"Keith Knight was born in the Greater Boston area, and is part of a new generation of talented young African-American artists who infuse their work with urgency, edge, humor, satire, politics and race. His art has appeared in various publications worldwide, including Salon.com, ESPN the Magazine, L.A. Weekly, MAD Magazine, the Funny Times and World War 3 Illustrated".
http://www.knightlifecomic.com/
WOW - I just re-connected with a old college friend from my Salem State College days (Salem Massachusetts) Keith Knight on Facebook (great social networking tool I may add!).
The ironic part is I was just thinking about Keith and his cousin Joel and how we entered a contest at Salem State College (SSC). I believe we performed "Aligator Woman" and won first place - I think the prize was $100.00 dollars but I NEVER got my 1/3 cut. In fact a few decades later and am still waiting for my $30something!!
It is like being the "teased little sist'ha" cuz when I asked Keith for my cut he said "Joel had it" and when I asked Joel he says "Keith had it". See my dilema?? I think this would make a great cartoon right??? Hmm tell you what Keith - if you create a cartoon about it - you can (Still) keep my $$$ - giggle and grin !
Serious, I must admit that I am sooo impressed with Keith who became a Professional Cartoonist but I am not surprised (nor would any else from SSC!) because he had talent way back in the day! What is really wonderful to see how he is marketing himself and his skills through the radio stations, newspapers, books (YA author of books - goo Keith!), T-shirts, cards, calendars and website/s, blog/s and networking on Facebook and other ways to let others know what he does.
And what a GREAT feeling to be able to note that I "knew him back in the day" during my Salem Stage College years 1985-1987 when we lived in the Bowditch Hall (Co-Ed) dorm. I was on the forth floor with my roommate Lillian DeJesus and we were right above Keith's room on the third floor. Oh yea and I had a BIG cursh on his little roommate David (PEE WEE) Patterson. It was fun hanging out and attending many parties and functions - good times - I miss those fun days just before I transferred to Emerson College.
And what a GREAT feeling to be able to note that I "knew him back in the day" during my Salem Stage College years 1985-1987 when we lived in the Bowditch Hall (Co-Ed) dorm. I was on the forth floor with my roommate Lillian DeJesus and we were right above Keith's room on the third floor. Oh yea and I had a BIG cursh on his little roommate David (PEE WEE) Patterson. It was fun hanging out and attending many parties and functions - good times - I miss those fun days just before I transferred to Emerson College.
I believe Keith was an Art Major and had a comic stip published in the Salem State College Newspaper that shared his profound thoughts and comedy through art, words and characters. Of course his main character was modeled after himself with a little jeri curl that looped in front of his forhead - just like the Keith wore his hair back then.
It sure is great to see someone doing what he LOVES to do and making a living at it!
How about you? Are you doing what you LOVE and MARKETING yourself too?
If not...what is stopping you?
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KEITH KNIGHT
Knight’s weekly comic strip The K Chronicles won the 2007 Harvey Award and the 2006 & 2007 Glyph Awards for Best Comic Strip. Three of his comix were the basis of the award-winning live-action short film, Jetzt Kommt Ein Karton, in Germany. His comic art has appeared in museums and galleries from San Francisco (CA) to Angoulême (France).
Keith Knight is also the creator of (th)ink, a weekly single panel editorial comic, as well as a passionate media literacy teacher, who tours the world with his famous and inspiring multimedia slideshow, in which he tackles race issues, the media, censorship, and activism with a humorous D.I.Y. attitude.
In his spare(?!!) time, Keef raps in the semi-conscious hip-hop group, the Marginal Prophets. After 16 years in San Francisco, Knight recently moved to Los Angeles to expand his work beyond the printed page.
To book Keef for his world-famous slideshow, contact: mailto:andyroth@theagencygroup.com
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COMICS
http://en.wikipedia.org/wiki/Comics
For the entertainers known as "comics", see Comedian. For the magazine format usually containing longer self-contained stories, see Comic book.
"Sequential Art" redirects here. For the webcomic, see Sequential Art (webcomic).
Little Sammy Sneeze (1904–06) by Winsor McCayComics (via Latin, from the Greek "Κωμικός", kōmikos, of or pertaining to "comedy", from kōmos "revel".[1]) is a graphic medium in which images are utilized in order to convey a sequential narrative; the term, derived from massive early use to convey comic themes, came to be applied to all uses of this medium including those which are far from comic. It is the sequential nature of the pictures, and the predominance of pictures over words, that distinguish comics from picture books, though there is some overlap between the two media. Most comics combine words with images, often indicating speech in the form of word balloons, but wordless comics, such as The Little King, are not uncommon. Words other than dialogue, captions for example, usually expand upon the pictures, but sometimes act in counterpoint.[2]
Early precursors of how comics we know it today include Trajan's Column and the work of William Hogarth. By 19th century, the medium as we know it today, began to take form among European and American artists. Comics as a real mass medium started to emerge in the United States in the early 20th century, with the newspaper comic strip, where its form began to be standardized (image-driven, speech balloons etc). The combination of words and pictures proved popular, and quickly spread throughout the world. Comic strips were soon gathered into cheap booklets, comic books, and original comic books soon followed. Today, comics are found in newspapers, magazines, comic books, graphic novels, and on the web.
Although historically the form dealt with humorous subject matter, its scope has expanded to encompass the full range of literary genres. Also see: Comic strip and cartoon. In the anglo-saxon world, comics are still typically seen as a low art[3][4][5] [6][7][8], although there are a few exceptions, such as Krazy Kat[9] and Barnaby. However, such an elitist "low art/high art" distinction doesn't exist in the french speaking world (and, to some extent, continental Europe), where the Bandes Dessinees medium as a whole is commonly accepted as "the Ninth Art", is usually dedicated a non-negligible space in bookshops and libraries, and is regularly celebrated in international events such as the Angoulême International Comics Festival.
In the late 20th and early 21st century there has been a movement to rehabilitate the medium. Critical discussions of the form appeared as early as the 1920s,[10][11] but serious studies were rare until the late 20th century.[12]
Although practitioners can eschew any formal constraints, they often use particular forms and conventions to convey narration and speech, or to evoke emotional or sensuous responses. Devices such as speech balloons and boxes are used to indicate dialogue and impart establishing information, while panels, layout, gutters and zip ribbons can help indicate the flow of the story. Comics use of text, ambiguity, symbolism, design, iconography, literary technique, mixed media and stylistic elements of art help build a subtext of meanings.[13] Different conventions were developed around the globe, from the manga of Japan to the manhua of China, the comic books of the United States, and the larger hardcover albums in Europe.
COMICS
http://en.wikipedia.org/wiki/Comics
For the entertainers known as "comics", see Comedian. For the magazine format usually containing longer self-contained stories, see Comic book.
"Sequential Art" redirects here. For the webcomic, see Sequential Art (webcomic).
Little Sammy Sneeze (1904–06) by Winsor McCayComics (via Latin, from the Greek "Κωμικός", kōmikos, of or pertaining to "comedy", from kōmos "revel".[1]) is a graphic medium in which images are utilized in order to convey a sequential narrative; the term, derived from massive early use to convey comic themes, came to be applied to all uses of this medium including those which are far from comic. It is the sequential nature of the pictures, and the predominance of pictures over words, that distinguish comics from picture books, though there is some overlap between the two media. Most comics combine words with images, often indicating speech in the form of word balloons, but wordless comics, such as The Little King, are not uncommon. Words other than dialogue, captions for example, usually expand upon the pictures, but sometimes act in counterpoint.[2]
Early precursors of how comics we know it today include Trajan's Column and the work of William Hogarth. By 19th century, the medium as we know it today, began to take form among European and American artists. Comics as a real mass medium started to emerge in the United States in the early 20th century, with the newspaper comic strip, where its form began to be standardized (image-driven, speech balloons etc). The combination of words and pictures proved popular, and quickly spread throughout the world. Comic strips were soon gathered into cheap booklets, comic books, and original comic books soon followed. Today, comics are found in newspapers, magazines, comic books, graphic novels, and on the web.
Although historically the form dealt with humorous subject matter, its scope has expanded to encompass the full range of literary genres. Also see: Comic strip and cartoon. In the anglo-saxon world, comics are still typically seen as a low art[3][4][5] [6][7][8], although there are a few exceptions, such as Krazy Kat[9] and Barnaby. However, such an elitist "low art/high art" distinction doesn't exist in the french speaking world (and, to some extent, continental Europe), where the Bandes Dessinees medium as a whole is commonly accepted as "the Ninth Art", is usually dedicated a non-negligible space in bookshops and libraries, and is regularly celebrated in international events such as the Angoulême International Comics Festival.
In the late 20th and early 21st century there has been a movement to rehabilitate the medium. Critical discussions of the form appeared as early as the 1920s,[10][11] but serious studies were rare until the late 20th century.[12]
Although practitioners can eschew any formal constraints, they often use particular forms and conventions to convey narration and speech, or to evoke emotional or sensuous responses. Devices such as speech balloons and boxes are used to indicate dialogue and impart establishing information, while panels, layout, gutters and zip ribbons can help indicate the flow of the story. Comics use of text, ambiguity, symbolism, design, iconography, literary technique, mixed media and stylistic elements of art help build a subtext of meanings.[13] Different conventions were developed around the globe, from the manga of Japan to the manhua of China, the comic books of the United States, and the larger hardcover albums in Europe.
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