has been a great relief in that it is a space to talk about the practical challenges and fears that artists never seem to discuss anywhere else.

I am really hoping to rock this.

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Next week, I am co-hosting a discussion on art and money at AnySquared, an art collective in Chicago's Logan Square neighborhood. My co-host Rodney Dollah and I are doing a series of moderated discussions, as opposed to just a presentation, because everybody has something to contribute to this subject.

You don't have to dig too deep to figure out my politics and opinions on economic issues; but I do know that Making a Living While Remaining Human is a vital and ever morphing dialog, and we don't do ourselves any favors by avoiding it.

We're going to talk about things like: how can you make a living while still having energy to make your art? how can you work for hire and still keep your artistic integrity? what are some good time management strategies? how can you ensure that both you and your fellow artists do not get taken advantage of, in this climate where "exposure" is supposedly a payment plan?

I mean, there is a lot to cover. That's why this will be a series. I anticipate learning a lot more than I teach. And that's the point.

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One part of the artist job description is to create something you want when you don't see it available.

A lot of my work is figure-based, and I do best when I have regular figure drawing practice. I love working from models who vary across age, gender and body type. Strangely though, that type of variety is difficult to find. The great majority of open figure sessions I have attended tend to focus on female models of a narrow age range, body type and complexion. There's nothing wrong with that particular type. It just gets old after a while.

I always ask about this when I start attending a new session. I frequently hear from instructors that it's "so hard" to find male models, or models outside a very narrow physical type. As someone who has scheduled sessions for years, I'm here to tell you that it is not that difficult to find a great variety of models. It is, in fact, shockingly easy.

So, after a few months off, friends and I are getting ourselves together to reboot our own open figure drawing workshops. One of our core missions is to celebrate the entire spectrum of human physicality.

And really, it just makes you a better artist anyway.

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I was at Small Press Expo over the weekend, where I spent an inordinate amount of money on comics work by new creators, and also got to see some of my comics heroes, notably Joe Sacco and the Hernandez Brothers. I am content.

I hope I am someone else’s comics hero someday. I hope I can help inspire that the type of dreams and creativity and thoughtful action that these guys have inspired in me. Well done, SPX!

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For the last five years or so, I have been patiently promoting my work through various venues, both real and virtual. Since I work in several mediums, it's sometimes especially challenging to keep track of things.

Today I'm headed to the Small Press Expo in Bethesda, Maryland. SPX is, among other things, “a forum to showcase new and emerging talent in the fields of comics, graphic novels and political cartooning.” It will be full of so many people I admire. I don't normally go all Fan Girl on anyone, but I may forget my composure this weekend.

In 2016, I applied to a half dozen or so comics conventions, and was not accepted to any of them. I talked to friends in the biz and got advice for next year. I'll keep trying, keep working on my local presence, and network as much as I can. That's part of what this weekend is about.

This year I have also seen my video work slowly gain more recognition. I've shown work locally, nationally, and internationally. I'm not sure if there is a point where you can say you've "made it," but I feel like I'm getting closer.

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I’m starting work on some more large canvases for installation on the south façade of Chicago’s Lifeline Theatre. My friend Gerry helped me take the canvases to a second location so I can work on them in relative comfort while keeping them out of the elements until they’re finished. That’s Gerry’s truck, and he took the photo too!

The three canvases are about six feet square, which is sort of petite and cute compared to stuff I’ve been working on lately. But it’s still big enough for me to be concerned about where to put them. I will be working on them at Chicago Women in Trade’s (CWIT) facility. I donated my large canvas, Fix It Yourself, to them last year - and in return, they are letting me use their space to create more large work.

After painting on the Logan Square Dog Park Mural on some of the hottest days of the year, I am really gonna appreciate painting in the relative luxury of an indoor training space. I might even get to see some of the welding or building classes that CWIT conducts, which would be cool.

I love learning more about Chicago through the work I do!

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Okay, so I’m not gonna have the comic done in time for the festival this weekend. I still have PLENTY to show at the Economic Daredevil tent, and now I can focus on preparing to “live paint” one of the three large canvases I am creating for the Lifeline Theater.

It’s a relief, actually – I’d rather make the comic as good as possible, rather than just done. I am giving myself a month for production, which is still a pretty tight deadline, but I think I can do it. I’d like to put some copies in various local comic shops this fall.

Be on the lookout for Bar Bunny! I will announce it when it’s complete.

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Oh hey! Another photograph of my computer screen. Well, I’ve been working. I am finishing up a brief script for my new minicomic, Bar Bunny, which I will premiere at the Glenwood Avenue Art Festival.

It’s going to be an enormous amount of work to get this completed in time, but I’m taking it as a challenge.

One very helpful part of this task is the friends who have provided timely and concise feedback. It’s not often that you can finish a first draft, send it off, and get detailed critique within hours. I am very lucky that way.

I think this is gonna be a good piece of work.

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Two weeks into my train powered vacation, I have settled into a rhythm of working on the road. I don't want to be stuck to my computer screen when there's really good scenery, so I get a lot done during the long stretches of moderate hills and adequate plains.

General advice: pencil layouts done on the train will be a lot looser than normal, which is great since you have been trying to loosen up anyway. Inking on the train is a no go. Just don't even try it. Wait for station stops to scan the drawings into your phone. Be prepared for well-meaning people to ask bizarre questions about your art; this is what happens when you draw in public. BE NICE.

And yes! I like working this way. I have even handed out some promotional postcards to random strangers. Building one comic fan at a time.

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I’m on the road for the next few weeks – seeing the country from Amtrak, visiting friends, and taking some time to work on longer term written projects. The image above is the base drawing for a one page animated gif I’ll post in my webcomic tomorrow. I drew it on the train!

It’s surreal that I am able to focus on my art to this degree. The fact that my work is hitting such a productive period during both party conventions and general international upheaval is sobering and weird.

It feels like I am getting away with something. Maybe I should be doing something else. What, exactly, I am not sure.

I do have goals for my work, and they are relevant to my hopes for the world. Someone told me once that I should focus on the work that wouldn’t exist if I weren’t doing it. That made some sense to me – and sense is hard to find lately. So I am sticking with that.

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I’m not quite finished with my part of the Logan Square Dog Park mural yet, but it’s really getting close. Don’t worry - I’ll get to Hazel’s and Zorro’s faces this weekend, and also the upper flowers.

I think it’s interesting to note the changes made in response to various challenges (and better judgement) that come up during the painting process.

Also, IT’S REALLY BIG. Sometimes the stuff you can do in a drawing or a photoshop document doesn’t really translate into something twenty feet tall on a concrete highway abutment. Now I know!

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So here’s what it looks like sitting on the scaffold, painting on a concrete wall.

I am still working on my part of the Logan Square Dog Park Mural, organized by AnySquared and Artistic Bombing Crew. It’s taking a while because this is the biggest piece I’ve ever done, and I’m not using spray paint. All those little holes? And that rough wall texture (actually this is a pretty smooth wall)? You can just glide over those with spray paint. If I’m going to continue with the wall painting, I think I finally need to learn how to use it – if at least just for large areas.

Let’s not even talk about trying to get a nuanced skin tone in this situation. I’m getting there, but it’s a challenge. And any mistakes are just as big as the rest of the piece. Late in the day yesterday I started adding highlights to Hazel’s skin with my fingers, like finger paint. I think it’s sort of working.

Don’t get me wrong - this piece is great fun. Except now I think the dog needs some indication of fur... well anyway. I am going to be at this for a while!

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I’m not really a festival artist, but every year I love having a booth with my friends at the Glenwood Avenue Art Festival. It’s one of the last festivals in Chicago that actually focuses on art and community. Oh sure, there’s beer and music stages; but that’s not the main point. And I love it for that.

For the last year or two, I’ve been using the Glenwood as a deadline to promote my comic and put some new ideas together for the coming year. Last August I sold minicomics and portraits of characters from Freaks’ Progress. This year I will do more of that, with a new title called Bar Bunny.

The webcomic is my main multicharacter narrative, and that will go on for years to come. With the minicomics – called Freaks’ Progress: Satellite Stories – I am focusing on backstories and vignettes of both main and minor characters.

Bar Bunny is a tribute to my friend Sarah. She said she wanted to be in a couple panels of the webcomic so I obliged; and then I started getting more interested in who this character is. The real Sarah and I share both an affinity for bar culture and designation of the double-edged status petite blonde female. It’s an interesting situation to explore, I think. Cute can be a weapon if you wield it right.