Liza Donnelly's Women Laughing documentary is still funding

Liza grew up in DC! This is even on topic! She's over 1/2 way to her goal, so now's a good time to join in and push the film to being funded.

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Just another quick mention of the kickstarter for my documentary, WOMEN LAUGHING, all about New Yorker women cartoonists. We need your help, our goal is still seemingly so far away. Thanks to a great many of you who have pitched in! Here is the link. We have fun rewards for donations, like digital drawings, paper drawings of you and a loved one, and tomorrow a fun new reward drops.

Meet a Local Cartoonist: A Chat with Athena Naylor

 by Mike Rhode

StoryBox Comics Fair, organized by Adam Griffiths, was held recently in a brewery in Silver Spring, MD. Along with some stalwarts of the DC Conspiracy, I met some local cartoonists new to me. Athena Naylor has been mentioned here before, but it was good to meet her in person and ask for an interview.

What type of comic work or cartooning do you do?

Mostly autobiographical comics–I like to find thoughtful stories in the mundane moments of life.

How do you do it? Traditional pen and ink, computer or a combination?

Mainly pen and ink– I’ll typically sketch everything with a blue pencil, ink directly over that, and then get rid of the blue lines in photoshop once everything is scanned in. Occasionally I’ll add some digital flat colors/shading, or paint my comics with watercolors. In general I’m more comfortable with drawing traditionally, I still find it immensely satisfying (and more portable when

I’m on the go)

When (within a decade is fine) and where were you born?

Early ‘90s– I was born in Boston but grew up in Wisconsin.

Why are you in Washington now?  What neighborhood or area do you live in?

I came to Washington to get my master’s in Art History at GWU. By graduation I had established a great support network of friends and have been sticking around ever since. I also appreciate that it’s easy to visit SPX living here, and I’ve been really grateful that I’ve been able to make comics friends in the area (participating in the Storybox Comics Fair this summer is a testament to those local connections)

How did you get into the Washington Post's Lily webcomics feature? How many strips did you do for them? How was your experience in working with a major newspaper?

A mutual friend put me in touch with one of the former art directors at the Lily back in late 2018. I pitched a few comic ideas and one of them got picked up (a comic discussing the then-new Netflix series Sex Education.) A few years later in 2021 I pitched again and got in. I would have loved to do more work for The Lily, but unfortunately it recently got discontinued as its own separate project. Comics features are going to be folded into other sections of the Washington Post-- maybe one day I'll manage to draw something for another offset of the newspaper. My experience was good. At the time I was overjoyed to get paid to draw a comic for a newspaper. It was also a valuable learning experience as a self-published artist who was not used to having anyone else have a say in my artistic decisions. Drawing for a major publication meant I needed to adhere to certain style and color guidelines that I previously never considered. Having various editors pick apart my work was also a little daunting, but in the long run I learned a lot about how to prioritize readability and accessibility into the design of comics/graphics meant for a wide audience.

I’d always been baffled by people who wanted kids. Then my friend got pregnant. in The Lily

What is your training and/or education in cartooning?

Honestly I’ve been drawing narrative art in some form ever since I was a little kid. I went to a liberal arts school and majored in art (with a focus in drawing and painting), but most of my early comics “training” was self-taught. The most specialized education I’ve probably had is that in the summer of 2015 I went to a week-long graphic novel workshop at CCS (the Center for Cartoon Studies)

Who are your influences?

I take inspiration from many places. I certainly have a lot of favorite cartoonists (Eleanor Davis, Jillian Tamaki, Kate Beaton… a lot of the artists I found online when I was a teenager were women cartoonists who are now rightfully well established). But I’m also influenced a lot by the books I read and the movies/TV shows I watch.

If you could, what in your career would you do-over or change?

I wish I had been more cognizant in my college years of how anxiety was inhibiting my ability to confidently pursue art as a career path. I knew I wanted to make comics but was timid and self-deprecating of both my work and my interests. I wish I could go back and assure myself of the validity of my creative goals! But really I try not to ruminate too hard on “what ifs–” I’ve learned there’s not a lot of utility in those thoughts.

What work are you best-known for?

Haha, I have no idea– online I’m probably most known for my series of diary comics that I call “Dailies.” 

What work are you most proud of?

The work I’m most proud of is a comic I did in 2019 called “The Checkout Counter,” which meditates on workplace flirtation through the lens of art history. 

What would you like to do or work on in the future?

“The Checkout Counter” is the longest comic I’ve done to date and I’m eager to work on more long-form comics again. I have a ton of stories I want to illustrate about working in a public museum in my early twenties, and I’m currently researching my late Greek grandmother’s life in the hopes that that may turn into some kind of comic one day about interconnected family histories.

What do you do when you're in a rut or have writer's block?

Take a walk, rest, socialize– pretty much anything other than write or draw. If I’m in a rut it usually means my creative meter is running empty in some capacity and I need to fill it up by experiencing something new or revitalizing.

What do you think will be the future of your field? 

I love meeting fellow cartoonists, but a common refrain when we discuss the field is that there is no sustainable way to make comics as a career (unless you get really lucky or have some means of financial support, whether that’s from family or a partner or whatever). I would love to see publishers actually support creators in a way that ensures artists don’t break themselves trying to meet deadlines while finding outside gigs to supplement their income. I don’t know if that’s an attainable goal for the near future. But it would be great to see any kind of improvement happen in that way.

What local cons do you attend? The Small Press Expo, Awesome Con, or others? Any comments about attending them?

Most recently I attended Storybox Comics Fair, and in the past I’ve tabled at DC Zinefest and DC Art Book Fair (which unfortunately hasn’t been offered since 2019). I’ve enjoyed tabling them all! It’s nice to participate at local fairs because you meet local creators who you can catch up with year after year. You also immediately have something in common with the people who visit your table because you all live in the same area.

What's your favorite thing about DC?

The fact that I can get around without a car– the metro has its issues but compared to other places I’ve been it’s pretty convenient, and DC is a small enough city that a lot of places are walkable. I also love that I can casually pop into exhibits at the mall without the pressure to stay for a certain amount of time to “get my money’s worth” since the museums are free.

Least favorite?

The traffic, getting crushed during rush hour on the metro, the horrible humidity in the summer.

What monument or museum do you like to take visitors to?

Depends on what they’re interested in! I’ve had good luck taking both friends and family to the Hirshhorn.

Do you have a website or blog?

Yes– my website is athenanaylor.com, and you can find more work on instagram @athena.naylor
 
How has the COVID-19 outbreak affected you, personally and professionally? (Pre-covid, Naylor wrote about the arts for The DC Line, including two stories on cartooning.)

Honestly it’s been hard to regain the pre-pandemic momentum I had before quarantine. At the end of 2019 I had just made “The Checkout Counter” and felt prepared to continue pursuing longer work, but then the pandemic hit and priorities shifted. It definitely affected how I navigate life both personally and professionally, but in ways that are difficult to articulate. It’s also hard to say because I entered my 30’s in 2021, so I don’t know which changes in attitude and lifestyle may be caused by the pandemic and which are just a product of growing older. Things are just different, as they should be after something like a global pandemic!

ComicsDC on the road - Tall Man of Knoxville, TN

 I was visiting in Knoxville and stopped into a Tall Man Toys & Comics, a local shop near the Museum of Art. Putting the toys before comics in their name is accurate, as you can see from these photos, but they had a decent selection of new comics, with a buy 3, get 1 free discount, and the same graphic novel discount too, as well as good-sized back issue collection. The staff was quite nice, even when I left without buying anything, after I asked if they had anything produced locally (no). This is close to the University of Tennessee and the Worlds Fair Park, so I guess those two groups provide their customer base.

The Knoxville Museum of Art had an exhibit by woman artists with a superhero link as seen below. The museum is definitely a local one with no Western old masters, but there was a good glass exhibit, an excellent show by woman artist's and another good one of local artists and their history.

A Chat with DC-Born Cartoonist Liza Donnelly

Liza Donnelly by Elena Rossini

by Mike Rhode

We're going to wrap up this crummy, lousy, bad year with an interview with an excellent, world-class, funny cartoonist to put a hopeful spin on starting 2021. The Washington Post ran an excellent article by Liza Donnelly earlier this year in which she pointed out that she was born in DC. With this hook, she's agreed to answer our usual questions.

What type of comic work or cartooning do you do?

I do a variety of things, but I am perhaps most known for my New Yorker cartoons.  These are typically single panel drawings with a caption below them, although I have done many for The New Yorker that are sequential and sometimes without captions.  For other publications, I have done comic-like narratives, and I do a lot of political cartoons as well. Some for The New Yorker, some for CNN, Medium, Politico and others.  Lately, I am the innovator of live digital drawing wherein I draw on my tablet and share immediately on social channels.  Sometimes it’s just a visual reportage, other times I offer my commentary in the drawing of what I am seeing. I have done this for a variety of outlets: New Yorker, CNN, CBS, Fusion, others.

How do you do it? Traditional pen and ink, computer or a combination?

I work in both digital and traditional pen and ink. It depends on the job. All of my New Yorker finished drawings are on paper with a crow quill pen and ink.  No Photoshop with those. I use an iPad for my digital work and sometimes enhance or fix with Photoshop.

When (within a decade is fine) and where were you born? What neighborhood or area did you live in?

I was born in 1955 in Washington and was raised near Chevy Chase Circle.

What is your training and/or education in cartooning? Did you leave DC for it?

I began cartooning when I was around 7 years old. I traced two cartoonists I liked— Charles Schulz and James Thurber.  So I am self-taught from early on. I left DC to go to college, and art study was only part of my plan. I went to the liberal arts college Earlham College and thought my career would be in biology (my other interest), but eventually my cartooning took over and I became an art major.  

Who are your influences?

 As I said, Schultz and Thurber.  But also Herblock, Garry Trudeau, Ben Shahn, Jules Feiffer, Dr. Seuss, WIlliam Stieg, Saul Steinberg, Claire Bretecher, Nicole Hollander, R.O Blechman.  There are many others, and many more New Yorker cartoonists.

Did you see any of the comics exhibits or talks that started appearing in DC as the Smithsonian, Corcoran or Kennedy Center in the late 1960s or early 1970s? If so, any memories to share with us?

Sadly, no.  But I do remember when Saul Steinberg had a big show at the Whitney (or was it the MoMA?) in the late 70’s. That blew me away that a cartoonist could be in a museum show.  I was happy that cartoons could be considered art.

If you could, what in your career would you do-over or change?

I would not waste so much time worrying about whether I was good enough. And just draw!  

What work are you best-known for?

Probably my New Yorker cartoons, I have been there over 40 years and counting.  But now I am being known for all my work on social media, including my live drawing and I am known for being an early feminist cartoonist, although not the first of course. I draw and give talks about women’s rights a lot.

What work are you most proud of?

Getting into The New Yorker, particularly at age 24. I am also very proud of the book that I wrote, Funny Ladies: The New Yorker’s Greatest Women Cartoonists.  I am writing an updated version to be published next year.  I am proud to have brought the history of the women drawing cartoons to light.

What would you like to do or work on in the future?

I hope to continue at The New Yorker, but I really also want to develop my live drawing journalism.  I feel what I am doing is a way to look at the news in a fresh and innovative way, and I have been told by many of my fans that it is a rewarding and interesting way to experience the news. It’s hard to get the large outlets to hire me, but I keep pushing forward. I also am trying my hand at screenwriting.

What prompted you to compile a book on woman cartoonists? How do you feel the field has changed since you did that book? (for example, I see a lot of woman comic book/ graphic novel and web cartoonists now, even as the editorial cartoon field continues to be mostly white men.

I became aware of the notion that there weren’t many women in cartoon field when I was in college. Before that, I just wanted to be a cartoonist and gender was not on my mind.  This was at the tail end of the second wave of feminism, and I felt that equal rights was achieved pretty much, and didn’t examine my professional world very much.  Boy, was I misguided. As I said, I knew I was in the minority, but it wasn’t until 1999 when I was invited to be on a panel of women cartoonists at the American Association of Editorial Cartoonists (AAEC) convention (which I think was in DC that year).  There were five (I think) of us women at a table for the panel. I was not even a member of the AAEC, but they asked me to be on the panel because there were/are so few women drawing political cartoons. I was already doing some political cartoons for The New Yorker.  In preparation for the panel, along with sitting there and looking out into the room and seeing a standing-room only audience of male cartoonists—it struck me.  What is going on?  Why is it there are so few women doing this? I began my search for answers and it led to me writing Funny Ladies. I spent a year in the NYC Public Library researching the archives of the magazine going back to 1925 when it was founded.  The field has changed tremendously. There are so many more women drawing cartoons now, that is what inspired me to write a new edition of the book.

I'm very interested that you're doing a new edition of the book. How current are you going? Cartoon editor Emma Allen's added a lot of women to the roster. And are you including the web-site-only ones? 

I am being very current.  I will only interview a few women that are new since the old book, but will list everyone that's new. Not including online cartoonists, only in print ones.  It's a juggle, but that's my plan.

What do you do when you're in a rut or have writer's block?

I do something else for a while, non-cartoon related.  It helps to put it down and return later.

What do you think will be the future of your field?

I really don't know.  I think perhaps The New Yorker will go to an online version and continue to run cartoons, so that's good. Although online payment is much less than in print it is hard to make a living. Thankfully, graphic novels are very popular and I think that's the future of our craft--graphic narratives. 

What's your favorite thing about DC?

Growing up, I enjoyed being in the center of the political world. The monuments and museums are beautiful and I like being close to the ocean.  The diversity was also something I now realize I benefited from. Washington has an international feel to it, with all the Embassies, and I enjoyed that. I love the proximity to the Eastern Shore and the Delaware beaches.

Least favorite?

When I grew up in DC it was a heavily segregated city, and I hated that feeling.  I rode the bus a lot to get to downtown or school--there was no Metro back then-- but hated the car culture. Our neighborhood was just a block from the DC line with Maryland, but you had to drive everywhere to get groceries etc.

How often (pre-covid) do you get back?

I don't have family there anymore, so I go back every five years for my high school reunion, or for a political event. I live draw the ICFJ Gala every year, which I really enjoy, so that brings me back every year.

What monument or museum do you like to return to?

I love walking around the Mall and just soaking up the atmosphere, the history. All the museums are great.  My favorite museum in my teens was the Hirshhorn Museum. I interned when I was in college at the Natural History Museum, cleaning bat skulls and cataloguing South American rodents (my other love besides cartooning was biology and I thought that was the field I might end up in).  

How about a favorite local restaurant? Past or present or both.

Remember, I didn't live in DC as an adult. When I was a kid, we rarely ate out. But there was a fancy steakhouse downtown that we sometimes went to for special occasions, name forgotten.  There was a Chinese restaurant near Chevy Chase Circle where we used to get take-out from and sometimes eat there, called Peking Palace. I don't know if it's still there, but I loved it.  

 Do you have a website or blog?

Yes, Lizadonnelly.com and my illustrated column on Medium:  LizaDonnelly.Medium.com

How has the COVID-19 outbreak affected you, personally and professionally?

I have been lucky not to have been affected health-wise, and no one in my immediate life has either.  

Professionally, it has given me time to work on long-term writing projects and try some new ones. Also, because I can't go places and live draw, I began live drawing every day from my studio. I hold my phone over my hand and draw something and talk about it. During the pandemic, it made me feel connected to people and I was told the same by others and they said watching me was meditative.  I would talk about the pandemic and draw aspects of it, then Black Lives Matter, then the election. Sometimes it's an illustration of an event or people (George Floyd, for instance), sometimes a real political cartoon created in real time for my audience. It was and is therapeutic for me and I get a lot of drawings created while gaining new followers. I learned to loosen up as well and draw freehand in front of an audience, with no preparation. It is a combination of my political cartoons and my video reportage -- a new type of editorial cartooning, if you will, with commentary. I now do this each weekday on Instagram Live  (@lizadonnelly) and on a new startup called HappsTV, who approached me to work with them (Happs.tv/@liza). 

Liza can also be found at the following links.

BBC

Medium "Noteworthy" video

@lizadonnelly

TED Talk 

CBSNews
New Yorker 
lizadonnelly.com

 

12/30/20 9:30 PM - updated with question about current cartoonists in new book.

Meet a Visiting Cartoonist: A Chat with Ellen Lindner

by Mike Rhode

I've known Ellen Lindner for a long time, initially through her comics-collecting husband, but then directly as she moved back to the US and became a regular exhibitor at SPX. A woman of eclectic interests, she's done comics on conscientious objectors in England in World War I, 1960's Coney Island, and woman's baseball, as well as editing anthologies such as British women's collection, The Strumpet. She was in town a few weeks ago for her ex-studio mate Robin Ha's book-signing at East City Books and I was very surprised to hear that she was doing comics for the Washington Post. She did a Christmas strip for the Post's The Lily newsletter, so I leapt at the opportunity to consider her a DC-area cartoonist and send her the usual questions.

What type of comic work or cartooning do you do?

I have done a big mix of fictional graphic novels, graphic memoir and nonfiction comics. At the moment I'm working on The Cranklet's Chronicle, a series of nonfiction comics about people who aren't (cisgender) men who have played a role in baseball history. The last issue was about Effa Manley, the only woman in the baseball Hall of Fame.

How do you do it? Traditional pen and ink, computer or a combination?

Great question! I am working digitally more and more these days, but I still pencil and color using traditional media.

When (within a decade is fine) and where were you born?

Late 70s, Long Island, New York.

Where are you living now? How did you begin working for the Washington Post?

I live in beautiful upper Manhattan, New York, which is full of city parks. We even have a local seal! I began working for the Post's women's magazine, The Lily, thanks to a wonderful friend of mine, Lara Antal, who has created many genius comics for them.

What is your training and/or education in cartooning?

I studied art history, French and art as an undergrad. Many years later I found myself living in London and did a master's degree in illustration. Over the years, though, I've racked up a lot of credits at School of Visual Arts, a big hub for comics. Those classes have been huge for me.

Who are your influences?

Alison Bechdel, Lynda Barry, Jacques Tardi, Jessica Abel, Megan Kelso, Tom Hart, Glynnis Fawkes, Summer Pierre, and Jennifer Hayden. The latter three folks and I table together a lot at comics events and their help with drafts of projects in progress has been invaluable.

Lindner, Glynnis Fawkes and Jennifer Hayden at SPX 2019

If you could, what in your career would you do-over or change?

I'm definitely a person who loves to rue past mistakes and it's a tendency I'm trying to work on. But I always feels I've been too shy in terms of telling other artists I like their work. If you meet someone whose work you like, let them know! It's hard to put yourself out there.

What work are you best-known for?

Weirdly it might be for my current day job doing informational illustration. Thousands of people click on articles I've illustrated each day, even though they probably don't know it's me. It's definitely been the most eyes I've ever had on my work. I have enjoyed the challenge of illustrating everything from the best uses of tarragon to what it's like to work in military counter-intelligence. For a glimpse at these you can look at my Instagram, @ellenlindna.
 

What work are you most proud of?

I'm really proud of my current project, The Cranklet's Chronicle, which is about the history of people who aren't cisgendered men and baseball. Baseball has a long history of erasing the involvement of people who aren't white men, and there are so many stories to tell about owners, players, fans, and more who are or were somewhere else on the gender spectrum. The last issue was about Effa Manley, a woman who managed a black baseball team in New Jersey, and who is currently the only woman in the Hall of Fame. I found her utterly fascinating, and I hope readers will too!

What would you like to do  or work on in the future?

I have a secret project I'm working on alongside my day job and Cranklet's...It's a combination of memoir and how-to, and I'm really excited about it! It's an activity comic about how to navigate life as a person without kids.

What do you do when you're in a rut or have writer's block?

Wow, great question. I usually just try and power through! Taking a walk also helps, a lot! I work on comics and illustration pretty much every day, and if one project stumps me, I can toggle to another one for a while.

What do you think will be the future of your field?

Oh WOW that's tough. Many more comics on mobile!!!

What cons do you attend besides The Small Press Expo? Any comments about attending them?

SPX and MoCCA are my big two, though this year I also did the Nonfiction Comics Fest in Essex Junction, VT and Short Run in Seattle, both of which took me to new places. Both were fabulous!!!

Panel from story in The Lily

What's your favorite thing about DC?

Ethiopian food! The museums! Union Station! Wait, do I really just get one?!

Least favorite?

Welp, I find DC drivers....unpredictable. I'll leave it at that!

What monument or museum do you like to take visitors to?

I love the National Museum of African American Art and Culture! Wow, what an incredible place!

How about a favorite local restaurant?

Habesha, hands down! Such delicious Ethiopian food, located in the Shaw area by Howard University.

Do you have a website or blog?

www.littlewhitebird.com Also on Instagram: @ellenlindna