WE GOT YOUR SIGNED COPIES OF the art of richard thompson right here, next to these copies of the complete cul de sac!
Richard Thompson, creator of "Cul de Sac," and winner of the 2011 Reuben Award for Outstanding Cartoonist of the Year, has graciously offered to sign copies of this beautiful book when you place your order through One More Page. Because cartoonists, like banjo players, are lovable but unpredictable, we can't guarantee a delivery time. We thank you in advance for your support, and your patience. You can click here or call us at 703-300-9746 to be among the select and stand up for America by purchasing a signed copy of The Art of Richard Thompson!
Thursday, June 4, 2015
Thursday, May 28, 2015
Are you a comics professional? Warning signs include:
- Blood in the stool
Other worthy names/titles I think deserve your vote (taking nothing away from their competitors) include Raina Telgemeier, Can't We Talk About Something More Pleasant by Roz Chast, El Deafo by Cece Bell, The Complete Cul de Sac by Richard Thompson, Kill My Mother by Jules Feiffer, and Stan Sakai for everything.
Tuesday, May 26, 2015
The Complete Cul de Sac isn’t.
Complete, that is. Compiling it while ill, Richard accidentally left out some strips. Others were purposely left out, either because he had redrawn them for syndication, or they were too tied to the Washington, D.C. origins of the strip to make sense for a worldwide audience, or he “just felt some were not funny.” Over 100 are not in The Complete CDS.
But if you’re a cartoon completist, or just want a little bit more CDS, we understand and we’re here for you. We’ve collected the lost water-colored Washington Post Magazine strips, the early inchoate musings about what the strip should be, the promotional material, the sketches for fans, and finally some fugitive Team Cul de Sac charity art by Art Spiegelman, KAL, Patrick McDonnell, Eric Shansby, Nate Beeler and others.
With Richard’s blessing, or at least active acquiescence, any money the book makes will go to Team Cul de Sac to fight Parkinson’s disease.
And if more art surfaces, we’ll do a second edition. (if you've got something, drop me a line)
Compleating Cul de Sac
by Richard Thompson, Michael Rhode and Chris Sparks
Asheville, NC: Team Cul de Sac & Arlington, VA: ComicsDC, 2015.
Available in paperback: http://www.lulu.com/shop/
ebook pdf: http://www.lulu.com/shop/
Save 25% on all print books with code MEMORIAL through May 27.
|Team Cul de Sac art by Terry Flippo|
Saturday, May 9, 2015
Order your copy of Compleating CDS from Lulu today for only $35.00 and you'll earn the envy of all you know! They'll be so sick with rage, they'll just spontaneously explode, probably! What other graphic novel can offer that?
Here's what you get:
- All the strips, over 100 and many in color, that were left out of the Compete CDS, even if they were salacious.
- Rough sketches. Everybody loves rough sketches.
- Ephemera, drawings done for promotion, drawings done as dedications in books, drawings done as attempts at bribery or usury or to pay off an exorbitant restaurant bill.
Today through May 10, save 20% on any print book with the code MOM20.
(Book editor Mike Rhode here - we hope to get a less expensive version out soon, which will also raise more money for Team Cul de Sac. If you need to buy one today, the paperback uses better interior paper stock than the hardcover)
Sunday, April 26, 2015
IT'S NO WONDER THE INVENTOR OF
MOTHER'S DAY WAS A
CRANK WHO DISOWNED THE ENTIRE THING, AND ANY SENTIMENTALITY ON SUCH A FRAUDULENT, MADE-UP OCCASION IS MISPLACED.
IT'S GENERATIONAL EMOTIONAL BLACKMAIL,
BUT DON'T LET THAT STOP YOU
FROM ORDERING OUR
HIGH-QUALITY ARTISANAL CARDS.
TRUE, WE SWEAR.
Saturday, April 25, 2015
Dog Butts and Love. And Stuff Like That. And Cats. by Jim Benton (NBM)
Groo vs. Conan, by Sergio Aragonés, Mark Evanier, & Tom Yeates (Dark Horse)
Rocket Raccoon, by Skottie Young (Marvel)
Superior Foes of Spider-Man, by Nick Spencer & Steve Lieber (Marvel)So if you're a comics professional, or think you are go to http://www.eisnervote.com and do your patriotic duty. if you/re not sure if you qualify check your laundry tag; it should say "comics professional" or "other" after the washing directions but before the color0 fastness number.
Sunday, April 5, 2015
Gene Weingarten: As I recall, Richard’s Poor Almanac(k) originated over a lunch between us. I was the editor of the Sunday Style section of the Post. I was looking for a weekly feature to attract readers who were both smart and smart-alecky. Something both sophisticated and and seditious. I told you I wanted to pay you generously to draw a weekly, anarchic comic strip, with no creative limitations, and you agreed it was a swell idea, and you’d get right on it, and we shook hands, and then I didn’t hear from you for something like two years. What was that all about?
Richard Thompson: Yeah, I remember that restaurant. They gave us both bacon on our cheeseburgers and we didn’t even ask for it. And when we went there a year later they did it again. Auspicious. As I’ve said before, I’ve had three or four real dream jobs as a cartoonist, And I’ve been dragged into each of them kicking and screaming. I’m naturally slow and lazy and I really hate deadlines. Just the thought of deadlines stretching endlessly away, the kind that come with a daily strip, makes my stomach turn over, because I imagine a lifetime of 3 A.M.s at the drawing board looking at a drawing I’ve screwed up for the sixth time, and I’ve forgotten how to draw anyway, and what was I even thinking taking a job like this?
Also I thought if I waited long enough you’d forget all about it. This happened once before, in the late 1980s. I had a somewhat similar offer from the Outlook section when Jodie Allen was editor. And they didn’t offer as much money. I came up with some rough ideas, including an early version of “Little Neuro” my parody of Little Nemo in Slumberland, but it was undeveloped and pretty obvious I didn’t know what to do with it. I didn’t pursue it and neither did they. Small loss and no regrets.
And I do most of my work subconsciously, when I’m not paying attention to the process. If you’d pestered me every week for ideas (which I’m glad you didn’t) I would’ve come up with something, but it wouldn’t have been too good. It has to age, preferably without me meddling in it. This is nice because I get to dawdle. But without an eventual deadline I can’t get anything done. Somebody has to take it away from me and say, stop fussing with it.
GW: The thing I liked best about the Almanac was its unpredictability -- the reader never knew where you were going to go, week to week -- and I’d like you to explain that a little bit. (Yes, you and I both know I am asking that obnoxious dumb-reader question, “Where do you get your ideas?” but I’ve concealed it through misdirection, and you have to try to answer.)
RT: I never knew where I was going either. Quite often I’d have an idea on Tuesday that I hated on Wednesday (deadlines were Friday). If Thursday rolled around and I was still dry it got ugly; I’d have to sit down and sweat it out. I was always bad at planning ahead because I knew I’d change my mind by deadline time.
Of course, there are always holidays, events, anniversaries and other calendar happenings, or I could try a Restaurant Closings cartoon. Perennials. After I’d done it for a while I felt confident enough to do some really stupid cartoons just because I could make them funny. Stuff from real life, the duller the better, things that would be unworthy of space in a major newspaper. Like when we had opossums invading our garage I did a whole life-cycle of opossums and worked in Henry James somehow. The ideal cartoon was made up off the top of my head with no research, with only its own comic logic holding it together.
I eventually felt like I could tell when a subject had comic possibilities; that is, when there was a rich enough vein of jokes in something that it’d stand the scrutiny, the analysis, the deconstruction, necessary to turn it into a cartoon. Like, if it rattled loudly enough when I shook it. But I couldn’t force it to be funny. One thing I’d learned after doing this for a while is to back off fast whenever I was forcing it.