Nut : fly you fool… *falls*
Nut : fly you fool… *falls*
Yay! Feminist Anthropology time!
Alongside drawings of bison and horses, the first painters left clues to their identity on the stone walls of caves, blowing red-brown paint through rough tubes and stenciling outlines of their palms. New analysis of ancient handprints in France and Spain suggests that most of those early artists were women.
This is a surprise, since most archaeologists have assumed it was men who had been making the cave art. One interpretation is that early humans painted animals to influence the presence and fate of real animals that they’d find on their hunt, and it’s widely accepted that it was the men who found and killed dinner.
But a new study indicates that the majority of handprints found near cave art were made by women, based on their overall size and relative lengths of their fingers.
"The assumption that most people made was it had something to do with hunting magic," Penn State archaeologist Dean Snow, who has been scrutinizing hand prints for a decade, told NBC News. The new work challenges the theory that it was mostly men, who hunted, that made those first creative marks.
Another reason we thought it was men all along? Male archeologists from modern society where gender roles are rigid and well-defined — they found the art. "[M]ale archaeologists were doing the work," Snow said, and it’s possible that ”had something to do with it.”
I added the emphasis in bold, but the “that” was already italicized in the article, and it’s probably my favorite part. I love this article, although I’m not a huge fan of the fact that it’s considered so incredibly shocking and radical to imagine that women possibly participated in society 40,000 years ago.
In other awesome feminist anthropology news: it is now somewhat accepted that the venus sculptures, rather than being depictions of female beauty by male artists, were self-portraits by women looking down at their own bodies. The paleolithic figurines lose their distorted proportions and acquire representational realism if we understand that they are self-portraits created by women looking down at their own bodies.
See also: This quote by Sandy Toksvig
When I was a student at Cambridge I remember an anthropology professor holding up a picture of a bone with 28 incisions carved in it. ‘This is often considered to be man’s first attempt at a calendar’ she explained. She paused as we dutifully wrote this down. ‘My question to you is this – what man needs to mark 28 days? I would suggest to you that this is woman’s first attempt at a calendar.’
It was a moment that changed my life. In that second I stopped to question almost everything I had been taught about the past. How often had I overlooked women’s contributions? How often had I sped past them as I learned of male achievement and men’s place in the history books? Then I read Rosalind Miles’s book The Women’s History of the World (recently republished as Who Cooked the Last Supper?) and I knew I needed to look again. History is full of fabulous females who have been systematically ignored, forgotten or simply written out of the records. They’re not all saints, they’re not all geniuses, but they do deserve remembering.
the willendorf sculpture and others like her were /the first selfies/ and its amazing
The paleolithic figurines lose their distorted proportions and acquire representational realism if we understand that they are self-portraits created by women looking down at their own bodies.
I really, really love this sentence.
I have to reblog these articles and experiences because they are just so awesome and fascinating
So I hear that this zombie apocalypse thing, 5 years later has boiled over and it’s now relatively safe on home ground.
That’s right. Finally I can announce to the public that the reason D.E.R.P. has been on a hiatus has been because myself and my partner…
There’s a temporary Hiatus going on over at D.E.R.P. Click to read more and find links to places where you can follow me for future updates.
Wow. you are the first person who I am kind of glad asked your question anonymously because I don’t want to know you.
as a reader of my work I want you to listen to me very carefully: you have major major issues. almost every line of your question reeks of complete misunderstanding of yourself as a man and of women in general.
it’s okay to find yourself more interested in something than others, of course it is, it’s okay to like Cyclops more than Jean Grey, but for you to draw the line at women characters not being interesting to you because you are a man or that you think I am being manipulated by some bitching women is really out there.
and as a reader of the X-Men whose entire philosophy is about tolerance and understanding… you are missing the point.
Some of you weekend warriors were not aware of what I was referencing about women in comics in a previous question so here is a re-blog…
An Autobiographical Comic… with zombies.
The latest page of D.E.R.P. is now up! Be sure to check it out and vote for it in the side bar!
Check out @CDN_Kickstarter campaign from @QuickFixInc for their upcoming game Magic Meisters http://www.kickstarter.com/projects/quickfixinc/magic-meisters-an-open-world-co-op-multiplayer-rpg #videogames #indie #gamedev #playstation #pcgaming #mac #ios #android #xbox #Toronto #kickstarter #graphicdesign
Check out this awesome kick starter!
A while back, a girl picked up a painting I was selling. She told me she was an art student at some college whose name I can’t remember. She looked at the painting for a while and asked what I intended the meaning of the portrait was. She asked me as if she was asking me for the time. I told her,…
I like to flip it on them and go “what do you think it represents?” It’s kinda fascinating to hear how people are touched by or interrupt your work.
If you think a woman in a tan vinyl bra and underwear, grabbing her crotch and grinding up on a dance partner is raunchy, trashy, and offensive but you don’t think her dance partner is raunchy, trashy, or offensive as he sings a song about “blurred” lines of consent and…
Okay, I finally feel brave enough to answer this question.
90% of the big job offers I have gotten have been through editors or writers who I had met, or had encountered me or my work before. I didn’t go out seeking these jobs, because comic jobs are usually not advertised. (Unless it’s a small press company.) I got to know Gail Simone through her forum and subsequently ended up meeting and working with her, just by being a member of her forum for a couple of years and getting to know her. After that Gail passed on my info to other people and I got work from there, it snowballed because industry people are very wary about working with people they don’t know. But if they hear a story from someone that ‘oh, you should try such and such, they were great to work with!’ you’re much more likely to be considered for the project. Comic creators talk. (So don’t be a d-bag to pros at Conventions or on the Internet, you won’t be doing your career any favours. Also, tagging someone on Facebook with a link to your art isn’t ‘networking.’ Please don’t do it, if they’re anything like me they de-tag the item and immediately remove you from their friends lists.)
Even if you want to be a comic artist and not a writer, getting to know writers and editors and listening to their advice will help you. Besides forums and other webspaces, Conventions are a great way to book some face time with industry pros. (I’ve never been to a big, International Con but have met pros over here that came over as guests.) If you can make it to a local Con and show off your work consistently you’re hopefully getting some good advice, hopefully cementing yourself in their minds AND showing that you’re seriously committed to working in the industry. This is a nice seg-way to my next point:
If you’re lucky enough to score a golden ticket in the form of an editor’s business card at a Convention, they expect you to follow up with your art. (It’s very rare for a pro to take your contact details and follow up with you, especially after a Con. Imagine how many business cards they get thrust at them daily.) I suggest doing this maybe a week after the Con has finished?
Or as soon as you have some new samples to show them. Don’t be offended if they don’t remember you or don’t get back to you. This is where you show how committed you are by consistently (not spamming) emailing them every few of weeks with new samples of your work. If your show shows improvement or they have a project for you, they may just offer you a job.
A lot of people underestimate the importance of getting an industry pro to take you seriously but I know from personal experience that it’s damn hard sometimes and sooo valuable. Years ago I tried to get representation through a comic talent agency, someone there was very lovely and had me do some drawing exercises and gave me some advice. But after all that he told me that although my work was okay, he couldn’t get me a job because he wasn’t sure I was serious about drawing comics. This is a very hard barrier to overcome, they don’t want someone that’s going to say yes to drawing a book and get half-way through and stop. This makes the agency look bad, this makes the publisher look bad and causes a whole lot more work for everyone else just because you lacked commitment.
I was going back through C B Celbulski’s blog the other day (he is Marvel’s talent scout, get to know him, follow him on Twitter, his insights are invaluable for anyone looking to make a career in comics) and he made a comment that he can count on his fingers how many artists had gotten their very first comic job at Marvel. (It turned out to be a little more than that, maybe toes included?)
But the point remains that you should be drawing comics, cutting your teeth on small press jobs and work your way up to Marvel and DC if that’s where you want to be. I’m currently working on a book for Image, this is my first gig at a major publisher (and my first paid work as a penciller) and I’ve been drawing comics for years. My work has now been included in 3 Gathering anthologies and I’ve done other small press gigs too, all for free in the hopes that they’ll help me get to my dream job. Most industry people don’t rifle through small press books looking for hidden talent, so if anyone tries to sell you on a project for ‘industry exposure’ don’t listen to them. Instead, tell yourself this: ‘Draw comics because that is that you want to do.’
Every page you draw improves your work, by working with other writers and editors you get a feel for what it’s like working with that team dynamic. It also means that if you ARE at a portfolio review or talking to someone at a major publisher and they ask you ‘have you been published before?’ You can answer ‘yes’ and list off your previous work, or better yet; show them. I talked before about showing people how serious you are, and drawing comics, even small press comics help show that.
I should also mention that web comics count as well, publishing comics online these days is just as good as having a printed book.
Seek advice and knowledge
There are some great places online to learn more about the industry and even get some critiques on your work. Here are some linkges:
Digital Webbing forums A great place not only get advice and critiques but they have a ‘Help Wanted’ section where you can pick up small press gigs.
Gutter Zombie forums A forum populated by industry pros and those seeking to break in, if you’re looking to be a comic flatter - this is the place for you.
Concept Art This is mostly a community for digital painters but there are still a few sequential artists here, a great place for honest critiques.
Comics Career.com I’m not familiar with this site but it looks promising.
Breaking into Comics by Gail Simone a great post from Gail, writers take note!
The Tao of Breaking into Comics by C B Celbulski Great advice for anyone looking to get into any job in the industry.
(video) Ian D Sharman gives tips about portfolio reviews Ian is on Tumblr, follow him!
I feel like there is so much more to say but there is already an epic wall of text. The thing is there isn’t really ‘one way’ to break into drawing comics. Everyone has different stories, Michael Turner was discovered at a Con by Jim Lee when he was 18, and Marc Silvestri got his first gig by getting into an editor’s hotel room by pretending to be a bus boy. (Please, please don’t do this. Even Marc admits that he’s lucky that no-one hit him.) So while in the end it’s up to you how you get into the industry, these tips will *hopefully* get you part of the way there.
More than anything though I will say, breaking into drawing comics professionally is hard. It’s hard and it’s even harder for writers. (Even Nicola Scott attended 3 or 4 SDCCs before she got offered a gig.) I’ve worked hundreds of hours without pay, my soul gets crushed when projects fall through and some days you’re having such an awful day that one critique makes you feel worthless and you do honestly think about giving up. But for me comics are a labour of love and for me drawing comics is worth all the bad days and all the tears.
I feel bad about giving advice about ‘breaking in’ because in my own mind, I haven’t yet. I haven’t reached the point where I can say, ‘yes, I’m a professional full-time artist.’ I STILL work part-time at a day job and although I feel like my full-time career is closer now than it’s ever been, I’m not there yet.
More oil painting WIP. Still got things to fix, namely hair and jewelry but its getting there. Using reference from http://characterdesigns.com since I suck so much at drawing lifted chin faces.
If you haven’t seen it already you really should! Check out the latest page update this week over at D.E.R.P.
Working on another oil paint. Wip next to sketch… Making up skin tones is hard with no Ctrl alt Del.