atlantic center for the arts

Happy New Year, Everyone! HABIBI progress updates coming soon(ish). In the meantime, heads-up that the Atlantic Center for the Arts
Residency program is focusing on GRAPHIC NOVELS in October 2010. Each year they provide interactive work spaces for writers, artists,
choreographers, composers, etc., hosting fancy folks from Robert Rauschenberg to Edward Albee to Saul Williams. This year – Paul Pope,
Svetlana Chmakova, and myself will be acting as “Master Artists” and hand-selecting eight “Associate Artists” (a piece) to work with.

HABIBI should be wrapped up, so I expect to indulge in new projects and have plenty of attention to devote to other artists.
I mention it now, because May 21, 2010 is the deadline for applications. And here’s what I’m asking of applicants:
“Applicants should submit a proposal for a graphic novel: an outline of the narrative, and samples of finished comics pages (from previous work or the current project). But artists will benefit most if they can bring a finished first draft in an edit-able form to the residency. This could be in typed screenplay format, though I favor a hand-drawn thumbnail which includes text AND image, and is drawn legibly so others can read and offer comments. In this form, we can discuss narrative individually or as a group, hone preliminary craft like reference poses, or dive into finished artwork.”
Pictured above:
a self portrait by Paul Pope (an obvious influence on my own work), the ACA studios nestled in a sea of pine, and a pile of BLANKETS thumbnails.

19 thoughts on “atlantic center for the arts

  1. i’m applying too! i got a draft for the little mermaid (orignal story), starring me as the mermaid, ha!

    i’m in england.. that won’t effect my application?

    this sounds like so much fun x

  2. Wha? My three favorite cartoonists (other than Matt Bernier) all in one place? Too bad it’s in Atlanta! (makes face) I’ve lived there before. No desire to ever go back.

    Looking forward to HABIBI, Craig! I’ve been following with the updates for a while (though I’ve never commented before), and it looks spectacular. Even the way you draw the balloon tails like Arabic calligraphy shows how much thought and detail has gone into this book. I can’t wait to read it! Hopefully you’ll think to visit NYC sometime, so some of us can buy it direct. 🙂

  3. This is good news for you! I’d apply if I wasn’t already studying full time in England!

    I’m not sure if you read through all these comments, but I’ve trying to contact you via email with a question I had about the processes you go through in completing a book (The email address given as your agent on the main page of this site rejected the email I tried to send).

    Basically my question boils down to; did you, in the case of Chunky Rice and Blankets (i.e. before you hit the big time, so to speak), contact publishers with your completed set of roughs and some finished pages of art; or did you literally just work through finishing the entire book without input from publishers?

    I ask because I have two graphic novels in first draft form, and I’m not sure if it’s wise to produce finished artwork before consulting a publisher.

    Perhaps seeing a finished work offered up would be refreshing for a publisher, and I could always redraw some pages, do paste-ups, etc… I just thought I’d ask a seasoned pro just how that part of the process is done. I have no issue with producing a finished book before securing a deal, not at all, but perhaps it’s a foolish thing to do.

    Sorry for the wall-of-text comment. If you could find the time to message me back to the address I’ve put in the ‘Mail’ field, I would be eternally grateful, as your work has been probably the biggest influence on me as a comics-creator.

    Thanks ever-so-much,

    Corban

  4. Hey Craig!
    This comment doesn’t really relate to this post but I think you will read it anyway. 🙂
    I tried to contact you via your agent (I used the mail adress from your website) but actually it didn’t really work(I don’t know why… I think it’s the same problem as Corban had…). So I try it via your blog and the comments this time. 🙂

    I’m from Germany and I’m writing an essay about “Blankets” for school. I’m nearly finished but there are some last question I would love to ask you! I can imagine that you’re pretty busy but probably you find ten minutes or so to answer those three or four little questions I’ve got and mail me back to the adress I left in the “Mail” field…

    – How would you describe your style of drawing?
    – Why don’t you call “Blankets” a graphic novel but “an illustrated novel”?
    – Would you say that Blankets has started a new form of comics as you included some pages which you wouldn’t find in a comic book normaly like the pages on which there is only one big panel or all the drawings in which you can see just nature?
    – Why did you insert those detailed drawings of nature and why did you insert so many of them?

    Sorry for this long text, but I would be sooooo grateful if you could answer me and so I had to try it in this way, too.

    Thank you,
    Tina

  5. That’s awesome ACA is doing the graphic novel program. I live across the street from there.Feel free to contact me if you need any info on the area.

  6. Hi I’m taking a class right now on comics as art and our final paper is on your short story “Barnyard Animals”. I was wondering if you could tell me anything that you felt was important that the reader got from this story. I saw themes of cruelty, loss of innocence, and the enduring power of friendship. Why at the end do the characters have chicken heads? Why is the narrator shown with an owl head in one scene? I’m sadly terrible at symbolism, I really want to get it but most of the time I just barely register it as it’s wooshing over my head. Thank you so much in advance for taking the time to read this and help a poor dense college student 🙂

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