G A N Z E E R . T O D A Y

Final TSG thumbs clock in at 36 pages and there ain't no other way about it. There are four pages worth that maybe aren't wholly relevant to the plot, but they provide good narrative flow, add much richness to the story, and induce it with “real-world info”, or non-fiction if you like, which I think is part and parcel of the function of any good work of fiction. Cutting those 4 pages would reduce my workload by maybe 12 days, a gain that is not at all worth all the richness that would be lost.

36 pages means I've got a rough estimate of about 108 days of work ahead of me before bringing THE SOLAR GRID to a close. Some pages I might be able to dash off quicker than I anticipate, others employ techniques I have yet to fully utilize for comix and as such are a bit more difficult to accurately assign production time, but 3 days per page seems to me like a reasonable enough average.

Will take the long weekend to get my ducks in order; meal prep, organize tools, and ready the workspace. It's the meal prepping though that'll take up the bulk of the next few days. I find that I work best when I don't have to think about food or anything else aside from the work at hand. Especially essential when you're in it for the long haul.

#tsg #work #comix

#web

We're not always looking for ideas, sometimes ideas are looking for us. Sometimes they violently break through the windows of your mind when you least expect it and sweep through you with unstoppable gusto. Attempting to resist can be futile. No use trying to shutter them windows when the winds of inspiration are too strong.

The thought of revamping my logo wasn't something that ever crossed my mind. I've had the same one for over a dozen years and it seemed to serve me well, but last night for reasons completely unbeknownst to me a new mark made itself known in my mind's eye and I immediately scrawled it into my current vomitbook.

Aside from the obvious eye, the logo is also comprised of 3 letterforms (as was the previous one), G, J and the Arabic letter ج. The G being the first letter in Ganzeer of course, as the ج is in جنزير (Ganzeer in Arabic). The thing about the letter ج though is that it is only pronounced a hard G in Egypt and pronounced J in literally every other Arabic dialect. Which means جنزير will often be pronounced Janzeer when I'm in touch with other Arabic speakers, so the logo is able to represent all possible phonetics in one single symbol. It's as complex as it is simple.

The eye may be a cliche, but fact of the matter is everything I do—be it art, design, or writing—stems from one unshakable trait: observation. Keen, unwavering observation. Without which I doubt I'd ever have anything worthwhile to say. In any medium, really.

I've always been a fan of the kind of symbols you can't help but want to scrawl on your desk when you're a kid. The pentagram is an obvious one, the swastika before we know what it means or where it came from, the eye of Horus, Fido Dido's head, and so on. I think this new logo has something of that quality, more so than the previous one for sure.

I may tinker with proportions and style sometime down the line, but for now I'll try it on raw, see how well it fits.

#journal #work

Made it past the 20-page mark on latest TSG thumbs and still plenty of story to tell. It is evident that capping this chapter at 20 is impossible if I want to do it any justice, and do it justice I must. Will try to see if I can close it at 30.

Mind turned to mush, I find this stage of comix-making to be the most mentally-draining. It isn't the most labor-intensive, but it requires the most figuring out.

Sent off a lot of hi-res scans to the folks overseeing the Italy exhibition which includes much never-before seen process stuff. Pretty sure it wasn't what they expected, pretty sure they think I'm demented.

#journal #work #comix #tsg

I was asked to design this year's poster for my favorite annual event in all of Texas: Zine Fest Houston.

This year's theme is: Zine-topia/Dystopia, so y'know, right up my alley.

#work

It is my understanding that I have some work showing in London right now.

What: Hudood – Rethinking Boundaries Where: SOAS Gallery When: 11 July to 21 September, 2024

A catalog is available for download.

#work #exhibition

A fellow artist and dear friend from Lebanon who gifted me this beautiful little art-print a couple years back had part of their home destroyed in one of the recent Israeli airstrikes. Reconstruction will be costly. If anyone reading this might like to pitch in, shoot me a message at shout@ganzeer.com and I'll share my friend's paypal info privately. For understandable reasons, they'd rather not make it public.

#journal

Forthcoming in Houston:

#journal #events

A man's mother dies. That right there puts you in the state of mind he might be in. Camus doesn't tell you what state of mind that is, nor does he tell you a lot of things.

Full review at Ganzeer.Reviews.

#reads

“I started reading articles in newspapers on microfilm from 1885 to about 1865 to see what daily life was like. I wasn't so much interested in the issues as intrigued by the language and rhetoric of the times. Newspapers like the Chicago Tribune, the Brooklyn Daily Times, and the Pennsylvania Freeman. Others, too, like the Memphis Daily Eagle, the Savannah Daily Herals and the Cincinnati Enquirer.”

And it occurs to me that everything I know about slavery or the time that slavery existed is through contemporary eyes, contemporary retellings. Nothing beats going to primary sources, and there are clearly plenty. Something I oughtta remedy.

“There were news items about reform movements, antigambling leagues, rising crime, child labor, temperance, slave-wage factories, loyalty oaths and religious revivals. You get the feeling that the newspapers could explode and lightning will burn and everybody will perish. Everybody uses the same God, quotes the same bible and law and literature.”

From Bob Dylan's CHRONICLES: VOLUME ONE.

“Plantation slavecrats of Virginia are accused of breeding and selling their own children. In the Northern cities, there's a lot of discontent and debt is piled high and seems out of control.”

This is the great thing about this book. Dylan doesn't only relay what he was up to and who he met, but every so often he'll go on a tangent about things he'd been reading and conversations he was having and how it affected his state of mind.

“There are riots in Memphis and in New Orleans. There's a riot in New York where two hundred people are killed outside of the Metropolitan Opera House because an English actor has taken the place of an American one. Anti-slave labor advocates inflaming crowds in Cincinnati, Buffalo and Cleveland, that if the Southern states are allowed to rule, the Northern factory owners would then be forced to use slaves as free laborers. This causes riots too.”

Having lived in both the south and northeast, it's easy to see how similar population divides still very much stand today. The crux of the divide may be different, no longer really about want for subjugating others as much as it's a schism between “the faithful” and “the godless”. Not enough reason to go to war against one another, you need starkly different economic systems for that kind of ignition. Although the rhetoric that might fan the flames would most certainly lean on varying versions of righteousness, with “believers” of the South not taking too kindly upon the infidels of the North, and vice versa for sure.

“Lincoln comes into the picture in the late 1850s. He is referred to in the Northern press as a baboon or giraffe, and there were a lot of caricatures of him. Nobody takes him seriously. It's impossible to conceive that he would become the father figure that he is today. You wonder how people so united by geography and religious ideals could become such bitter enemies. After a while you become aware of nothing but a culture of feeling, of black days, of schism, evil for evil, the common destiny of the human being getting thrown off course. It's all one long funeral song, but there's a certain imperfection in the themes, an ideology of high abstraction, a lot of epic, bearded characters, exalted men who are not necessarily good. No one single idea keeps you contented for too long. It's hard to find any neoclassical virtues either. All that rhetoric about chivalry and honor—that must have been added later. Even the Southern womanhood thing. It's a shame what happened to the women. Most of them abandoned to starve on farms with their children, unprotected and left to fend for themselves as victims of the elements. The suffering is endless, and the punishment is going to be forever. It's all so unrealistic, grandiose and sanctimonious at the same time. There was a difference in the concept of time too. In the South, people lived their lives with sun-up, high noon, sunset, spring, summer. In the North, people lived by the clock. The factory stroke, whistles and bells. Northerners had to 'be on time.' In some ways the Civil War would be a battle between two kinds of time. Abolition of slavery didn't even seem to be an issue when the first shots were fired at Fort Sumter.”

And a few lines later:

“Back there, America was put on the cross, died and resurrected. There was nothing synthetic about it. The godawful truth of that would be the all-encompassing template behind everything that I could write.

“I crammed my head full of as much as this stuff as I could stand and locked it away in my mind out of sight, left it alone. Figured I could send a truck back for it later.”

Picked it up used for 5 bucks, and boy am I glad I did. The bits above worth the price of admission alone.

#reads

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