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Sometimes, muses can live right next to you, and if you are willing to notice them, they will inspire you on a daily basis.
Welcome, vintage mates, to another selection of comic book art, covers and ads. In this instalment we span the years 1975 to 1988 and feature a DC-heavy dose of amazing cover work from the likes of…
Bringing you the finest (or weirdest) golden age comic stories
When I turn the page and read the pages from any Graphic Novel I can instantly recognized the art and the artist that drew in each comic panel. Reading comic books and Graphic Novels for 15 years …
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The Star Wars saga of 42 years wrapped up at the end of 2019, but a Disney+ hit show The Mandalorian came to save the day by taking us back to the Star Wars uni
Boom word coloring vector illustration. Comic book style imitation.
These are the must-pulls of the year.
Time for some pure escapism.
Comics and graphic novels have gained respectability over the past few decades. They now receive cultural awards and attract audiences that were once unthinkable. But even as their stature has grown, they seem to have lost some of the drawing ability that comics once enjoyed. The ability to achieve a likeness, to convey subtle body language or facial expressions, to stage complex scenes, or employ similar tools of visual communication seem largely missing from many of the most prestigious comics and graphic novels today. Superstar comic artists such as Speigelman, Ware, Panter, Brown, Beaton, Trudeau, Bechdel and many others simply don't speak that visual language. Perhaps it's because they have different aspirations for their art. Perhaps it's because they don't draw well enough to employ the vocabulary. Perhaps those two reasons are related. I can think of no better example to demonstrate the lost language than Leonard Starr's intelligent and graceful strip, On Stage (1957 - 1979). Every day for the next few days I am going to focus on a different aspect of Mr. Starr's visual storytelling. Today I would like to show how he uses the language of hands. Starr writes like a dream, but note what his hands add to his text: Hands wiping away a mock tear enrich the tone of the words. This gesture of the kiss off adds a visual punctuation mark to the text. Two hands clasping the phone tells us something about the speaker's state of mind A dismissive and controlling wave Starr's hands provide a separate stream of information, parallel to the text, which enhances the expressive quality of the picture. Sometimes they run in contrast to the text, as in the following drawing where the hands alert the viewer that the character is faking his sincere speech: But you are not likely to see these kinds of tools employed in today's esteemed graphic novels. Many of today's artists can draw hands performing basic functions such as holding a coffee cup or throwing a punch, but have lost the ability to use the language of hands in this more sophisticated manner, to enhance the expressiveness of the drawing. For example, contrast Starr's drawing where rubbing fingers together denotes a rogue... ...with this drawing from The Best American Comics 2010 where rubbing fingers together even to squish a bug requires an explanatory narrative: All too often, contemporary cartoonists and graphic novel artists have to rescue inadequate drawing with words. Here, a clenched hand requires written explanation in the recent Twilight graphic novel: Below, Chris Ware helpfully writes out what these hands are doing so we can understand what is going on: In all these cases, words prop up mediocre drawing, rather than the drawing enhancing the words. In the following image, note how Starr employed a hand gesture to convey that the girl is young and flighty: ...while in the next drawing (honored by the Smithsonian Institution in its 2004 Smithsonian Book of Comic Book Stories) the hand either conveys that the man is picking his nose, or scratching his cheek, or perhaps thinking, or perhaps something else. This disparity in powers of observation and technical skill, and in the ability to orchestrate multiple levels of information in a single drawing, is hardly uncommon. The drawings in today's most esteemed comics have generally become simpler, rougher and less informative. Pulitzer prize winning Maus Chris Ware depicts a hand to help convey emotion using his "abbreviated visual words." Ware's drawing is mediocre, but in fairness he seems more interested in the ornate architecture and design of his "symbolic typography" There are many reasons, some of them better than others, for the simplification of comic drawings and the de-emphasis on technical skill. Even Starr simplified his drawings in later years to meet a changed market. Simplicity is a great virtue in drawing, but simple-mindedness is not. We see some of each in today's award winning comics, but we should endeavor not to confuse the two. That's why I'll be spending a few days musing about what we have gained and what we have lost as a result of this migration in comic drawing styles.
Françoise Mouly talks to the artist Malika Favre about her cover for the February 10, 2020, issue of The New Yorker.
The world’s largest comic book convention has some secrets that are practically unknown to lovers of graphic design and illustration. San Diego Comic-Con International is famous, as well as feared and loathed, for its lengthy lines of lemmings endlessly waiting to get into mammoth show biz hype-fests that are usually available to the whole world on YouTube within hours. But what gets all the press is just a piddling part of the Con experience, quality-wise. The truth is, you
There are many good reasons to cry. Many bad, also. Love, laughter, fear, fury, disgust, relief, vacuity, loss. (“Loss is legion,” Gillian Rose writes.) Scant few human reactions denote such…
The Comic Book Dialogue mural wallpaper is a fun way to give your home or office a retro vibe. Four panels contain a set of speech bubbles in a pop art style. Custom Sizing. Quality Materials. Free US Shipping.
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La editorial presenta un diciembre a tope con la representación española del sello Planeta Manga.
EW's bringing you the latest news from Comic-Con 2021, which will take place July 22-25.
Fifty years ago, comic artist Stan Drake drew an unscrupulous director trying to seduce a young actress. We know the director is up to no good because he praises her horrible acting: From the Heart of Juliet Jones, 1966 Drake's audience immediately understood the joke. The girl's way of demonstrating rejection (sticking out her hand and turning her head) was so simple minded, the director's praise couldn't possibly be sincere. Fifty years later, when it was illustrator Ivan Brunetti's turn to draw a woman rejecting a suitor, he employed the exact same body language. Only now it's no longer a joke: Today's version of "rejection with mute futility" using circle heads Many people like to believe that today's comics and graphic novels are more sophisticated and mature than the soap opera strips they replaced (such as Drake's). Brunetti's work (unlike Drake's) is collected in books by the prestigious Yale University Press and translated into seven languages. Brunetti lectures in colleges and wins awards (such as The Eisner and Ignatz awards) that didn't even exist in Drake's day, when the medium was less self-congratulatory. But take a closer look at Drake's work. Note how he assumes his newspaper audience is familiar with the story of King Priam from the Iliad. How many comparable literary references do you see in today's comics? Note too that in Drake's panel, the words are not to be read literally-- they are a lie. Only by contrasting the words with the drawing do we understand the wicked intention of the director and the lack of talent of the actress. Fifty years later it's rare to find this type of creative tension between words and drawing, in part because most artists of graphic novels and comics don't draw well enough to pull it off. Note how Drake's mastery of facial expression, body language and staging give him a range of communication tools that aren't called upon today. Of course, Drake did employ the now unfashionable photo based realism. But if you take a look at the great variety in Drake's line, his editorial choices and expressive exaggerations, you can decide for yourself what value comes from the artist and what comes from the camera. Whatever Drake's tools, it seems to me that he was able to achieve a result with more layers of awareness, more irony and humanity, and with greater aesthetic quality than the result we see from Brunetti and many of his peers. So, for those of you who still enjoy good linework, this week I'm offering a collection of Drake's drawings from an era when comics were less chic, and drawings were expected to carry their own as a full partner with the words: No mechanical lines here: you could always tell that Drake's favorite time of day was when it came time to draw Eve Jone's hair. There is undisguised pleasure in the act of drawing which is often missing from today's flatter efforts.
Hamburgers for One, by Frank Stockton is a 24-page story taken from the latest volume in Image Comics’s ongoing Popgun series, an anthology of full-color comics. Popgun Vol. 4 also features work by Jock, Jeffrey Brown, Erik Larsen, and the cover is by Ben Templesmith. The anthology will go on sale on February 24.
**DOTMAN TOOLKIT** - **Professional Vintage Comic Book Effects for Adobe Photoshop** **Dotman Toolkit** is inspired by the old system comic books printing of the early 30s and that lasted until the late 80s, the system was known as **4-color process** or **4CP** and characterized by being economical and of low quality. The 4CP inspired many creators of Pop Art and remains today as a style in graphic design. The goal of **Dotman Toolkit** is to imitate all the aesthetics of old comic books. --- **FEATURES** - Use only with Adobe Photoshop **CS6** or **higher**. Earlier versions are not supported...*Sorry!* - Use the Color Charts of the Golden, Silver and Bronze Ages for coloring your artwork - All effects are editable - No plugins required - Documentation online in HTML with video tutorials ***This product is recommended only for use with illustrations. It does not work with pictures.** --- **ITEM CHECK LIST** This product includes: - 8 Actions Sets with 48 actions in total - Old Paper Creator in .PSD: includes more than 10 paper scans from real sources - 2 Color Charts form Golden, Silver and Bronze Ages in .PDF file printed with *Dotman 4-Color Process* - 2 Color Swatches/Palettes in .ASE and .ACO for Adobe Illustrator or Adobe Photoshop - 1 Ink Texture Pattern Sets - 1 Halftone Dots/Lines Pattern Set - 1 inspiration gallery with 75 free images of close-ups of old comic books printed in 4-Color Process --- **WORKING WITH DOTMAN TOOLKIT** **Dotman** is a toolbox, this is a small guide that will help you get very good results, the process is: 1. Install assets 2. Create your own Old Paper Texture 3. Import your image on it 4. Apply the necessary actions 5. Edit or improve the effects 6. Export or save your new image --- UPDATES 01 Sept 2016 - Updated link for Documentation **SUPPORT** For questions or help in using this product write to message!. Please note that you will be requested a copy of the CreativeMarket Purchase Invoice. --- **You can use this action for any commercial project. Obviously you can not redistribute these actions or use them to sell together with others. If you have created something with this, I would love to see it, feel free to send me as your project looks using these actions.**
Bruce Timm
Explore pilllpat (agence eureka)'s 59436 photos on Flickr!
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Japanese Style Pop Art, Made with a retro comic book style with influences from other Japanese artists. Expressing tough exterior during tough times. * 100% cotton fabric (400gsm) * Horizontal, vertical and square options available * Closed MDF backing * Built with a patented solid support face * High image quality and detail * NB! For indoor use only
