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The International Comic Arts Forums
This is Daniel from the Grand Comics Database Board of Directors. I just returned from the 2016 International Comic Arts Forum (ICAF). It was well worth my time, and I can’t tell you how glad I am to have had the opportunity to attend. I want to especially thank the ICAF host, Qiana, for her time. She answered all my questions and introduced me to the audience, giving me a chance to speak. I want to also thank the Comic Studies Society President, Charles Hatfield, for his kind words to the conference about the GCD and our contributions.
The Grand Comics Database Project aspires to be the world's most comprehensive online comics database for comic readers, collectors, scholars, and professionals. In 2014, we ramped up our outreach to comic readers and collectors with a stronger presence at conventions, comics shops, and shows across North America and Europe. It is just as important for us to reach out to the scholars who use the GCD database for their research.
ICAF and the Comics Studies Society (CSS) are the types of forums that provide us another glimpse at what the database offers the entire comics community. It is my hope that we can strengthen our relationship with these institutions, learning how we might be able to better address their concerns and using their insight to improve what has already been a valuable resource.
What is ICAF? Started in 1995, ICAF is an annual conference dedicated to promoting the scholarly study and appreciation of comics. They actively seek collaboration with scholars, historians, critics, teachers, journalists, curators, artists, and comics professionals from around the world. I first heard of ICAF through fellow member and fellow convention boother Ray Bottorff. It was too intriguing to let it go, so I made the 443-mile journey to the University of South Carolina in the heart of Columbia, South Carolina (14–16 April 2016). If you want more information, I encourage you to visit http://www.internationalcomicartsforum.org/.
I also discovered The Comics Studies Society during my three day visit. The CSS “is the U.S.’s first learned society and professional association for comics researchers and teachers. It is an interdisciplinary society open to all comics scholars — whether working in the academy or independent — who share the goals of promoting the critical study of comics, improving comics teaching, and engaging in open and ongoing conversation about the comics world” (from the ICAF program). At least two GCD members are also members of the CSS, and I hope to see more in the future. You can learn more at http://www.comicssociety.org/.
I am neither a comics scholar or academic, but I found the panels interesting and understandable. The three days were busy from 0900 through 1700 (and sometimes later). Special guests included Cece Bell, Howard Cruse, Sanford Greene, Dominique Goblet, Gary Jackson, and Keith Knight. I was particularly impressed with the academic panels. There were a total of 14 panel presentations representing 39 colleges and universities. I was only able to attend 7. You can get details at http://www.internationalcomicartsforum.org/2016-schedule.html.
I will make every effort to go to another ICAF conference in the future. I will be looking into areas of mutual interest to ICAF and the GCD, and I will see what I can do to promote academic involvement from those scholars within our membership.
Thank you again to ICAF, CCS, and especially Qiana. It was memorable and fascinating.
GCD Comics Timeline
In addition, he succeeded Dan De Carlo as the artist of the ‘Millie the Model’ title, making it a bit more realistic in the 1963-67 period. He also worked as an artist and co-plotter with Stan Lee on the teen title ‘Patsy Walker’. Goldberg left Marvel in 1969 and began working on a couple of DC’s teen titles, including ‘Date with Debbie’, ‘Swing with Scooter’ and ‘Binky’.
Continue reading about Stan Goldberg at Lambiek Comiclopedia — https://www.lambiek.net/artists/g/goldberg_stan.htm
Explore items in the GCD with work by Stan Goldberg — http://ow.ly/4nqSBd
From Lambiek Comiclopedia — https://www.lambiek.net/artists/c/cypress_toby.htm
Explore items in the GCD with work by Toby Cypress — http://ow.ly/4nqNbe
From Lambiek Comiclopedia — https://www.lambiek.net/artists/j/joly_octave.htm
Explore items in the GCD with work by Octave Joly — http://ow.ly/4nqQNH
(This image of the character Oncle Paul is from the Lambiek Comiclopedia page for Joly.)
Continue reading about Greg at Lambiek Comiclopedia — https://www.lambiek.net/artists/g/greg.htm
Explore items in the GCD with work by Greg — http://ow.ly/4nqP8x
Continue reading about David Lloyd at Lambiek Comiclopedia — https://www.lambiek.net/artists/l/lloyd_david.htm
Explore items in the GCD with work by David Lloyd — http://ow.ly/4nqO00
Continue reading about John Broome at Wikipedia — https://en.wikipedia.org/wiki/John_Broome_%28writer%29
Explore items in the GCD with work by John Broome — http://ow.ly/4noFls
(The cover of SHOWCASE 22, September-October 1959, was created by Gil Kane.)
From Lambiek Comiclopedia — https://www.lambiek.net/artists/g/garza_ale.htm
Explore items in the GCD Alé Garza — http://ow.ly/4noHPX (some explicit covers)
Continue reading about John Ridgway at LambiekComiclopedia — https://www.lambiek.net/artists/r/ridgway_john.htm
Read about John Ridgway at Wikipedia — https://en.wikipedia.org/wiki/John_Ridgway_(comics)
Explore items in the GCD with work by John Ridgway — http://ow.ly/4noEgA
Between 1954 and 1961, he was employed by Studio Hergé, where he assisted on two albums starring ‘Tintin et Milou’. By 1958, he was drawing for a variety of magazines under pseudonyms like Jo-El, Ernest and eventually Jo-El Azara. Besides publications in Caravane and Spirou, he collaborated with Will on the Peyo series ‘Jacky et Célestin’ for Le Soir Illustré in 1961-62.
Continue reading about Jo-El Azara at Lambiek Comiclopedia — https://www.lambiek.net/artists/a/azara.htm
Explore items in the GCD with work by Jo-El Azara — http://ow.ly/4noCEe
By the late 1950s, Nestor Redondo was illustrating for several comic books at the same time, Pilipino Komiks, Tagalog Klasiks, Hiwaga Komiks and Espesial Komiks. Each of these books came out bi-weekly, and Nestor would have two or more series going at the same time on any of these four titles. Nestor Redondo did all the penciling and inking himself. Besides doing dozens of pages every week, he also made a lot of book covers.
Continue reading about Nestor Redondo at Lambiek Comiclopedia — https://www.lambiek.net/artists/r/redondo.htm
Explore items in the GCD with work by Nestor Redondo — http://ow.ly/4noDtJ
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