ahhhhhhh….. GHIC OUT!

Posted on May 2, 2013 by bre bro

I’m interrupting my current spate of blog posts responding to fits of pique, to announce an upcoming fit of geek. Namely the second annual incarnation of our local geek (comics, sci-fi, gaming, general pop culture) festival and/or “con” called, Geek Out!

I missed last year’s inaugural GeekOut, due to commitments to offspring matriculation in other parts of the state occurring simultaneously, but I’m glad to announce that I will be included in the Artist Alley section of the con this year.

Along with offering to draw caricatures in exchange for only some devalued US currency, I will also be selling copies of my new 62-page full-color paperback book. It is a compilation of selected comic strips from the last 5 or so years of my “Land of This Guy” cartoon that has appeared on a mostly weekly basis in the local alt-weekly, The Mountain Xpress. Sure, you probably saw most of them already for free, but here they are printed on good paper instead of awful newsprint and additionally, I supply a director’s commentary on each one as an added bonus feature and page-filler!

I only have 50 copies, so be sure to stop by to get one either signed or not signed, depending on whether you like your reading material defaced with other people’s scribbling inside or not.

Any copies left over will be available for sale here or on any of my other sites and any left over from that will be stuffed into a pillowcase and buried with me when I die, so that I can take the shame of my failure to get even 50 people interested in purchasing a small segment of my life’s work for less than $10 with me to the grave.

So, while I’m still here, come out to Geek Out this Saturday, May 4, 2013 at the Sherrill center at UNC-A from 9:30 a.m. – 6:00 p.m. and in addition to seeing cool guests and cosplay and a plethora of geeky goodness all in one place, also try to make my life have meant something!

Missed Conceptions: Part III

Posted on April 24, 2013 by bre bro

Ideally, a good local cartoon can cover several themes at once. In this case, I thought I had come up with a good way to cover something both topical and fun to draw (the upcoming annual Asheville “Zombiewalk” and the ongoing complaints of downtown panhandlers.

The Zombiewalk, which reached its zenith locally on 10/10/10, had now been relegated to an ordered pub crawl rather than the former large-scale (and apparently unwelcome) city-wide parade through the streets that said city leaders put an end to by way of imposing an unreasonably expensive permit fee upon the walk organizers, forcing them to downscale to a walk the previous year held at a “dead” mall on the outskirts of town, and this particular year within the confines of various downtown drinking establishments.

Combining this sight with the often-complainted-about gauntlet of downtown panhandlers (of which I had just read several gripes in the comments at the bottom of many online newspaper stories regarding downtown) that many have to pass by, seemed to me to be a pretty good joke. Especially since “braiiiiins” sounds so much like “chaaaaange” amongst the other similarities of hapless pedestrians being the recipients of the unwanted attention of large groups wanting something from them.

The cartoon ran as follows:

click to enlarge

Zombies printed in Mountain Xpress circa 10/16/2012

About nine days later, the following article shows up on the Mountain Xpress site:

“Dignity and respect” parade for homeless planned for Oct. 26

Members of the Asheville Homeless Network plan a parade to “promote dignity and respect for the homeless,” tomorrow, Oct. 26 at 2 p.m.

By Bill Rhodes on 10/25/2012 11:47 AM

The event starts with a rally at Pritchard Park and a walk to City Hall, says organizer Raven Al’Rashid. She notes the hope of making “a more public voice for the issues of the homeless and homelessness here in Asheville.”

Al-Rashid explains that a recent cartoon in Xpress by Brent Brown was a particular concern to the group. “It is hard enough out on the street without people thinking you are monsters,” she says.In the cartoon, Brown compared homeless people to the Zombie pub crawl held downtown. “We are not monsters, and we invite Mr. Brown to join the parade and educate himself on the real issues,” said Al’Rashid.”Another of the parades’ organizers, Noah Harbin points out “Yes, homelessness is a problem. Homeless people are not the problem, only the symptom.”

click to enlarge

So here we go with the homeless advocates complaining about a cartoon again. Even though I have done many cartoons in the past that are sympathetic to the plight of the homeless and even though this cartoon is specifically addressing panhandlers, not homeless people (not every panhandler is homeless and not all homeless are panhandlers, maybe some people should look at the type of broad generalizations they themselves employ). Also, the “monsters” in the comic are people pretending to be zombies, no one in the comic or real life thinks they are actual monsters.

As a reflection of how different groups can see the same cartoon, the folks over at Ashtoberfest, who sponsor the Zombiewalk, were apparently unaware of the cartoon’s role as a malevolent attack on human dignity and saw it as (gasp!) a funny cartoon!

Missed Conceptions: Part II

Posted on April 18, 2013 by bre bro

In my experience, most complaints about cartoons seem to be due to a misunderstanding of the premise or punchline of the joke. Or sometimes an understanding of, but objection to the joke, its intent or execution (or even subject) or, in the event of political or social commentary, just a disagreement of opposing ideology.

However, the “outraged” party du jour of this particular comic from 2011 had a complaint that was a new one on me altogether! The cartoon in question was a series of jokes featuring a recurring character, “Ironey The Iron” who was a de facto narrator for Asheville happenings, as he was an anthropomorphic version of the well-known urban art piece (sculpture) on Wall St. and Battery Park Ave. appropriately facing the Flat Iron Building outside the Mountain Xpress offices.

As I had done in previous incarnations of the Ironey strips (here and here), I addressed a number of recent local issues that seemed ironic in some way. One of them, was that a local photographer, though coming off a recent win as Best Local Photographer in the paper, had nevertheless made public his concern about being able to make a living here, or indeed, to even continue to pay to live anywhere. This was stated on his Facebook page and repeated on an Ashvegas blog post about the photog in question, Micah MacKenzie. I thought it nicely pointed out the irony of being “successful” in the arts here and still not actually making enough money to even pay your (inflated) local rent. The cartoon ran as follows:

Click for Larger Version

Ironey the Iron III printed in Mountain Xpress circa 11/15/2011.

The next week, I hear from an editor that they had received this letter to the Editor by a Patty Cooper which, bizarrely recounted how “offended” she was about the cartoon because… well, just read it yourself:

“I am highly offended by your cartoon that shows someone in a green hat, and brown pants, and who is a photographer [“Brent Brown: Ironey the Iron,” Nov. 16 Xpress]. I walk these streets all day wearing about the same outfit, taking pictures. I would hate to assume that this is supposed to be a caricature of me.

Yes, I sit with homeless, and many others as I spend my days here. I can assure you though, as a land and homeowner in Vermont, and having an apartment to stay in while here, that I am not homeless. I also have viewers of my work all over the world. I do not see any homeless persons walking these streets with photography equipment or handing out cards about the video and photo work I do. Yes, I was offended.

I could not figure out why persons were walking up to me today telling me all about services that the homeless have here. When I told them I do not need those services they seemed shocked. Now I know why. I am sure that you would not have posted a caricature of some better-known local artist like that. I consider this defamation of character.”

— Patty Cooper
Asheville

So, I was tasked with penning a response to this person’s, shall we say, colorful view of the world, before I was told who even wrote the letter. I first wrote Micah to make sure he didn’t write it, as it was about him, but he had not even seen the cartoon, or got the connection that it was about him, until I pointed it out. Assured the letter writer was indeed not the subject of this comic, I replied:

“No, the cartoon was not about you, whoever you are, (the Xpress edited that part out) The cartoon of the photographer who’s forced into homelessness despite, ironically, being the best in his profession, was not based on you. Rather, the cartoon alludes to a Nov. 2 entry on the Ashvegas blog about local photographer Micah Mackenzie, who posted on Facebook of his struggle to survive in Asheville (ironically after just having won the title of Best Photographer in the annual Mountain Xpress Best of WNC issue). Even then, it was not a literal representation of him and other actual artists actually living in boxes on the street, but rather a premise taken to an extreme to achieve what people with senses of humor call a ‘joke.’

The clothes’ colors were chosen at random and not based on any person living or dead. To further set your mind at ease, the iron depicted in the cartoon, while based on an existing sculpture on Wall Street, does not in real life have human limbs or a face and does not narrate local events.”

— Brent Brown
Asheville

That, hopefully satisfied the offended party, but probably not. Additionally, the woman who was pictured being led away by police for distributing fliers was not very happy with the way she was drawn, but in fairness, I never went out of my way to find a photo when I did it and I just drew a generic woman, so no offense was meant.

Missed Conceptions Part I

Posted on April 17, 2013 by bre bro

Sometimes you do a cartoon with what you think are pretty clear intentions, but then you hear back that those intentions were misread or misinterpreted or misconstrued or just missed completely.

Getting complaints about your cartooning efforts, especially when the complaints are based on the reader seeing the opposite of what you meant (or in some cases, just seeing something that is not there at all) is kind of annoying, but some would say it beats having your work completely ignored and receiving no feedback at all. (Hey, they may hate it, but at least you know someone is actually seeing it!)

Therefore, I would like to go back and address some of these “missed conceptions” that have happened and since there are more than a few, I will tackle each independently.

click for larger version

A Place to Sit printed in Mountain Xpress circa 7/27/2010

The first is this cartoon focusing on the plight of the growing local homeless population (always a touchy subject with well-meaning, but humor-impaired social advocates) and specifically a series of downtown bench removals by the city and private business/apartment buildings in order to deter the use of them by tourist-deterring and unmarketable homeless people, criminals, smokers, and/or other undesirable users.

This led to a reduction of available places to sit. So I did a cartoon with tourist-resident types complaining about the lack of places to sit (made ironic because the places to sit were taken away due to complaints about all the homeless sitting on them). Combining this with the usual stories of homeless being both complained about in letters to the editor and attempts to dissuade their presence by enforcement of loitering laws and I have the complainers actually sitting ON the homeless guy (who complains about not only not having a place to sit, but also not being allowed to stand around either).

So the cartoon was about the absurdity of having the indignity of the homeless guy being even further de-humanized by being made furniture—just so he can legally exist in a place where he can neither sit nor stand around. I thought it was pretty clearly on the side of the hapless gent’s circumstances, and that giving him that last line (which was, I thought, a clever pun on the repeated use of “can’t stand” turned around for his own use) was a clear indication that this was sympathetic to his position!

But noooooooooooo. The next week, there appeared this excoriating letter to the editor, as well as more of the same thing in a post on the very-ironically titled blog Community of the Beloved, decrying what the two people needed to compose this misconstrued missive attack as “appalling” and “blatant prejudice” as well as implying it could lead to “awful violence” against people who are homeless. Here is the full letter, as well as screen shots of the blog post:

“Prejudice is destructive to the fabric of our community

It is appalling that, on the one hand, Mountain Xpress can write such a powerful piece exposing the past prejudice of deeply rooted racism in “Back to Summerlane” [July 28 Xpress] and, in the same issue, promote such blatant prejudice against people who are homeless [in the cartoon] “Land of This Guy.” This kind of prejudice ripples out, changing the landscape of our city as revealed in “Benched” [July 28 Xpress] and can lead to the awful violence seen at Camp Summerlane.

We welcome citizens without homes, seniors, tourists and Asheville residents to find comfortable seating, rest and the opportunity to build real relationships that have the power to overcome our prejudices at Be Loved, a community house located at 39 Grove Street in downtown Asheville.

— L. White and A. Cantrell
Be Loved”

Seeing they had obviously missed the whole point of the cartoon, I tried to reply to both their online letter and their blog post, explaining the actual concept, but got no reply to either.

I wrote back:

You have completely misinterpreted my cartoon. The entire premise of the comic strip is that while the complaining couple are worried about having a place to sit and having to (oh no!) see homeless people while they are downtown; the actual homeless man is forced to behave as their furniture in order to be legally allowed to exist downtown in lieu of the anti-loitering laws displayed on the sign.

This cartoon was (I thought, anyway) obviously taking a sympathetic view of the homeless person’s plight by showing how he is not only ignored, but further degraded by taking such anti-homeless laws and sentiments to an absurd degree, such as requiring them to be furniture. It is not encouraging such behavior at all, merely using the absurdity of it to make a larger point against treating them that way! It was also combined with the recent story of benches being removed.

It’s probably not a good sign when a cartoon has to be explained with three paragraphs. That could mean that the cartoonist did not get his point across well enough. It could, however, also reflect on the inability of the person reading it to recognize parody, satire or sarcasm. In any case, I hope the intended meaning is now clear to you.

For a place that likes to “spread the love” they sure don’t mind going off half-cocked and accusing cartoons, that they are too one-dimensional and literal-minded to apparently understand, of “treating our friends on the street with disdain and disrespect”.

So, that wraps up part one in this attempt to explain myself to the (hopefully) few who do not get my cartoons but are nevertheless so demonstrably and publicly vocal about their “outrage” that I feel I have to be equally public in defending myself, as well as pointing out what they got wrong.

I realize I should take the advice of other cartoonists and just ignore the few cranks (“fuck ’em if they can’t take a joke” my colleague at the Asheville Citizen-Times instructs) and be assured most people either did get it or (more likely) don’t even care about, or notice cartoons in the first place. Also remembering that said majority is rarely heard from the way the very vocal, terminally-outraged are, but hey, I have blog posts to make, and this seemed like a good recurring blog subject since these types of things require a long-form, multimedia approach.

The real tragedy is that this cartoon was also done in a style that evokes Tom Wison, the famous creator of Ziggy and even though I drew the homeless guy as Ziggy himself, no one seemed to notice that, either!

Producing Stereotypes

Posted on April 9, 2013 by bre bro

Here is a good article from Carolina Public Press Written by Paul Clark about the Southern Stereotypes in comics exhibit at WCU (where they were nice enough to invite me to a cartoonist panel discussing such things). I was also interviewed for this article.

In it, I spoke about my late uncle’s produce business and how he would dress up as the stereotypical “hillbilly” that potential tourists/newcomer customers would expect to see. Here is a collage of some of the label/ad designs I tried to come up with for him, as well as a photo from a newspaper clipping of him and my late aunt:

Bob and Katherine McCombs at Mountain Man Produce stand in Hendersonville, NC

An interesting aside, is that I used him as the inspiration for a cartoon (featured in the same Carolina Public Press article) where I take up the issue of cultural stereotypes that was partially in response to another cartoon by fellow cartoonist, Randy Molton that was featured in the Asheville alt-weekly, Mountain Xpress. Randy’s “pigdemic” cartoon (suggesting certain bestiality inclinations inherent in certain people in certain geographical regions) caused not a small bit of controversy at the time (May 6, 2009 issue).

My cartoon was a little better-received, but still had its critics. As local writer and Appalachian historian, Betty Cloer Wallace remarked:

“Well, Brent Brown’s “Stereotypes” cartoon is quite humorous and a great improvement over Molton’s “Pigdemic,” even though Brown’s “hillbilly” character is the only person of the five types in his entire cartoon who is portrayed as being ignorant for real, ignorant beneath his stereotype. (It’s hard to get away from it, isn’t it?)

Even the double-negative frame, although borderline, is humorous.

I think the cartoon would have been even funnier, though, if Brown had left out the stereotypical language “whatchoo you in fer” and instead had the real person behind the ignorant stereotype saying something unexpectedly erudite.

It clearly is possible to poke fun at stereotypes in ways that are not insensitive or insulting toward a person, group, or culture, and except for “whatchoo you in fer,” this cartoon does that quite humorously.
By Betty Cloer Wallace
05/20/2009″

What she did not know, was that it was based on an actual person, my uncle, who—though he was playing the part of the cartoon hillbilly as a marketing gimmick—was nevertheless a rough-around-the-edges, rural, country type who was still prone to speaking in a NC mountain dialect with syntax and grammar not considered proper or correct and filled with regionalisms. To have him sound like Rex Harrison would, I agree, have been a funny idea, but in this case, I was being true to the comic strip avatar of my uncle Bobby. It was also a way to say that even though the people here may have an accent and non-standard way of speaking, that they are still nothing like the cartoon stereotype portrayals that may or may not even be based on reality, but became so prevalent that even the people they mock eventually used them for their own purposes.

U MAD Bro?

Posted on April 3, 2013 by bre bro

Updated July 3, 2019 to reflect the sad news that MAD Magazine will stop publishing after nearly 70 years.

Like a lot of 70s kids, I grew up with MAD Magazine and it had a big influence on me. I still own all my tattered, and sometimes coverless, issues from that period, up to whenever it was there stopped being newsstands to impulse buy one from. Not only was my sense of humor and irreverence affected by the “usual gang of idiots” but as a cartoonist, the way I approach the medium has the DNA of MAD all up in that.

A few cartoons I’ve done for Mountain Xpress have been tributes to various MAD artists, from Don Martin, Antonio Prohias, Sergio Aragones, and Paul Coker Jr., to the first MAD man himself, Harvey Kurtzman. Even when I wasn’t attempting a blatant ripoff, I mean “homage” to the artist’s style, I can’t help but find myself being influenced by years of enjoying work from people like George Woodbridge or Wally Wood or Bill Elder.

Brent Brown local TEDX cartoon using classic MAD man, Don Martin style. Click for larger version.

Brent Brown parody cartoon of Antonio Prohias MAD Spy vs. Spy strip for local paper. Clicken to Enlargen.

Paul Coker Jr. style of MAD feature appropriated by Brent Brown for local version. Click for larger version.

Sergio Aragones style for local evidence room scandal. Click for larger.

Woodbridge-esque influences in my work.

John Tenniel-type Alice illustrations with “Bill Elder/Wally Wood” influences comic on local Tweedle-Dum candidates by Brent Brown.

Harvey Kurtzman-esque comic by Brent Brown about local Duke-Progress merger.

In the early 90s, when I went from doing boring commercial art in ad agencies to full-time starving doing interesting freelance, I submitted some cartoons and ideas to my beloved MAD, sure I would get the same nice rejection letters I got from cartoon syndicates I sent my attempt at a comic strip to earlier.

To my delighted surprise, they actually were interested in my submission and subsequently bought it! When issue #321 came out, there I was: Writer: Brent Brown. Oh, they had another artist re-draw my cartoons. So I am still not a MAD cartoonist, just a writer. Oh well, I would still forever be linked to my MAD muse in the history of contributors!

Undaunted, I sent in more submissions and they were considered, but ultimately rejected for one reason or another. I did enjoy the snarky repartee we had in those pre-email days with making fun of each others locations in Noo Yawk and Naw Kerlina:

A few years later, I applied for, and was summarily rejected from, membership in the National Cartoonist Society (when I found out they existed and contained so many great cartoonists that I would have loved to have met during their yearly conventions, held in various parts of the country). One of these annual meetings in particular was going to be quite close to home. RIght here in Asheville, NC at the Grove Park Inn! Since I was not a member, I couldn’t go to the convention or the main event, the Reuben awards, not as an attendee anyway, but having such luminaries so close was too tempting. I had to figure out some kind of plan to worm my way in amongst my heroes that were going to be practically in my back yard.

Now, I had been hired by the Grove Park Inn on many previous occasions to draw caricatures for various gatherings at the grand hotel and so my plan was to put on a tux (or as close to one as I could approximate for the black tie dinner being held in one of their ballrooms that night) and just set up my easel and to put up a sign that said “free caricatures” in front of the ballroom where the awards ceremony was being held, pretending that the hotel had hired me to be there! This is what I did.

Of course, I had no right to be there, but no one questioned it. Even when the entrance (where I had borrowed two chairs to set up to draw) had become so packed with participants in penguin suits that I—and the few I was able to draw before the ceremony started—could barely move or be seen any longer.

I wasn’t able to talk to Sergio Aragones, who was being honored that night, but I did meet several cartoonists (one who did a caricature of me at the same time I was doing one of him, he declared me “the winner, hahah” but I can’t remember his name, although I have the drawing here, somewhere, still) and I even met Mad artist Bob Clarke, who recently passed away, who was happy to autograph my “Complete MAD” compendium that I “happened” to bring along with me. I still treasure that, even though he inscribed it “To Brandt.” (see below) as he was not able to hear me very well over the din.

MAD artist Bob Clarke signed one of his works on the pages of my “Completely MAD” paperback I brought to the Reuben awards at Grove Park Inn. (He didn’t get the spelling right, but I still treasure it, especially now that he is gone.)

It was a pretty crazy idea, but I was glad I went through with it. I never tried to reapply for membership though.

Years later, I did join the International Society of Caricature Artists (ISCA) in 2011 and was able to meet a lot of very talented fellow caricaturists from all fields from all across the globe. One, Tom Richmond, was even nice enough to lead an impromptu sketch session by the hotel pool during a convention in Tampa, FL that year. Tom happens to be the main caricature genius at the current MAD magazine. He is the goto guy for movie and TV parodies and other parts of the issue that require spot-on caricature work. He even wrote a book on the subject and I was able to get a nice inscription on my copy from him as well as a free caricature (it would be priceless at any price!). Another MAD alumni I met at the 2011 convention was the great-in-his-own-right-but-also-a-sometime-contributor-to-MAD artist, Drew Friedman. Here are a few photos from those epic encounters:

As far as MAD goes. The last correspondence I got from the MAD editors was in 1994, asking for more submissions for their “potpourri page” but I never got around to coming up with any ideas to send in and I never did.

Just this week, however, I’ve received in the mail, my first issue of MAD in years (from a subscription deal I found online and decided to see what’s been going on) and I see I can now download the whole issue on my iPad as well (with interactive all kinds of stuff). Seeing the many new contributors that make up this modern MAD makes me wonder why I had not sent in any more submissions in after their last request, and at this point, I can’t remember, but time must just have gotten away from me, and other projects came up and I probably also just ran dry regarding new and different ideas that they had not done similar things about before.

However, as I see the modern day MAD, where they are apparently still looking for and accepting such stuff (even more than they used to, it would seem) I’m thinking it’s not too late to try again. I wonder if they accept digital submissions though, as I haven’t had any letterhead since the Clinton administration.

ADDENDUM: 7/4/2019

The news that the corporate suits that took over MAD have finally decided that, after many years of cutting costs one way or another, they are finally closing the doors on this institution has made this old post relevant again. Rather than write a new obituary, I’m just going to add on to this still-relevant love letter. Having lost two best friends this week, I find this news particularly devastating. At least I now know why my great work submitted to them was routinely ignored: they had no plans to continue this legendary publication into the unknown future of free online content and fractured fan bases that doesn’t seem able to make a dinosaur like a monthly print satire publication a fiscally feasible possibility.

Rest in Peace MAD, I still have my subscription pre-paid up to February 2022, so I will see you until then.

Happy Egg Bunny Day

Posted on March 31, 2013 by bre bro

Why not keep my blog updated as much as my other social media crap, I say to myself? Good idea, I say back to myself, with no quotation marks to hinder the conversation. Why not do it today with that twisted Easter Bunny illustration you drew on your iPad in Procreate yesterday? Hey! Say I, that would be the perfect thing to put there for all me to enjoy, since I’m talking to myself, why not update a blog that only I read for myself as well??

Something Wicked This Way COMES PETER COTTONTAIL

WCU Panel Discussion

Posted on March 14, 2013 by bre bro

Southern Culture on These Kids

L to R: Randy Molton, Brent Brown, Chris Cooper, David Cohen. (Photo courtesy of Rebecca MacNeice)

On March 14, 2013, I was part of a panel of local cartoonists invited to Western Carolina University in Cullowhee, NC, to discuss our work as local cartoonists, as it pertained to “Southern Stereotypes in The World of Cartoons” as part of the Universitiy’s “Comic Stripped” exhibit taking place in the Southern Heritage Museum.

Many famous Southern or Appalachian-themed comic strips were displayed in the gallery: Snuffy Smith (with and without Barney Google), Dough Marlette’s “Kudzu”, Li’l Abner, even the more recent animated TV show, “King of the Hill.”

Of course, the creators of those well-known displays are either no longer alive, or too famous to show up for this panel, so the school very graciously reached out to local-grown talent to share their experience of creating comics/cartoons in the South, for the South, and presumably, about the South.

WCU cartoonist panel. L to R: Randy Molton, Brent Brown, Chris Cooper, David Cohen. (Thanks to Rebecca MacNeice for the photo.)

As a weekly cartoonst for the Asheville alt-weekly paper, “The Mountain Xpress” for the last six years or so, I was invited to share my cartoons that depicted such themes. Also on the panel were my fellow Mountain Xpress colleague Randy Molton, former Mountain Xpress cartoonist, and current political cartoonist for the daily paper of record in Asheville, the Citizen-Times, David Cohen; and resident WCU Political Science professor, Chris Cooper.

Brent Brown contemplates exhibit of Southern-themed comic strips at WCU.

It was apparent that the organizers of the exhibit and the panel had gone to great lengths to create a beautiful display of the genre and that genuine enthusiasm and care had gone into making the artwork displays expressive, lively and interesting.

Detail of exhibit of Southern-themed comic strips at WCU.

Western Carolina University, Cullowhee, NC

I was proud to have my own work put on display in the lobby outside the lecture hall as well, even if it was not in the same iconic class as the well-known comics in the gallery.

Brent Brown with exhibit of enlarged Southern/Appalachian themed comics he has done.

Sadly, aside from me, my fellow panelists, the accommodating and friendly folk from WCU who invited us, and the significant others we brought with us, there may have been about three other people who actually showed up to the discussion.

For those few, we had a lively and sometimes humorous discussion throughout the designated time period in the mostly empty hall. Randy and David gave thoughtful and considered answers in response to questions while I rambled on like a grumpy stand-up comic until time had run out.

I can’t pretend the seemingly apathetic turnout to what I would have considered a must-see event in my youth (REAL cartoonists talking and big displays of COMICs??) was not a bit of a letdown, and can’t help feeling like it was a depressing barometer of the interest in comics in general or my work in particular. It also evoked sympathy on my part for the work the organizers had put into it. Their fulsome enthusiasm contrasted with such apathetic snubbing by the students/public of the event to such a degree that I felt worse for them, than for me.

Maybe comic strips are becoming a relic of a bygone era. I mean, at nearly 50, I am still the youngest of the cartoonists present (you can’t tell by looking, but it’s true), so maybe if it’s not anime or manga, people of a younger generation aren’t interested. Also, print media may not have the allure for a demographic raised on electronic screens and unlimited visual content from limitless sources that it once held for me when the only time you could glimpse a color cartoon was in a Sunday paper or a Saturday morning television block. Comics and cartoons were a rare treat in those days, so they seemed to mean more. With cable networks devoted to them and web comics galore, they are as prevalent, and as overlooked as a kudzu vine.

Local area cartoonists: Randy Molton, Brent Brown and David Coehn at panel discussion and exhibit of Southern-themed comic strips at WCU.

Still, I appreciate their efforts, and enjoyed the time we spent there, even if no one else in the vicinity really seemed interested at all. It was nice to be part of group recognized for what they do, even if no one recognized it happened.

Addemdumb

Afterwards, Paul Clark, a writer for Carolina Public Press did a phone interview with me on the subject. This well-crafted piece debuted on April 9, 2013 to yet another round of intense apathy from the online reading public.

2012 Mountain Xpress Halloween Art

Posted on October 31, 2012 by bre bro

The local alt-weekly paper in Asheville, NC that I draw a weekly cartoon for asked me to draw a humorous Halloween and Election cover for the issue that would fall on the week of both those events.

I gave them some roughs and thumbnails and sketches for some classic monsters (Dracula, Mummy, Invisible Man, Frankenstein’s monster, wolf man, etc.) and, on a different tack, maybe a jack-o-lantern and a ballot box?

We ended up doing some of them voting in different, yet appropriate ways:

The invisible man is voting, of course, absentee ballot and a ghost voting reinforces the often-cited claim that dead people are voting in our elections, incurring the wrath of an angry, 17th century voter fraud mob. Dracula and his vampire fangs prefer punch ballots and Frankenstein’s creature doesn’t know his own strength when even using a tombstone touch screen ballot.

2012 Halloween cover for Mountain Xpress by Brent Brown

They liked the Republican elephant Frankenstein monster and the Democratic donkey Dracula, so I ended up drawing both of those for inside illustrations:

Finally, the weekly cartoon I also have to draw was a Halloween-Election theme too:

Anatomy of a Cartoon

Posted on May 1, 2012 by bre bro

Well well, no blog entries here since January of 2011, huh? Wow! That’s a lot of not blogging! I aim to rectify that (just this once) with a new entry today! (See below.)

Often I get asked what goes into creating a new cartoon for the Mountain Xpress (alternative weekly free paper based in Asheville, NC and distributed there and amongst the neighboring counties)and by often, I mean never. However, just in case anyone was actually interested in such a thing, I have put together this step by step, behind-the-scenes, DVD extra, cinema verité look at just what goes into those cartoons that you probably don’t see every week. Won’t you please read on? The process starts as soon as the last cartoon has been sent in on the Friday afternoon deadline. Actually, a period of relief and recuperation follows that submission and a weekend of not having to think about the cartoon follows, but honestly, as soon as Monday morning rears it’s weekly head, that sinking feeling of another impending deadline starts ulcerating and the quest for ideas to do the cartoon about starts anew. This need for a new idea becomes more frantic as the week goes on, of course, and the fact that even if several stories of a local nature (the only kind of stories I can do, if I am to follow my mandated function as a local cartoonist for a local paper that is all about local and how local matters, um, matter) are current topics, they may also be topics that A) do not lend themselves easily to cartoon lampooning fodder or B) are in the same vein as similar topics that I and/or other local cartoonists have already done, sometimes many times, before. The search for inspiration within such narrow stipulations can be a problematic one for sure, but having the internet and no actual job to commute to, work at and get paid from to waste my valuable time, I am able to scour the local media outlets, social networks and Twitterverses for that one nugget of a twinkling of a kernel of a spark of an idea maybe that might could possibly work if I try to tie it to some other seemingly connected or divergent or paradoxically juxtaposed incident out of which I can hopefully find a way to squeeze some amount of humor or at least social commentary.

Researching ideas for cartoon - clicken to enlargen

Once I have the idea (in the case of this particular week’s cartoon, the news had been about the New Belgium brewery announcement in Asheville, which happened not long after Sierra Nevada brewery announced plans to locate in neighboring Henderson County. There had also been news items about the long proposed, but never started Ecusta Trail from Henderson to Transylvania Counties, as well as news that Transylvania County was becoming a known biking destination. Some talk about a plan to link the two new future breweries with each other by a bike trail and the usual local grump grumbling about rails to trails, and biking in general from the online comments of stories about them, gave me the idea of imagining a future where such a wonder (to a biking and other greenway enthusiasts) could actually happen and then the chance to bring it down to earth with the reality of one of my favorite targets, the unimaginative rural locals and the unimaginative northern transplants that make up (or at least seem to make up) the population of my home county.

Rough sketch on old-fashioned, actual paper. Clicken to embiggen

With an idea figuratively in hand (the most important and biggest hurdle to clear in getting the cartoon started) I was able to begin sketching out ideas. I’ve pretty much gone completely digital, with my Wacom pressure-sensitive tablet and various software programs that can simulate the look and feel of ink, pencil, watercolor, etc., but I still use a pencil and paper when just roughing out ideas and characters.

sketch layout • click to make bigger

Once I have a general idea where the cartoon (in this case, comic strip, since it will take multiple panels to tell the story) is going to go, I can switch to the computer and (using the Manga Studio software I prefer to work in) decide how many panels it will take and start roughing out the layout and composition of each panel. First though, I need to write the actual dialog of the characters in the comic. This is important to do first, as it not only gives me the direction of what to actually draw in that panel, but depending on how much space the word balloons take up, it limits where and what can be drawn in each panel that will not be obscured by the words. In this case, and in most cases, since I am dealing with actual local issues and not made up circumstances, I have to research the information to make sure I have it all accurate. The location of the New Belgium brewery was mentioned in the news articles, so that was pretty easy to locate on a map. The location of the Sierra Nevada site in Mills River was much trickier, as it was set in some place called “Ferncliff Industrial Park” which I have never even heard of, much less seen and I have lived in Mills River for most of my life.

type layout • click to see larger

More research for cartoon after idea research • click to see it

The process of locating the location of this purported site was increasingly problematic, as all the news stories and online press releases I could find about it never mentioned a street address or actual location. After much detective work, I was able to ascertain that it must be located somewhere near the French Broad river in Mills River, near the airport and facing Fanning Fields Road. Using Google street view, I was able to, eventually work my way down that road until I found a guesstimate of where it must probably ought to be and now I had the two sites to pinpoint on my cartoon map of the future multi-use, supergreenway path! I also needed to find an accurate map of the route to use in the cartoon for the panel that shows a birds eye/Google Maps view of the route and I needed to be relatively aware of where the Transylvania/Henderson/Buncombe county lines fell in the opening panel. Some reference photos of what the current railroad tracks in the proposed Ecusta trail look like needed to be sourced as well and I was also able to rely on my own experience on them. Finally, some reference photos for the bicycle (can’t get that wrong, or I would hear about it) and I’m ready to proceed. Now, after the script has been written (limited by the space allowed in the panel and the size and shape of the word balloons) and the rough layout pencilled in, the final inking of the comic can begin with the reference sources all pinned down.

comic at the inking stage - click to grow

After all the details have been added in, I can export the Manga Studio file as a PSD layered file and then open that file in Photoshop. Now I can begin the process of adding in all the color that has to meticulously be put in by hand on each item. Luckily, I decided to make the final panel a sepia tone to indicate how backwards and old timey my beloved home county is in the comic. That meant I didn’t have to color in each little thing in that panel at least, but I ended up having to make things various shades of the sepia brown to give them some depth.

: colored in strip make it bigger by clicking

Finally, I can send the finished image to the Mountain Xpress. First, however, I have been informed that I must make sure all the blacks in the ink, text, rules, etc. are all in 100% black instead of the CMYK build that Photoshop makes them automatically when I bring it into an RGB PSD file from Manga Studio (if these things mean nothing to you and make your eyes glaze over, imagine how I feel dealing it every week) so I have to find a way to select only those parts of the image and convert them to appear in just the BLACK channel after converting the image from an RGB to a CMYK image, increasing the size of an already large file to email, but it can’t be helped, sorry inbox mail attachment file limits!

finished cartoon for print

Now, I’m ready to mail the file to the MX editor, co-editor, editor when the editor is away, another editor who fills in for that editor and the art department guy. I could be done now, but I have one more chore I have voluntarily burdened myself with: I have to make a special version for the Mountain Xpress web site. You see, the dimensions of the comic I have been given to fit into for the print edition (and the large header that must appear above it each week) leave me with a very wide and narrow, horizontal space to fill. While this fits into the print version of the paper, the web site, in its current columnar layout, does not give much horizontal room for things and that includes the cartoons. Taking my very wide horizontal cartoon and shrinking it to fit into the narrow space of the web site reduces all that detail and text down to an unreadable size online, particularly in anything with more than one, two or at the most three panels. This being a five panel, two row cartoon, I felt I needed to make my usual WEB version of it. So, I had to take the finished, flattened CYMK TIFF 300 dpi print file and change it back to an RGB JPEG 72 dpi web file. Then I had to cut and paste the individual panels in order to get them to stack onto each other (in correct sequential order of course) until they make a vertical cartoon that will more easily fit into the online layout without having to be shrunk down to illegibility.

web version of cartoon

At last, the cartoon has been remade to fit online, and I send it in a second email to the MX editor and the MX webmaster (I send them separately, because in the past, I have sent web versions and print versions together , but found the print versions were being used online anyway and I also have received very stern reprimands from the print art director about “square-shaped comics with the wrong dimensions” that I should know better than to send for print which turned out to be the web version that someone mistakenly sent to the print department) to make sure they go only to those who need them. Then, at last, my cartoon finished for the week and only 40 or so hours spent in thinking of, researching, sketching, roughing, re-researching, writing, lettering, inking, coloring, manipulating, routing and sending my cartoon, I can relax and not think about it again for at least another two days! The $40 I have earned for it will go far, but that is not why I do it. I do it for the knowledge that I am creating something of quality that will be enjoyed by so many readers both in print and online and satisfaction that creating something that touches so many people in such a way that only such hard work and dedication to accurate detail and quality presentation can achieve!

Print version used on MX Facebook page and huge response it garnered.

Oh, did I mention that the online version I worked on and sent to the MX was never used and the web people just somehow tracked down the print version that I only sent to the print people and then converted that to use in a tiny, unreadable image on both the Facebook pages and web site? Did I mention that I mentioned this to them via an email that once again, contained the web version and that they still to this day did not fix it?

PRINT version of cartoon used on the MX web site to the view of hundreds and garnering zeroes of comments.

Did I mention why I bother to spend so much time every week on this cartoon? I’m remember there used to be a reason, but can’t remember what it was now.