Sharpie Al
Charlotte Alice Overton-Hart, or just Sharpie Al.
Champion of ageing and the old, and the experience and wisdom of older people, inspired by my 92-year-old gran, Nancy.
People are my favourite vintage. Amazing greys.
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“Rhythm is deep and it touches us in ways that we don’t understand. We know that language used rhythmically has some kind of power to delight, to...
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CREATIVE IDEASNew and creative ideas happen all the time. By definition they are unique and different. However, with new ideas you never know if...
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Delicatessen with love – portraits of grandmothers around the world alongside their specialty dishes by Italian photographer Gabrielle...
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PlayThere are several kinds of love. One is a selfish, mean, grasping, egotistical thing which uses love for self-importance. This is the ugly and...
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“Wherever your life ends, it is all there. The utility of living consists not in the length of days, but in the use of time; a man may have lived...”
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“Though I am an old man, I am a young gardener”— Thomas Jefferson - To be ever learning is the key to life.
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Typeverything.com
Verse by Cory Say.
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Typeverything.com - DelVal Botany Mailer by @danielgblackman.
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“Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily life requires and provides; and in...
Tag Results
19 posts tagged comics
Melancholic musicality from the incredibly talented comics artist and writer, Jon McNaught.
(Last night Brighton had the perfect tree song weather. The sea was singing too, on the pebbles, and The Wheel was all lit up with nowhere to go).
Shhhh.
This is the front cover of Gelman Thinks: Lecture Two, published by Howard Smith Paper (2006). I bought it yesterday on the basis of the attractive cover with its simple, playful, flippy speech balloons, and beautiful paper inside. What you can’t see from the scan is that the red is gloss and the green, matt. Sweet.
I love this panel from Peanuts: the Art of Charles M. Schulz (ed. Chip Kidd). And the reason for Lucy’s reaction? Linus is listening to Christmas carols in February.
Gotta love Linus.
There is every reason to believe this fridge-eye-view panel from Chris Ware’s Building Stories: A Comic Strip in 24 Hours is intended to be hugely depressing. The components to make a square meal are sorely lacking, and what is present succinctly indexes a somewhat lonesome lifestyle. The panel appears in part 5 of the story, at 4am, and the open tin is cat food. Mostly I was reminded to put mustard on my shopping list.
Every autumn I’m reminded of Richard McGuire’s near-silent comic, which appeared in McSweeney’s Quarterly Concern: Issue 13 (2004). His haiku-like presentation of man’s efforts to battle against and regulate the inevitability of the seasons with his trusty rake is a sight and sound which can be observed across the world as the leaves start to fall. As we zoom out a little, we can see that nature has an order of its own: it’s not as messy as we think.
As a comic about a retired mafioso going back to the game after his son is killed, 5 is the Perfect Number by Igort has its fair share of gunshots. But as in all comics, the sounds which really grab me are the ones which are far more ordinary. As tension mounts, everyday sounds, which include the TIC TAC of a clock in an empty kitchen, the RRIIIN of a wall-mounted old school telephone, and the BUL BUL of of an espresso percolator, are all reframed with new meaning. Sounds we might associate with domesticity and routine suddenly sound different.
An example of back-firing phatic communication (small talk) from Glenn Dakin’s six-page comic “Know What I Mean?” which appeared in the first issue of the 1988 Sinister Love series by Harrier Comics.
Gosh Comics is moving from right opposite the British Museum to Berwick Street in Soho.
(Flyer by Luke Pearson).
In the words of Scott McCloud, “We humans are a self-centred race. We see ourselves in everything. We assign identities and emotions where none exist. And we make over the world in our image.” (Understanding Comics: the Invisible Art, 1993)
Acme Novelty Library No. 19 (2008) presents the reader with everything we have come to expect from Chris Ware, and a lot besides. The combination of melancholic colour scheme, heartbreaking portrait of loneliness and the anti-heroic are gracefully combined in this comic with science-fiction. Although this offers the reader a different context for narrative, Ware essentially depicts – among other things – isolation. Whether on Mars in the first part of the story or planet Earth in the second part, it makes for a bleak and comfortless, but beautiful read.
