1. Here’s the artwork for the Kim Deitch letterpress print that we offered on Kickstarter. The bottle caps will be a recurring design motif for the books as well.

  2. It took a few tries, but I finally made it to Desert Island yesterday. I could have gone broke in there - I managed to get out before I dropped some serious money on a Matt Furie original page from Boys Club, but I couldn’t leave without this Charles Burns print. 

  3. I managed to snag the last one of these from the Rebus Books table, although I think I’m going to have to buy another one from Amazon, since I want to keep one in pristine condition!

    See, to “read” this book, you have to peel away perforated panels, exposing the book underneath. I have always kind of hated books that have be destroyed to be read, although there is a long tradition of this in France. It used to be common to print pages 4-up, folding the parent sheets in half long-ways and then again before being bound, meaning that, to read the book, you have to cut the top of the page edges. Of course, this destroys the value of the book, dichotomizing a book of value and a book that exists to be read. (This probably happened in places besides France, but I don’t have any experience with it.)

    So, it isn’t unprecedented to create a book that needs to be manipulated (even defaced) in order to be read. The genius here, however, is that the story is about an autopsy, which is then represented physically in the book itself as the reader pulls the panels apart. On a theoretical level, there’s a lot to explore in the relation between text and image in comics, but expanding it into a third dimension is pretty novel. It’s been done with things like Chris Ware’s Building Stories model, although that, as a model, is more sterile. This book, on the other hand, doesn’t build anything physically permanent, in that it can be closed, opened, and repeated. Rather than building a structure, the reader assists in rendering the physicality of the plot of the book.

    Seriously, these guys are operating on a level above everyone else working in comics. I’m more interested to see what they do next than pretty much everyone else. Don’t forget that last year they illustrated a genre story with babes and guns (and it was one of the best books of the year).

  4. White Cube by Brecht Vandenbrouke, published (in English) by Drawn and Quarterly. Another really cool book I picked up at MoCCA.

  5. Another MoCCA highlight - meeting Katie Skelly and getting an Agent 8 sketch in my sketchbook. 

  6. Oh, no big deal, just the most beautiful Tardi book ever published, that’s all. This is a reprint of La veritable histoire du Soldat Inconnu, originally published in the 30/40 series by Futuropolis. This edition is released by Editions Hennebelle, a printer/binder who makes incredibly beautiful handmade books. To wit: this copy is printed entirely by hand - each page is silkscreened, with selected fold-outs printed in multiple colors. The book is bound by hand and comes in a handmade clamshell case that is debossed with Tardi’s signature on the cover. It is limited to 100 signed copies and sold out upon publication.

    In my opinion, this is some of the best art of Tardi’s career. It has a lot of the fussy, clear-line stuff that characterizes his early work, and while I do like the more relaxed, confident (Kim Thompson would say arrogant) style of his Manchette collaborations, I can’t get enough of the denser, more overwrought flourishes in books like this one and You Are There.

    Hennebelle hinted that more collaborations with Tardi could be in the works, which would be really great to see. 


  7. As a sometimes-publisher/bookmaker, I have a hard time with Nobrow books, since everything they do is so perfect it kills me. Paper, printing, binding, etc - always simple, always top-notch, eugh. I first saw this book at APE, and I was excited to hear that Marion Fayolle would be at MoCCA, since I had wanted a signed copy.

    Two things:
    1) This is a unique sketch - she uses sponge painting over a stencil to create the main figure and then highlights it with a very small-gauge rapidograph pen. Neat. 
    2) I was hoping she would have brought copies of Nyctalope, the comics magazine she edits in France. I asked her about it, and there was a bit of language barrier, leading me to try to speak to her in French. There’s a special humiliation speaking the world’s most beautiful language to a native French speaker, especially when you’re more “puking it up” than “speaking” it. Long story short, I’ll probably buy some copies through the mail and will post pictures of them.

  8. I was really happy to find the work of Frederic Cloche at MoCCA (he was tabling with his publisher, Fremok). I bought a couple books (including a really elegantly produced miniature book) and got some sketches too.

  9. Swarte sketches! I owe quite a bit to Joost Swarte for doing these sketches and to Bill Kartalopoulos for bringing him stateside. From the top, here is the 30/40 portfolio that I made, Quintet, Bijna Compleet (the Dutch edition of Is That All There Is) and Leporello. I had about 10 more books, but thre was only so much time. I’m totally stoked with these four, let me tell ya.

    It’s incredible to watch him draw these sketches, by the way. He’s very deliberate, but everything is impossibly precise, with the pen straight to paper (no pencil underneath) rendering everything absolutely perfectly. 

  10. Speaking of A Deitch Miscellany, here is the cover artwork! This will be letterpress printed onto all copies, and it is going to look SO COOL. (The page you see above will be framed and put on the wall of my workshop.)