“I was engrossed by this story and think it had quite a bit to say about order, chaos, and the benefits/drawbacks of both.”
Optical Sloth reviews mini kuš! #45 ‘Music of Changes’ by Daria Tessler.

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@maxineesque
“I was engrossed by this story and think it had quite a bit to say about order, chaos, and the benefits/drawbacks of both.”
Optical Sloth reviews mini kuš! #45 ‘Music of Changes’ by Daria Tessler.
Just found this comic I made about breaking up when you both already know you've broken up, and, because you live in NYC, having to schedule a time to make it official. 😶🔫
Mock-up. Content coming soon. (at Sequential Artists Workshop)
L. 2015, ed. of 100 4.25" x 11" 24 pages
Available here.
^^^^^^^^^^
Anthony Cudahy
possibly my most favoritest jam comic i have ever participated in. @sequentialartistsworkshop is magic!
Draw Jam from last night at @sequentialartistsworkshop.
Thanks @roxydrew for scanning it!
Question from email: Did you make a lot of comics before going to SAW? How has your work-output changed since finishing this program?
This is Sally C– @inkanddestroy on tumblr and thisquietcity on twitter!
I’ve been making comics in some form or another since I was 14 (I met SAW founder Tom Hart when he was my teacher at School of Visual Arts’ Pre-College program). I made a few short comics, I didn’t finish a lot of comics partially due to also being in high school/college, and partially due to lack of confidence in my ideas/my skill level. I dropped out of college and became part of the 2012-2013 inaugural class at SAW.
My work output has changed drastically since attending SAW, though. I made over 100 pages between late 2012 and early 2014. My output of personal projects fluctuates now but that’s because I’ve been able to get work in comics in and illustration through my connections with SAW. I’ve become a much faster and more confident artist, which helps immensely.
Pardon my face: here’s a picture of me with some of the 100+ pages of output from my first year and a half taking classes at SAW!
SAW alumni, Maxine here, to put in my two cents, but first, HOLY BOLOGNA SALLY! THAT IS A LOT OF COMICS!!!
I definitely became more productive after SAW, but just as importantly, SAW made me feel like I could tell stories I never thought I could.
Before SAW, I don’t think I would have let myself make a silly comic about a witch, or journalistic comics, or a comics about Chia pets.
I still do stuff like I did before, but now I got a new bag of tricks.
Nod Away, Volume II. Page 10 (temp #), inks.
Because no one is eagle eyed enough to read the first pic
Midnight post it comic making
Someone asked me why I journal recently (in a curious, not dismissive way). I forget what I answered, but a better answer would be that journaling helps me figure out common threads across all the different iterations of this strange mass that my mother named Maxine. (at Volta Coffee, Tea & Chocolate)
What is the florida/gainesville comic scene? What conventions/expos are within 4 hours of you guys?
There’s definitely a scene, mostly around our school. 4-6 faculty over 30, at least a dozen former students lurking around, meeting up and making comics, plus lots of people drive through to speak at the school. Our favorite convention is FLUKE in Athens, GA, 6 hours away. Though there is a big mainstream one in Orlando (2 hours) and a good sized zine fest in St Petersburgh (2.5 hours). You can ask us lots more at our AMA on Thursday June 2: http://sequentialartistsworkshop.org/wordpress/2016/05/virtual-open-house-thursday-june-2-at-9pm-est/
I moved to Gainesville from NYC not expecting much, tbh. Now I love Gainesville. Tons of cool artists, tons things going on, cheap, easy place to live. But as much as I like Gainesville, I love SAW even more. I’ll be one of the alums answering questions at the Virtual Open House, so throw ‘em at me!
I went to TCAF a couple weeks ago and had a great time and made these sketchbook comics about it.
Ahhhh spring…
…only a matter of time until it’s winter again.
Skip next winter.
Come to Florida and work your butt off making comics. We’re looking for driven, talented cartoonists to come study with us at SAW in 2016 - 2015.
Put together an application real quick and then come join us in our tropical & magical comics school.
P.S. We’re having a Virtual Open House on June 2, 2016 @ 9pm EST.
Going to SAW was the best decision I ever made. Come hang with us next Thursday!
I did this illustration for Mad Hatters: New York Hats and Hatmakers, City Lore’s top-notch new exhibit on the role that hats play on the catwalk that is NYC. I have to admit I love drawing hats and I’m really happy with how it came out. If you’re on the LES, check out the exhibit!
Hey guys, semi-serious post here but it’s also about a fun fandom idea so I’d appreciate if you’d give it a read…!
So, Netflix announced a while back that they were going to pick up A Series of Unfortunate Events as a tv show (!!!) that would be the entire story, rather than just the beginning, like the 2004 film adaptation. Lots of people were really excited about this !! The book series is really important to a lot of people for a lot of reasons and seeing it adapted visually all the way through is really exciting!
I was hoping that Netflix would also use this as an opportunity to fix some of the problems that were in the film adaptation, which, to remind u, was made twelve entire years ago.
In the film, Jim Carrey was given an ENORMOUS prosthetic hooknose, in order to designate him as the villain character.
Never, anywhere in these books, is it mentioned that Count Olaf has an enormous hooknose. The illustrator, whose work I otherwise think is very good, chose to give the character this trait. While it’s true that therefore the film did not CREATE hooknosed Olaf, they were perfectly able to make a decision not to do the same thing in their film, and instead they chose to have a gentile wear a Fake Jew Nose. That was a deliberate design choice they made.
Today photos of Neil Patrick Harris in Olaf makeup were released online. When I saw them I immediately felt punched in the gut.
12 full years after the film, Netflix has chosen, again, to designate villainousness with a huge Fake Jew Nose.
Again, and again, and again, people keep actively making this design choice.
ASOUE is a book series written by a Jewish man, about strongly Jewish-coded protagonists (they have been confirmed as Jewish by the author in interviews as well). That everyone who visually adapts this story feels the need to make this arbitrary design choice, based on NOTHING that is in the text, is… it’s a punch in the gut! And the face! And additionally, a punch in the centuries of oppression.
Here’s what I want to do: I want to fight back. I want to fill the internet with images of the Baudelaires WITH big hooknoses. Explicitly semitic-looking Baudelaires. A TON OF THEM. Obviously not “offensive stereotype” levels, to clarify (I think this is obvious but it can’t hurt to make sure), but identifiably semitic.
I’m going to start doing this and posting my designs and drawings, and I’d love if other people would join me! I want this to be a positive thing, I want it to be fun and joyous and interactive and I want, most of all, to make a little place on the internet for images in which the Jewish characters in this book written by a Jewish man, look more like Jews than the villain does.
Please feel free to participate in this as much and in whichever ways you want to, and also feel free to participate in reblogging this post and the resulting drawing as much as you like, even if you’re not doing art for it! This is going to be friendly and fun and I hope we can make some connections with each other.
I’m going to be tagging this and all my own drawings with “Jewish Baudelaires Project” && I hope other people will use that tag too so we can all see & share everything!
This got longer than I intended so if you got this far, thanx for hanging in there, & I hope to see you around the tag and am excited to see what everyone’s designs will look like! :D