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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
Continue reading about William Overgard at Wikipedia — https://en.wikipedia.org/wiki/William_Overgard
Explore items in the GCD with work by William Overgard — http://ow.ly/4ng3tq
Throughout the 1970s and 1980s Trapani has worked on such series as ‘Doom Patrol’, ‘Green Lantern’, ‘Wonder Woman’, ‘Teen Titans’, and ‘Superman’. He also assisted José Delbo on the ‘Superman’ daily in the 1980s. From the mid-1960s, Trapani has worked for a variety of publishers, like Dell (‘Dr Who’, ‘Flying Saucers’), Gold Key (‘Boris Karloff Tales of Mystery’, ‘Twilight Zone’) and Marvel (inking many series).
From Lambiek Comiclopedia — https://www.lambiek.net/artists/t/trapani_sal.htm
Explore items in the GCD with work by Sal Trapani — http://ow.ly/4ng1Gu
She illustrated the mini-series ‘Mondo Naif’ in Star Comics, and drew ‘Guarda che Luna’ with text by Giovanni Mattioli at Kappa Edizioni. She continued her collaboration with Mattioli with ‘Una Casa a Venezia’ for the Japanese publisher Kodansha. Again at Kappa, she illustrated ‘Ombre’, ‘Lillian Browne’, ‘L’Età Selvaggia’, and ‘Viaggio Sentimentale’. At Bonelli, she illustrated ‘Legs Weaver’, and for Linus, she produced the strip ‘La Bambina Filosofica’.
From Lambiek Comiclopedia — https://www.lambiek.net/artists/v/vinci_vanna.htm
Explore items in the GCD with work by Vanna Vinci — http://ow.ly/4ng0vO
Together with fellow African-American comic authors Dwayne McDuffie, Denys Cowan and Derek T. Dingle he founded Milestone Media in 1992 in an attempt to correct the low representation of minorities in American comics. With its distribution deal with Time Warner, the company spawned a full-scale multicultural universe of comic characters and has sold over 10 million copies worldwide. Among the Milestone titles were ‘Hardware’, ‘Blood Syndicate’, ‘Icon’ and ‘Static’.
Continue reading about Michael Davis at Lambiek Comiclopedia — https://www.lambiek.net/artists/d/davis_m.htm
Explore items in the GCD with work by Michael Davis — http://ow.ly/4ndZzu
From Lambiek Comiclopedia — https://www.lambiek.net/artists/a/atkinson_kevin.htm
Explore items in the GCD with work by Kevin Atkinson — http://ow.ly/4ndZ3B
By 1982, he stopped his architecture activities and became editor-in-chief of Kuifje, the Flemish version of Tintin. During his period he published his first comics in both Kuifje/ Tintin and Robbedoes+ (the Dutch version of Spirou Album +). In 1986 he was appointed head of the comics section of the Flemish publishing firm Den Gulden Engel.
Marvano’s first artistic claim to fame was his adaptation of SF novel ‘The Forever War’ by the American novelist Joe Haldeman, that was published as a trilogy in the Aire Libre collection of the publishing house Dupuis in 1988 and 1989. For these books, Marvano worked in close collaboration with the writer, who became a personal friend.
Continue reading about Marvano at Lambiek Comiclopedia — https://www.lambiek.net/artists/m/marvano.htm
Explore items in the GCD with work by Marvano — http://ow.ly/4ndYoD
Continue reading about Lee Falk at Lambiek Comiclopedia — https://www.lambiek.net/artists/f/falk_l.htm
Read about Lee Falk at Wikipedia — https://en.wikipedia.org/wiki/Lee_Falk
Explore items in the GCD with work by Lee Falk — http://ow.ly/4nblY3
(The cover of FEATURE BOOK #18, 1938, was drawn by Phil Davis.)
Continue reading about Dick Ayers at Wikipedia — https://en.wikipedia.org/wiki/Dick_Ayers
Explore items in the GCD with work by Dick Ayers — http://ow.ly/4nblmh
In 1942, he drew his first newspaper strip, taking over ‘Vic Jordan’ for the New York Daily PM. After returning from World War II, he was hired by King Features Syndicate, and worked on several comic books starring ‘Flash Gordon’ and ‘Jungle Jim’. Norris was was also the artist of several episodes of ‘Secret Agent X-9’ during the period 1943-46. His big break came in 1948, when he took over the ‘Jungle Jim’ Sunday feature from Austin Briggs. In 1952, he took over the ‘Brick Bradford’ daily strip from Clarence Gray, which he continued until 1987.
From Lambiek Comiclopedia — https://www.lambiek.net/artists/n/norris_p.htm
Read about Paul Norris at Wikipedia — https://en.wikipedia.org/wiki/Paul_Norris
Explore items in the GCD with work by Paul Norris — http://ow.ly/4nbjWQ
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- Betty and Veronica #172 (Archie)
- Dungeons & Dragons Legends of Baldur's Gate #1 [Regular Cover] (IDW)
- Betuwe Film Serie #v2#7 (De Betuwe)
- Judy Picture Story Library for Girls #327 (D.C. Thomson)
- Betuwe Film Serie #v2#8 (De Betuwe)
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