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Awsten with a frog!!
with bungleton!! i’m so excited to get my plush of him they’re so :3333
#finch answers#art#traditional art#art blog#drawing#fanart#waterparksband#bungleton#awsten knight#doodle requests
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Bungleton Green and the Mystic Commandos!
If ever there were a collection of comics to highlight during Black History Month, Bungleton Green and the Mystic Commandos is it. The comics collected here were history making in and of themselves. Created by the talented Black comics maker, Jay Jackson, they were published in the most widely read Black newspaper in America during the twentieth century, The Chicago Defender 80 years ago, during World War II. Not only that, this volume published by New York Review Comics is, to the best of our knowledge, the first time that these strips have ever been collected, meaning that, outside of scholars and researchers, almost no one alive today has read these strips before. The comics here are classic WWII-era adventure strips, boosting the USA and fighting the Nazis, in line with the period, but in the case of Bungleton Green and the Mystic Commandos, on top of all that – and uniquely among strips of this era – our heroes had to also combat racism, both at home and abroad (and, as readers will discover, also in the past and the future, as well as the [then] present) . Additionally, each of these strips here included a one panel comics biography of an important figure in Black History; so, Black History within Black History. All in all, this volume is quite an eye opener, to say the least.
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Written during World War II, Bungleton Green and the Mystic Commandos offered its readers a science-fiction epic that imagined a future liberated from racism and inequality.
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Best Books of 2022: Bungleton Green and the Mystic Commandos
Best Books of 2022: Bungleton Green and the Mystic Commandos
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For MLK day, a cool profile of one of the overlooked characters in cartooning, Bungleton Green, notable because he was a black character in a black newspaper!
Heck, he’s actually even public domain thanks to debuting in 1920, so you could totally use him in a thing if you wanted...
#bungleton green#artists of color#characters of color#secret history#THE LIBRARIAN OF BABEL SPEAKS HER WISH BEFORE GOD#comics#comic strips
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Three originals by Jay Jackson, considered the first African American artist to work (at least regularly) in the pulps. Jay also illustrated several comic strips that appeared in "black only" newspapers. His work is truly amazing, and it's a shame that he was relegated to only a portion of the audience he should have achieved. Here's a link to learn a little more about him, including his work on Bungleton Green and the Mystic Commandos!
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Comic Uploaded: 28-04-2014 Bungleton Green (1927 - The Chicago Defender) Uploader: aloening Download Link: https://digitalcomicmuseum.com/index.php?dlid=23849 Read Online
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Bungleton burgerbottom the 53rd, duke of dumbyville?
NOW we’re getting somewhere!
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Little Audrey and Melvin 55 - Harvey Comics November 1972 . . . 1 - Little Audrey and Melvin - (Boxing Made Easy) - 1 page (This story is the cover of LAAM 60) 2 - Little Audrey and Melvin - The Hopeful Hunter - 4 pages 3 - Little Audrey and Melvin - (Raindrops Keep Falling On My Head) - 1 page 4 - Little Audrey and Melvin - (Audrey’s bag of Cookies) - 2 pages 5 - Playful Little Audrey - What A Doll - 5 pages 6 - Playful Little Audrey - Building Up Bungleton - 5 pages 7 - Little Audrey and Melvin present The Little Monster- 1 page text story 8 - Little Audrey and Melvin present Fist Facts - 1 page text feature 9 - Melvin - The Yellow Baron - 5 pages . . . . #littleaudrey #littleaudreyandmelvin #harvey #harveycomics #harveyfamouscartoons #harveypuzzle #littleaudreypuzzle #littlelulu #nancy #richierich #littledot #melvin #melvins #themelvins #cartooncomics #cartoonpuzzle #littlelotta #cartoonpuzzles #casper #cartoons #cartooncharacters #casperthefriendlyghost #MaeQuestel #harveygirls #harveystreetkids #MelvinWisenheimer #harveygirlsforever (at Portland, Oregon) https://www.instagram.com/p/CCQfYGyhL4F/?igshid=29fi2pvfyiob
#littleaudrey#littleaudreyandmelvin#harvey#harveycomics#harveyfamouscartoons#harveypuzzle#littleaudreypuzzle#littlelulu#nancy#richierich#littledot#melvin#melvins#themelvins#cartooncomics#cartoonpuzzle#littlelotta#cartoonpuzzles#casper#cartoons#cartooncharacters#casperthefriendlyghost#maequestel#harveygirls#harveystreetkids#melvinwisenheimer#harveygirlsforever
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Eldzier Cortor was born on this date, [January 10,]in 1916. He was an African American artist.
He was born in Richmond, VA, to John and Ophelia Cortor, who were economically secure. His family moved to Chicago when he was about a year old. After a few years they moved to the West Side where Archibald Motley’s family lived. Cortor’s earliest influence in art was in comic strips. His favorite was "Bungleton Green," created by Leslie Rogers. He would copy them and dream of creating his own.
The Great Depression forced the Cortor family to move to the South Side, where he enrolled at Englewood High School. In the school’s poster shop he worked with fellow "soon-to-be" artists Charles Sebree and Charles White. His father shunned his interest in art and Cortor was forced to drop out of school to work. In 1936, he continued to take evening drawing classes at the Art Institute of Chicago. In 1940, he worked with the Works Progress Administration (WPA) in Chicago and eventually studied in Sea Islands, Georgia, on a Rosenwald Fellowship in 1944 and 1945.
In 1949, Cortor also studied in Jamaica, Cuba, and Haiti on Guggenheim Fellowship. From 1949-1951, he was a teacher at the Centre d'Art, Port-au-Prince, Haiti. His major exhibitions include Three Masters: Eldzier Hughie Lee-Smith, and Archibald John Motley, Jr., Kenkeleba Gallery, New York, 1988. One of the first African-American artists to make Black women his major theme, Eldzier Cortor found his niche in printmaking. Calling himself a "group painter" because he felt his life experiences were those of any African-Americans he sought to reflect them in his paintings.
See also:
- Seeing Eldzier Cortor
- Eldzier Cortor, Video
- Eldzier Cortor, Painter of Scenes From African-American Social Life
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my tantrum shirt and bungleton are here but i’m in class for another 4 hrs
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Bungleton Clamberstack? I haven't heard that name in years...
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EVALUATION
The audience for my work is the children’s market – detailed illustrations mean it can reach older children; bright bold colours make it still relevant for younger children. The colouring pages are simple for the characters with bold shapes for younger children to be able to enjoy and the smaller details of the backgrounds and words, again, make it suitable for older children. This shows how I can apply my work to suit a wide target audience within the children’s market.
An option for potential uses of the book is to get it self-published as I have made and hand bound it myself, so I could keep it as a limited number of books available. However I would ideally like to be published by a publisher, so I could use this book as a prototype to show publishers the work I can produce. Another option, if those routes are unsuccessful, would be to start a kickstarter for me to be able to produce and sell the book myself.
There are opportunities for further development with the work I have produced because it began with the idea of fictional characters who all live on the same island together. They have a collective name ‘The Bungles’ meaning I could aim to take the idea further than a children’s book, for example I could make merchandise with the characters on, toys could be made of the characters and even an animation could be made showing what The Bungles get up to, on Bungleton island.
My goals for my career are to get published and become a professional children’s book illustrator, or to generally work within the children’s market in some way. So my FMP work is a good starting point to show clients and employers what I am capable of and that I can produce work that is suitable for the market.
The most enjoyable part of the module was firstly the artwork stage of producing the book. Working traditionally feels the most natural to me and I enjoy seeing pieces develop from an idea, to sketch, to a finished illustration and bringing the characters to life. I also enjoyed the book binding stage, that’s when it all starts to feel real and the hard work pays off, to see my work become a finished product.
An important thing I learned this module was the effectiveness of making a detailed schedule prior to production. Having a weekly plan made time management a lot easier as I could simply refer to the schedule and know what I needed to do without having to plan each week individually. It also meant that I could see clearly if I were running behind and how much time I had left to work on the task I was currently on. Having referred to the schedule and following it (some weeks I swapped around depending on what I wanted to work on first or at that time, however the time scale for each task was kept the same), has meant that I managed to get the book bound and finished in plenty of time before the deadline, to allow myself to make final touches, make sure the blog posts are up to date and to finish the PDF. In the schedule I also included a week to catch up on anything that I fell behind with or for any mistakes that needed rectifying, which I am glad I did because during the printing process I was met with some hurdles with the printer, which took a few days to figure out. So, having that week meant that I could take my time fixing any printing errors, without it causing too much stress and delaying any other parts of the work.
Some pages ended up losing edges of the text on the colouring pages, after trimming the book. The words are still visible, but some parts of letters are off the edge. I tried rectifying this during the trial print run, by increasing the bleed from 3mm to 6mm on each side, however it didn’t seem to help at all. So, in future, when making designs I will ensure the design is extended way past any areas that are important and that I wouldn’t want to lose in the cutting process.
Overall, I’m pleased with the final outcome, although there are small areas I would change if I could, I’ve learned from these (as mentioned above) and the module has given me practice in the children’s book market and producing images for books, preparing me for entering the children’s illustration market.
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WEEK 11 - MAP TITLE EXPERIMENTS
The island where the Bingles live, is called ‘Bungleton’ which isn’t made clear in the book, so I thought about including a title on the map.
I knew what font I wanted to use, which was my own font I designed and used for the book. This way the text on the map will tie in nicely to the book and make it consistent.
I then experimented with colours. I tried purple, orange and white with black outlines, none of which I loved, but the orange was my favourite, so I then edited the orange to have a white outline, which made the text stand out really well, but looks softer and more fitting with the style of the illustrations and text from the book. I used the same orange that I used on the cover page of the book, which again ties them together and creates consistency.
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WEEK 10 - MAP OF BUNGLETON POSTER
I stuck with watercolour and coloured pencil for the base of the map and then scanned and edited it in the same way I did for the colour illustrations for the book.
I then drew on the location symbols (used on the colouring pages as clues to help the children located where each Bungle lives on the map) digitally to ensure I could make it crisp and stand out.
I still need to edit out some pencil marks and may make the line work of the symbols, more faded or use a different colour as the black seems slightly too harsh.
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