Cromwell Stone has long been considered a European masterpiece, but only the first of three volumes has previously been translated into English, that as a smudgy comic in 1992. This Statix Press edition combining all three is something to celebrate. The story is very much secondary to the art for German creator Andreas (Martens), the […]
The Kingdom Beneath The Sand marks a significant turning point for the series as Thorgal finally realises he will never find the peaceful utopia he is looking for. Acquiescing to Aaricia’s and Jolan’s desire to go home to the Northern Vikings, as they prepare to depart from the desert shores they find themselves on misfortune […]
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Look retrò dal sapore Boho quello che propone Westwing nell'arredare il salotto. Il colore salvia è davvero elegante. Credits: Westwing
from Winshluss’s Pinocchio
Another graphic novelist let loose in our archive.
My whimsical portrait of Robert Fawcett with his pet cats. One glance at a Robert Fawcett drawing and it becomes apparent that you're looking at the work of a remarkable draftsman and storyteller. But look closer. Mixed in with realism at every opportunity are incredible miniature abstracts of shape and pattern which translate as the realistic detail. Born in England, but raised in Canada and then New York, Bob studied two years at the famous Slade School of London. He returned to NYC and began working commercial jobs (which he signed with his signature R.F.) to support a fine arts career. Fawcett's experiences with the "selling" of fine art disillusioned him and he turned all his energy to his commercial work. He was immediately successful. During this time Fawcett remained aloof from his fellow illustrators. He became an accomplished musician, turning to this artform to deal with his inner emotional turmoil. However, as he discovered himself as an artist and a person, Fawcett also came to the realization that "everything I do is fine art." Slightly colorblind, he was never a painter of the stature of Wyeth, Rockwell, or Parker; as a draftsman he was their peer, and as a designer he was on a level of his own. His uncompromising eye kept him from becoming a leading "romance" artist, one of the mainstays of illustration at the time. But that same quality made him a superior storyteller, with his attention to detail and his sense of mood drawing the viewer into the picture. By the mid-forties Fawcett's work could be found every week in stories and full page ads in the Post, Colliers, Holiday, Cosmopolitan and a number of other magazines. The subject matter may vary from the Alamo to Sherlock Holmes, but the execution was always the same. Dynamic compositions with characters that breathed life and minute detail that made you believe you WERE there. Fawcett's last assignments were doing documentary type illustrations for LOOK, a magazine that relied almost exclusively on photographs! Fawcett, along with Albert Dorne and Fred Ludekens, instituted the Famous Illustrators school, where they produced what is still the best set of how-to books available for learning the craft. He also wrote On the Art of Drawing, and On Drawing the Nude, by Howard Munce, is based on his notes and drawing. Both are excellent texts on understanding his sense of draftsmanship and his approach to the craft. While I was sharing studio space with Howard Chaykin he introduced me to Fawcett's work. It was immediately evident the influence this artist had made on my favorite cartoonists-Toth, Kubert, Wood, and an entire generation of cartoonists of the 40's. 50's, and 60's. Much to the dismay of my editors, Fawcett has had the same effect on me.
Da Watchmen a Mister Miracle l’uso della gabbia a nove vignette di come si possa narrare meglio quando si è sottoposti a vincoli ferrei.
The Obscure Cities [1] Brusel via
I’ve never felt so present in my own body.
Two stories weave in and out of each other in Dave McKean’s new graphic novel 'Raptor', due out from Dark Horse this month.
L’auteur de Rork et Capricorne est pour la première fois au sommaire du Festival international de la bande dessinée d’Angoulême, avec une belle exposition monographique et multiforme
Frank Quitely, Grant Morrison discuss 'Multiversity: Pax Americana'
I Vol au Vent ( che in francese sta per portato dal vento per descrivere la loro leggerezza) sono dei piccoli cestini formati da dei dischetti di pasta sfoglia sovrapposti vuoti all'interno farciti in svariati modi, dal dolce al salato che possono essere serviti sia con dei ripieni caldi che freddi. Perfetti da servire ad una cena come raffinato antipasto o come stuzzichino ad un buffet o ancora per accompagnare un aperitivo. Con i ripieni poi c'è da sbizzarrirsi, dalle classiche mousse alle verdurine tagliate alla julienne o addirittura utilizzando delle creme dolci frutta fresca. Preparare i vol au vent in casa(anche scritti Voulevant) o è davvero semplicissimo, e in pochi minuti potrete ottenere dei simpatici cestini di pasta sfoglia da farcire in tantissimi modi. Se poi volete osare preparando voi stessi la pasta sfoglia allora avrete dei vol au vent davvero al top.
Tour organized by First Second Books See full schedule HERE I love getting to look behind the scenes, which is perfect because this blog tour is all about how a book gets made. Most specifically, how author and illustrator Hope Larson and Rebecca Mock created their new middle-grade adventure graphic novel Compass South. Today, Rebecca Mock is stopping by to talk about character and setting design. Welcome to Love is not a triangle! __________________________________________________________ Character / Setting Designs By Rebecca Mock Before I even started developing, we had already roughly designed the 4 main characters, Cleo & Alex, and the other two brothers, Silas and Edwin--though my style of drawing them has changed dramatically from their first designs. This was the first drawing I sent to Hope--we ended up including this in the Book pitch, along with the first 12 pages of the book and an outline of the plot. And this is the design for Cleo and Luther from the first chapter. Beside it is the first page of Compass South I ever drew, as part of the 12-page pitch sample--drawn in December 2012. I wouldn't start drawing the rest until August 2013. While Hope was finalizing the script and before I started on official artwork, I took a few months to immerse myself in research and development. Hope had already contributed a great deal to the imagery of the entire book--she collected dozens of reference photos specific to each scene for me to work from. I needed to familiarize myself with the imagery of the mid-1800’s in general, as well as many specific places, fashions and items. Hope also sent me reference books & comics to help inspire me. A few in particular that I referenced constantly throughout research & sketching were Miss Don't Touch Me by Kerascout, Isaac the Pirate by Christophe Blain and a book called Seamanship: In The Age of Sail by John Harland. I looked to these books to help me solve the visual puzzles Hope was creating in her script. How did Kerascout show a space, introduce a character, build tension? A couple other books that I used a lot were Blacksad by Juan Diaz Sanchez and Juanjo Guarnido, and The American-Built Clipper Ship by William L Crothers. Hope also suggested thinking about manga-style action scenes like those in Lone Wolf & Cub. I love Blacksad. I love it. William L. Crothers saved my neck a dozen times with his super-clear and accurate ship illustrations. (I can’t claim to be nearly as accurate as his diagrams, though). Isaac The Pirate by Cristophe Blain I sketched everything on copy paper so I could shuffle and rearrange it all when I needed to. I researched each scene and minor character. This story moved at fast pace, with many exotic locations and a wealth of characters. I have a thick stack of these reference sketches, many of which ended up tacked to my wall. I sent all my sketches to Hope, and she would send feedback. Here are the first drawings of one of my favorite side characters, The Mate. We wanted him to have a high, wrinkly forehead and gnarly face, but to also be dashing. Here also is The Captain and the “sea dog”: Thanks for stopping by and for giving us this peek into how you created your graphic novel! _______________________________________________________________ About the Book: Compass South by Hope Larson & Illustrated by Rebecca Mock Published: June 28, 2016 by Farrar, Straus and Giroux (BYR) Book Description: It's 1860 in New York City. When twelve-year-old twins Alexander and Cleopatra's father disappears, they join the Black Hook Gang and are caught by the police pulling off a heist. They agree to reveal the identity of the gang in exchange for tickets to New Orleans. But once there, Alex is tricked into working on a ship that is heading for San Francisco via Cape Horn. Cleo stows away on a steamer to New Granada, where she hopes to catch a train to San Francisco to find her brother. Neither Alex nor Cleo realizes the real danger they are in--they are being followed by pirates who think they hold the key to treasure. How they outwit the pirates and find each other makes for a fast-paced, breathtaking adventure. Find: Goodreads | Amazon | B&N | Book Depository | Indiebound _______________________________________________________________ About the Authors: Hope Larson adapted and illustrated A Wrinkle in Time: The Graphic Novel, for which she won an Eisner Award. She is also the author and illustrator of Salamander Dream, Gray Horses, Chiggers, and Mercury. She lives in Los Angeles. hopelarson.com Rebecca Mock is an illustrator and comics artist. Her work has appeared in various publications, including theNew York Times and the New Yorker. She is co-organizer of the Hana Doki Kira anthology. Compass South is her first book. rebeccamock.com
Those who’d worked their long way through Empathy is the Enemy may have been confused by the ending as there was no indication that the story continued here. Much of what Constantine learned in the previous outing was modified or rendered obsolete by the conclusion, and this begins with Glasgow engulfed by chaos. The cause […]
