Cleveland’s Mondrian, is it Comics?

Looking at Mondrian I’ve often thought, “he’s the greatest comic book artist ever”. On Twitter Alan Haverholm (@haverholm) has started claiming many modern paintings as #comics. It’s delightful to have someone else claim Modernism as comics. When he posted a Mondrian grid with lots of squares done in very light values of the standard red yellow blue pallette Mondrian uses, as a #comics. Without thinking I responded #notcomics and said: “Mondrian’s work always comes down to icons for me”.

He didn’t get it. I’m not sure I get it either, so here are some thoughts to think this thru.

I’ve puzzled over this Mondrian at the Cleveland Museum of Art puzzling over why it doesn’t feel like comics to me.

What holds a comics page together as a visual unit that feels different then Mondrian’s grid-based paintings? Mondrian has put his color rectangles at the edges, making your eye move around the central white icon. For each rectangle to make sense they have to be seen in relationship to the others. Certainly not being a sequence makes it not comics. But then I’m not sure sequence is a defining part of a comics page.

The black “gutters” are zips, the weight of each one is set by the others. The thick black bar between the blue and white rectangles by its thickness takes on an identity of its own as almost an anchor of the whole composition. The bar at the bottom of the two red rectangles also take on its own identity and makes you look at it’s two parallel zip.

Despite the immaculate craft of Mondrian’s painting you can’t pull out and make any one rectangle be a “panel”. You have to hold the whole painting in your head as you look at it and can’t fall into any one panel for the meaning in the panel. I think there are two different relationships between parts of a “paintings” and “comics”. In paintings, it’s the relationships between all the parts. In comics, it’s the framework holding all the parts together. But there is still a relationship between all the parts.

So to make a Mondrian into a comic there needs to be a visual framework to allow you to compare the red and blue squares. But what he does is ask you to hold them in your head together in a relationship with the black lines as parts of this relationship, not just a framework.

Next a page from my Martian Manhunter to look more at these ideas.

An Artists Eight Fold Path

Buddha wants everyone to be happy. He can’t make you rich, famous, sexy or pain-free, just happy. Buddha gets that pain happens, emotional intellectual and physical. But then I make it worse in my head, that’s suffering. When I stop making it worse and just deal, that’s being happy.

Us artists, we gotta express our sufferings. My angst should pour out into what I make. I’m supposed to “suffer for my art”. I think I’m, special because I express my suffering. I ignore how my suffering hurts others.

Meditation is a practice in how to experience pain(emotional or physical) and let it go. There is a delight in popping the zits of day to day existence. But I can repeat forever how “The Man” screwed me to myself. But to focus on the breath and just the breath, I have to be in the moment, not in the past or the future. My breath is here as I type. My kid not doing his dishes is in the past. I’m not smart and can only handle one thing at a time. So I have to let “dishes” or the breath go. So meditation is my practice in letting go of bad shit and paying attention to what I’m doing like writing. It works, when I can do it, now I’m trying to do it with my art too.

Making art is a practice too. I have to study, each drawing or writing session is just like sitting in meditation. But I worry as much about paying the “rent” as making work. The “rent”, “The Man” and life has often stopped me from making work.

So I’m swiping Buddha’s Eightfold Path. I’m writing an Artists Eightfold path to drop all the shirt and make art. There’s no fame, no fortune not even how to draw well promised it. The only goal is to make work and be happy.

Navel-gazing at 30 Year old Ink Stains

Making art is about continually judging what is right. So in excavating old work is there any point in looking at it again? Well, when your headspace is filled by past events, fabrications and hungry ghosts that you don’t want to feed anymore, probably not.

But Daniel Vozzo once from DC Comics posted a color chart from the 80’s when the color in comics was a hand done process involving codes, little old ladies in Connecticut, and some luck. Then a request for a re-creation of the last page of Martian Manhunter (a series I had draWN colored) came over the Internet. It was shocking how much I liked the work. See those hungry ghosts are rather large with nasty tentacles that have torn at mainstream comics career.

In the middle of that career, I was diagnosed with Multiple Sclerosis.

I did a short strip in an anthology with friends about being diagnosed with MS. It ended with a plea to support the Single-Payer initiative on the ballot that year in California. We got a letter that said, “sorry but that’s not the appropriate subject matter in comics”. So at 31, the comics community, my body and the medical professionals basically said “you’re not appropriate”. They all said, “there is the ice floe, see ya!”.

But I lucked out, the Multiple Sclerosis, while at times crippling, is down to some chronic pain and the normal aches of old age. At 31 most people are healthy, by sixty even the finest of athletes, have aches creaks and cracks. It’s just the norm for everyones life now.

Now looking back at Martian Manhunter, there are some failures, and some neat ideas too. Age, time, a whole lot of meditation, has stuffed all the ghosts from the past into the closet. So now it’s time to find those good ideas.

Mainstream comics is factory work, a writer plots, artist pencils, another inks, another colors. I was weird that others had a hard time inking my work, and I was pretty sure they couldn’t color it right. The editor Andy Helfer let me color the work myself. But covers were more important and had to be done in the “office”. Weird kids like me weren’t allowed to color the cover, that would be wrong. When I came into the office in NYC to deliver the pages the color drone was mumbling at Andy about what a terrible cover this was and he had no idea how to color it. Helfer made a huge leap to let me color the cover because I seemed to be the only one who could make my own art work.

I had used diagonals swiped from Russian Constructivism and combining it with life drawing based inking was really the foundation of what would be my work. Now it’s seeing that color, knowing it should be simple, the buildings one color, flames another, details don’t need to be picked out in color. Let the big structure determine the color, not the need for silly rendering and tiny highlights.


Abstract Kirby 4 cover thumb

The finest comics I’ve ever done exploring the fundamental things that make comics comics. Now with fancy four colors added into the mix, the tension is can the flat hard colors defeat the evils of cross-hatch and the washes of watercolor lapping at their edges. Or some such bullshirt, I like these. Please buy them here, Abstract Kirby 4 on Amazon.

Teaching Comics to Myself: Fundamentals

Good instruction and good teaching do not provide explanations. They tell you what to do and, to a certain extent, how to do it, and it is through the doing that you discover how the practice works.

Ken Macleod

There are two parts of comics, drawing and storytelling.
But pulling comics apart to understand and develop the work from the foundation is rarely done.
Doing abstract comics takes you closer to the basics of what makes comics a medium and not just illustration.
After doing a month of Abstract Comics for Inktober I found myself wanting to reduce the comics down another step to really understand how panels fit images together.

I recently bought a book on Joseph Albers’ teaching.
Albers is a painter who taught at the Bauhaus and Yale more or less invented the modern educational system for art in the last century.
All first-year color theory and how to learn it by experiencing it is driven by his book The Interaction of Color.
At Parsons School of Design a couple of my first year teachers had studied with him.
These were the ones who cracked my dumb little skull open and poured in a whole new body of knowledge about making pictures.
The made us look at what was actually happening with the lines, shapes and colors put down on the page.
They developed a critical vocabulary for talking about the form of the art and not just what cool things we had drawn.

Alber’s last thirty years of his life was spent painting the Homage to the Square, just color in a series of centered squares.
Color is the most complex part of picture making as it can carry more emotion than almost any other part of a visual.
Each painting is just a set of colors that are carefully mixed and create a different painting each time.
Even if it’s just a set of squares set inside of each other.
These are some of the most magical paintings in the world that suck me in and say look the world is magic held by color.

Exercise: 1 square with background
Goal: Define visual structure in four panels
Steps:

1.Define a consistent background shape
2. Use one rectangle and define a rhythm of AND,AND, BUT, THERFORE
3.Use scale and placement only
Outcome: 10 drawings write an evaluation

Squares exercise 2