Back in August we featured a couple of posts by Señor Williams that outlined his experience personally making the mini comic. He peppered his posts with so many juicy details that almost anyone could go out and make one themselves.
I’ve known Joe and his lovely wife Tina for years, we go all the way back to our college days at PCA and I am well aware of both of their incredible attention to detail and quality not to mention their brilliance as designers yet I still did not expect to be so taken by what a gem their mini comic turned out to be.
Holding Monkey and Bird in my hand as a mini comic was a defining moment for me especially after having published it as a web comic here at CO2 Comics for the last two years. Maybe my reaction is a reflection of my long history of publishing on paper or just evidence of a generational preference for things printed on paper, but I liked it. A lot!
The web affords us comic creators so many options to be able to present our labors of love to a potentially vast audience with minimal expenses compared to the printed product. Everything about making comics for the internet is so much more convenient and spontaneous that it has given us the opportunity as creators and readers to be able to witness the biggest creative explosion of the medium in its history. All those virtues, however, in my jaded eyes, do not supersede the experience of reading comics in print. I will always have a warm place in my heart for the tangible paper package.
It has always been clear to me that a comic is never complete until it is in front of an audience. The reader’s experience is a much a part of the final execution of the comic as any step taken in the creative process along the way. Because I have always felt so strongly about this I began publishing my own comics almost as early as I began creating them. My first published comics were printed on a mimeograph machine. My audience had as much fun smelling them as they did reading them. I slowly graduated to photocopiers and small offset presses before finally dealing with large, commercial, four-color presses to make Comico comics.
As I sit here holding Joe and Tina’s 32 page (including covers), full color, 4 x 5.5 inch, landscaped pamphlet that is hand folded and saddle stitched with a good old-fashioned Swingline stapler I can’t imagine what my comic producing experience would have been like if I would have had these production capabilities available to me back in the seventies. I would have traded tracing mimeo stencils and hand cranking purple inked copies for full-color pages spat out of an ink jet or laser printer in a heartbeat!
I did not have an opportunity to go to SPX this weekend but my fond memories of past shows include my amazement of the array of unique and creative packaging techniques that are always displayed. Monkey and Bird would have fit right in! Today’s community of independent comic artists and publishers take full advantage of the technology available to make comics that deliver an experience well beyond panel-to-panel sequential art.
Many people are pondering what is to become of the familiar pamphlet style comic that has been a fixture in the industry for over seventy years. Most believe that digital content will force it into extinction in the not too distant future, watching the sun set on a beloved package.
When I look at my little copy of Monkey and Bird, or think about what I witness at shows like SPX, APE, MOCCA, PACC and Stumptown, I see a different horizon, the shimmering rays of a new day cast by the lights of endless creative opportunity that will offer comics in print and digitally in infinite shapes and sizes. Each format, unique to its creator and not limited by the constraints of a few publishers or a single distributor.
I remember the first glimpse I ever had of this expanding possibility. In 1980 I was mesmerized by the first issue of Francoise Mouly and Art Spiegelman‘s anthology comic magazine RAW. The full color view out the window of a man committing suicide had been pasted on to the black and white cover of the tabloid sized periodical publication that featured an insane amount of groundbreaking comic art between its pages. The simple collage of the cover alone was enough to have numbed my creative mind for decades, especially in regards to packaging.
That, to me, was the beginning. Now, the art of making comics has firmly expanded from mastery of designing a page to the mastery of designing the whole package wether in print, on the web, or digitally for a specific device. The day where packaging that requires an entire production team is passing. The comic artist, if they choose, now has the ability to have complete control over the reading experience of the audience if they want it.
As a publisher, like CO2 Comics, today’s technology gives us the opportunity to open new doors of creative discussion with the artists that makes making comics more exciting than ever before. We plan to enjoy every minute of it!
Making Comics Because I Want To
Tags: Ape, Art Spiegelman, CO2 Comics, Collage, comic art, comico, comico the comic company, comiComico the comic book company, Comics, Creator, designers, Francoise Mouly, Joe Williams, mimeograph, mini-comic, MOCCA, Monkey and Bird, PACC, PCA, Philadelphia College of Art, publishing, RAW, RAW Magazine, SPX, Stumptown, Swingline Stapler, Tina Garceau, University of the Arts