London Laydeez Sept 2017 by Pam Kaur Gibbons

Hi! I’m Pam Kaur Gibbons, a comic enthusiast and a teacher of English to international students based in London. I tweet @kaurgibbons

LDC at The Cartoon Museum was exciting as ever:

  • The Question: Something interesting/funny about your name OR you’re favourite plant
  • The audience was packed with floral names: Fleur, Poppy, Lily to name a few.



  • Comic artist
  • Illustrator
  • Focuses on the formula of life experience + creativity = what?
  • Loves drawing mugs of tea: “keep going for hours”
  • “Why write autobio comics?” Comics lend themselves to autobiographical work in that they can leave a legacy for posterity. Also, important for working in the Here and Now and wanting to change something in the current society
  • Aware of the stigma around mental health and wondered how is this illustrated?

‘The Butterfly Stage’ Graphic Novel

  • Trying to be truthful in the images being used
  • Really important to tell it through a true story
  • Took a while to feel comfortable to tell the story
  • ‘Worrying’ represented in a cyclical way
  • Often the images associated with psychosis are horrendous and sensationalised and did not depict her personal experience
  • Use of images as a symbolisation of psychosis but wanted to be careful that they would not cause a trigger
  • Use of the flower: “something alive is happening in my mind”
  • Being truthful and not a cliché
  • It focuses on transformation



Education Director at Positive Negatives

Positive Negatives:

  • Director: Dr Benjamin Dix, Senior Fellow at SOAS
  • Founded in 2012
  • Ethno-graphic research non-profit
  • Make comic animations about real-life stories
  • Due to human rights’ implications and security issues, turn photos into graphic illustrations
  • Capture people’s stories whilst protecting their identity
  • Focus of comics are humanitarian issues, social issues, race, natural disasters and more
  • Use comics to transform policy makers’ research or statistics to be more accessible
  • Comics humanise the statistics and bring to life the issues
  • Get the wider general audience to critically engage with the issues
  • Work with a wide range of artists from around the world to be culturally appropriate to the story being portrayed
  • Use mixed medium such as real photos mixed with illustration to further the impact of the story being represented

Participatory methodology:

  • Go out to meet refugees / individuals / activists all over the world
  • Work with same-sex interpreters
  • Work with same-sex artists
  • Take lots of photos from field work as most researchers are not artists
  • Take contextual information for the artists, if they are unable to come out for field-work
  • Write the script
  • Take that back to the respondent and get them to check for accuracy
  • Do the same for the storyboard
  • Take the draft storyboard to the respondent, to ensure visual accuracy
  • At the end of the process give the respondent a hard copy of the work
  • Talk about the process to the respondent, and ask them “What it’s like seeing your story in front of you?” and “Has there been any effect on the community?”

Why Comics? Educational Charity

  • Established in 2016
  • Focus on the UK education national curriculum
  • Over 60 published lesson plans that are available free
  • Teachers can filter by: age, topic, length of lesson
  • Up to 10 contextual links within each lesson plan, such as maps, research, infographics, and videos, to bring the issue to life.

LDC March 13 in New York

There was a special pop-up LDC in NYC in March, hosted by Karen Green, in her fabulous flat.

It was a wonderful night featuring local talented and inspiring comic artists and comics scholars:

Karen Green, Curator of Comics and Cartoons, Columbia University Libraries
Ellen Lindner Black Feather Falls, Undertow, Editor of The Strumpet
Bonnie Millard Comics Artist and Graphic Designer

as well as a remarkable lemon and courgette/zucchini cake by Ellen! Deelicious!


ldc 1LDC 2LDC 3ldc 4

Thank you to everyone for coming and a big thank you to Yael Michaeli ( who, as you can see is a rising star at 11 years old!) for these wonderful blog drawings of the night.

Let’s do it again soon NYC!!!

January 2017 – Laydeez Do Angouleme!


This month the Laydeez of London, Leeds and Birmingham joined forces with Ladies Night Anthology, the Comic Book Slumber Party, and FEMSKT and took Angouleme by storm. You can read a full account of their adventures on the Broken Frontier website on the link below. Contributions by Wallis Eates, Megan Byrd and Hannah K Chapman.

I’ll never look at Sting the same way again…

Hello, I’m Jane Porter, your guest blogger for November 24 2016.  I’m a children’s illustrator & author, but I am also reviving my teenage interest in making comics – a current project is a graphic novel retelling of ‘Moby Dick’, set on the river Wandle in south west London. Start small! You can see more about it here: and I’m posting new drawings on Instagram at @janeporterillustrator and Twitter at @TheJanePorter.

I’ve been along to LDC a couple of times before and it’s always inspiring, and November was no exception. The blogpost is illustrated with some pages from my comic diary…

We started with The Question as usual:


Next, two speakers who were united by the extraordinary things they can do with a pencil. First up was Hannah Eaton. She talked about the love of British folklore that underpins both her debut graphic novel, Naming Monsters (Myriad Editions, 2013), and her new project, which sounds as if it will be epic.

Hannah was funny, modest, and made me want to rush straight home and Up My Game. Her range of references is huge, from Robert and Iona Opie’s classic ‘Lore and Language of School Children’ (she has 2 copies) to Twin Peaks and other David Lynch works, to the Usborne Book of Ghosts which seems to have been a very formative experience. And not forgetting the ‘rich pickings’ of an archive of family photos going back to the 1920s.



Next was Amber Hsu – “she’s terrifically talented, and has worked in a morgue” – what better introduction does anyone need?

Amber described her own evolution from photographer to sculptor, to comics artist, publisher of Tiny Pencil and founder of the One Pound Poems project. Her tale of meeting a stranger on a train, and eventually hearing all his deepest darkest secrets was very moving, and the poems she showed on screen were very moving, and often funny at the same time – something that’s difficult to achieve. She also told a lovely story about writing a poem for an unborn baby, and months later, the mother brought the baby to meet her.


JP_LDC3.jpgFootnote: I bought a copy of Naming Monsters and was so absorbed reading it I almost missed my stop on the way home, and was nearly late for work next morning as I couldn’t resist finishing it. If you haven’t seen it yet, get hold of a copy: it’s dark, funny, original and very moving, with gorgeous artwork too.

Laydeez do comics August 29 2016 by Jenny Robins

Henny Beaumont and Nick Abadzis

Jenny Robins here, illustrator, comic artist and jack of all trades, I’ve been an enthusiastic if not always on time attendee of Laydeez Do Comics since April, although I was a lurking newsletter subscriber for about 3 years before that. If that’s you, I recommend going to the actual events. They’re very good. The edition on Monday was an especially poignant combination of speakers, highlighting the wealth of diversity in artistic modes that is the contemporary comic book scene with much to learn from both the new and old school. One speaker had recently released her first graphic memoir and the other had a long history of cartooning and inner industry comic craft, but both were spot on in their portrayal of both the storytelling power of comics and the love and labour the form asks of its creators, the sacrifices of time, soul and wrist action. I haven’t read any of the books in question, although I of course now want to.

If you’ve never been to Laydeez, or never arrived on time, you won’t know that they usually start with a little intro to the organisation, it’s illustrious feminist heritage and cake fuelled history under the soon returning reign of Sarah Lightman and Nicola Streetan , neither of whose names are spelled like I thought they would be.

Then you get a question that everyone has to answer, the theory being that you might remember what someone else said and use it as an ice breaker later when you want to talk to them. Although I’ve not yet managed to remember what anyone said for long enough to do that and usually fall back on my old favourite ice breaker, ‘hello’. Sometimes this has backfired when I’ve accidentally talked to people in the pub after a comic book event that weren’t actually at the event. But less about me, and more about Laydeez.


The current reigning matriarchal superpower that is Wallis and Rachael (both of them tweet more than they tumbl, so I would recommend following them there also) asked the congregated comic lovers who they thought should play the next Dr Who, in deference to Nick’s role as writer on the 10th Doctor comics. Rachael suggested Wallis, probably because of her book fear of species death and the shadow proclamation which you should all buy        I wish I had written down all of the suggestions, also that I had time to draw all of them as Doctors. But I didn’t and I don’t. I do remember Judi Dench and Idris Elba being mentioned, a lot of people were in favour of a female Doctor. Which suggests it’s about time and someone should start one of those online petitions to the BBC. Rachael nominated Wallis.


Henny Beaumont then took the floor to talk about her celebrated sky blue tome ‘Hole in the Heart, Bringing up Beth’ recently published by Myriad. It was wonderful to hear about the empowering force in her life of both Laydeez do Comics and Myriad Editions both of whom encouraged Beaumont to combine her writing and painting skills in the narrative form. Obviously this work is a personal one, one of a number of powerful works of memoir and graphic medicine celebrated recently at other Laydeez events and clearly a genre that is growing steadily in strength and depth. Hole in the Heart tells the story of Beaumont’s relationship with her daughter Beth, who has Down’s Syndrome. Although she has ‘lots of children’, who joke about when she is going to write a book about them, Henny seems to have hit a nerve with her focus on Beth because the response she’s had from the media and the medical profession show that this is story that needs to be told. This, dare I say it, feminine capacity for narrative testimony in comic form seems to be deeper, harder hitting than many still expect to see from the medium, and is a very powerful tool for communication. Abadzis also touched on this in his talk where he highlighted the growth of visual facilitations in corporate culture, tapping into the inherent “hard wiring” of comics grammar in the human brain. What both of the evening’s speakers show is the potential for words combined with pictures to carry emotional and intellectual messages efficiently and effectively, arguably better than any other medium.


In Hole in the Heart Beaumont painted each panel individually and formatted them together afterwards, she also kept narrative text to an absolute minimum and used speech to carry the story. This approach seems to have created an emotional immediacy that allows her observational art to feel utterly real. Throughout her talk she gesticulated beautifully with her long delicate fingers and one of her final slides showed a painting of Beth striking a dance pose with her fingers expressively flared, radiating confidence. I couldn’t help but draw a parallel (on my sketchbook page) and wonder about the relationship that this mother and daughter must have, learning from each other and growing together. I should probably read the book to find out more about that. And you probably should too.


Nick Abadzis then got up to present, Rachael had an introductory spiel about how illustrious his career has been, I only managed to write down ‘all the awards and stuff’ but here’s a Wikipedia link for you The offering of signed copies of Laika on Gosh’s designated occasional comics table demonstrate what he is most often known for, the Eisner award winning graphic novel about the dog that went into space that one time in the fifties. Nick admitted the fact with obvious ambivalence, mixed but powerful affection for his most famous child which it might be inappropriate for me to compare with Beaumont’s feelings for her actual children referred to in her talk, but I’m going to anyway.


With visuals from a variety of the projects he has worked on over the years, Abadzis dispensed and hinted at a lot of pearls of wisdom gleaned from his long career in the comic book industry. Although very much an artist himself, he often works now with other artists, and showed some great examples of various roughs, pencils, collaborations and process work. Where Beaumont harnessed raw emotion in the relatively unplanned painting of her standalone panels, Nick Abadzis is a master of the planned page, by turns utilising and brazenly breaking the rules of comics syntax, always aware of the flow of the reader’s eye over the words and pictures within and without panels. Like Beaumont he does prefer to minimise narrative text in favour of storytelling through characterisation and dialogue, although one example of where he did the opposite of this was the early pages of his series for The Times, The Trial of the Sober Dog, where he was asked to pander to his publisher’s perception of its readership and keep it safe and Posy Simmondsesque. This relationship with publishers and clients is of course a key thread in a professional creative’s story and Nick touched on the negotiations and endless edits that can happen in comics publishing, something which Henny’s publisher Myriad is known for their kindness and nurturing approach to. He made it clear too, that despite all the awards and the Wikipedia page and stuff, he’s not always making the money he perhaps should be from comic work, especially considering the additional labour intensiveness brought on by such painstaking development.

But that shouldn’t put off aspiring comic book creators, as both of these authors clearly demonstrated. On the one hand because a labour of love is a worthwhile thing, and you have to really love comics to have the sticking power to complete a graphic novel or anything of significant sequence, and on the other because as both demonstrated in different ways, comic communication is our springboard into other fields and opportunities. Henny has been invited to talk and teach on the back of her book, and Nick continues to broach new frontiers in visual facilitating as well as collaborating with teams of creators on diverse projects.

It’s all very inspiring guys. It’s a great time to be into comics.

After that we went to the pub where I considered doing some drawing but didn’t. Wallis said I should use this space to promote myself though, so here is a panel from my current comic project that I’m really pleased with. It’s some coat hangers. You can see more of my comic stuff if you go to and click on comics. Also search for me on the social medias.


Jenny Robins