It has a half-finished look, with parts still in pencil, because I got my dates mixed up and thought PMZF was on Sunday, not Saturday, giving me an additional day to tighten things up and run the minis off. I realized I was wrong around 2 AM Friday night/Saturday morning and spent the rest of the night in a scramble, trying to make a presentable zine. Through sheer chance, I think this cover actually worked because it gives a feeling of a grey, grimy, less-than-pristine-and-planned-community city street. Happily, the xeroxing kept a lot of that soft quality too.
Though characters are usually more fun to draw (and lazier cartoonists will take that to their detriment, neglecting backgrounds), I think I felt inspired to draw the building and environment more as the central focus because James Romberger has been posting a lot of older pieces he did of urban landscapes in pastels (which are vibrant enough to look like oil paintings.) Here’s an example of one at the Met’s site:
This carries on in the tradition of the Ashcan School, which also fascinated me when I saw examples of it in art history class, that even a century ago captured some of the spirit of what seems to me essentially New York City. The professor barely spent any time on it though, thinking it “irrelevant” and “too representational” compared to other painting movements of the day, and just now looking up Ashcan School examples online I came across a slide presentation (looks like someone’s homework assignment) declaring, with no citation or explanation, that the artists were not making social commentary. Yeah, keep telling yourselves things like those, you fat comfortable fucks.