Smash Pages Q&A: Robin Galante

The San Francisco-based artist discusses her work for the podcast ‘Nocturne,’ ‘The Bold Italic’ and more.

Robin Galante is a San Francisco-based artist whose work I first noticed as part of the great podcast Nocturne, where she drew the show’s logo and makes an illustration for each episode. Last year she published two visual essays in The Bold Italic, and continues to post work on Twitter and Instagram.

One of her biggest subjects is her neighborhood and more broadly, the city of San Francisco. Galante depicts the ways that the city is changing, and in documenting it is celebrating what is there and what we need to fight for to make urban life worth living. We spoke recently about her work

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IDW brings Mahnke’s ‘Lore’ podcast to comics

‘Wellington’ from IDW Publishing will explore the stories discussed on the podcast.

Aaron Mahnke’s Lore podcast has spawned books and an Amazon series, and starting in December he’s making the jump to comics. Mahnke will collaborate with co-writer Delilah S. Dawson, artist Piotr Kowalski and colorist Brad Simpson on Wellington.

“History and folklore are deep wells, and they are honestly a fiction writer’s dream come true,” said Mahnke. “With an amazing cast of characters just waiting to be called upon, and centuries of belief in the supernatural setting the stage, I’m excited to share these powerful stories in a brand-new way!”

The comic will delve “even deeper into Lore’s dark side of history.” It will introduce the Duke of Wellington, who investigates the mysteries and monsters discussed on the podcast.

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Comics Lowdown: Unearthing info on Golden Age comics artists

Plus: Matthew Inman, Seth, May sales and more.

Above: A panel from Dotty, by Jane Krom Grammer

Comics scholar Carol Tilley has unearthed new information about several Golden Age comics artists, and she presents the first fruits of her research on her blog: An account of the life and work of Jane Krom Grammer, who drew (and perhaps colored) the comic Dotty in Supersnipe Comics in the mid-1940s. Tilley has found Grammer’s pay stubs for comics that had previously been attributed to another artist, and in conversation with Grammer’s daughter, she fills out the rest of her biography.

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