Stories tagged Emma Hunsinger

Knots and How It All Ends on School Library Journal Best Graphic Novels of 2024

Congratulations Colleen Frakes ’07 and Emma Hunsigner ’20! Knots and How It All Ends are featured in the School Library Journal’s (SLJ) Best Books of 2024 list. The SLJ list of 25 books showcases comics that push storytelling to new heights.

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CCS Alum and Faculty in The New Yorker

Congratulations to Lillie Harris ’21 and Daryl Seitchik ’18 with cartoons in recent issues of The New Yorker! The New Yorker is one of those pinnacles of achievement for a lot of cartoonists, so a lot of hard work goes into getting a comic accepted. Many CCS alum and faculty cartoons have appeared in The New Yorker! The November 20th The New Yorker “Daily Shouts” featured faculty Glynnis Fawkes cartoon “2020 As A Newborn” which reflects on parenting during a pandemic.

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CCS Alum in the 2020 Eisners

Congratulations to all Eisner Award nominees! Good luck to Emma Hunsinger ’20, Lucy Knisley ’09, and Tillie Walden ’16 who have all been nominated for Eisner Awards. Despite the cancellation of comic conventions this year, the Eisner Award nominees were recently announced, so all you comic professionals need to get in there and vote for your favorites at www.eisnervote.com. All professionals in the comic book industry are eligible to vote by June 18, and results will be announced in July.

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Emma Hunsinger ′20 New Yorker Comic on young love and the difficulty of drawing horses

Emma Hunsinger, The Center for Cartoon Studies class of ′20, recently had her comic “How to Draw a Horse” published with The New Yorker. The cartoon was written as a non-fiction class assignment, focuses on a young girls fascination of drawing horses in attempts to be noticed by a classmate. She remarks on how difficult it is for artists to draw horses, and how equally difficult it is for her to understand her feelings towards her classmate. This cartoon was published on May 30, 2019, just in time for LGBTQ+ pride month, and is already #1 most popular post on The New Yorker. 

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