Stephanie Buscema was in my Principles class at SVA some 5 or 6 years ago. The granddaughter and niece of the respected Mavel Buscemas, she had a lot of rough skills but couldn't She is the only person I ever sat down and suggested she move from comics to illustration, which she did, but she has ultimately triumphed in both.
Discovering gouache (at some point after my class!), she made that her primary medium and creates delightful, vivid, fun paintings and comic pages steeped in pop-culture hipness, and sheer pleasure of color and form.
Check her out at
The horrible hilarious love lives of Jen Rose ("Mouchette")
Jen slipped into my 92Y class after taking some workshops with the amazing Lauren Weinstein. Jen loves to describe all the crazy sh*t she's going through, and crazy sh*t it is.
Go check her site out. She told me to find it by googling "This summer I subjugated myself to an elf."
However, I can offer YOU the direct link here:
Jen's demons go up to 111!
I'm beginning an ongoing series of work by great students. Starting with the first two chapters of this weird, silly, literary, visionary story about "Big Nose National Monument" by student "Maria Sputnik":
Elia Kazan on "Streetcar" and directing...
I've never done a storyboard in my life, I wouldn't know how to start. It wouldn't mean anything to me...
You can't make a storyboard until you see what the actor's going to give you. And if you have any respect for your own talent, stirring up an actor, or the actor's talent for responding to your direction, you're not sure of what the hell's going to happen. And a good director's not sure when he gets on the set what he's going to do. I like directors who come on the set and create something that's a little dangerous, difficult or unusual.
I fell that the more ambivalent you are and the more uncertain you are in the morning, then you'll get something you have not gotten before and that you can not anticipate and no one else can anticipate.