The Lardner Report

Every once in a while, I stumble onto something that reminds me why print will always matter. Plastikcomb is that kind of discovery — a fiercely independent magazine for contemporary art, collage, and experimental design that’s as tactile and daring as anything I’ve seen. Published between the U.S. and Germany, Plastikcomb embodies the kind of cross-continental creative alchemy that makes art feel both intimate and universal.

(Pic #2) Title page for profile on artist Rick Granados

I found my first issue one quiet afternoon, reading in bed, and by page three I was obsessed. The cover bursts with texture — bold type, torn edges, and wild collisions of photography and typography. Inside, the layouts twist, flip, and defy logic. Fonts turn sideways, interviews run upside-down, and paragraphs drift like scraps of conversation. Every spread feels alive — unpredictable, imperfect, beautifully human.

That’s what I love most: Plastikcomb doesn’t chase polish or perfection. It celebrates the rough edges — the analog gestures that make art feel hand-touched and honest. You can sense the fingerprints of its creators, Aaron Beebe and Thomas Schostok, across every spread. It’s print as playground — a reminder that paper, ink, and chance still have the power to surprise us. But sadly, they only publish twice a year.

For fellow artists or anyone hungry for new ideas, this is a must-find. Each issue feels like a limited-edition object, something to live with and revisit. You can track it down through their website (https://www.plastikcombmag.com/ ) or start stalking booksellers at Barnes and Noble where I got mine. (It was the last one and I nearly had to fight another artist for it.) Trust me: once you open it, you’ll want to start cutting, painting, or scribbling something radical of your own.

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(Pic #4) Painting by artist Sameena Sitabkhan, featured in Issue #8 Plastikcomb Magazine 2025

I hadn’t even heard of INKTOBER until a friend told me about it in June. Ever since, I’ve been geeking out about joining in. Can I keep up? Will my art be interesting enough? Will I follow through for an entire month?

(Pic #1) (above) “Mustached Monkey” – My first entry (cat sketch) into the Inktober art experience. (Part of a series I call Scribblemonsters, where I close my eyes and scribble wildly, then (with open eyes) add a few lines to the unplanned line storm.)

INKTOBER is a challenge — for artists and non-artists– to draw something every day for the 31 days of October. It began in 2009, when illustrator Jake Parker created a personal challenge to improve his inking skills and develop positive drawing habits. Now, artists from all over the world participate –some even take Inktober drawing lessons and consume Inktober tutorials on how best to prepare.

Well I’m not preparing (not my nature) but I’m so stoked to contribute daily whatever goofy sketch I come up with. I asked two friends to join me (one lives in Tuscany and the other in Los Angeles) so I can be accountable for the entire month. The mission is to draw something every day — fearlessly– and watch consistency improve the work.

The challenging part for me could be the “prompt list.” (See below.) They supply a new word every day upon which you base your drawing. Some are NOUNS and some are ADJECTIVES. I’m already having trouble with the prompt “murky.” My other insecurity is that I’m an abstract painter and not an illustrator. So I might be a wee bit out of my league. (My husband would say I may be missing the entire point — THIS IS NOT A COMPETITION.)

Besides, as I preach in my workshops, “Art is a collaboration between God and the artist, and the less the artist does the better.” – Andre Gide

So, be checking out thousands of images on these two hashtags on Instagram: #inktober and #inktober25 and inktober52. Or, learn more at inktober.com.