Posted in: Comics, Recent Updates | Tagged: , , , , , , , ,


The School Of Visual Arts Class Of 2015 Cartoonists Strut Their Stuff, Give Us A Glimpse Of What's Next

IMG_0389By now, they have all graduated, and while I'm very happy for them, I know that a certain percentage will leave New York, taking their talents with them all over the world, and I'd keep them here if I could. As I go around the tables, I remind them that there are still a lot of comics and graphic novels publishers in New York despite the DC move that's very much felt in the city right now, and also that there are a number of really significant independent comic shows and expos on the East Coast they ought to continue to frequent in order to further their careers, like TCAF (so close to New York really), SPX in Maryland, Comic Arts Brooklyn, and of course, MoCCA Fest. I was pleased when some said they were already booked for next year for some of these shows, but they further reminded me that MICE and CAKE are also important shows. I commended their thorough knowledge of where they'll find their own kind in upcoming months, having taken their degrees.

IMG_0479Most of the students I talk to who are graduating from the School of Visual Arts are being very realistic, maybe too realistic, about how unlikely it seems that they'll be able to support themselves financially making comics full time. I don't contradict them, since it's good to make plans and back up plans and look the worst-case scenario in the face in order to shore up ones survival skills. But I know it is possible, just not always pleasant, to survive on making comics, whether for publishing companies or independently, and people sometimes don't even realize they have succeeded in doing so until they look back and see that they've gotten by for a couple of years through determination and wit. But whether one works more than one job or not, I know the most important thing that's going to determine the mark these cartoonists make on the medium is a kind of ridiculous, deeply ingrained tenacity that seems to exist somewhere between the line and the page or the stylus and the screen. Though circumstances in life may determine whether they discover that quality in themselves or not, these seniors, having pursued their degree course to its conclusion, have made a solid first step in that direction.

I'd like to talk about a few of the graduating seniors I spoke to during The School of Visual Arts Department of Illustration and Cartooning annual Portfolio Review hosted by the Office of Career Development at the Art Directors Club in midtown in New York on Wednesday a mere one day before their graduation ceremony.

IMG_0391Benjamin Urkowitz was the first person who I spoke to at the gathering, catching a glimpse of his comic artwork that reminded me of strong Underground influences as well as many elements of more commercial art from different decades and even centuries—I felt I was looking at engravings and cut-out images even though they were all drawn, he explained. Though I don't pretend to know much about the graduating classes in previous years, between my knowledge of this year and last, I was intrigued to see Underground accents for the first time at the event.

IMG_0482Every time I speak to the students, I learn more about how the Illustration/Cartooning degree works at SVA (and those are two tracks you eventually choose between as a specialization), and Urkowitz informed me that early on in the course, students have to adapt a work of literature to sequential narrative. That explained a lot of Victoriana I've seen in portfolios in the past. In his case, it wasn't his favorite assignment, but he pushed through. Seeing his native style, that was hardly surprising since it would have been difficult to make an obvious match between the style and content. Literary adaptations are usually heavy in realism, for one reason or another (they don't really have to be, but for some reason that's the prevailing approach), and Urkowitz follows his own star.

IMG_0481He isn't very inclined to draw from reference, either. I have recently been reading biographies of William Blake, and chimed in that William Blake hated drawing from life as well. Urkowitz was happy to hear it, being a big fan of Blake's work, and commenting that Blake is really a precursor to modern cartooning and visual narrative who doesn't get recognized as such. "He should be recognized as a cartoonist", Urkowitz said and I had to agree. Though it had never occurred to me, and I felt schooled. It's quite true after all.

Urkowitz was heavily realistic about cartooning to support oneself, but he's already done work on posters and for magazines, so he's banking on using illustration jobs to help support his comics. One upcoming comic is called "Big Busty Psychic Celeb Votes Satan", for instance. The material of his that I saw was very certain of its own voice, and rather envelope-pushing. Urokowitz will be heading to Rhode Island before long, he said, and intends to keep up with comic art shows locally and further afield.

IMG_0394Sara Duvall started off by discussing her views on the close relationship between illustration and cartooning and the ways in which the two can enrich the other by bringing new assumptions and formal aspects that alone they might not generate. Geez, SVA, have you been feeding all these students, genius juice? Seriously, I went from William Blake to how to save the arts in only a few minutes. Duvall is a very accomplished young woman whose portfolio was so wide-ranging that it was a mandatory triple-flip, going through it three times even if you weren't consciously making the decision to do so. After discussing the "ecosystem" of comics and its balancing aspects, we spoke about a comic in her portfolio which featured heavy mythological aspects and possibly an all-ages approach that she hopes to launch as a webcomic this Autumn. Her clear line style was very attractive, and there was plenty of warmth in her character depictions, too. From that, I observed a story of quite a different tack, a superhero narrative which she explained as a collaboration with a writer to widen her experience base. A very wise move.

IMG_0393

IMG_0392

It was pretty shocking to see her range moving so easily into what readers would identify as a 21st century indie superhero vein like you might find at Image or Boom! Studios. She had been allowed to fully design a team of heroes, too, and had shown some ingenuity. We spoke about the challenges she faced when the superhero content seemed to demand an escalation in the number of panels per page, whereas she naturally gravitates toward a more decompressed page, as in the mythological work which often showed vistas and woodlands. Her professor, David Mazzucchelli (He's a very likely source of the genius juice), also had them create a comic using only silhouettes and text, which was quite striking. Duvall is already venturing into publication by taking part in a large Kickstarter project called 1001 Knights, a project which will involve a significant number of female artists. The anthology, which will run to several volumes, will include short stories, poetry, illustrations, and multi-media. We'll be looking out for that project. Duvall is heading back home to the West Coast before long, but she promises to come back for MoCCA Fest. Some of the local publishers were already asking her an awful lot of questions, too. Maybe they'll help keep her here.

IMG_0395 Lorena Reyes, Duvall's compatriot, also pursued her degree through to cartooning and will be taking part in the 1001 Knights project. The subject matter of her comics also tended toward gorgeously depicted folktales or mythology, but represented an even wider multi-cultural range and perhaps even a taste for textures and ornamentation that's very appealing. She's a New York native, and plans to stick around, to our gain. Lorena describes herself as a "founding member" of the anthology group Cult Comics and is a frequent contributor to The Rookery Anthology.

IMG_0397

 

IMG_0398I have had the pleasure of reading The Rookery and it is an excellent collection focused on specific themes. She is already adept at time periods, costuming, and emotive facial expressions in diverse character types so she's well on her way toward her goal of making comics and graphic novels "full time". She's also hoping to be at CAB this year and MoCCA Fest next time, so keep an eye out for her.

IMG_0400 Anthony McNeil was the last person I spoke to about their work at the Portfolio Review, but I'm very glad I did. I had already spotted a printed copy of his comic, The Ascension, on the display table for samples and postcards coming in, and was able to see some of the original art behind it. He completed that comic in only one semester, an impressive feat. His professor was Carl Potts, a Marvel Editor, who spent a great deal of time working with him on so many levels that the "small things" that McNeil learned, cumulatively, have made the greatest difference in his work, he feels. Particularly regarding the vast importance of continuity in storytelling, a skill which he observed seems to be slipping in modern comics. It's a failure of serving the story, McNeil said, when art that should add to story takes away from it due to distractions.

IMG_0399 When I asked him if he was happy with the way The Ascension turned out, he said he felt strongly the classic comic creator syndrome of feeling that no matter what one has done, it could always be done better. I also glimpsed his literary adaptation piece in his portfolio and asked if he learned from the experience of adapting Around the World in 80 Days. He said it pushed him in new directions, like learning how to draw animals more successfully, than he would have explored on his own. McNeil is staying in New York, so one more victory, but is thinking of starting over with The Ascension "from scratch" using some of the skills he's since learned. As it seemed like a work with potential, I hope he either continues to develop it or does the reboot he was considering and continues with the concept in that way. McNeil runs a Tumblr account where you'll be able to track his plans on the project.

IMG_0480While by the clock I wasn't at the Portfolio Review for that long, it felt to me like I'd been present much longer exploring so many ideas and hearing about comics from new perspectives. When I step back and think about this experience talking to young cartoonists, I ask myself how easy it is to imagine them in another room, perhaps at a comic art show, or in a studio, among the professional cartoonists I know, and the answer is "very easy". I hope I do. They've got the skills, they've covered a lot of ground in terms of learning their own strengths and areas to work on, and now they have the motivation of entering a field where they can meet and learn from new peers as well. I wish the SVA graduates of 2015 all the best, and thanks for taking the time to share your work with me.

Here are a few more photos of the event:


Enjoyed this? Please share on social media!

Stay up-to-date and support the site by following Bleeding Cool on Google News today!

Hannah Means ShannonAbout Hannah Means Shannon

Editor-in-Chief at Bleeding Cool. Independent comics scholar and former English Professor. Writing books on magic in the works of Alan Moore and the early works of Neil Gaiman.
twitterfacebook
Comments will load 20 seconds after page. Click here to load them now.