User:Curly Turkey/Sandbox/Jim Woodring

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Jim Woodring (b. October 11, 1952) is a Seattle-based cartoonist, comic book author, artist and toy designer. He also produces fine art works in a variety of other media, including painting and charcoal.

He is best known for the dream-based comics he published in his magazine Jim, and as the creator of the anthropomorphic cartoon character Frank, who has appeared in a number of short comic stories and in two graphic novels.

Woodring has won or been nominated for a number of awards, and on the prestigious Comics Journal's list of the 100 best comics of the century, the Frank stories ranked #55, and The Book of Jim (a collection of some of Woodring's earlier work) ranked #71.

Biography[edit]

The elder of two children, Woodring was born in Los Angeles. He suffered from hallucinations (which he called "apparitions") of floating, gibbering faces over his bed (among other visions) when he was a child, and "was obsessed with death at a tender age"[1] and was afraid his parents would come into his bedroom and kill him. He had behavioral problems, finding himself unable to stop himself from doing things he knew he shouldn't be doing, which he says he didn't bring in line until he got married.

He graduated from high school in 1970 and went to Glendale Junior College for about two months. While there,

"I had the most significant hallucination of my life in this art history class. I took it as an omen that I should just get the hell out of school and stay out! [Laughs.] This hallucination was so much more interesting than the class — it seemed to have forced its way into the classroom and jumped out of the screen where these slides were being projected in order to tell me that I should be somewhere else. I felt that this image had gone to a lot of work to get into the building and get into that room and wait for the screen to turn blank and then appear at me to honk at me to go. So I did."

— Jim Woodring[1]

Woodring dropped out of college and spent the next year and a half as a garbage man.[1] During this time he developed a serious drinking problem, which lasted about eight years. He eventually quit drinking because he felt it was interfering with his growth as an artist.

Animation Industry[edit]

In 1979[1] he was persuaded by his best friend[1][2]John Dorman to take work an artist with the Ruby-Spears animation studio. He did "[s]toryboards during the production season and presentation work during the off-season." He did work for the cartoon shows Mister T, Rubik the Amazing Cube and Turbo Teen, and he has often said that these were the worst cartoons ever produced. At that time, he formed friendships with and was somewhat mentored by celebrated comic book artists Gil Kane and Jack Kirby, who were both disgruntled with the comics business and were working in animation at the time.

Comics[edit]

While working at Ruby-Spears he began self-publishing Jim, an anthology of comics, dream art and free-form writing which he described as an "autojournal". In 1986, Woodring was introduced by Gil Kane to Gary Groth of Fantagraphics Books. Jim was published as a regular series by Fantagraphics starting in 1986, to critical acclaim if less than spectacular sales, and Woodring became a full-time cartoonist. Frank, a wordless surrealist series which began as an occasional feature within Jim, became his best-known work, eventually spinning off into its own series in 1996. Most of the content of the first of the two volumes of Jim were collected as The Book of Jim in 1993, which was subsequently ranked as #71 on the Comics Journal's100 best comics of the century list.

"There are a lot of elements in the stories that mean something to me that shouldn't mean anything to anybody else, though of course I hope they do. I use these radially symmetrical shapes and bilateral symmetrical shapes and those have both got a different import to me. They stand for different specific qualities. So if Frank cracks open a jar and a bilat comes out, that means one thing. If he cracks it open and a jiva comes out, that means something else. It's like saying a stench came out or a mouse came out. I have this symbolic language worked out."

Jim Woodring, 2002[3]

Woodring created a short-lived comics series for children, Tantalizing Stories, with Mark Martin. This was the place in which his character, Frank, first featured prominently, in stories that "have a dreamlike flow and an internal logic to them"[3] written in a "symbolic visual language"[3]that is "defined by thick, unforgiving cartoon lines that marry Walt Kelly with Salvador Dali." [4] Most of the Frank stories have been done in black and white, but a number are notable for being in (usually painted) full color. In particular, Woodring was nominated for "Best Colorist" at the 1993 Eisner Awards for the story Frank in the River. The Comics Journal ranked the Frank stories #55 in its list of the 100 best comics of the century.

He has also worked as a freelance illustrator and comics writer, adapting the film Freaks with F. Solano Lopez for Fantagraphics and writing comics based on Aliens and Star Wars for Dark Horse.

Woodring produced a new Frank book in 2005 (The Lute String) and in 2010 his first graphic novel-length Frank book, Weathercraft, which found itself on a number of "Best of 2010" lists.[5][6][7] This is being followed up with another, Congress of the Animals, in May 2011.

Etc[edit]

A DVD called Visions of Frank: Short Films by Japan's Most Audacious Animators was released by Japan's PressPop in 2007. It is a collection of short films, each by a different artist or team interpreting a different Frank work. Aside from design the packaging, Woodring had no input into their production, leaving their interpretation entirely up to the interpreters.[8]

In 2010, a 92-minute documentary of Woodring was made entitled The Lobster and the Liver[9], directed by Jonathan Howells.

As of April 2011, Woodring keeps an infrequently-updated blog, where he sometimes posts panels from works-in-progress, including Weathercraft and Congress of the Animals, as well as other projects, such as new paintings and the construction and demonstration of a working seven-foot dip pen.

Woodring and his wife, Mary, have one son.

Recurring Characters[edit]

Jim
The artist himself featured prominently in most of his early dream comics.

Frank Characters[edit]

The stories involving these characters occur in the surreal world Woodring calls the Unifactor.

Frank
A bipedal, bucktoothed animal of uncertain species with a short tail, described by Woodring as a "generic anthropomorph" and "naive but not innocent", "completely naive, capable of sinning by virtue of not knowing what he's really about."[10] The character design is reminiscent those of old American animated shorts from the 1920s and 1930s, such as from Fleischer Studios. Usually he appears in black and white, but when he appears in color his fur is purple.
Manhog
an "unholy hybrid of human ambivalence". Woodring says he sympathizes with Manhog: "He is very much at a disadvantage because of his looks and his weak character. He’d be good if he could, and when given a chance, he IS good. But he has no discipline, no grit, no ability to select a better path and stick with it."[8] Earlier, however, Woodring had said he was "completely craven, incapable of a good act."[10]
Whim
Perpetually smiling, devilish character who inhabits a body with a moon-shaped head, "the spirit of politics".[8] When the body is destroyed, it turns out that Whim is actually a "tiny, malicious worm" that is able to crawl inside others (including Frank) and has the power of transformation. According to Woodring, "[h]e’s a conniver, a user. His body can be smashed, but he always gets a new one. Much in the same way that politicians are more or less interchangeable. They surrender their individuality to be part of that hideous game."
The Jerry Chickens
Mischievous chicken-like characters, each a different geometric shape
Pupshaw
A female[citation needed] canine-like "godling" companion whom Frank bought from one of the Jerry Chickens in an early story. Faithful protector to Frank...
Pushpaw
Male counterpart to Pupshaw...

Others[edit]

Pulque
A perpetually drunken, man-sized, Spanish-speaking frog-creature. Pulque inexplicably hangs around with a group of suburban American children, despite the fact that he and the children cannot understand each other and are drawn in markedly different styles.
Chip and Monk
Boyhood friends...
Big Red
A large street cat who hunts and kills with an appropriately cat-like gusto. This is made chilling by Red's dialogue with his prey: "I'll kill you," shrieks a terrified possum, "I killed the old owl!" Red mutters an amused response, "That's nice," as he moves in for the kill.

Themes and Motifs[edit]

Dreams
Woodring keeps a dream journal[1] and has turned several of these dreams into comics, which he "tr[ies] to make it as verbatim as possible."[1] Most of these were in published in JIM. Since the mid-1990s he has turned away from stories explicitly based on real dreams, later saying: "...I got sick of drawing myself. I don't ever want to draw myself again."[3]. He has since focused primarily on stories based in the Unifactor, the surreal Frank universe.

"It's tough to beat a frog for animal symbolism. When they're still, they're completely motionless, sometimes for hours. When they jump, they fly like greased lightning. They metamorphose, and ultimately live in two worlds. They are weirdly anthropomorphic, and of course they are beautiful to look at and fun to draw. I'll never tire of or be ambivalent toward frogs."

Woodring, 2010[11]

Frogs
feature prominently in Woodring's comics, and their symbolism seems to change from story to story. Often they are spiritually-minded but rather pompous creatures, but they can sometimes be sinister and alien. At other times, they are "average joes", struggling to protect their homes or their families from predators. A giant cartoon painting of a frog leaning against a wall made up the cover of the first issue of JIM in 1986, and frogs framed the cover of Weathercraft in 2010.
Jivas
appear frequently in Woodring's autobiographical dream comics and in Frank, where they appear as floating, flexible, colorful, occasionally radiant bulbous spindles resembling children's tops, and are both cognizant and motile, and neither vaporous nor altogether benevolent. Woodring has occasionally referred to them as "angels" and "conditioned souls"[8]. In some Jim stories the Jivas can speak, and in one he accidentally pierces one's skin and it deflates like a balloon.
The Unifactor
The world in which Frank and associated characters appear, "a world where concepts like justice and logic read as alien."[12]

Other Work[edit]

As a comics historian, Woodring has written about T. S. Sullivant and other classic cartoonists for The Comics Journal. He also interviewed cartoonist Jack Davis for the publication.

Woodring illustrated Microsoft's Comic Chat program, an IRC client employed in the creation of the daily web comic Jerkcity. The Museum of Love and Mystery is available as an iGoogle theme.[13]

He illustrated the front cover, endpapers and the song "Toy Boy" in singer-songwriter Mika's extended play Songs for Sorrow.

For years, Woodring ran ads for "Jimland Novelties" in the back of his comics. These toys, books and oddities included a kit to make a frog's (severed) legs swim by hooking them up to a little motor, and another kit for leaving Woodring's own fingerprints around your home. For a time, Woodring was sending his readers free drawings, his "jiva portraits" of what he imagined their souls looked like. A sample of the "Jimland Novelties" pages can be glimpsed in the back of The Book of Jim.

Collaborations[edit]

In 1991 and 1992, Woodring illustrated the Harvey Pekar stories Snake, Watching the Media Watchers and Sheiboneth Beis Hamikdosh for American Splendor. [1]: and for Introducing Dennis Eichhorn which appeared in Real Stuff #1.

Woodring did the artwork for Dennis Eichhorn's The Meaning of Life in Real Stuff #3, and contributed the cover to issue #8.

Woodring wrote the scripts for the comic-book adaptation of Freaks, illustrated by Francisco Solano Lopez and colored by Mary Woodring.

Toys[edit]

Woodring's strange toy creations have been sold in vending machines in Japan and are available in American comics shops. In a 2002 interview with The Comics Journal, Woodring said that he was gradually leaving comics behind because they simply weren't lucrative enough, and he was increasingly concentrating on individual paintings. He made his return to comics at the turn of the decade, however, producing two new graphic novels.

Style[edit]

Stories[edit]

Woodring's work often has a nightmarish surreal quality. Woodring told The Comics Journal that under the right circumstances he is capable of "hallucinating like mad."[1] The desire to draw something that "wasn't there" was always of "paramount importance" to Woodring.

Artwork[edit]

Woodring's drawing style in the black-and-white Frank stories has often been mistaken for brushwork[citation needed] due to the greatly varying thickness of the linework typical of brush cartooning, but he has insisted[citation needed], and indeed demonstrated[citation needed], that it is done with a dip pen. He has said, "pen and ink for me is the ne plus ultra of drawing."[1]

In his Frank stories, Woodring employed a style that combined 1920s-30s Fleischer Studios-like character designs with an Eastern architectural and design flavor. He also makes heavy use of a distinctive controlled wavy line that adds contour and texture to the backgrounds, which has become his trademark.

Woodring also works in charcoal and paint (mostly in watercolor). A selection of these works (mostly charcoal) appeared in the collection Seeing Things in 2005. His paintings are notable for...

Beliefs[edit]

Woodring is a follower of Vedanta, and aspects of this philosophy often appear in his stories. He says, "Meditation is the uber-skill. It ought to be taught in elementary school."[8]

Artistic Influences[edit]

Cartooning[edit]

Woodring singles out for praise the cartoon work of Mark Martin, Justin Green, Rachel Bell, John Dorman, Mark Newgarden, Roy Thomkins, Peter Bagge, Terry LaBan, Chester Brown, Seth, Joe Matt, Robert Crumb, Charles Burns, Gilbert Hernandez, Jaime Hernandez, Lat,[10] Gil Kane and Jack Kirby (Woodring inked and colored Kirby's designs during his time at Ruby-Spears). He considers Kim Deitch to be "the most under-appreciated comic artist working today." [14]

Art[edit]

Harry McNaught,[1][10] Boris Artzybasheff,[1] 17th Century Dutch painting,[1] Ingres,[1] Salvador Dalí

Literature[edit]

Woodring has read widely in literature. Under the Volcano[3] by Malcolm Lowry and Les Misérables by Victor Hugo are two works that he has mentioned more than once in interviews.

Music[edit]

Woodring frequently mentions Captain Beefheart, Bill Frisell as musical favorites, but also "schmaltzy, potent, cheap pop music with strings from the late 50′s and early 60′s, the Theme from A Summer Place, Holiday for Strings, the theme from Midnight Cowboy...that sort of dreck."[8] He also listens to a lot of classical music—his brother, with whom he's close, is a classical musician and has introduced him to much of what he listens to.[1][8]

Critical Reception[edit]

Reaction amongst critics and fellow artists has generally been quite positive, despite low sales[15].

"Frank, and I say this without a shred of hyperbole, is a work of true genius by one of the all-time greats."

Daniel Clowes, 2008[16]

Awards[edit]

In December 2006, he became one of the first group of United States Artists Fellows.

His work was featured prominently at the Centre National de la Bande Dessinée et de l’Image in Angoulême, France as part of the international comics festival held there in January 2007. The following year, Woodring received an Inkpot Award at the 2008 San Diego Comic Convention, and he was awarded an Artist Trust/Washington State Arts Commission Fellowship in the fall of 2008.

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