The Art of Richard Thompson film interview

HFF 2015 Interview: Bob Burnett, Director of The Art of Richard Thompson

By heartlandfilm on September 24, 2015
http://heartlandfilm.org/hff-2015-interview-bob-burnett-director-of-the-art-of-richard-thompson/

Small Press Expo Announces its Slate of Discussion Panels for SPX 2008

Bill Kartalopoulos has set up a rich set of programs for SPX. These all look good, darn it.

I appear to be interviewing Our Man Thompson, probably on Sunday I'm told. I've started the pre-interview and can confidently report that his favorite desserts are "either a canoli or Amy's cherry pie." Look for detailed discussions about our children still to come. If one has any questions one wants answered, let me know.

Small Press Expo Announces its Slate of Discussion Panels for SPX 2008

For Immediate Release
Contact: Warren Bernard
Phone: 301-537-4615
E-Mail:webernard@spxpo.com


Bethesda, Maryland; September 18, 2008 – Small Press Expo (SPX) 2008 announces its slate of panels, creator Q&As and Spotlight sessions for SPX 2008. This year we feature Joost Swarte, Ben Katchor and Richard Thompson in one on one interview’s along with a diverse series of panels on all aspects of comics.

SPX will be held on Saturday, October 4 and Sunday, October 5 at the North Bethesda Marriott Hotel and Conference Center, across form the White Flint Metro stop. Admission is $8 per day and $15 for both days.

For more information on SPX and the Ignatz Awards, please visit our web site at www.spxpo.com.

Below are the discussion panels for SPX 2008. See our web site above for times and locations of the panels.

Q+A and Spotlights

Joost Swarte Q+A

Joost Swarte has produced comics, illustrations, graphics and architectural designs that have made him a legend in his native Netherlands. His clear line-influenced avant-garde comics were introduced to American audiences in RAW and his illustrations have graced the covers and pages of The New Yorker. Cartoonist, teacher and editor Paul Karasik will moderate a special spotlight session with the artist.

Ben Katchor Spotlight

Ben Katchor has long chronicled the pleasures of urban decay and small-scale ambition in comic strips including Julius Knipl: Real Estate Photographer, Hotel and Farm, and The Cardboard Valise. He is also the author of the graphic novel The Jew of New York and has collaborated on theatrical productions with musicians Bang on a Can and Mark Mulcahy. Today he will present full-color strips from his monthly series in Metropolis Magazine and answer questions moderated by comics scholar Mike Wenthe.

Bryan Lee O’Malley Q+A

Bryan Lee O’Malley has gained an enormous audience as the author of the multi-volume “Scott Pilgrim” series, combining manga-influenced artwork with contemporary pop culture motifs to spin a bubblegum saga of youth’s modern pursuit of romance and rock. Comics critic Joe “Jog” McCulloch will lead the discussion.

James Kochalka in Conversation

Alt-comics perennial James Kochalka will reflect on his career to date in a wide-ranging conversation with Heidi MacDonald, covering his whimsically semi-autobiographical Magic Boy character, his online autobiographical comic strip American Elf, children’s comics, and, of course, Super F*ckers.

Richard Thompson Spotlight

Richard Thompson is an illustrator whose work has appeared in The New Yorker and The Atlantic Monthly and a cartoonist whose weekly strip Richard’s Poor Almanac appears in the Washington Post and whose daily strip Cul de Sac is syndicated nationally. In this special spotlight presentation Richard will discuss his work and career with comics scholar Mike Rhode.


PANELS/PRESENTATIONS

CCS Workshop

Join faculty members Robyn Chapman and Alec Longstreth join CCS graduate Joseph Lambert for a presentation on The Center for Cartoon Studies' unique curriculum and a hands-on cartoon workshop. Robyn will present some of CCS's most successful classroom exercises, including a comic book revision of the classic fable, Tortoise and the Hare. Audience members will be invited to join in a cartooning exercise and make their own page of comics. No matter how much or little experience you have, you will leave this workshop having drawn a comics page!

Critics’ Roundtable

A panel of comics critics will consider crucial topics facing the art form and industry in a special roundtable session. Panelists will include Rob Clough, Gary Groth, Tim Hodler and Joe “Jog” McCulloch in a session moderated by Bill Kartalopoulos.

Cartooning in Collaboration/Collaboration in Cartooning

Co-moderators and mini-comics collaborators Isaac Cates and Mike Wenthe will lead this unique panel discussion on the challenges, problems, and pleasures of collaborative comics making. Panelists Becky Cloonan, Mike Dawson, Jim Ottaviani, Frank Santoro and Dash Shaw will discuss their varying experiences with the collaborative process.

The Page as Canvas

Alongside the word balloon, the formal device most closely associated with comics is the panel grid itself, the framework that provides structure and sequence to most comics pages. What happens when artists break the grid and use the page more broadly as a narrative canvas? What problems and opportunities does this approach present? Moderator Austin English will explore this topic with panelists Molly O’Connell, Juliacks, Jillian Tamaki, and Lauren Weinstein.

Background, Setting and Subject

Sometimes considered a separate element – and even a separate craft – in commercial comics, the rendering of background or setting is often itself a major subject in auteurial comics. Moderator Rob Clough will delve into this topic with panelists Kevin Huizenga, Jason Lutes and Ben Katchor.

Hergé and the Clear Line

In 1977 Joost Swarte coined the term “clear line” to describe the style employed by Tintin creator Hergé. Since then Swarte has been one of several artists to employ elements of that style to vastly different ends. Moderator Bill Kartalopoulos will narrate a slideshow presentation about the clear line style, followed by commentary and discussion by Jason Lutes, Swarte, and Kim Thompson.

The Kramers Ergot 7 Panel

One of the most hotly anticipated (and occasionally controversial) comics projects in recent years is Kramers Ergot 7, the forthcoming installment of the landmark contemporary comics anthology series, which offers contributing cartoonists the opportunity to produce new work at Little Nemo-scale in a deluxe full-color hardcover format. Moderator Bill Kartalopoulos will discuss the project with publisher Alvin Buenaventura and contributing artists including CF, Kevin Huizenga, Ben Katchor and Matthew Thurber.

Kim Thompson: Vingt Sur 20

Fantagraphics co-publisher Kim Thomspon presents "Vingt sur 20: French Comics from Goscinny to Satrapi," a slideshow lecture on the twenty men and women who, over a generation, redrew la bande dessinée française from a children's medium into le neuvième art.

Children’s and YA Comic Books

Comics were long considered a children’s medium before ambitious cartoonists began making comics for an adult audience. More recently, good work for children had nearly become an endangered species before a contemporary resurgence in comics for younger audiences. Panelists Frank Cammuso, Hope Larson, Dave Roman and Raina Telgemeier will discuss issues related to making comics for children and young adults.

Small Press Publishers’ Roundtable

A group of small press comics publishers discuss the opportunities and challenges of publishing comics and reaching audiences today. Moderator Rob Clough will lead a discussion with publishers including Leon Avalino (Secret Acres), Alvin Buenaventura (Buenaventura Press), Randy Cheng (Bodega), and Dylan Williams (Sparkplug).

A week of blog posts about Richard Thompson (via Goodreads)

Blog posts by Richard Thompson Illustration work for Electrical Contractor and Contingencies Published on March 06, 2023   Billions of billions of drawings - Richard draws Carl Sagan Published on March 07, 2023   How to strengthen your real estate market illustration, and a TCDS piece Published on March 08, 2023   Chatfield on Thompson by way of Searle Published on March 08, 2023   This year's Team Cul de Sac donation link Published on March 09, 2023 0  Richard Thompson, Chameleon Published on March 09, 2023   Richard lifting his mother's Suitcases (updated) Published on March 10, 2023

Catching up with Chris Sparks on Team Cul de Sac, OR The story of the $11,000 Bill Watterson sketch

by Mike Rhode

Team Cul de Sac was formed by my friend Chris Sparks to raise money for the Michael J. Fox Foundation's Team Fox charity for Parkinson's Disease research. Chris did this in response to our friend Richard Thompson's fight with and death due to the disease. Ten years ago this month Chris walked into a panel at Heroes Con in Charlotte, NC, and said "Who are you?" to Richard who was speaking about his comic strip Cul de Sac. It was something like love at first sight, at least on Chris' part, and when Richard was diagnosed, Chris turned his formidable attention to raising money for a cure (and you can donated at any time by clicking one of the links).


I talked with Chris after this year's Heroes Con put his fundraising at a new height when a sketch in a book by Bill Watterson sold for $11,000.

MR: How did Team Cul de Sac get started?

CS: I was fortunate enough to meet Richard Thompson (and Mike Rhode) at the 2008 Heroes Con, and then in 2009, Richard was diagnosed with Parkinson's. In 2010, I came up with the plan of making Team Cul de Sac through the Michael J. Fox Foundation's fund-raising arm, Team Fox. In 2011, we had the first Drink & Draw at Heroes Con for Team Cul de Sac (TCDS) and this was the eight anniversary of the Drink & Draw.

MR: The D&D started with cartoonists sitting around doing sketches and drinking beer, but it's gotten bigger than that, right?

CS: Mainly it's using blank coasters where they can sketch or 5x7" pieces of paper that they can draw on. We have it set up that it's between $5 and $50 for these little drawings. From there, we ask donations of larger pieces so we can auction them off for $200, 300, 500 at the larger Heroes Con art auction the following night. We've also had some live-painting events at a the D&D too.

MR: So when Richard was alive, he finally agreed to let people draw his characters to culminate in an auction and a book...

CS: The book is called Team Cul de Sac and that was released in June of 2012 after two years of wrangling cartoonists... like cats.

MR: And one of those was Bill Watterson who came out of retirement...

CS: Yes, Lee Salem asked big name cartoonists if they'd be interested, and he asked Garry Trudeau, Bill Watterson, Cathy Guisewite and Jim Davis. It was a big surprise when Bill donated an oil painting of Richard's Petey Otterloop.

MR: This past weekend's auction had another piece of art by Bill Watterson for TCDS, which I guess the third time he's done something for the charity?

Seth Peagler, who helps set up the Drink and Draw, Shelton Drum & Chris Sparks

CS: Well, it's more than that. Artwise, he did the painting, then three ghosted strips for Pearls Before Swine, then signed books for us to sell. He signed The Art of Richard Thompson, the catalog from his Ohio State University's Billy Ireland exhibit, and five softcover sets of the Complete Calvin & Hobbes as well as some posters.

This last donation was a sketch of Calvin and Hobbes in a wagon inscribed for Team Cul de Sac and that is one of maybe only two sketches that he's done for the public since retiring the strip. As he's said, "it's very rare." The drawing was 2 inches x 2 inches in a copy of The Complete Calvin & Hobbes.

We were trying to get more bidders involved so we did proxy bids to me until 8 pm on Saturday night (June 16th), and we also did an online aspect via Facebook. It was something that Heroes Con had never tried to do before so we were working the bugs out of that. We had the live auction on Saturday night at 9 pm. Heroes Con organizer Shelton Drum to help fund the show but made an exception for the auction of the Calvin piece. It went quite well. We had proxy bids up over $5000 before we started, and then as the bidding started we had two dueling bidders and it ended up selling for $11,000.

MR: And it sold to Tony Harris, the comic book artist?

CS: Yes, he and his son have a strong personal connection over reading C&H when his son was younger. When Tony saw the piece, he said, "That's going to be mine. We're going to go home with that." And he did. I'm very excited for Tony because he's a real fan of the strip and to me that makes it more special when a fan won it.

Shelton Drum, Tony Harris, and Mr. Harris' son

MR: You've mentioned in the past that you and Richard had sent a goal for TCDS fundraising of a quarter of a million dollars...

CS: The real truth of that is that I was swapping emails with Michael Cavna of The Washington Post when I first started the project and Richard and I had talked about how much money we could raise. I was very happy with $25,000 as a goal, but when I was writing back to Mr. Cavna, I put $250,000 and that's what he published. Richard and I had a good laugh about that. By mistake, I added one zero in an email I didn't check, and went from $25,000 to $250,000.

This weekend, before the D&D we had around $241,000. The D&D brought in about $5100 so we were about $4000 away. We broke the goal!

MR: So what's next for TCDS? Are you going to keep doing this every year, or do you think it's run its course?

CS: I don't think it's run its course for two reasons. Over the past ten years now, I've met so many people with Parkinson's and this is one event they really enjoy coming to. And the Heroes family has been such a part of this, and we have such a big draw now. It went from being in a little pizza place across from the convention center with five or six tables to now filling up the Westin Hotel ballroom with hundreds of people. It's a great camaraderie and it's great for fans at the show because it's a lot of art that they can afford, that's not $1,000 or $10,000 per piece. They have a good time and feel good about donating to a good cause. And one of the best parts about Team Fox is that every penny we raise goes to research. Very few charities can do that, and it's very important to me to know that the money's going to research.

A short personal remembrance of Richard Thompson

Richard Thompson collected friends. And admirers who became friends. I first met Richard ten years ago in November 2006. Although it seems longer ago than that, probably because I'd seen his work in the Washington Post, practically every day, for the previous two decades. Joel Pollack introduced us at the opening of the Cartoon America exhibit at the Library of Congress.  We hit it off, Richard's quiet, sly wit keeping me grinning, and soon we began taking in more exhibitions with other of Richard's old friends (who are also talented artists) such as Bono Mitchell, Nick Galifianakis and Kevin Rechin. Soon I was popping over to his house in North Arlington, where Amy, or their daughters Emma and Charlotte would answer the door and yell down to the basement studio, "Dad, Mike's here again," because of course, he was never on time for whatever event we were going to. Richard and his gang kindly enfolded me into their lives, and I can never pay him or them or his family back for that kindness. An inexact analogy would have Richard as the sun in a solar system, with family and friends orbiting around him and then around each other as a result. I met many good people, some famous and some not, through being privileged enough to hang out with Richard (and having a drivers license that I was willing to use).

Richard was an engaging traveling companion, even if he could be a bit... frustrating. At one Con, he was panicking because he couldn't find the $400 he made earlier in the day. (This is when he was selling his daily Cul de Sac strips for $100 or less). We tore apart our hotel room, over and over, obsessively rechecking his luggage and clothes. Eventually it turned up where he'd 'safely' stored it - in his pillowcase. Certainly, no maid of a criminal bent would ever have checked there. That wasn't atypical behavior for him, because in many ways, Richard was a typical artist, forgetting to eat, or leaving jobs until the last minute so inspiration would strike. One of my great regrets is that he never took Francoise Mouly up on her offer to do a New Yorker magazine cover. I actually saw her pleading with him to submit one.

As I noted for Andrew Farago of The Comics Journal, in spite of the appearance of being an overnight sensation with Cul de Sac, Richard had paid his dues. He worked regularly doing illustrations for the Washington Post from the early 1980s, eventually appearing almost every day of the week. He also did two comics for them - Saturday's Richard's Poor Almanac panel and Sunday's Cul de Sac in the Magazine. Beginning in 1991, he did interior illustrations for the New Yorker. He did over 400 caricatures for US News and World Report over the course of nine years. In short, Richard was a successful working illustrator long before most people outside of a small world of editors and other illustrators ever paid attention. When Cul de Sac went into the world beyond the Washington Post in 2007, a new audience began gravitating to him, but the devastation of a rapid case of Parkinson's disease meant that all of us, old and new readers, only got another four years of Richard's imagination to enjoy. I think he could have easily run for another twenty years with Cul de Sac, doing quality work. He's written on his blog about how he enjoyed introducing new characters, and Mr. Danders was just waiting to be returned to the strip.

I began writing this just a few hours after learning of Richard's death, although those of us who were lucky enough to live close to him knew it was coming. Richard's art and his family had meant everything to him (with food colored orange coming in third, oddly enough). He lost his ability to make art years ago. He broke his hip while compiling the Complete Cul de Sac and then couldn't get out and do things and see people. They came to him, but it wasn't the same as him being able to pop down to the Washington Post when he wanted to get out of the house, as he did for much of his career. The past year, he took a rapid slide downhill, and several weeks ago, friends from out of town began arriving for what we all knew was a goodbye visit, even if nobody referred to it that way.

Even though Richard's body betrayed him in the end, his talent and his mind and his way of looking at the world gave enjoyment to many people for three decades, which is more than many of us can ever claim. Richard lives on in his art and books, so my friend has an immortality of sorts (that I know was a comfort to him), and I hope the new books Richard's friends are working on will give people a small glimpse into what I enjoyed over the past ten years of our friendship. - Mike Rhode

Richard Thompson's Cul de Sac art on auction

https://comics.ha.com/itm/original-comic-art/richard-thompson-cul-de-sac-sunday-comic-strip-original-art-washington-post-2000s-/a/322138-49239.s

Richard Thompson Cul de Sac Sunday Comic Strip Original Art (Washington Post, 2000s). The "natural warmth" that Bill Watterson (Calvin & Hobbes) praised in Thompson's work is well represented in this undated installment -- an exploration of the slapstick possibilities of static electricity. Added Watterson: "Cul de Sac avoids both mawkishness and cynicism and instead finds genuine charm in its loopy appreciation of small events. Very few strips can hit this subtle note." A personalized inscription appears at lower right. Ink over graphite on Bristol board. Image area, 16.5" x 8.25". Excellent condition.

[It's at $725 tonight, which is too much for me. According to the inscription, Richard gave it to cartoonist Jeff Stahler]

Nov 1: Richard Thompson at the Corcoran

Richard Thompson

Tuesday, November 1 at 7 p.m.

Lecture

"Calvin and Hobbes" creator Bill Watterson has said about Richard Thompson's "Cul de Sac": "The strip has a unique and honest voice, a seemingly intuitive feel for what comics do best ... a very funny intelligence."  Thompson, who also draws The Washington Post's "Richard's Poor Almanac," discusses the world of comic strips and highlights some of his favorites. This event is presented in collaboration with McDaniel College and the exhibition Kings of the Pages: Comic Strips and Culture 1895-1950, on view at McDaniel through November 19.

Oct 22: Mount Pleasant Library talk moved to new date

Due to the possibility of a hurricane this weekend, Richard Thompson, Cartoonist and Illustrator - A Tribute has been moved to a later date.

Richard Thompson, creator of the comic strip Cul de Sac, passed away from complications of Parkinson's disease this summer. Learn more about this Reuben Award-winning artist through a screening of the 2014 documentary The Art of Richard Thompson and a presentation on Thompson's background and accomplishments by one of the late cartoonist's friends.

Mt. Pleasant Regional Library
1133 Mathis Ferry Road
Mt. Pleasant, SC 29464
843.849.6161 ~ http://www.ccpl.org

Favorites of mine who'll be at SPX

Local friends of ComicsDC include my co-author Matt Dembicki, Christiann "Sticky Comics" MacAuley, Steve "Hurricane" Conley (if his power comes on), Retrofit Comics, DC Conspiracy, Teresa Logan Roberts, G.E. Gallas, Vanessa Bettencourt, Gordon Harris, and Curls Studio's Carolyn Belefski and Joe Carabeo. I buy anything new they have as a matter of course (bitch at me if I've missed listing you; I'm doing this part from memory) and I believe ALL of them have new books.

Speaking of which, I've compiled this book:

Picture This Press publishes first title in the Richard Thompson Library

Picture This Press is proud to publish The Incomplete Art of Why Things Are, the first volume in its new series devoted to the work of artist Richard Thompson. The Richard Thompson Library will collect a variety of works produced by the prolific Thompson over the course of his career that have yet to be reprinted since their original publication.

Other emails I've gotten from people I admire include:

Rosarium Publishing:

Bizhan Khodabandeh and Whitney Taylor at Small Press Expo (SPX) in Bethesda, MD, in September 16-17th.

Kriota Willberg:

This year I will be selling mini comics and body science based images at the Small Press Expo in Bethesda Maryland (http://www.smallpressexpo.com). My debut comic for this event is called Stitchin' Time!, a ridiculous historical fiction based on factual medical history. For the first time ever, the Roman encyclopedist Celsus (25 BCE-50 CE) and the Greek surgeon Galen (129-200 CE) team up to to stitch a disemboweled gladiator back together. Hilarity ensues! My table number at SPX is H13A. If you are in the neighborhood, come on by!

Lucy Bellwood:

If you're in the DC area and want the support of a friendly face, I'll be tabling at the Small Press Expo next weekend in Bethesda, MD. Come find me at Table K9A, right next to the Cartozia Tales team. (Speaking of Cartozia, I'm selling off some rare original art I did for the series over in my online shop, if you're interested in that sort of thing.)

Drawn & Quarterly:

Catch D+Q at SPX at table #W1-4 this coming September 16th and 17th in North Bethesda! We will be accompanied by special guests Jillian Tamaki (Boundless) and Michael DeForge (Sticks Angelica, Folk Hero), all weekend, as well as R. Sikoryak (Terms and Conditions, The Unquotable Trump) on Saturday only.

Fantagraphics:

This year's guests include:
Gilbert Hernandez, Tommi Musturi, Emil Ferris, Charles Forsman, Eleanor Davis, Ann Telnaes, Ben Marra, Michel Fiffe, Noah Van Sciver, Simon Hanselmann, Katie Skelly, Sophie Goldstein, Graham Chaffee, Joseph Remnant, Mark Fertig, Dash Shaw, Liz Suburbia, and others!

"The Art of Richard Thompson"

Politics and Prose Jan 14, 2015
https://www.youtube.com/watch?v=FGCfTorlJ3k&feature=share

http://www.politics-prose.com/event/b...

Named the Outstanding Cartoonist of 2010 by the National Cartoonists Society, Richard Thompson is best known for his syndicated series, Cul de Sac. But his work encompasses much more, and in this colorful career retrospective, six of his peers present the different facets of Thompson's art. Join Galifianakis, Washington Post cartoonist and author of If You Loved Me, You'd Think This Was Cute, Weingarten, Pulitzer-winning journalist who writes The Washington Post's "Below the Beltway" column, and Apatoff, an illustration scholar whose recent work includes a biography of illustrator Robert Fawcett. They will be interviewed by Michael Cavna, writer, artist, and lapsed cartoonist now producing The Washington Post's "Comic Riffs." (Andrews McMeel)

Founded by Carla Cohen and Barbara Meade in 1984, Politics & Prose Bookstore is Washington, D.C.'s premier independent bookstore and cultural hub, a gathering place for people interested in reading and discussing books. Politics & Prose offers superior service, unusual book choices, and a haven for book lovers in the store and online. Visit them on the web at http://www.politics-prose.com/

Today's Thompson acquisitions

Two new acquisitions to my Richard Thompson library arrived today - BrainJuice: American History, Fresh Squeezed! by Carol Diggory Shields and Richard Thompson and BrainJuice: Science, Fresh Squeezed! by Carol Diggory Shields and Richard Thompson. I commend them to you.

Jan 9: The Art of Richard Thompson at Politics and Prose

Nick Galifianakis, Gene Weingarten,and David Apatoff - The Art of Richard Thompson

Jan 9 2015 7:00 pm

Named the Outstanding Cartoonist of 2010 by the National Cartoonists Society, Richard Thompson is best known for his syndicated series, Cul de Sac. But his work encompasses much more, and in this colorful career retrospective, six of his peers present the different facets of Thompson's art. Join Galifianakis, Washington Post cartoonist and author of If You Loved Me, You'd Think This Was Cute, Weingarten, Pulitzer-winning journalist who writes The Washington Post's "Below the Beltway" column, and Apatoff, an illustration scholar whose recent work includes a biography of illustrator Robert Fawcett. They will be interviewed by Michael Cavna, writer, artist, and lapsed cartoonist now producing The Washington Post's "Comic Riffs." (Andrews McMeel)

Richard Thompson won a Reuben?

It must be true - there's a press release -

Cul de Sac Creator Richard Thompson wins Reuben Award for Cartoonist of the Year
Richard Thompson found himself atop one of the great pinnacles in a professional cartoonist's career at the National Cartoonists Society's 65th Annual Reuben Awards dinner, held in Boston on May 28. Thompson, creator of the syndicated comic strip Cul de Sac, was honored by his peers with the Reuben Award for Outstanding Cartoonist of the Year.
Paul Richardson
Kansas City, MO (PRWEB) June 14, 2011
http://www.prweb.com/releases/2011/6/prweb8569553.htm

A Rake's Progress, or Richard Thompson: Cyborg Cartoonist

Nick Galifianakis was with Richard Thompson today (November 5 2012) as the electricity began to flow:

Hello, everyone. Well, here's another (rare) divergence from my usual postings:

I'm in the room with Richard Thompson at what is the first of several sessions to calibrate and then fine-tune the electrodes in his brain.

To quote a friend: "I had no idea they could fine tune the stimulation. I figured they threw a switch, and dialed a knob back if they started to smell meat cooking."

They're right now sending varied electricity into his brain putting him though a variety of tests and movements, big and very, very small, as well as constantly repeating the phrases that make me think I'm actually in the play "My Fair Lady."

The process is quite nuanced and requires tremendous patience to achieve the right balance (Richard has never complained, not once)

Too much juice here or not enough there, might fix the targeted area but it also may mean it negatively affects another area - at this moment, Richard no longer trembles in his right hand - but he's suddenly fluent in Korean. Only Korean.

(I'm kidding...do I really have to write that?)

Truly remarkable to watch, again, a very, very refined process. My friend's patience and good-naturdeness during the session is extraordinary as each switching on and off of a section and each re-calibration instantly brings a new physicality, increased or diminished, and even a new emotional state, up or down. This will take a while to get right - it's the ultimate borrowing from Peter to pay Paul situation.

Oops, gotta go..., I'll have more later. Right now I want to watch Richard finish his needlepoint...while figure skating.

Interview online - Richard Thompson

Since I mentioned this in a comment earlier today, I'll put it up for those who missed it. This is a few days old, but hopefully not much has changed in his life. I think the Post if finally regularly putting up Richard's Poor Alamanac online. BTW, Politics and Prose is sold out of the book, so buy it online. Click on the link to read the whole interview.

Richard Thompson [chat].
WashingtonPost.com (September 11, 2006): http://www.washingtonpost.com/wp-dyn/content/discussion/2006/09/08/DI2006090800043.html

Every Sunday, Richard Thompson's local comic strip "Cul de Sac,"
starring Alice, Petey and the rest of the Otterloop family, appears
in The Washington Post Magazine . Every Saturday, his "Richard's
Poor Almanac" cartoon is a fixture in the newspaper's Style section.

He was online Monday, Sept. 11, fielding questions and comments
about "Cul de Sac, Richard's Poor Almanac and the art and craft of
cartooning.

Our man Thompson at Heroes Con in North Carolina

On Sunday, June 21st, the one, the only, the Cul de Sac cartoonist, the Richard's Poor Alamanck cartoonst, Our Man Thompson will speak. With Tom Spurgeon.

SPOTLIGHT ON RICHARD THOMPSON | Room 219
The first great newspaper comic strip of the 21st Century has arrived, and like Mutts and Calvin & Hobbes before it, Richard Thompson's Cul De Sac has spent its first several months in syndication operating just underneath the pop-cult radar, adding papers steadily, readying to break out into the Next Big Thing. Join Tom Spurgeon for a wide-ranging discussion about art, caricature, and the Otterloop Family with one of the best cartoonists in North America, bar none. It's the panel you'll get to brag about attending in the years ahead, after Thompson conquers the comics world.

He'll also apparently have a table inside to try to sell things to you, like a Petey tattoo. I'll be lurking, as I'm his driver. I'm hoping for the leather cap, but that's probably too much to expect...

Richard Thompson's faves

Alan started a neat new feature over at the Daily Cartoonist by asking cartoonists who they like. His first victim was Arlington's own Richard Thompson. See "The Cartoonist’s Cartoonists: Richard Thompson" by Alan Gardner Nov 06, 2007. Personally I wouldn't have guessed Lynda Barry.

Richard tossed a few more names around on his blog.

Meet Lynda Barry, Chris Ware and Alison Bechdel and Richard at Busboy's and Poets on Thursday - click on the Upcoming Events link on the right to see details.

Niles, Panter and the Big Planet

Microsoft and Zune have published a comic book, The Lost Ones, to advertise the Zune, an ipod like device. They got Steve Niles to write the comic and Gary Panter to draw part of it, and sent them to a few comic stores on the east coast - Midtown Comics in NYC, a store in Philly, Atomic Comics in Baltimore and Big Planet Comics in Bethesda.

Richard Thompson and I rode up together. Richard also had a portfolio of his artwork to show Joel. I peeked too and it was very cool - lots of lovely, and some unlovely, caricatures although none of Obama.

We also got to see Art Harrison performing on his homemade Theremin in the little veterans park up the block.


Both creators were quite pleasant to talk to and seemed happy enough to be doing a signing. The crowd was okay, but not as overwhelming as I thought it would be. Panter's a major art-crowd cartoonist who was in the Masters of American Comics exhibit and has appeared in the New Yorker. Niles' 30 Days of Night comic book about vampires in Alaska was made into a hit movie (that's probably too violent for me). And the comic book, a real square bound book, was free!


Greg Bennett, Gary Panter, Steve Niles and Joel Pollack.

Big Planet still has copies of some of the other books they've done signed and available for sale - Batman and 30 Days from Niles, and some of the big new Picturebox artbook sets from Panter (who did a sketch in everything he signed). I got him to sign the two big Jimbo books from Fantagraphics, Purgatory and Inferno. Panter said he and his wife designed the whole books, including the endpapers. They're lovely objects in themselves. He showed me how Purgatory features a wordless version of Chaucer's Canterbury Tales introduction as a page border on the first page. Niles is originally from Reston, VA and his sister and her family came by for the event. His niece isn't allowed to watch the movie either so I'm in good company.

Richard and I hung around the whole time, and saw some other familiar faces - Randy who posts on this blog, Chris Shields of cIndy, Larry Rodman formerly of the Comics Journal and now fledgling art teacher, local book collector Rick Banning, Christian Panas who helped put SPX together for a while and now does Big Planet's website...

Here's some photos of the event, as I'm tired and babbling.


Gary Panter signing a book for famed local cartoonist Richard Thompson with Big Planet comic book store owner Joel Pollack and writer Steve Niles in background.


Steve Niles and Gary Panter signing The Lost Ones at Big Planet Comics. And the Zune. And a neat tablecloth decorated with the book's logo. Microsoft should publish more comic books, I'm thinking.


Panter showing the difficulty of being a left-handed artist in America.


Gary Panter signing a book for Our Man Thompson with Big Planet comic book store owner Joel Pollack and writer Steve Niles in background.


Panter starting a Jimbo sketch in Thompson's book.

The Art of Richard Thompson book excerpt: Thompson and Bill Watterson talk comics

Not a hoax. Not a joke. Not an April Fool's day trick. Here's an excerpt of the conversation of Richard Thompson and Bill Watterson from The Art of Richard Thompson, which you can buy right now from Amazon or Barnes & Noble, or order and wait for a copy signed by Richard from One More Page.

BILL WATTERSON: When I was a kid, I loved Peanuts, so I wanted to be the next Charles Schulz. I didn’t understand what that meant of course, but it seemed like a plan. You came to your comic strip from a different path,
however.

RICHARD THOMPSON: Yeah. Off in my own little world of being a pretend cartoonist. Without a plan.

BW: So how did you envision cartooning? What was your experience of it as a kid?

RT: Well, Schulz pretty much defined “cartoonist.” But I remember in fifth grade, a friend’s older sister had some Pogo books and we spent the day poring over them. That was the first time I understood some of the jokes. It was pretty intimidating and dense for a kid.

RT: Yeah, mostly strips. Comic books were hard to find. And a strip is a one-person deal. Not like animation, where you’ve got to work with other people.

BW: As a kid, animation just seemed out of the question to me. I wouldn’t even know how to go about doing it.

RT: It was interesting. But even when I was old enough to maybe try it, I always hated the idea of working with others.

BW: Plus, you needed film equipment and all that.

RT: Yeah. Really, though, I did cartoons without any clear thought of having a future in it.

BW: Any other strips or cartoons that had any impact as a kid?

RT: Some strange ones. There was a panel called Mr. Tweedy about a hapless little guy. I don't remember who drew it. And there was Freddy by a guy who signed as Rupe. I think he was local.

BW: I don't know either one.

RT: I think it was probably in one paper. Also, Wizard of Id... BC... And Mad Magazine of course. I discovered that when I was probably ten.

BW: I remember there was some shock value in bringing Mad home.

RT: Right. (laughs) I remember the first time I picked it up in the grocery store and said I wanted to buy this. My parents looked at it and went ickkk. But my dad finally read it and started giggling. He had a good sense of humor, thankfully.

BW: My next-door neighbor bought it regularly, and he'd bring it over and I'd pore over the drawings. Eventually I worked up the nerve to ask my mom if I could get it. There were a number of years when I really thought Mad was the cat's pajamas, although now I think it was pretty formulaic. But even as a kid, it seemed out of the mainstream of cartooning. It was off in its own world.

RT: It seemed to open up this whole subculture.

BW: Could you imagine yourself doing something in that direction?

RT: Kinda vaguely.

BW: I could never see a way in. I couldn't imagine myself drawing movie and TV satires. I guess Don Martin did the closest thing to a regular cartoon, but in that grotesque style. Or Dave Berg's whatever....

RT: The Lighter Side Of (laughs). I'd often read it first. It was always so square!

BW: Right! So what did you respond to in Mad? What aspect?

RT: Oh, the art. The Aragones drawings in the margins and stuff like that. There was no one thing. Spy vs Spy, which was kind of exotic. And of course the parodies, where you discover caricature.

BW: I marveled at Mort Drucker, but I didn't see any road between here and there. At that age, my drawing skills were pretty much limited to drawing things in side-view outlines.

RT: I would try, but... I do remember seeing David Levine drawings of Nixon in like, sixth grade, in my classroom. My teacher was an anti-Nixonite. These beautiful, elegant drawings of Nixon--I remember being fascinated by it. He was using ink like paint, almost.

BW: What, the hatching?

RT: Yeah. So elegant.

BW: I never really responded to Levine. The likenesses were strong, but sort of like stone sculpture, or something- -not warm. I dunno. I remember Oliphant's caricatures really impressed me--so wild and cartoony, compared to Drucker. But getting a likeness is really hard. What made you want to do that?

RT: Caricature was something that'd always interested me. Later, as a freelancer, I thought the more arrows in my quiver the better. When I showed the art director at the Post, Mike Keegan, some pages of caricature sketches, he was delighted. I was suddenly taken more seriously too. I remember the British show Spitting Image had just premiered, and it gave me the kick I needed.

BW: Hm, I'm trying to think what else was in the air back then...

RT: I remember we had a bunch of New Yorker cartoon books in the classroom. This is like fifth or sixth grade. The teacher would bring them from home or something.

BW: OK, you moved in more sophisticated circles than I did!

RT: I didn't quite understand them. There's a Roz Chast drawing about her as a child finding Charles Addams cartoons, and I remember finding those too, and how gruesome they were. And the painting in them was soft and..

BW: The grays?

RT: Yeah, like no one else.

BW: I was probably a bit older when I saw New Yorkers. You know, if it was a cartoon, I'd jump to read it, but I don't remember them making much impact. Well, actually, I still like George Booth a lot. He's one of the few New Yorker cartoonists whose drawings are funny.

RT: I remember being impressed with New Yorker cartoons, but I probably didn't understand much.

BW: How about comic books? Nothing?

RT: Some. They were hard to find. I'd find them occasionally, and then I'd probably whine 'til I got them. If they were Batmans.

BW: Really, they were hard to find? My town had three drugstores that used to carry them, and I'd get them sometimes, but superhero comics didn't do a lot for me.

RT: Archie and whatnot... I had a few of those but I was never really into them.

BW: One summer my neighbor gave me this huge box of Archie comic books, and I read them in the car on some family vacation. I have no idea where he got them, but there were a zillion of the things, so my brother and I sat in the back seat reading one after another until it nearly killed us. We read ten thousand Archie comic books and they were all exactly the same.

RT: And the drawings are so clean.

BW: Yeah, very slick. Even then I thought they were dumb and outdated. It's a bizarre memory. How about underground comix? Did they have any impact on you?

RT: Some. I came late to undergrounds. I had friends who collected them (Henry Allen has Zap #0) but my main exposure was all in histories and anthologies. I liked, revered Crumb, though he is overwhelming, and thought Wonder Warthog was freaking hilarious.

BW: I saw some in college and I liked Wonder Warthog too, but on the whole, the undergrounds didn't make much connection. I preferred sillier, more cartoony stuff, I suppose.

What non-cartoon things made an impression on you as a kid?

RT: My folks liked doing things and making me a part of it. I remember when the Mona Lisa came to town. I was about six. We stood in line for a long time. Red draperies and guards every few feet, and then  ventually, there it is. My mom liked it a lot. The whole way, she was telling me what an important painting it was and the story of it. She had a great appreciation for culture. She didn’t have any great understanding of it so much as just liked it, I guess.

BW: Wow, I guess you’re one of the few people who’s ever seen it without a foot of bulletproof glass in front of it.

RT: I think so. You couldn’t get right up to it--there were velvet ropes. But you could breathe the same air. (BW laughs)

BW: I don’t remember much exposure to fine art--just the popular culture of the day. I think of my childhood as the Batman TV show, the Beatles, and the moon landings. Although I do remember in middle school there were a few years when I read all the Doctor Dolittle books. I loved those--the idea of talking to animals. A PETA sensibility ahead of its time. It probably had some subliminal influence on my strip. What aspects of pop culture did you participate in?

RT: Well yes, the moon landings and take-offs. You knew it was important when the teacher pushed the TV into the classroom.

Jump over to Richard's Cul de Sac blog for more discussion on comic strips.

Richard Thompson fans at Who's Out There? blog

I recently got an email from one of the writers, noting,

At WOT, we really, *really* like Richard Thompson… and so refer to him at every semi-relevant opportunity.

https://whosouttherecomics.wordpress.com/tag/richard-thompson/

Beyond Richard, there's a lot of fascinating bits about cartoonists, and tentacles, on the site. I enjoy reading the 2 updates they do every week.