tag:blogger.com,1999:blog-29921136557532938162024-03-18T02:40:38.120-07:00vozwordsVozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.comBlogger162125tag:blogger.com,1999:blog-2992113655753293816.post-33705364724753381452019-06-21T09:37:00.001-07:002019-06-21T09:37:48.856-07:00EMINEM-COMING OUT OF THE CLOSETA few years back I did several music videos for Dr. Dre's company and director Phillip Atwell. The first one was for the Eminem song "Stan" and my reaction was I'm fine with working, just don't make me listen to the music. My only knowledge of the performer was through the popular press. When I actually read the lyrics and listened to the song I was astounded at just an astute storyteller Matthew Mathers was. The two videos I worked on of his were the best of that work.<br />
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com11tag:blogger.com,1999:blog-2992113655753293816.post-89588613982851765732019-01-08T13:33:00.001-08:002019-01-08T13:33:23.705-08:00HANK KETCHAM - IN THE ABSTRACT
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A few years back I was at a gathering for art dealers at a friend’s house and was glancing through one of their portfolios, when I came across a Dennis the Menace drawing by Hank Ketcham. “You do realize this is the best art in the book”, I commented. The owner looked at me trying to decide if I was kidding, or just that much of an idiot.<span class="Apple-converted-space"> </span></div>
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There was some pretty fair talent in his book; probably some Romita Jr, Buscema, Perez, Bryne, Gil Kane and others who I truly admired. But I would stand by my assessment. Don’t be fooled by the simply cartoon style. When your start to examine what an amazing draftsman Ketcham was, the acting of his characters, the composition, and most importantly his abstract designs with the wonderful spotting of texture and blacks, I don’t think any of those gentlemen would have thought they were being unduly criticized.<span class="Apple-converted-space"> </span></div>
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Hank Ketcham started taking drawing seriously at the tender age of six, when he got him first drawing lesson from a friend of family who was a commercial artist. He immediately began to spend all his spare time tracing his favorite cartoon characters and developing his own approach to the drawing. And he quickly decided at that young age that he wanted to grown up and be a cartoonist.</div>
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Throughout his high school days he edited and drew not only for his school paper, but also did his own weekly circular for the neighborhood. And he also discovered animation and became a devoted fan.<span class="Apple-converted-space"> </span>Hank had started taking classes at the University of Washington when he read about Walt Disney looking for artists after the success of his Snow White animated feature. Taking what meager savings he had, the brash young man soon became a college dropout and headed south for the glamorous world of Hollywood.</div>
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Initially rejected by Disney,<span class="Apple-converted-space"> </span>Ketcham supported himself with the help of relatives and various odd jobs until another break came his way: Walter Lantz was looking for talent to work at his studio drawing Andy Panda and friends. While Hank honed his craft at the Lantz studio, one of the job perks was being able to walk around the Universal Studios backlot, occasionally catching a glimpse of W.C. Fields, Edgar Bergen Deanna Durben,<span class="Apple-converted-space"> </span>and many others.<span class="Apple-converted-space"> </span></div>
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It wasn’t long before he was called back to the disney studios where he spent the next several years working on Pinocchio, Bambi, Fantasia and Wind in the Willows. And he was working and socializing with the like of Ward Kimball, Fred Moore, Walt Kelly, Virgil Partch and Richard Shaw. In our modern era, there are no shortage of great schools of higher learning where you earn a degree in cartooning and animation, but in those days, Ketcham was getting the best education possible for his career and in the only way possible: by getting on the job experience.<span class="Apple-converted-space"> </span></div>
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Things were going so well when WWII erupted for America with Pearl Harbor, and Hank was soon in a sailor’s uniform. However, once his graphic skills and background was discovered, he was quickly plucked from the typing pool to work on designing an animated film to promote the US Navy. The only combat he saw during the war years was arguing with the brass and an occasional co-worker about which direction a project might be headed. He also started selling gag cartoons to any number of publications as a freelancer during this time, including the popular Half Hitch<span class="Apple-converted-space"> </span>(based on his own Navy experience) as a regular feature for The Saturday Evening Post.<span class="Apple-converted-space"> </span></div>
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When the war ended, Ketcham’s freelance success as a cartoonist convinced him not to return to working at Disney in California, but instead to try his hand at the other end of the country in NYC. He settled in Westport,Connectictt with his recent bride Alice and their new arrival, Dennis. His neighbors were the cream of hall of fame illustrators, from Robert Fawcett, Austin Briggs, Noel Sickles, Norman Rockwell,etc. Not only was he socializing with all this talent, he was soaking up whatever instruction they could give him. Consequently, his<span class="Apple-converted-space"> </span>cartoons<span class="Apple-converted-space"> </span>had a quality and substance far beyond the simplicity you saw at first glance.</div>
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And at home, the young son also was bringing dramatic changes, as he inspired Ketcham’s signature cartoon feature: Dennis the Menace. The strip’s success was immediate, and within a couple of years, both fame and fortune were a normal part of the Ketcham’s home. Unfortunately, while Hank’s life was a dream come true, both his wife and son became victims of the success. Alice died of a drug overdose about the time she was forty, and Dennis was beset with behavioral problems. At some point in his early adult hood, he and his father became estranged and rarely communicated, except Hank bitterly commented, “when he needed cash.” It’s unfortunate that two of Ketcham’s idols,( and eventually good friends), Rockwell and Bing Crosby, were also men who were universally admired, but had severe family problems.<span class="Apple-converted-space"> </span></div>
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As the strip skyrocketed with it’s success, Ketcham moved to Carmel, California where he worked for a number of years and established a base. In later years, he would spend several years traveling the world, settling in Geneva for several years after remarrying; he eventually returning to northern California.<span class="Apple-converted-space"> </span>He continued to work on Dennis until 1994, when he retired and took up oil and watercolor painting which he continued to do until his death on 2001. One of my proud possessions is a pencil drawing along with a note he sent me in response to some of my own work.<span class="Apple-converted-space"> </span></div>
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So take a look at a few of the examples of Hank Ketcham’s<span class="Apple-converted-space"> </span>work. While they are very simple drawings, notice they the draftsmanship and perspective are impeccable. Were you to draw any of these frames up as realistic illustrations, there would be very little you would have to do to add to or correct the drawing. Then look at the characters themselves with there acting and expressions. While the figures themselves are stylized, if you were shooting reference to do them realistically, you would have to give your models very little direction. It’s all there. The same can be said of the compositions. While there are simplified to a few shapes and lines, a Rockwell or a Fawcett would be adding little to them if he were doing an illustration for Post or Colliers.<span class="Apple-converted-space"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd2LaCiLeekUb8jWW7hbmdesFFPjHHWIeNkieodopyYL7W9nNjellVK0AsxyADXE_ns9wXKt21YTrBRuzrzexownWZTxqN_lYKb4GZG7_tTTeiVDx3Rk_FIOS1nw2WuICxoe1ydsVy3SI/s1600/Ketcham29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1187" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd2LaCiLeekUb8jWW7hbmdesFFPjHHWIeNkieodopyYL7W9nNjellVK0AsxyADXE_ns9wXKt21YTrBRuzrzexownWZTxqN_lYKb4GZG7_tTTeiVDx3Rk_FIOS1nw2WuICxoe1ydsVy3SI/s400/Ketcham29.jpg" width="293" /></a></div>
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But what really takes the work to another level is the abstract design that Ketcham creates in every frame. The way that the blacks are spotted, the negative shapes in the frames themselves, and intricate use of texture have all be created by a master. Look at the way he creates dappled shadows from sunlight filtering through trees on his characters. Notice the stark lighting often used to emphasize a story point. Each and every one has been painstakingly created with a great deal of thought. There is a magic in the work that defies examination. I guess you just have to read and enjoy Dennis as one of the hallmarks of<span class="Apple-converted-space"> </span>comic strip art.<span class="Apple-converted-space"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk8kWKIrNEFCoxCEJoMMZqvtQLrKPdD6YZpXfEJbU9SIzqlbY6ZI1c7GkiAEkppyjqLjmert9q7Wy9yfjBu0NhekrcwMLHZK5Q5wwF7ddeb5wm32780Seupm5eblrnXhAkUXSlHFnnvtY/s1600/header2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="959" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk8kWKIrNEFCoxCEJoMMZqvtQLrKPdD6YZpXfEJbU9SIzqlbY6ZI1c7GkiAEkppyjqLjmert9q7Wy9yfjBu0NhekrcwMLHZK5Q5wwF7ddeb5wm32780Seupm5eblrnXhAkUXSlHFnnvtY/s400/header2.png" width="400" /></a></div>
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com10tag:blogger.com,1999:blog-2992113655753293816.post-68580356034605741552018-08-09T10:37:00.005-07:002018-08-09T10:45:30.227-07:00FRIENDS OF INFLUENCE Pt. 3<style type="text/css">
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“I want to thank you, thank you for being my friend.”<span class="Apple-converted-space"> </span>Andrew Gold</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6yz1VkkJplpMCRck52bq2iGWYJbWE44WYBUY2PTlD8vCToLUO3Z_5aRfpNBn5qhaq0U1EREWst066-KQZyuW6qGlKr5z1RrqlXxVMM9M9irS00o2a8KshahK4o8d_C-UyWp0hKNMCQo/s1600/Sisterhood_of_Steel_Vol_1_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="605" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6yz1VkkJplpMCRck52bq2iGWYJbWE44WYBUY2PTlD8vCToLUO3Z_5aRfpNBn5qhaq0U1EREWst066-KQZyuW6qGlKr5z1RrqlXxVMM9M9irS00o2a8KshahK4o8d_C-UyWp0hKNMCQo/s400/Sisterhood_of_Steel_Vol_1_5.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Sisterhood cover with my pencils. Christy's late husband Peter Ledger painted the figure and background in the main image.)</td></tr>
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Shortly after moving to Los Angeles in 1985, I began looking for freelance work in the field of animation. Not only was Christy Marx a great help in giving me leads and suggestions on who to talk to, but I after attending a meeting of CAPS<span class="Apple-converted-space"> </span>(an organization of cartoonists that met once a month) I suddenly found I had a lot of doors opened to me. The animation industry had a healthy respect for artists who worked in comics, and were usually familiar with your work.</div>
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At the time I was being forced out of Marvel comics by the current editor, so moving into the better paying field of animation was pretty much a no-brainer. When I was living in Battle Creek, the anxiety always was if I working in comics, where could I work. Once I was in LA, the question switched to how do I get out of comics so I can move into other areas. It certainly gave you a lot more bargaining power when dealing with editors and directors.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE1MP5c_4zQlSce94sSc72mA0y5Ds8uWpn9d_Jv2CfJbcR2rdJt824HLbVCwkHOuiOeAdyOuK9Ri-LSVeTnCKYrXDUc1TUGKHsdd1nbakRyrTtMdFOBJZDRQ0eGQ-maUzsZLjVgbc24mw/s1600/360px-Paur.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="268" data-original-width="360" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE1MP5c_4zQlSce94sSc72mA0y5Ds8uWpn9d_Jv2CfJbcR2rdJt824HLbVCwkHOuiOeAdyOuK9Ri-LSVeTnCKYrXDUc1TUGKHsdd1nbakRyrTtMdFOBJZDRQ0eGQ-maUzsZLjVgbc24mw/s400/360px-Paur.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Frank Paur with two of his drawings below.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji5B9Qt77LTLkPn1bHpdC-M0JOCS8upYYxg3R20MkPL7mbv27hMM7l1TIb43xZ1zIEBF5zoyoFQrms8bs6uK617XcfDmouEwXCWrFv14Bn-kjSgADlNf7NGp4oRw0HocFylFQLzWNKb-0/s1600/360px-PaurElisa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="360" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji5B9Qt77LTLkPn1bHpdC-M0JOCS8upYYxg3R20MkPL7mbv27hMM7l1TIb43xZ1zIEBF5zoyoFQrms8bs6uK617XcfDmouEwXCWrFv14Bn-kjSgADlNf7NGp4oRw0HocFylFQLzWNKb-0/s400/360px-PaurElisa1.jpg" width="293" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvt8wc7xx5xR8AjBGwysFOOP1oGsoEWcw-bO-4NEDCnj9wY-Gc-7iwh-ZGnzmN1U0Z7XbK_dLJqcBQ8cxWwoSiFiBi3TFkbk6bmbBCrjpL4TEYnLMXaDGYMzlz3s2_Yli8QJ1nECCvRH0/s1600/1490948177978.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvt8wc7xx5xR8AjBGwysFOOP1oGsoEWcw-bO-4NEDCnj9wY-Gc-7iwh-ZGnzmN1U0Z7XbK_dLJqcBQ8cxWwoSiFiBi3TFkbk6bmbBCrjpL4TEYnLMXaDGYMzlz3s2_Yli8QJ1nECCvRH0/s400/1490948177978.jpeg" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAus_a0C546gYt_FqyMopW1mYPeGuKtfkaJDwSYJg-AXkm-lJFw0irrkLbcddLGnquvsbo7_JsR4lB2mNx6vxEng-K8ts2ZgTnS3odea2CF7Qqc4_irKjfeDNs_0w45UiOIpFbJRSv3w/s1600/Desktop2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="901" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAus_a0C546gYt_FqyMopW1mYPeGuKtfkaJDwSYJg-AXkm-lJFw0irrkLbcddLGnquvsbo7_JsR4lB2mNx6vxEng-K8ts2ZgTnS3odea2CF7Qqc4_irKjfeDNs_0w45UiOIpFbJRSv3w/s400/Desktop2.jpg" width="400" /></a></div>
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(Larry Houston and a couple examples of his comics and animation work.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghY6gZjEkj0s9STQzJe2U2kJr_lZro_gH2Fo6WE9J0NDnmKFeltotcGT-8BJx7KdMMiEAJdsYOaCY2wOSnvhi9KiZ4sglZVmpP3cWd0Wiiz95iIHhU_dK4mu05IIHmmCdmVgOUnzrnd5M/s1600/Vanguards2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="610" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghY6gZjEkj0s9STQzJe2U2kJr_lZro_gH2Fo6WE9J0NDnmKFeltotcGT-8BJx7KdMMiEAJdsYOaCY2wOSnvhi9KiZ4sglZVmpP3cWd0Wiiz95iIHhU_dK4mu05IIHmmCdmVgOUnzrnd5M/s400/Vanguards2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchuNlFbm4uyDJwg_tBhqksrkL5H1bWgtHbmYSnVXxE-9uySEhjxSS_hk7HmV8RnMos2BTJrq8ZZAPZmb02gkD5kEHBMCx0uEnaqG0N2Wzrj9DFj8a4mzOUr4eLOL0VES_iyG18dDzCpQ/s1600/X-Men-Wolverine-Subway-Pg.115.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="830" data-original-width="1383" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchuNlFbm4uyDJwg_tBhqksrkL5H1bWgtHbmYSnVXxE-9uySEhjxSS_hk7HmV8RnMos2BTJrq8ZZAPZmb02gkD5kEHBMCx0uEnaqG0N2Wzrj9DFj8a4mzOUr4eLOL0VES_iyG18dDzCpQ/s400/X-Men-Wolverine-Subway-Pg.115.jpg" width="400" /></a></div>
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Strangely enough, I went from working at Marvel Comics to working at Marvel Animation, doing character designs and storyboards. The adaptation experience was easy enough, and aided by any number of artist friends. Two of folks who were most helpful were Larry Houston (whom I’ve always referred to as the Jack Kirby of animation storyboards) and a young Frank Parr, who I shared offices with more than once over the years. Both of them were a great source of education about the differences between the static images of comics and the illusion of movement in film.<span class="Apple-converted-space"> </span></div>
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And I might also mention that I was continually meeting or working with the likes of Alex Toth, Jack Kirby, Moebius, Russ Heath, Jesse Santos and Alex Nino.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjFxL4eNXYYt9uxGwoMkYFvQ4VRef_qcXhixUESWk30TDNAy8ZWcBT6HGxm6YgPXXsi3z8ErALWooNA26XO2-RUPEOeQ_MF0hN8nWIOfYiorhNiSKMENDd7CancivCta2dHJSNDSIpSoY/s1600/z112817toth_elvis.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="500" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjFxL4eNXYYt9uxGwoMkYFvQ4VRef_qcXhixUESWk30TDNAy8ZWcBT6HGxm6YgPXXsi3z8ErALWooNA26XO2-RUPEOeQ_MF0hN8nWIOfYiorhNiSKMENDd7CancivCta2dHJSNDSIpSoY/s400/z112817toth_elvis.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Alex Toth, one king drawing another king... from our animation days at Bionic Six.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheQ5f7ZhcfI6vvcJx5eSvo5CAuMnjhSNR2INQ3ChI_4kq7KPxtOFZyDk312w44Oe7HJoKbKtoWKPS7HFjyocSs9a7cZZb0QCC-kHecS-Dk5CCJwEJ5Ct6shV83XKzOd5CS5B6O_0dCvNQ/s1600/a3308d9ea2faafdb3052d9b2a01fca5f--alex-toth-comic-art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="736" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheQ5f7ZhcfI6vvcJx5eSvo5CAuMnjhSNR2INQ3ChI_4kq7KPxtOFZyDk312w44Oe7HJoKbKtoWKPS7HFjyocSs9a7cZZb0QCC-kHecS-Dk5CCJwEJ5Ct6shV83XKzOd5CS5B6O_0dCvNQ/s400/a3308d9ea2faafdb3052d9b2a01fca5f--alex-toth-comic-art.jpg" width="293" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qKEStPCE3B35bsL3P-_CQFwpQadjN4p15DylSjjE0GyPxNLH74QNrwgOVrDL6xPYEFj6M5DXRT645TfhUSaTO8DCIMvqdsjGZhlQU822vi0taJnyddzo_lx74o8EiJfsoec5n55SkuE/s1600/Captain-America-214-double-page-spread.-I1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1170" data-original-width="1600" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qKEStPCE3B35bsL3P-_CQFwpQadjN4p15DylSjjE0GyPxNLH74QNrwgOVrDL6xPYEFj6M5DXRT645TfhUSaTO8DCIMvqdsjGZhlQU822vi0taJnyddzo_lx74o8EiJfsoec5n55SkuE/s400/Captain-America-214-double-page-spread.-I1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jack Kirby</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk8KMw6_v8T2F_CuJTdWc1UcL25LGJuxXE5JizCdGSwCSwALcJ939qNQQcueSZaUKW44irnOFPVj3iHpGvE_OBkfLZhRMT5OipX_Iflq1di_vyYiy4XUxcvb0yUkn5g8GmNpgNFtrRXxg/s1600/298d77a06756341f332f6f1596050dd1--photo-art-original-art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="757" data-original-width="540" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk8KMw6_v8T2F_CuJTdWc1UcL25LGJuxXE5JizCdGSwCSwALcJ939qNQQcueSZaUKW44irnOFPVj3iHpGvE_OBkfLZhRMT5OipX_Iflq1di_vyYiy4XUxcvb0yUkn5g8GmNpgNFtrRXxg/s400/298d77a06756341f332f6f1596050dd1--photo-art-original-art.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Russ Heath</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdPKcpItg_TNQt0LACfalUJnJ5UuFdfuCEjEhyyu2PBqL3gTviFT4pL82Zgbjuz1QZgX5kDYCioK0WElmBZr8lfOduDQd9LUYKFJUG8gqdeauOgJYw-VX1bMdc0YBDmgbfes5Nk84RIvc/s1600/MoebiusJourney.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="736" data-original-width="960" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdPKcpItg_TNQt0LACfalUJnJ5UuFdfuCEjEhyyu2PBqL3gTviFT4pL82Zgbjuz1QZgX5kDYCioK0WElmBZr8lfOduDQd9LUYKFJUG8gqdeauOgJYw-VX1bMdc0YBDmgbfes5Nk84RIvc/s400/MoebiusJourney.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Moebius</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0-RUf50AiUE_yi7DrHf_Z84teGHZVZeEXUmGR_IyYkbOOCMd2XfG4NRwfvLFDpCv4eDXmUOWMj01RYDw4mXTPdYTX-IM_3UfCpT9ur7MSy0cR34ZxHncoT9HzRLT5dD00GqwMdVn8rz0/s1600/dcp_3652_12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1109" data-original-width="755" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0-RUf50AiUE_yi7DrHf_Z84teGHZVZeEXUmGR_IyYkbOOCMd2XfG4NRwfvLFDpCv4eDXmUOWMj01RYDw4mXTPdYTX-IM_3UfCpT9ur7MSy0cR34ZxHncoT9HzRLT5dD00GqwMdVn8rz0/s400/dcp_3652_12.jpg" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jesse Santos</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdqpRe0XfKwUxqlDdE9UzfNYUpTW_bTEJ-XJ1Y941gRJDFLVBRjlblDS9XukmZdr0OsQ_abR8q-9EVZZyAozJ_sEeOrCKw3eKfrVNAfIbnCjewEGN0GgAPYlgp-yz7kBQFp1KmK18C6uM/s1600/dl_ninocaf.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1193" data-original-width="767" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdqpRe0XfKwUxqlDdE9UzfNYUpTW_bTEJ-XJ1Y941gRJDFLVBRjlblDS9XukmZdr0OsQ_abR8q-9EVZZyAozJ_sEeOrCKw3eKfrVNAfIbnCjewEGN0GgAPYlgp-yz7kBQFp1KmK18C6uM/s400/dl_ninocaf.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex Nino</td></tr>
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As will happen, after a couple of years, animation went through a very slow period. Howard Chaykin had recently moved to LA, and he approached me about the possibility of getting studio space and working together on a run of American Flagg. Needless to say, I jumped at the chance. Howard was a master of design and storytelling, and an accomplished illustrator. He taught me how to me bring my work to a new level of finish. We used a paper called Craftift that essentially added tones so that the effect was much more three dimensional. After poring through his copies of the Famous Illustrator course, I quickly bought my own copies and started studying them. It wasn't difficult to see that all the cartoonists I had admired like Toth, and Kubert and Starr, were all tremendously influenced by these illustrators.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEdRkjJPQnPTU-tALP-KDpufe9tMo2WpnCd4bJoh64wfEk3ve9XHy-3_VN5v6C-z66gnMJaICwoU0M_vYgdqLPTMNz48uGfB3WhhCBfXiE64eqHrPfyGgZe-vt1fcvXZisuMHGBXgmXws/s1600/3d53de12e6d9f4ac1df99538fd855677--book-images-art-pop.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="956" data-original-width="662" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEdRkjJPQnPTU-tALP-KDpufe9tMo2WpnCd4bJoh64wfEk3ve9XHy-3_VN5v6C-z66gnMJaICwoU0M_vYgdqLPTMNz48uGfB3WhhCBfXiE64eqHrPfyGgZe-vt1fcvXZisuMHGBXgmXws/s400/3d53de12e6d9f4ac1df99538fd855677--book-images-art-pop.jpg" width="276" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chaykin illustration for Flagg.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-EjJ4npgrZrDd-7K6T-U41teDuja6a_HtuE8Sp32-9fGRidZ0QpObtLeagjhMWsyv2WhvABoJ1L_62_BIdHQoAPyug9ieKbT1gV1AvNb1GPOm_Dwqu48CGoMxSoneuRwUOoVibgIwIcA/s1600/d3bc3bc37760ccd5f3cff895e9c4255e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1250" data-original-width="1113" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-EjJ4npgrZrDd-7K6T-U41teDuja6a_HtuE8Sp32-9fGRidZ0QpObtLeagjhMWsyv2WhvABoJ1L_62_BIdHQoAPyug9ieKbT1gV1AvNb1GPOm_Dwqu48CGoMxSoneuRwUOoVibgIwIcA/s400/d3bc3bc37760ccd5f3cff895e9c4255e.jpg" width="355" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Crafttint boards for Flagg. I pencilled and Howard inked and added the tones. He often stepped in on the early issues and added his touches to the art.And Richard Ory supplied the amazing backgrounds.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk7U6Gl9OuTB8q93BGzLpHKkMXkM7Ijlt5kLDnnFoLbTQhjFpqt7HwkTsNocgyqsjFAo6TWespzamdKLBJ35_Y8RqMa89NeQDjaHB1tH5PWBjltvmj2LVeweUyI-EbQ__akiHJ-T4F_Bw/s1600/lf-2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="397" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk7U6Gl9OuTB8q93BGzLpHKkMXkM7Ijlt5kLDnnFoLbTQhjFpqt7HwkTsNocgyqsjFAo6TWespzamdKLBJ35_Y8RqMa89NeQDjaHB1tH5PWBjltvmj2LVeweUyI-EbQ__akiHJ-T4F_Bw/s400/lf-2.jpeg" width="263" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCmz-7BnrZhLZmKAbi-4DnsGO_3uvePZ6cXtfOLrLH57m8ZOFjmksSOQYRZt7yOxKTOsGHxkmz8B15-wqAWd2F7SS69AiIg7SAl02JQF6b4bXW_RxEQF3AGj_l_2YiRFzkSIkUfiTODE/s1600/lf.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="476" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCmz-7BnrZhLZmKAbi-4DnsGO_3uvePZ6cXtfOLrLH57m8ZOFjmksSOQYRZt7yOxKTOsGHxkmz8B15-wqAWd2F7SS69AiIg7SAl02JQF6b4bXW_RxEQF3AGj_l_2YiRFzkSIkUfiTODE/s400/lf.jpeg" width="316" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE6sHz98r6hKCTVlxowoKwGT1yrg_1q0d2EH2_fTBP0R9QZ6Ns7ss0aZWP5DpqjxcoxibYTOTOYK0iQnwqHmbQmBKy-T_EnY8yGyagLgLLq8uEgRkU9VMvoN91KE2CLnwW8_aXO7o5XKY/s1600/hc_scor2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="499" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE6sHz98r6hKCTVlxowoKwGT1yrg_1q0d2EH2_fTBP0R9QZ6Ns7ss0aZWP5DpqjxcoxibYTOTOYK0iQnwqHmbQmBKy-T_EnY8yGyagLgLLq8uEgRkU9VMvoN91KE2CLnwW8_aXO7o5XKY/s400/hc_scor2.jpg" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Early Chaykin ...Dominic Fortune. Yes, he liked Alex Toth.)</td></tr>
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Over the several years we had the place, my studio mates were Steve Mitchell, Sean McManus, Richard Ory, Don Cameron, Roy Burdine and Scott Hemming to name a few. It was great environment where I started expanding as a painter and learning more about color. While Howard moved on to writing for TV, he taught me the most valuable lesson: better to be a first rate Mike Vosburg, than a second rate anyone else. And he also recommended me for the job of drawing all the faux comic book covers for the Tales From the Crypt TV series, which was my first job where I was doing a comic book style but producing illustration. And it started me working in film.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJ2iywy0WJk4a5PQKmR5v4Bq_7TlA1SKKfm6CUEhrZfWjq-YKegMzQ05VyKsaSdtikr-XomckJZKlz_X-7bYA_k0mpfce8rJks-SjL7_mWeJmiUwzQfYUF5aHotKcK-nfDXkF31IEdIo/s1600/Dead+Wait-30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1029" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJ2iywy0WJk4a5PQKmR5v4Bq_7TlA1SKKfm6CUEhrZfWjq-YKegMzQ05VyKsaSdtikr-XomckJZKlz_X-7bYA_k0mpfce8rJks-SjL7_mWeJmiUwzQfYUF5aHotKcK-nfDXkF31IEdIo/s640/Dead+Wait-30.jpg" width="410" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">Steve Mitchell inks</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK1V0-zjdXLpvNH8EAjjXM44pfpIooIyHYM2muqpusp5NwdRzWF6rcFxeTOPdVqewXnvQDs9DoJ_tfrVQ4ZKrXzc_YNnAh5BMx1g9qRpVviIvF9MONKGl9sjSdLt22aeBh99IH_OW3jF4/s1600/98.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="988" data-original-width="1455" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK1V0-zjdXLpvNH8EAjjXM44pfpIooIyHYM2muqpusp5NwdRzWF6rcFxeTOPdVqewXnvQDs9DoJ_tfrVQ4ZKrXzc_YNnAh5BMx1g9qRpVviIvF9MONKGl9sjSdLt22aeBh99IH_OW3jF4/s400/98.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sean McManus</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDyjG33c_kpsC4oahNCmMq0DqbEae5wKTEICYKHGv9_ESJZHS0GEqksq1b3jCzB3r93sGLZqAvVoMCaVFTv72_G6SWyEUNXuYMwV_5aYHHfatpXlHAcuu6v6FfoeLFBTMk0bYmcuOkk3A/s1600/38485-5742-43244-1-cyberella.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="420" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDyjG33c_kpsC4oahNCmMq0DqbEae5wKTEICYKHGv9_ESJZHS0GEqksq1b3jCzB3r93sGLZqAvVoMCaVFTv72_G6SWyEUNXuYMwV_5aYHHfatpXlHAcuu6v6FfoeLFBTMk0bYmcuOkk3A/s400/38485-5742-43244-1-cyberella.jpg" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don Cameron</td></tr>
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One of the artists I had run into at CAPS was William Stout, who hosted an open life drawing workshop every Sunday morning. I had been pursuing this discipline for a while, but it soon became a routine I’ve now followed for 25 years. Yes, those hundreds (thousands) of hours drawing the figure from life do make a difference in your work. And often I was sitting next to the likes of Dan Gouzee, Rod Dryden, Peter Brook, James Goodrich, Terry Gordon,Dave Glover and so many other talented professionals. The conversation is always scintillating, and you are always being introduced to new artists and new approaches</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIv7idJUjFFj3_nKryT_KB43GwXFvRYUPZ0IxcLXPsGzYe5heYIpWY7tZgAXprzirfze08SI8FVo_JbCWVXpT6L_w_lrPaIzvYYs9_aI5iBJKw8GpkOb_LmB0M01PhpU4oQRoWWKe0Q64/s1600/lf-3.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="773" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIv7idJUjFFj3_nKryT_KB43GwXFvRYUPZ0IxcLXPsGzYe5heYIpWY7tZgAXprzirfze08SI8FVo_JbCWVXpT6L_w_lrPaIzvYYs9_aI5iBJKw8GpkOb_LmB0M01PhpU4oQRoWWKe0Q64/s400/lf-3.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Life drawing by Bill...photo below of him at his studio where we all draw.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHoDrracGJTEqDbxD5lblJGhzLhGPLfU0x8yvK0LBajiZPPtOBrhvh4GQxQhr_61tEbhE1W65aka-jI_D51AZw4fjcvfPc2QDlovLVIsGoW8wuAZ0IKNjoeYxDAjv08kjVv14Mv3FZYLo/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHoDrracGJTEqDbxD5lblJGhzLhGPLfU0x8yvK0LBajiZPPtOBrhvh4GQxQhr_61tEbhE1W65aka-jI_D51AZw4fjcvfPc2QDlovLVIsGoW8wuAZ0IKNjoeYxDAjv08kjVv14Mv3FZYLo/s400/maxresdefault.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-vs6iWTPICpEfWvoVX-4nHDd5Ghgc_m6jqULGW3nBx9FDeLYlyKswuFKMlybcxwASwhTG8D61l4m0jj15gmvYyz1d7qrCEplSj00flj3CUwBEr8eeqYrHhjjGtEuf6a7jTOXuNd3zYE/s1600/William_Stout_Siegfried_andFafnir_Ink_10x17_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="543" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-vs6iWTPICpEfWvoVX-4nHDd5Ghgc_m6jqULGW3nBx9FDeLYlyKswuFKMlybcxwASwhTG8D61l4m0jj15gmvYyz1d7qrCEplSj00flj3CUwBEr8eeqYrHhjjGtEuf6a7jTOXuNd3zYE/s400/William_Stout_Siegfried_andFafnir_Ink_10x17_l.jpg" width="281" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2s2xVNjYFEN_S_3BzklKWj-GckwejmfgdIimSs3uXcgwZyfq8_I8XFbsVb4Cnm4bwBzkrdCkU-2JGv950YXbwpjSa-Yc7ZKxrdIGCz_HJ9S4vruL5beAR3jPoYAQPZcr3U3BgNPQuOQ/s1600/a003807749-001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="330" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2s2xVNjYFEN_S_3BzklKWj-GckwejmfgdIimSs3uXcgwZyfq8_I8XFbsVb4Cnm4bwBzkrdCkU-2JGv950YXbwpjSa-Yc7ZKxrdIGCz_HJ9S4vruL5beAR3jPoYAQPZcr3U3BgNPQuOQ/s400/a003807749-001.jpg" width="218" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dan Gouzee</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0EJYF2le75_iaS6vCE7HoQq-rs_IQi-HRuYF0d_v-JutceEG-6JhPWx7eat1xhp8zVwjnbOMXSkdPcLRGY3cU32UggPbFPlrXEhxNIYKIq4MTIoUoNafIlBTeCXQWcx97cFvlSBkNy0/s1600/Rod-Dryden-Sorceress-002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="541" data-original-width="600" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0EJYF2le75_iaS6vCE7HoQq-rs_IQi-HRuYF0d_v-JutceEG-6JhPWx7eat1xhp8zVwjnbOMXSkdPcLRGY3cU32UggPbFPlrXEhxNIYKIq4MTIoUoNafIlBTeCXQWcx97cFvlSBkNy0/s400/Rod-Dryden-Sorceress-002.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rod Dryden</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">(L. to r. Roy Smith, Zahra, me, Denis Woodyard, Tom Nelson.)</td></tr>
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One of the first folks I met in animation who has stayed a very close friend over the years was Zahra Dowlatabadi, who was our art department assistant on Bionic Six. That roll was quickly reversed as she soon moved on to producing and has been very successful.<span class="Apple-converted-space"> </span>When I was looking for work she introduced me to her friend, Catherine Winder, who hired me to work at HBO animation, certainly the best job I ever had in the field. (She and Zahra have co-written the ultimate handbook on the process called<span class="Apple-converted-space"> </span><i>Producing Animation</i>)<span class="Apple-converted-space"> </span>Catherine was the best boss you could ever ask for. And the folks I worked with at HBO still have regular reunions…something unheard of in the profession.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD24Wk_mq_jqQPGLLUO8HSuCSR661hYVSSrjRk-jqWyWP4iVC9OZSMQbmuw_hmSCxHNnAY5Pcnz3uC0SjWB2qGtX0wRho-LD1Xn3z3hZHZBSgYKLA0o5KlMf-tYdfSNbNd25QPIdIzTqM/s1600/HBOanimStaff.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1060" data-original-width="1600" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD24Wk_mq_jqQPGLLUO8HSuCSR661hYVSSrjRk-jqWyWP4iVC9OZSMQbmuw_hmSCxHNnAY5Pcnz3uC0SjWB2qGtX0wRho-LD1Xn3z3hZHZBSgYKLA0o5KlMf-tYdfSNbNd25QPIdIzTqM/s400/HBOanimStaff.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The HBO Animation Crew. In front at the right is Eric Radomski and Catherine Winder. I am behind them in the second row (I was the old man of the crew). Tom and Jen are in the upper left.)</td></tr>
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One of the ironies of my career is that when I was young and not very good, work was never hard to find. As I acquired skill and taste, that all changed. For example, after I “won” an Emmy working on HBO’s Spawn, I discovered it was actually a retirement gift from animation;<span class="Apple-converted-space"> </span>there were very few<span class="Apple-converted-space"> </span>action adventure shows. Likewise, as my comic book style became more realistic, editors were less receptive at that time. After leaving HBO, work was so slow I seriously starting thinking about a different profession. I happened to run into Trevor Goring at a comic con in Pasadena who suggested I drop off a portfolio where he was working on a new Narnia movie. It seemed like a slim chance, but I followed his advice and thought that would be the end of it. A couple months later they called me in where I met Andrew Adamson who hired me immediately and I spent the next five years working on three films and traveling the world. Another serendipitous twist of fate.</div>
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<tr><td class="tr-caption" style="text-align: center;">Trevor Goring with some examples of his work.</td></tr>
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Tevor is a transplanted Brit who at one time had his own ad agency in the UK and also worked in the comics field there on such books as 2000 ad. When he immigrated to the US he started working doing ad boards and in live action films. He is an amazing talent- a first class storyteller, draftsman and graphic designer.<span class="Apple-converted-space"> </span>One glance at his IMDB page and you wonder if there is any film project in the past thirty years he hasn’t work on. He recommended me for the first Narnia film, and I returned the favor on Voyage of the Dawntreader.</div>
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<tr><td class="tr-caption" style="text-align: center;">Tom Nelson character sketches and boards.</td></tr>
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The switch to working on live action films came easily to me, though I was a bit daunted at first. Andrew Adamson liked the fact that I also understood animation and asked if there was anyone else in that field I might recommend. Tom Nelson was one of the HBO crew and I quickly sang his praises. Like myself, through trepidatious at first, Tom quickly adapted and animation lost one of it’s finest as Mr. Nelson has continued working on blockbuster after blockbuster<span class="Apple-converted-space"> </span>super hero epic such as Thor, The Avengers,etc.. We also gave Tom the nickname “Mr. Wizard” because of his savvy tech skills. He has brought me kicking and screaming into the 21st century with new technology many a time. (Tom, who met her while sharing an office with me at HBO,<span class="Apple-converted-space"> </span>is also married to Jennifer Yuh of Kung Fu Panda fame. Don’t miss Jen’s live action directorial debut <i>The Darkest Minds</i> in cinemas now.)</div>
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<tr><td class="tr-caption" style="text-align: center;">Tom, Jen, Zahra, my wife Annie, Catherine and myself. </td></tr>
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The truth is, you never make it alone in any profession. While it’s always necessary to do all the hard work to prepare for when your lucky break comes along, it’s usually friends who are supplying the connection to that step forward. And when things are slow, the good ones are always there to keep your spirits up. Friends remember you…and if you’ve screwed them they remember that too. More that just as a source of helping you find your next job, friends are there for the camaraderie, and to enhance your life with their friendship. As my late friend Leonard Starr told me: “All we have is each other.”<span class="Apple-converted-space"> </span></div>
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com7tag:blogger.com,1999:blog-2992113655753293816.post-73747772434903783902018-07-31T10:16:00.003-07:002018-07-31T10:16:23.155-07:00FRIENDS OF INFLUENCE Pt. 2
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"Open the door and c'mon in...I'm so glad to see you my friends." Judy Collins</div>
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<tr><td class="tr-caption" style="text-align: center;">(Loved doing Starfire. Vinnie Coletta, who inked these pages, did chastise me for inking the creatures below when I sent in the pencils. lol.)</td></tr>
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The beauty of living in Detroit in the late sixties and early seventies is that, in a large part thanks to Jerry Bails, there was a large network of aspiring young comic artists. Besides Starlin and Milgrom, Rich Buckler had started to work professionally. He would soon be followed by Terry Austin, Mike Nasser, Arvel Jones, Keith Pollard, Mike Kucharski, Steve Fritz. There were so many of us. We encouraged each other, critiqued the work we were all doing, and there was plenty of advice not just on what to prepare in your portfolio, but who was the best person to see at each company. When you were ready to start looking for work, if you came out of Detroit you didn’t have the advantage of jumping into the business blindly.<span class="Apple-converted-space"> </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Keith Pollard</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOEmHAbVdvMheTTiMRTNu2U2R8eK-OGTRjlsLar2rwe62tgU6XL2BLyxmIqUd1b6l3vfkcWdLzxk2Q6vEFg3OxkSUR4M0xHaxwEo9hQef6MyrOtwVUW-z6Bon4p4c9bqyCSF8XL9D3yU/s1600/IM+74.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOEmHAbVdvMheTTiMRTNu2U2R8eK-OGTRjlsLar2rwe62tgU6XL2BLyxmIqUd1b6l3vfkcWdLzxk2Q6vEFg3OxkSUR4M0xHaxwEo9hQef6MyrOtwVUW-z6Bon4p4c9bqyCSF8XL9D3yU/s640/IM+74.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Arvell Jones</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rich buckler</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0SChjWzG8GDp5p87Z9AppKk_-GTPjt_mVdwdjC8V2Jjty9NgpQpdeMV5DbRWKRq-2p-ai79W4oaVQjNQLfOtRD9sgayQKs8Sm6q_iQe3-LeqkCRVMnmClNwU9_7lJ1ma0-yStPBmaKnI/s1600/655213f6060309e71be63f5837830b37.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="923" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0SChjWzG8GDp5p87Z9AppKk_-GTPjt_mVdwdjC8V2Jjty9NgpQpdeMV5DbRWKRq-2p-ai79W4oaVQjNQLfOtRD9sgayQKs8Sm6q_iQe3-LeqkCRVMnmClNwU9_7lJ1ma0-yStPBmaKnI/s640/655213f6060309e71be63f5837830b37.jpg" width="409" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terry Austin inking my pencils</td></tr>
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While I didn’t get work from my first interviews, I was pleasantly surprised to find out how many of the people I talked to knew my name from the Masquerader fanzine. Flo Steinberg was very friendly to me at Marvel, and Roy Thomas offered lots of encouragement. Meeting Joe Kubert in person was such a thrill: but I remember being so overwhelmed by Joe that it never occurred to me to ask him for work. And I met fans that I had long corresponded with: Al Weiss, Marv Wolfman and Len Wein. They all offered the same message: don’t get discouraged, but keep trying and come back again.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVkhoYUAxl2lZqkbNmGimqHsYslxs9wgjapPlrEk2iKNl0AwmjJvnnI94spGd0iZaQF9Vu1OUpuvY9zAgvfgtLCWYrOWij1w4TXkRfZ7iJzOAFAyR3XWrGO-AMW6aLmyLny_d4-00cEc/s1600/FirstIssuespecial12-00fc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1530" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVkhoYUAxl2lZqkbNmGimqHsYslxs9wgjapPlrEk2iKNl0AwmjJvnnI94spGd0iZaQF9Vu1OUpuvY9zAgvfgtLCWYrOWij1w4TXkRfZ7iJzOAFAyR3XWrGO-AMW6aLmyLny_d4-00cEc/s400/FirstIssuespecial12-00fc.jpg" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A couple of magnificent Kubert covers.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgovKTv3gRcHCxSZuR-qynPFhWqDn8L4qXOp4tW4au8pEE8zjno-8EdCSGBOs7VoTSP_e4NRdcpinFaERfRzInVGf0dz8X4DGkSBTgqbr_cuIGiqUmcmEeF0s4zbWiWInP4WkufcE-qKbQ/s1600/kubert+hawkman+43+c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="769" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgovKTv3gRcHCxSZuR-qynPFhWqDn8L4qXOp4tW4au8pEE8zjno-8EdCSGBOs7VoTSP_e4NRdcpinFaERfRzInVGf0dz8X4DGkSBTgqbr_cuIGiqUmcmEeF0s4zbWiWInP4WkufcE-qKbQ/s400/kubert+hawkman+43+c.jpg" width="255" /></a></div>
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The other great thing was that you never thought about staying at a hotel.<span class="Apple-converted-space"> </span>When I came into NYC, Starlin and Milgrom each put me up where they were staying and graciously showed me around the city. They also introduced me to Bernie Wrightson, Howard Chaykin and Walter Simonson, all of whom would become good friends. And the best part was that each of these people would tell you about some artist, or a trick of the trade, of a new editor to talk to if you were looking for work. <span class="Apple-converted-space"> </span>All in all, those days were such a positive experience and one that I am forever grateful for.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyEiMFlgdUmbhGhYbGU8pE2HRK5fO3w93RMZZyUUra_sUKv-Qwy-stl9CnzfAINm2RhdZZuS__bIfLAzjhz_ip_0dDoP8atuvnJ4Me0GM0gd_DJNTIAbRAprreUd8xeZjp2FY2Es4Vug/s1600/09_poe_ruemorgue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="764" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyEiMFlgdUmbhGhYbGU8pE2HRK5fO3w93RMZZyUUra_sUKv-Qwy-stl9CnzfAINm2RhdZZuS__bIfLAzjhz_ip_0dDoP8atuvnJ4Me0GM0gd_DJNTIAbRAprreUd8xeZjp2FY2Es4Vug/s400/09_poe_ruemorgue.jpg" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bernie Wrightson</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFOYIk034SmE2jbNvOagLrizZ8ja4qINBaBUBHL1mbM1TzPqfQKJGIy5UvIsY9-Fno6MivIt4aXYRLTD_BsHIBqtGAwUxph3HqAj22alTJG7phkjqY4UJ6fbeUkWUobP33RAIFVyuPa_s/s1600/firestorm-vol-1_6_color.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="914" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFOYIk034SmE2jbNvOagLrizZ8ja4qINBaBUBHL1mbM1TzPqfQKJGIy5UvIsY9-Fno6MivIt4aXYRLTD_BsHIBqtGAwUxph3HqAj22alTJG7phkjqY4UJ6fbeUkWUobP33RAIFVyuPa_s/s400/firestorm-vol-1_6_color.jpg" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Al Milgrom</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYeDdiTDresDIjhTe5hlMDX1dX_RWitjJvXAjwM-gXLeXMDRmhK1gY6KnOqwCyAD-MO8lkB08eC-fP4OsigZ3dJxuNbOU2AjAYVnL5q2T_AoeU_TG1XBl61J8RuoYaitq64EvC5HfAjUc/s1600/fZV3qVH1_0204181301451gpadd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="533" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYeDdiTDresDIjhTe5hlMDX1dX_RWitjJvXAjwM-gXLeXMDRmhK1gY6KnOqwCyAD-MO8lkB08eC-fP4OsigZ3dJxuNbOU2AjAYVnL5q2T_AoeU_TG1XBl61J8RuoYaitq64EvC5HfAjUc/s400/fZV3qVH1_0204181301451gpadd.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Milgrom inking Jim Starlin her and below.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7cKuVBBGRGQJ1kcUBRm3PhOwEA0lbUU_irO5RZ4q7z1SEr7uF3OZYjDrYYWWjTUafURQGFI39c6360fqPtilsmaDix436rrPax85eBUlDtSnzKUV6AvNI-zAH4yQheMobd8Tr6X0CDRA/s1600/JeXBZLM9_2408152123211.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1036" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7cKuVBBGRGQJ1kcUBRm3PhOwEA0lbUU_irO5RZ4q7z1SEr7uF3OZYjDrYYWWjTUafURQGFI39c6360fqPtilsmaDix436rrPax85eBUlDtSnzKUV6AvNI-zAH4yQheMobd8Tr6X0CDRA/s400/JeXBZLM9_2408152123211.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XK1922ko0H8yEkIrccmiKMD7KXRxFbPyWpIXujJxkjymZBiPsm3PZd_Y9AESupdozSGK7zEwYrF4_Yf-yh8uJS2kSTiMHa8L46QnmafhuIlSKjEDXuiLCyF34LOxuGf3RhYx4wiRbxE/s1600/simonson+batman+and+manhunter.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="780" data-original-width="1200" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XK1922ko0H8yEkIrccmiKMD7KXRxFbPyWpIXujJxkjymZBiPsm3PZd_Y9AESupdozSGK7zEwYrF4_Yf-yh8uJS2kSTiMHa8L46QnmafhuIlSKjEDXuiLCyF34LOxuGf3RhYx4wiRbxE/s400/simonson+batman+and+manhunter.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Simonson</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiri2615W1pJnKsP6E-zJGd8yKj-Lt6BcYj2QL7R0WW3zcrekDvPZJVr6Vked3JWAVyH4R4TY9W-Jn2B27xflQwhTL_dG6qu-uKYcM47dqwEqWUc_A0Db2Qozz6QUL3oT1FQigMS9P7dVg/s1600/XS6NmFX4_0312172114461gpadd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1044" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiri2615W1pJnKsP6E-zJGd8yKj-Lt6BcYj2QL7R0WW3zcrekDvPZJVr6Vked3JWAVyH4R4TY9W-Jn2B27xflQwhTL_dG6qu-uKYcM47dqwEqWUc_A0Db2Qozz6QUL3oT1FQigMS9P7dVg/s400/XS6NmFX4_0312172114461gpadd.jpg" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chaykin</td></tr>
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Certainly one of the most helpful people for those of us trying to break into the business at this time was Neal Adams, who had his own agency called Continuity Studios. Whenever you were in town, you were always welcome to hang out at Continuity and schmooze in the back rooms or look over the artists shoulders where they were working in their offices. Jack Abel and Dick Giordano gave me no end of helpful hints on polishing my work. And Jack also introduced me to the music of Benny Goodman. Neal could be intimidating, but never made you feel like you didn’t belong.</div>
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<tr><td class="tr-caption" style="text-align: center;">Neal Adams</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpY3pP61MQKFVZNs5Epe3qPv5jFXsQnYhvXQD-z10loeV3mbpTpjIqtdmFT5LxVcDv-wLQKKWIDvNiuoJb-vNJ0VdZJvDQr4p29G4zenpW8lvzcQMbrsLr3BMsnVXrD1_nGhyZNQOkmE/s1600/lf.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="401" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpY3pP61MQKFVZNs5Epe3qPv5jFXsQnYhvXQD-z10loeV3mbpTpjIqtdmFT5LxVcDv-wLQKKWIDvNiuoJb-vNJ0VdZJvDQr4p29G4zenpW8lvzcQMbrsLr3BMsnVXrD1_nGhyZNQOkmE/s400/lf.jpeg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My Pencils, Jack Abel inks.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuhQtubWQ11wNB5etdnoccZxLORuB2ya3fx8bnPKLc6RYeXz8LOcdOK3199v58QRVLMdSOckw1nkk2DzvaQ9R0q7ZHrQGWeelVoQbITIhYWSLcr27E3TWO6r_pax6N1yaV05dWlkdbUXk/s1600/O3qpFgHa_2607171238161sbpi.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="553" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuhQtubWQ11wNB5etdnoccZxLORuB2ya3fx8bnPKLc6RYeXz8LOcdOK3199v58QRVLMdSOckw1nkk2DzvaQ9R0q7ZHrQGWeelVoQbITIhYWSLcr27E3TWO6r_pax6N1yaV05dWlkdbUXk/s400/O3qpFgHa_2607171238161sbpi.JPG" width="276" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dick Giordano inking me.</td></tr>
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Al Milgrom continually put me up at his apartment for years when I would come into the city. He was often my personal promoter and scout when I would be looking for work. You couldn’t ask for a better friend. Early on, Al shared an apartment with Walter Simonson so I would got to be good friends with him. He introduced me to the work of Modesty Blaze artist Jim Holdaway, and later took me to the Society of Illustrators to see a show they were having. Once I posed for Walt for an upshot of the head, and I was amazed that artists took the time to do this when drawing comics. Of course if you mentioned this to Walt, he’d probably give that great laugh and proclaim that was the only time he’d ever done it.<span class="Apple-converted-space"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlbuATdnDq6NyF4RtyweijV5kAw4PhdZvGYcD0p9lS1RbHopBOxT2OpCIkROv_TeO378NVcC-gdksfU_w0SLTbsJQ1vuGhVp0kkRlFUSCwFd_3F8kg1x3FqnZsjBcfE-d_Jc-gryY32eA/s1600/img_2609.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="291" data-original-width="800" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlbuATdnDq6NyF4RtyweijV5kAw4PhdZvGYcD0p9lS1RbHopBOxT2OpCIkROv_TeO378NVcC-gdksfU_w0SLTbsJQ1vuGhVp0kkRlFUSCwFd_3F8kg1x3FqnZsjBcfE-d_Jc-gryY32eA/s400/img_2609.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_kglbPT09YGeI7JqUrp86bQIwFWTHK-kON-_8LcXGbPhLq25277LTdvAz0enltcE9F4OoQ8SGJ12FZTdZU4ybJmgl4gUOYAgSUkN4K5lPgbNhgZayL7yCE01nUfbWoUC766xC5ie_JHA/s1600/CAF+002.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="1256" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_kglbPT09YGeI7JqUrp86bQIwFWTHK-kON-_8LcXGbPhLq25277LTdvAz0enltcE9F4OoQ8SGJ12FZTdZU4ybJmgl4gUOYAgSUkN4K5lPgbNhgZayL7yCE01nUfbWoUC766xC5ie_JHA/s400/CAF+002.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jim Holdaway</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wEswq1VihunqU42MdjtREU51rzykGm_WlbrBf8CjCE9dsLJZH_XwQ3o_o63kg1MZiLguk_w4j7xZgTspVG4yXDd8w2btSlxODN5sT2zlXpPgZMC0-pm08rPG1iaEy8hnRh86vacj81Y/s1600/8726d6ab86e3cb4e8dc5c5b0c1634aeb--original-art-comic-art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="635" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wEswq1VihunqU42MdjtREU51rzykGm_WlbrBf8CjCE9dsLJZH_XwQ3o_o63kg1MZiLguk_w4j7xZgTspVG4yXDd8w2btSlxODN5sT2zlXpPgZMC0-pm08rPG1iaEy8hnRh86vacj81Y/s400/8726d6ab86e3cb4e8dc5c5b0c1634aeb--original-art-comic-art.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walt Simonson cover</td></tr>
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Through Al and Walt it wasn’t long before I ran into Howard Chaykin. This brash youngster showed me how to use a wonderful machine for copying photographs and drawings called an Artograph. (Still have one I occasionally use to this day.) He also showed me the Famous Illustrators course and insisted I become familiar with it. He was a walking force of nature; an amazing talent and never boring to be around.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZTFubjQtXtQbL53F4gPMnNxeQs3QmK8lwrLP0ZaHYj2BSXi_yaNijxp9X5TEsahEZ9ySgBTpeMrzhbjcGbueyZd0dLVTs2kxbioBqHklTxF_TgmzHq81TTOYeZZZgy-HOzDw-u6Ft5g/s1600/ytcTUoAu_2512170105141gpadd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1215" data-original-width="1600" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZTFubjQtXtQbL53F4gPMnNxeQs3QmK8lwrLP0ZaHYj2BSXi_yaNijxp9X5TEsahEZ9ySgBTpeMrzhbjcGbueyZd0dLVTs2kxbioBqHklTxF_TgmzHq81TTOYeZZZgy-HOzDw-u6Ft5g/s400/ytcTUoAu_2512170105141gpadd.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Starlin and Milgrom</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoWfpx71ddP3DATZ3Ak0hbEKrCNRKkWmc1B6hGC1FWHOamyEnBntizCdg2lnYKeUyp7_zm7RbBBc6a2KmZoZ0EhsU2xtGpW-qjQ0FSEOCBXYDwjccJ1Hw2jOKILGeXx6jEjIWpZQ02uZI/s1600/923a880c3473e4bd34ed6af2138f8e93.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="417" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoWfpx71ddP3DATZ3Ak0hbEKrCNRKkWmc1B6hGC1FWHOamyEnBntizCdg2lnYKeUyp7_zm7RbBBc6a2KmZoZ0EhsU2xtGpW-qjQ0FSEOCBXYDwjccJ1Hw2jOKILGeXx6jEjIWpZQ02uZI/s400/923a880c3473e4bd34ed6af2138f8e93.jpg" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A couple of Flagg covers pencilled by myself and inked by Chaykin.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLrl91tM0FGcgFcmyzmtTn81zamtdr-r8iFk-nBRDbUK0rOu6mNTpukMuCRE9YhPRt1o1j9qBFX42mc9PUtB9KrvB3siZJaIScdHIeE2H1Zf4Rbf0yRIPUkPyv_OyIKbZi_f5ozVWYyY/s1600/Unknown.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="277" data-original-width="182" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLrl91tM0FGcgFcmyzmtTn81zamtdr-r8iFk-nBRDbUK0rOu6mNTpukMuCRE9YhPRt1o1j9qBFX42mc9PUtB9KrvB3siZJaIScdHIeE2H1Zf4Rbf0yRIPUkPyv_OyIKbZi_f5ozVWYyY/s400/Unknown.jpeg" width="263" /></a></div>
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Needless to say, hanging out with all of these great talents and wonderful folks, my own work not only improved by leaps and bounds, but I soon found that I had plenty of free lance work, and eventually contracts at different times with both DC and Marvel. Having worked as a janitor, in a factory on the assembly line and as a schoolteacher, I was now working at the job of my dreams.</div>
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But while I came into NYC to conduct business, I was now living in Battle Creek, Mi. My occupation was as a cartoonist, but I felt much more like a secret agent. I worked by myself at my house and seldom had folks around that with whom I could really discuss the work. I was pretty much working in a vacuum. Fortunately, about this time I met a younger artist who lived in the nearby town of Marshall named Tom Sullivan. Tom was an amazing oil painter and sculptor and soon had me taking watercolor and life drawing classes with him at the BC art center. He was always filled with such youthful enthusiasm. He was then working on independent movie (that I remember not being much impressed with) called The Evil Dead with director Sam Raimi. We had a pact that one day we’d both end up in Hollywood.<span class="Apple-converted-space"> And we did!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ZTL_DZ5RjccYjZp23ZaskDYkpNNXN1xdRJh8HaZIBOLoQ7Pqklmkyd_roBOlsVdsbzojdTtIxEUoYtW4KC_RnYX15iM2lPJzAErKoOBdklia5Fgik5XSQJOp8ZAB_4l-mhjN6tjiU9g/s1600/62689-tom-sullivan.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1089" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ZTL_DZ5RjccYjZp23ZaskDYkpNNXN1xdRJh8HaZIBOLoQ7Pqklmkyd_roBOlsVdsbzojdTtIxEUoYtW4KC_RnYX15iM2lPJzAErKoOBdklia5Fgik5XSQJOp8ZAB_4l-mhjN6tjiU9g/s400/62689-tom-sullivan.png" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don't let the friendly smile fool you....Tom Sullivan above and below.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP4iAtcEt9SdVZ7p11hd9zkk74WvRRoxqU0708RglgazkfdDuy6gHZmjFHbRZJFS9352M0bQK-g9P5NbFNnvQmv2HNAEjtkh_3rqGnuFu_lPnnNbeRvfOE36Rn4gy6baynbatRuTeHBnc/s1600/62693-tom-sullivan-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP4iAtcEt9SdVZ7p11hd9zkk74WvRRoxqU0708RglgazkfdDuy6gHZmjFHbRZJFS9352M0bQK-g9P5NbFNnvQmv2HNAEjtkh_3rqGnuFu_lPnnNbeRvfOE36Rn4gy6baynbatRuTeHBnc/s400/62693-tom-sullivan-2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80DbAmV3glLkalztep_UAf-D_oQdC8Tt_ULWlZyj9iiFHwXQQcL9Kb7rmfN6Ts4yRYq8lHU9dcfGUaFhazJM3hOaFnbyO1OcdOM3GtTJKPIRg8A8eNooM73RzIfJJ0TZPNO8HKEldsag/s1600/untitled-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1199" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80DbAmV3glLkalztep_UAf-D_oQdC8Tt_ULWlZyj9iiFHwXQQcL9Kb7rmfN6Ts4yRYq8lHU9dcfGUaFhazJM3hOaFnbyO1OcdOM3GtTJKPIRg8A8eNooM73RzIfJJ0TZPNO8HKEldsag/s400/untitled-3.jpg" width="296" /></a></div>
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With the life drawing and painting I was growing tremendously as an artist, but the work available to me in comics was becoming more limited. I didn’t want to stay as just a penciller drawing super heroes. About this time the the independent comic scene was developing and the direct market distribution opened some new doors. Chaykin had paved the way with American Flagg. To compete with this new avenue, Marvel started their creator owned brand called Epic, and I was soon working on a new series with writer Christy Marx. The best part was I got to pencil, ink and color it all by myself.<span class="Apple-converted-space"> </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Painting of Christy Marx</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A couple of Sisterhood covers and in interior page b elow.</td></tr>
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Let me just say here, that besides being one of the most talented and accommodating writers I worked with, Christy had more hutzpah than anyone I knew. She didn’t just write about warrior women, she was one to be reckoned with. During the time I was working on this series, I married my wife Annie and we moved to Los Angeles...and settled in Tujunga and became neighbors with Christy. Since Christy was the hot writer for Hasbro, she was soon encouraging me to look for freelance work in that field.</div>
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But more on that in part three next week. </div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com2tag:blogger.com,1999:blog-2992113655753293816.post-62017175299561996012018-07-25T09:18:00.002-07:002018-07-25T09:26:15.672-07:00FRIENDS OF INFLUENCE PT. 1<style type="text/css">
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“Friends will see you through times of no money better than money will see you through times of no friends.”<span class="Apple-converted-space"> </span>Gilbert Shelton Fabulous Furry Freak Bros.<span class="Apple-converted-space"> </span></div>
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When I look back at my career as an artist and think about what made me successful, it certainly wasn’t talent. I’ve found that whatever that esoteric quality is that is deemed so vital that we call talent, it can easily be overcome by hard work and drive. Another asset<span class="Apple-converted-space"> </span>far more important is those friends and companions that we choose and gravitate toward. Good friends will motivate you to improve, and often provide you with a bit of education in this process. When you’re discouraged, they are there to support you, and when you need an introduction, they will promote you if possible. For those starting out in the business today, hard work and determination are essential, but finding like-minded individuals to join you in pursuit of your dreams is equally important.</div>
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<tr><td class="tr-caption" style="text-align: center;">Fred Jackson </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">(Fred drew the pages on the lower left, and the rest were my drawings at about 12.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnr-GCAdKsj7tx60zNkfsLCf7I0eRfnI6du7SbIf_QZ8AqVufuAJxrGBWSOFgu1G4qPK097flaEgVStP17TnIxBFRILyQ3lAO2BjaoYKLG0nPeUBPUaPsbd1MYiRHiSQCdLX2AWhJfkHE/s1600/Display03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="1050" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnr-GCAdKsj7tx60zNkfsLCf7I0eRfnI6du7SbIf_QZ8AqVufuAJxrGBWSOFgu1G4qPK097flaEgVStP17TnIxBFRILyQ3lAO2BjaoYKLG0nPeUBPUaPsbd1MYiRHiSQCdLX2AWhJfkHE/s400/Display03.jpg" width="400" /></a></div>
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When I was about twelve, I was lucky enough to become friends with Fred Jackson. We were both a bit of outsiders; I was a complete nerd and Fred was probably the only black kid in our class. What astonished me as I got to know Fred was that he was drawing his own homemade comics. Even better, he inspired me to try and start doing the same thing. We quickly had our own little comic company called Vokson, and we would trade each issue back and forth to read. Fred’s work was far more advanced than mine, but working with him over the next two to three years, I learned a ton about the basics of continuity and storytelling.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFp35dGk9Ei24aKi-6HxMdKy3ROWrfuwA3a83UoEdnBpL7NNE9LoAsgmX7MKNtqA7vCfp1HL1SPIvOa5OakJmAFZCGQ8z36K-vKElTYvEyqwyxOLMKlKFYokfJsit_asn5PcyhqBTCCyU/s1600/vozpic1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="642" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFp35dGk9Ei24aKi-6HxMdKy3ROWrfuwA3a83UoEdnBpL7NNE9LoAsgmX7MKNtqA7vCfp1HL1SPIvOa5OakJmAFZCGQ8z36K-vKElTYvEyqwyxOLMKlKFYokfJsit_asn5PcyhqBTCCyU/s400/vozpic1.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Me as an innocent pre-teen before I decided to become a cartoonist. Art below was done by me.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk_NE_qKRe8UmfenbR92qlOh-BBcPaw0KQxi-chb5ojcEI0yJAfO-JKSWROoaO1-urzRbX3e6yNCzgUmkE7uL6FSMbh2lZfc0cVd524iyG36MIPdQVCzXrwLu1vK8aE5FS8O8f35JQjjg/s1600/PurplePlum02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1110" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk_NE_qKRe8UmfenbR92qlOh-BBcPaw0KQxi-chb5ojcEI0yJAfO-JKSWROoaO1-urzRbX3e6yNCzgUmkE7uL6FSMbh2lZfc0cVd524iyG36MIPdQVCzXrwLu1vK8aE5FS8O8f35JQjjg/s400/PurplePlum02.jpg" width="400" /></a></div>
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Fred and another mutual friend, Augie Guzman, showed me an issue of a DC superhero comic where a Detroit professor named Jerry Bails was starting an amateur magazine about comics that was available to fans. Not only did I quickly order an issue of Alter-Ego/On the Drawing Board, but I even made a long distance call to Warren (a whopping 20 miles from where I lived in Pontiac) to talk to this Mr. Bails, and I soon got to meet him in person. Before the end of the summer, with his encouragement, I was producing the fanzine Masquerader with an assist from Fred.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnkWqfvYlR9TVrMJ2WZOmyQ32QK_fGf5ZSsayXSq4lIyQ1kFILrZZ8y6nbfXUWa4_dlhEaD76s2_ShQUSEzRAZjO42WtVhg3ZA67AmRrIUQOHuHmEW8OcOT0C-7dv-a0MSJ_FwPJW6cy0/s1600/Me+and+Jerry+Bails.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="966" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnkWqfvYlR9TVrMJ2WZOmyQ32QK_fGf5ZSsayXSq4lIyQ1kFILrZZ8y6nbfXUWa4_dlhEaD76s2_ShQUSEzRAZjO42WtVhg3ZA67AmRrIUQOHuHmEW8OcOT0C-7dv-a0MSJ_FwPJW6cy0/s400/Me+and+Jerry+Bails.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Rich Buckler (l.) and Jerry Bails (r.) Below a drawing by Fred.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivrwQNQJY9lzeft6ba3VxLm2msEW5UK7JgOpgexfeG58riMD631DylijGEQLqH8-qSy8F2GRBdgP0GGgxU1tIRF_PCfJbCL9trn4OEu7SNh7BXIgesNU41qGI8q1BgANM37L-dkRAFFtc/s1600/Fiddler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="778" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivrwQNQJY9lzeft6ba3VxLm2msEW5UK7JgOpgexfeG58riMD631DylijGEQLqH8-qSy8F2GRBdgP0GGgxU1tIRF_PCfJbCL9trn4OEu7SNh7BXIgesNU41qGI8q1BgANM37L-dkRAFFtc/s400/Fiddler.jpg" width="287" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGozUyu-MS_20TamxaV_0JTVtBtPsRVfSA0WEfSAp67ii_62mkroQmzAErLAEzBLYqt-C9kYFw_Pb9LdTWU-702fAt0CVHz6t65UASuFZCzUQpz1eJokxx1ol3tpePVY1hudQeuvHOv4/s1600/1997chicagohall.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="574" data-original-width="816" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGozUyu-MS_20TamxaV_0JTVtBtPsRVfSA0WEfSAp67ii_62mkroQmzAErLAEzBLYqt-C9kYFw_Pb9LdTWU-702fAt0CVHz6t65UASuFZCzUQpz1eJokxx1ol3tpePVY1hudQeuvHOv4/s400/1997chicagohall.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Jerry Bails on the left and Roy Thomas on the right.)</td></tr>
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Jerry was very helpful in offering critiques of my drawings and also showing me originals of many of the artist I admired so much. He was also quick to share addresses with me of his many subscribers. At the age of fifteen, I was suddenly in contact with a large number of folks that I would be working with for the couple of decades; professionals like Joe Kubert, Gardner Fox, Stan Lee and Russ Manning, and young fans like Al Weiss, Marv Wolfman, Len Wein and Roy Thomas.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUkvtxbVBIBoVp9x6FNd1R5RD9CwTVpHKHrB1gWu01phOkzLs85hq5DdItINzt7apTZFK6bmAFfugPKgLCbJpXeRlguem8r-5qxlqtoDitqJq9dAMMHeKnM_piDeVhCvZEc4c6o6BIoX4/s1600/AlWeiss.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="757" data-original-width="1080" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUkvtxbVBIBoVp9x6FNd1R5RD9CwTVpHKHrB1gWu01phOkzLs85hq5DdItINzt7apTZFK6bmAFfugPKgLCbJpXeRlguem8r-5qxlqtoDitqJq9dAMMHeKnM_piDeVhCvZEc4c6o6BIoX4/s400/AlWeiss.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Drawing by a young Al Weiss)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoh3FfXDmdE9k4oyyW1XcxPHdDkqSYfwHozM-c5JpSlqojNd9LXCexLz_0o2p8cz1ROEUKqxQHPp-dc8MwUXbnlhkXayDrJwLOMoxKjFYEhmONp0xA2P3SEcTaYy4velRPN4SGxplVTmM/s1600/alabam.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="993" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoh3FfXDmdE9k4oyyW1XcxPHdDkqSYfwHozM-c5JpSlqojNd9LXCexLz_0o2p8cz1ROEUKqxQHPp-dc8MwUXbnlhkXayDrJwLOMoxKjFYEhmONp0xA2P3SEcTaYy4velRPN4SGxplVTmM/s400/alabam.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(This drawing and the ones below all done by the late Ronn Foss.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf0ULy2wlvfx8shGgOeQ_XRJFAlOHlXyC_UX86cnmP0awb8jwPxfR_Nlk7RYtHE8QxM8VcOogvG_YODBejScQBWF_lgGhCQ5yjUvDl_3_UTf0vPyqo7tT0mhKNkA-e66KFom9LyYWBnts/s1600/FantasticFour.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1044" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf0ULy2wlvfx8shGgOeQ_XRJFAlOHlXyC_UX86cnmP0awb8jwPxfR_Nlk7RYtHE8QxM8VcOogvG_YODBejScQBWF_lgGhCQ5yjUvDl_3_UTf0vPyqo7tT0mhKNkA-e66KFom9LyYWBnts/s400/FantasticFour.jpg" width="283" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd8BaVIwwt-aD3NjLt-w3SxemdVXKx_oz77RdPo2pRcrgChtFekdPNxLYcGFzhDIN8Odp1RQljQE1LisZAmohGAV3zIr0v3cOeVLd5TSGDLqwU1uVF671ruKQtk7vLJlM8DO04vGPIeQU/s1600/Hawkman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd8BaVIwwt-aD3NjLt-w3SxemdVXKx_oz77RdPo2pRcrgChtFekdPNxLYcGFzhDIN8Odp1RQljQE1LisZAmohGAV3zIr0v3cOeVLd5TSGDLqwU1uVF671ruKQtk7vLJlM8DO04vGPIeQU/s400/Hawkman.jpg" width="382" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpFDeqNiP3-NNAt2UmgUERfEFvcMBpId72e2cf1rNRt46raamWiNNAb3j4hOStGbj_mAXnbLCAxHLG3t6KqZbd0QUGb1qcxgFBrQ4XvHrq2TygUAild75vWitB50exNjsdsCKkZeqpJeA/s1600/foss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1236" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpFDeqNiP3-NNAt2UmgUERfEFvcMBpId72e2cf1rNRt46raamWiNNAb3j4hOStGbj_mAXnbLCAxHLG3t6KqZbd0QUGb1qcxgFBrQ4XvHrq2TygUAild75vWitB50exNjsdsCKkZeqpJeA/s400/foss.jpg" width="306" /></a></div>
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Editing the fanzine was really my way of getting my art in front of people, and the two older fans who were essential to my growth at this time were Ronn Foss and Richard “Grass” Green. They were both working toward trying to get professional work, and through a copious correspondence they continuously gave me tips and criticism on my own work.<span class="Apple-converted-space"> </span>Ronn was<span class="Apple-converted-space"> </span>a<span class="Apple-converted-space"> </span>great mentor in helping me move forward as an artist. Under his guidance I spent most of my high school years practicing my craft and dreaming about one day being a real comic book artist.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggxCkAraF47Cf5_hSpplGhc-VDhT5vjV3LxQ2Xgw1v5AiBjWRGiF2k6eeR8_SwQeCu8_jWj2bWol7dOmkzREUXRS0BzcfoNchUzeUwu-YukXMuZhFv6WMOkQp5hbKQxaM-cIQdbR8IwP0/s1600/Masq04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1563" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggxCkAraF47Cf5_hSpplGhc-VDhT5vjV3LxQ2Xgw1v5AiBjWRGiF2k6eeR8_SwQeCu8_jWj2bWol7dOmkzREUXRS0BzcfoNchUzeUwu-YukXMuZhFv6WMOkQp5hbKQxaM-cIQdbR8IwP0/s400/Masq04.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">( Looking at this page you can see why I was fired by the editor until I improved.)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">(Fred Jackson artwork on the shadow and Ronn Foss pages below.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKYI9LTcYle6KL-4e3AGUFX_l7zgcLSBQEmKdKT-jqYnQ34yDQyBn0OW1A2QJWIeQq3S1cV3W9QFBaa0z078ic7U9zgsmnBgyZkkCR55BlBM8h-R7zCyhybAxXqGQO7t4zL5vf46_Iog/s1600/Masq35.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1563" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKYI9LTcYle6KL-4e3AGUFX_l7zgcLSBQEmKdKT-jqYnQ34yDQyBn0OW1A2QJWIeQq3S1cV3W9QFBaa0z078ic7U9zgsmnBgyZkkCR55BlBM8h-R7zCyhybAxXqGQO7t4zL5vf46_Iog/s400/Masq35.jpg" width="306" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCDLQ9QrrKMma3YEEpRDWKf9k6HLx0cBoeZ7n2H_WtVc0oqQOcVHqsiW_zENMIr_mjlAXBRuuX-kxHgBJMf8o_Cs3HU2QZUmQPbdO1ZN401wNw_o9JmexxFD_cHjChjDZ8gAO0F4crS8/s1600/Masq38.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1257" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCDLQ9QrrKMma3YEEpRDWKf9k6HLx0cBoeZ7n2H_WtVc0oqQOcVHqsiW_zENMIr_mjlAXBRuuX-kxHgBJMf8o_Cs3HU2QZUmQPbdO1ZN401wNw_o9JmexxFD_cHjChjDZ8gAO0F4crS8/s400/Masq38.jpg" width="313" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0eQ_nbm1avlXLTezM7W9Xmzar5-7GoC1Hfl5zFg6acbeHlrPG9XaX06ya3v0d80d_-94DTdDPCJQvxbmEQ_G6uwAyJDAZQO7PnDdNNtofV33nCp1f_ZhYmIBb54Db-h9aSeqB2yM55pk/s1600/Masq_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1563" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0eQ_nbm1avlXLTezM7W9Xmzar5-7GoC1Hfl5zFg6acbeHlrPG9XaX06ya3v0d80d_-94DTdDPCJQvxbmEQ_G6uwAyJDAZQO7PnDdNNtofV33nCp1f_ZhYmIBb54Db-h9aSeqB2yM55pk/s400/Masq_2.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Fortunately, I had improved in the six months since I started on the fanzine and was reinstated as an artist.Below a page by Richard "Grass" Green.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcQlBOA4DPMqcBoTi3Yorx97hcVUXW7djnRfdbihHerF2_wB5-PlH0Uvx6isxAkifSTFZeAGnVkrnVYgPuPwRRUW67GVRi9ZaGzPITQ_3H3eQFgIKgD355m0UaVlz8m1Mohr3my91oiFY/s1600/Masq_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1563" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcQlBOA4DPMqcBoTi3Yorx97hcVUXW7djnRfdbihHerF2_wB5-PlH0Uvx6isxAkifSTFZeAGnVkrnVYgPuPwRRUW67GVRi9ZaGzPITQ_3H3eQFgIKgD355m0UaVlz8m1Mohr3my91oiFY/s400/Masq_8.jpg" width="306" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY276by46tApJajV7YGLIBfUgBqgsLu_t30CTM1QNFeHAlcS3eMhzih3BDtCMtBL4U8e37iS5_8nd3ptcU9ZP7fR8ZUT3UK4D26HKU0F2V_A1HEnLALnQc3aL6P9BgwTNEnDRBEcSsviI/s1600/Masq_13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1563" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY276by46tApJajV7YGLIBfUgBqgsLu_t30CTM1QNFeHAlcS3eMhzih3BDtCMtBL4U8e37iS5_8nd3ptcU9ZP7fR8ZUT3UK4D26HKU0F2V_A1HEnLALnQc3aL6P9BgwTNEnDRBEcSsviI/s400/Masq_13.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(A first for fanzines...a strip in full color. Same suspect drawings.)</td></tr>
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Just before I graduated from high school I had a visit from another young aspiring artist named Jim Starlin. At the age of 13 he hitchhiked the 20 miles to my house to meet me. I do remember driving him back to his home in Berkley. Soon<span class="Apple-converted-space"> </span>Starlin introduced me his close friend in the neighborhood, Al Milgrom, and the three of us spent many hours together discussing comics and art. Jim’s father was a draftsman, and there was always a polish to even his early work. We eventually all did work in a fanzine that Al produced. My friendship with them once again helped me take the quality of my work another step forward.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmcb1VdQFvop67FAhkeowLLwZReM7fRpcivViG2Sypms8plD1UgvQNPSD4HQ5yhrM_Yqgo-Ez2Oy1zsxTcHBCBL0TSgbTqGxRVJ-zr0sdml8hwhK1iZWEzRo6_U_tmrle3mLMwi3OmpwQ/s1600/18cosmiccoders.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="205" data-original-width="350" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmcb1VdQFvop67FAhkeowLLwZReM7fRpcivViG2Sypms8plD1UgvQNPSD4HQ5yhrM_Yqgo-Ez2Oy1zsxTcHBCBL0TSgbTqGxRVJ-zr0sdml8hwhK1iZWEzRo6_U_tmrle3mLMwi3OmpwQ/s400/18cosmiccoders.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Al Weiss, Jim Starlin and Al Milgrom working diligently on their craft.)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFG673yqxrrirzWOaiW4O_WJjf0yEmm73f9a67OsH8ZgDfQBQNE19CVMrKHQHkGjv0iUwViiyO7YIb2TAUVhV_3mNXy4l15wDTZsnRyhKOSYcdv-KEoWo6OV4GR2jOGtGWO1riokvCrDs/s1600/Joan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1090" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFG673yqxrrirzWOaiW4O_WJjf0yEmm73f9a67OsH8ZgDfQBQNE19CVMrKHQHkGjv0iUwViiyO7YIb2TAUVhV_3mNXy4l15wDTZsnRyhKOSYcdv-KEoWo6OV4GR2jOGtGWO1riokvCrDs/s400/Joan.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(A page from a story I did for Al's fanzine Title, and below the back cover by Milgrom himself.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOrikEWNkeaOvLEisgPrIvuJCI2cB6KxavEMv_I-wRJ-gZIj2qADHANMuLRYimv2dXd1sLe_TEgyxv7Ui0b55eL5nLsSZhjYFLthLTRqM5i60mTeTfBiTJ6BhOub4Nj0DmXmO9QE0kDtQ/s1600/milgrom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1232" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOrikEWNkeaOvLEisgPrIvuJCI2cB6KxavEMv_I-wRJ-gZIj2qADHANMuLRYimv2dXd1sLe_TEgyxv7Ui0b55eL5nLsSZhjYFLthLTRqM5i60mTeTfBiTJ6BhOub4Nj0DmXmO9QE0kDtQ/s400/milgrom.jpg" width="306" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji3ogEX-Hj0uRx_6TGImmltuYoJ6yVDUQfwYc19hAmoUjks1MdP05BPcbjoNcshj0s4_mKKRRyMXyA5u7qzaLPi0PxB8zUeSha9vXM4xgy_9yuymywM4-aigdHBmLjh-4zIMPA0BFPIRw/s1600/Droc01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1083" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji3ogEX-Hj0uRx_6TGImmltuYoJ6yVDUQfwYc19hAmoUjks1MdP05BPcbjoNcshj0s4_mKKRRyMXyA5u7qzaLPi0PxB8zUeSha9vXM4xgy_9yuymywM4-aigdHBmLjh-4zIMPA0BFPIRw/s400/Droc01.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(This story was done just about the time Jim Starlin started working for Marvel. Inks by Al.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuURD2nWAQtI6njab9LT6BD9RiTGPrHj7T-UUURMWdsPI1dxjXESrR7nvxqF-2JnH0slJiCdspH2eJAJdKn_uFtxWB6XqcmwSYN8X2kQlPQAY483yQevqFUKONm4rcjFvod92694s4hrk/s1600/Droc02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1099" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuURD2nWAQtI6njab9LT6BD9RiTGPrHj7T-UUURMWdsPI1dxjXESrR7nvxqF-2JnH0slJiCdspH2eJAJdKn_uFtxWB6XqcmwSYN8X2kQlPQAY483yQevqFUKONm4rcjFvod92694s4hrk/s400/Droc02.jpg" width="271" /></a></div>
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When I was in college I remember getting a response to the numerous letters I was sending Joe Kubert. While his message was very positive, he did explain that if I was serious about drawing comics I’d have to move to NYC. For me that was like suggesting that I take a trip to the moon, or go to Hollywood and become a movie star. I just didn’t believe I could do that. Ronn Foss and “Grass” had similar experiences. Being older, the cost of giving up their life on a very uncertain future just wasn’t worth the gamble. So we moved on to other interests. For me, I concentrated on college, played basketball for my entertainment, and eventually became a school teacher.<span class="Apple-converted-space"> </span></div>
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Three things changed that. One,<span class="Apple-converted-space"> </span>I badly sprained my ankle and couldn’t play ball for several weeks in the summer. Two, my draft number was high enough I could safely leave my teaching job where I had a deferment. Three, I ran into Jim Starlin and he was now drawing comics professionally for Marvel.<span class="Apple-converted-space"> </span>He made me realize that if you believe in your dreams, they can come true.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJImoGFEi7W-9RmxJNskY-2t-EZi8p3anbKoU2kvCiwu1B_uFFYjp2_rgAKbY1sl_vJYv_2UTajrhEgLGUaTYWU8Xt3snQtLG3KFZOXTN2vlNmJFcvFvgzb9HbA63_hXvC82R3h4UDYgY/s1600/raven.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="823" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJImoGFEi7W-9RmxJNskY-2t-EZi8p3anbKoU2kvCiwu1B_uFFYjp2_rgAKbY1sl_vJYv_2UTajrhEgLGUaTYWU8Xt3snQtLG3KFZOXTN2vlNmJFcvFvgzb9HbA63_hXvC82R3h4UDYgY/s400/raven.jpg" width="205" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Another early drawing by Al Weiss. Below a Neal Adams story with Bernie Wrightson, Gerry Conway and Al Weiss featured as characters.At the bottom is another knockout Weiss drawing. )</td></tr>
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Next week in Part two a look at many of the friends who were helpful during my years in comics. Be there. </div>
Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com3tag:blogger.com,1999:blog-2992113655753293816.post-52204372310730709132018-02-15T13:22:00.001-08:002018-02-15T13:22:22.307-08:00DRAWING ON THE IPAD PRO<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHs7uDZF16ASyEDeGV0Usi8t665FSjeAMAH3pqmjGyDkoaLB8qeROMTs1_GwzY9cVs7_0Ty2joLTSDdKa4V-2LbPt8tVGJagHCiocQ0oxM7OQsm6Np9NXjDvFm1b6YNPGu04mR3fb6P8/s1600/0204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHs7uDZF16ASyEDeGV0Usi8t665FSjeAMAH3pqmjGyDkoaLB8qeROMTs1_GwzY9cVs7_0Ty2joLTSDdKa4V-2LbPt8tVGJagHCiocQ0oxM7OQsm6Np9NXjDvFm1b6YNPGu04mR3fb6P8/s400/0204.jpg" width="296" /></a></div>
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Since I had no formal art training, after I graduated from college since Computer Art was supposedly the next big thing on the horizon I decided to take a computer class…but discovered it only dealt with programming. After one frustrating session in the lab where I couldn’t figure out how to even log off this machine, and it occurred to me that if I was a success at this I would eventually be working in an office, I dropped that class.<span class="Apple-converted-space"> </span></div>
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A decade later, my water color instructor, Bill Calliope, at the local community college showed me a new program called Photoshop. He was very excited because you could simply place your cursor on any color and it matched it. Wasn’t much for drawing though. A few years later when I was at an ad agency one of the reps was very excited to have me “ draw” on their new computer tablet, where an image would appear on the screen. I quickly sketched in a few strokes…but nothing happened. “It takes a few seconds”, he explained. By the time it showed up on the screen it was obvious this wasn’t my approach to drawing…the machine couldn’t keep up with the hand.<span class="Apple-converted-space"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD3BIFshZu7tbQVpHvRyXegrGYSolaPu2IyvXC8f7xnRZa6Ti7ocLKSFW6AV_oSJEIFL7dIQsV_G583gDBw4OyNElrVijPyXbnDOdnhEPE1liussi523WDFn51biIJdFS_U9qk_RjkDjs/s1600/11018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD3BIFshZu7tbQVpHvRyXegrGYSolaPu2IyvXC8f7xnRZa6Ti7ocLKSFW6AV_oSJEIFL7dIQsV_G583gDBw4OyNElrVijPyXbnDOdnhEPE1liussi523WDFn51biIJdFS_U9qk_RjkDjs/s400/11018.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidqpfndPzi8ihlVzvbVV3W76oi5sdI7JqOt-0OozejGwDCCy9GwklM_CwdzALS500c0yW_SdxuHAsqZ9OxJxcIodhZIYRSoVHbmZJvDm_FinTPggWV4nSkG1ssHkSbqCozu6tNkMFBbPo/s1600/11118.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidqpfndPzi8ihlVzvbVV3W76oi5sdI7JqOt-0OozejGwDCCy9GwklM_CwdzALS500c0yW_SdxuHAsqZ9OxJxcIodhZIYRSoVHbmZJvDm_FinTPggWV4nSkG1ssHkSbqCozu6tNkMFBbPo/s400/11118.jpg" width="400" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS9IjlmuwY2Eg-mnq4ug5xfv7w3H0_GGWcMDkMstdvh4zeyR3wXBj0OMYTRAWEiDNTMBh8pvupwxgqIAvxORKrgV5upMNSCaGZPlYMscdhOm1_BeITwhyPXLi-g96pDWwjnrOiDNDML3Y/s1600/11518.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS9IjlmuwY2Eg-mnq4ug5xfv7w3H0_GGWcMDkMstdvh4zeyR3wXBj0OMYTRAWEiDNTMBh8pvupwxgqIAvxORKrgV5upMNSCaGZPlYMscdhOm1_BeITwhyPXLi-g96pDWwjnrOiDNDML3Y/s400/11518.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All of the above images were drawn on the iPad Pro in Procreate</td></tr>
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Still, in the early nineties, I invested heavily in computer graphics equipment and began working with the Wacom tablet. Combined with the current Photoshop program it was an amazing step forward in its possibilities. Coloring drawings, adding lettering and graphic components, and making corrections were all infinitely easier than working with the traditional methods that I had been taught. Still, it wasn’t much for drawing and painting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7zEH0EuWh02efV6zKxl1qLZofqXx59ok38vFMlqHpHsbPfYfnULjIgdPb3qMJXH4HU9Sp6w9exMdObAGjyjuSD67tZDG8pVu9YBAPmTKRll7QzdAQnlGF7sDxL_6guGwWW0bTs9VYbI0/s1600/Lou06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1105" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7zEH0EuWh02efV6zKxl1qLZofqXx59ok38vFMlqHpHsbPfYfnULjIgdPb3qMJXH4HU9Sp6w9exMdObAGjyjuSD67tZDG8pVu9YBAPmTKRll7QzdAQnlGF7sDxL_6guGwWW0bTs9VYbI0/s400/Lou06.jpg" width="276" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprJddT20thWpmXbcZjk5KZWeCCldfykGMHseH-hs0e_tUfO31iPNWtOUkmc6D_knUYAo_URinH9UXbkRNkhCq9Hw_LUHSYCgUBBmrhakYFIZJHsM77EjAzmA26Q9e-M-o1V3DCm3vuPM/s1600/Lou07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1274" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprJddT20thWpmXbcZjk5KZWeCCldfykGMHseH-hs0e_tUfO31iPNWtOUkmc6D_knUYAo_URinH9UXbkRNkhCq9Hw_LUHSYCgUBBmrhakYFIZJHsM77EjAzmA26Q9e-M-o1V3DCm3vuPM/s400/Lou07.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">These drawings were done on a Cintiq monitor using ClipStudio Art</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAlQOmg2OseA57MNUwCVrGSP2zdupHK63UpB884zm4ec_WoqvHZhLnQu6zls_gyASe6r1XyItQsGj5fSbkMZmwnNgEEtTLFmuIh0D-buDLC2FgQJ-oeBtNirnFl97Elhpl70QIMvYJUXc/s1600/Maura01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1426" data-original-width="1320" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAlQOmg2OseA57MNUwCVrGSP2zdupHK63UpB884zm4ec_WoqvHZhLnQu6zls_gyASe6r1XyItQsGj5fSbkMZmwnNgEEtTLFmuIh0D-buDLC2FgQJ-oeBtNirnFl97Elhpl70QIMvYJUXc/s400/Maura01.jpg" width="368" /></a></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF6cbGo2ZHMzg9-ZAr-EP_irDl7duItrMNjX6twf8pk7v_ihepcmZRcPU61UQ9u8Wb8pIjzG7rSoPgTj1XErf-aCrDxNhrP1MFFUXmAuiYISRuzuKstu1ikLeuWc64ia_JLWwDnouPT0c/s1600/Maura02.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="719" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF6cbGo2ZHMzg9-ZAr-EP_irDl7duItrMNjX6twf8pk7v_ihepcmZRcPU61UQ9u8Wb8pIjzG7rSoPgTj1XErf-aCrDxNhrP1MFFUXmAuiYISRuzuKstu1ikLeuWc64ia_JLWwDnouPT0c/s400/Maura02.jpeg" width="178" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Life Drawing studies done traditionally with pencil and ink. </td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1132" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiiKT6wA0yQvRgN10F7TF3FSgmd0eE-td3QK62E78_PQ7TeaBLSb-03-3RzJpp0-n1HxlRkV6iqed8dzYNOgLhx90ftEhVGTs8rYl07wf7yBiWDdmQsEfTrL5ji4bSel-1GC6FscQ6FNs/s400/RFiennes.jpg" style="margin-left: auto; margin-right: auto;" width="281" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Pencil" drawing done in ClipStudio Art</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiiKT6wA0yQvRgN10F7TF3FSgmd0eE-td3QK62E78_PQ7TeaBLSb-03-3RzJpp0-n1HxlRkV6iqed8dzYNOgLhx90ftEhVGTs8rYl07wf7yBiWDdmQsEfTrL5ji4bSel-1GC6FscQ6FNs/s1600/RFiennes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiiKT6wA0yQvRgN10F7TF3FSgmd0eE-td3QK62E78_PQ7TeaBLSb-03-3RzJpp0-n1HxlRkV6iqed8dzYNOgLhx90ftEhVGTs8rYl07wf7yBiWDdmQsEfTrL5ji4bSel-1GC6FscQ6FNs/s1600/RFiennes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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In the 21st century, the next step was drawing directly on the screen, with the most popular being the Cintiq. I immediately got one, and when they introduced a tablet with this capability I bought the Samsung version. While technology has made major leaps, it still couldn’t compete with the facility and finesse of paper and pencil for me. The Cintiq was too big to work with as a lap board (and the smaller version was too small). I tried the swing arm you could mount it on, but that always wiggled a tiny bit. That, plus the fact that with the width of the glass screen you were always slightly<span class="Apple-converted-space"> </span>removed from the drawing, made smooth, tight work very difficult for me.<span class="Apple-converted-space"> </span>The tablet was a bit too heavy and a little clunky and slow. The biggest drawback of both was that I always used the side of the pencil when I drew (or inked) and with the stylus your could only use the point.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3OMVgDv_7QOqJsripLrlV-QMOC2ltyQPPdc_38-4V1KBsHJY2qNdEI9iPY5LqOTHfyorlZUc2_mZngR0JrHNfAeesuxILypmI7Y4uavZp01DcdPFioqAJY61UNEpxWkporSOXHkM-ex8/s1600/Stilllife03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1418" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3OMVgDv_7QOqJsripLrlV-QMOC2ltyQPPdc_38-4V1KBsHJY2qNdEI9iPY5LqOTHfyorlZUc2_mZngR0JrHNfAeesuxILypmI7Y4uavZp01DcdPFioqAJY61UNEpxWkporSOXHkM-ex8/s400/Stilllife03.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz_YVZPfEXBTgKL5b_RLxERU558Z-6_ujJR2NVvYw42ausWtMOLYrEVE_ourNAL5E57JjCxY5uB2OBCjsazqJBDZxnGkJiY3sh6EibL-rHGsp26Tta2nKDeqGe-pmp_J7eE6XH-NTJiFk/s1600/Stilllife01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1424" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz_YVZPfEXBTgKL5b_RLxERU558Z-6_ujJR2NVvYw42ausWtMOLYrEVE_ourNAL5E57JjCxY5uB2OBCjsazqJBDZxnGkJiY3sh6EibL-rHGsp26Tta2nKDeqGe-pmp_J7eE6XH-NTJiFk/s400/Stilllife01.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTnBk1H9rZCkyzXBROXg5Zu8bp8_63aBI-dOJzwG5JehOENceqSdZXikPLtSa9IYjdGR2nNEFLPm24QQwYgHbRk7uxcCdg_nO1OkcWWRH2qE3PoJ2Npr74FPCnJygXKY1YksSvYFPuf6s/s1600/Stilllife02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1372" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTnBk1H9rZCkyzXBROXg5Zu8bp8_63aBI-dOJzwG5JehOENceqSdZXikPLtSa9IYjdGR2nNEFLPm24QQwYgHbRk7uxcCdg_nO1OkcWWRH2qE3PoJ2Npr74FPCnJygXKY1YksSvYFPuf6s/s400/Stilllife02.jpg" width="346" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Above still lifes were done on newsprint with charcoal and pastel, and a bit of opaque white. </td></tr>
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The IPad Pro has finally changed all that for me. Thanks to my good friend Tom Nelson’s continued insistence, I finally bought his old (six months…lol) version…and now I’m hooked. It’s light enough that I can swing it around like a piece of board while I draw, but still large enough that you can work on a good sized drawing. The biggest selling point is the “super pencil” I use with it that allows me to draw holding it on the side like you would with a regular pencil.<span class="Apple-converted-space"> </span>And while Photoshop is just too expensive, the Procreate program (about $5) has amazing capabilities. Manga Clip Studio Paint is another program that is popular, but a good bit more expensive. It is very comic book friendly, but has a longer learning curve.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjF4iuY828IISH1IXecE-trfnCtXc7jPxZnmUjuqPZsWLE5tjABmeZN14e4FYDMSiMXGLda3kEEr89q6tsAN-lsyB0BqKGEa5psD2H5sH1lCrJK1WgGnula4_aML_l7E0rE8mMOp7AKl0/s1600/Untitled_Artwork+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjF4iuY828IISH1IXecE-trfnCtXc7jPxZnmUjuqPZsWLE5tjABmeZN14e4FYDMSiMXGLda3kEEr89q6tsAN-lsyB0BqKGEa5psD2H5sH1lCrJK1WgGnula4_aML_l7E0rE8mMOp7AKl0/s400/Untitled_Artwork+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This drawing and all the ones below it were done on the iPad Pro in Procreate.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYqpVEMm7QnWp0tQQVV83QUB-x64YM5C_5OFyqyfsOWVex6qEWb3oS-c9uqZSGChbG2ggz0pNJuL7wGPAG19StsW6cfvbD08Ya3pxIoNwmIg-9VM9BqUqK5CvOm7Noy7Q3V4rztg1bCg8/s1600/Untitled_Artwork+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYqpVEMm7QnWp0tQQVV83QUB-x64YM5C_5OFyqyfsOWVex6qEWb3oS-c9uqZSGChbG2ggz0pNJuL7wGPAG19StsW6cfvbD08Ya3pxIoNwmIg-9VM9BqUqK5CvOm7Noy7Q3V4rztg1bCg8/s400/Untitled_Artwork+3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAh1fN3baR1WMJv8Hr69mP8pM4v49gWcx1AZcRzSpmvH02f2CS-nqgmal3uj5VIO6UG2AUPEuL8-bRnv3sleGq7TwP8KcKnvrLlh2YlHNA31gMWcMzI9-UpRvQCdEnDBcakuaCR2-2-8/s1600/Untitled_Artwork+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAh1fN3baR1WMJv8Hr69mP8pM4v49gWcx1AZcRzSpmvH02f2CS-nqgmal3uj5VIO6UG2AUPEuL8-bRnv3sleGq7TwP8KcKnvrLlh2YlHNA31gMWcMzI9-UpRvQCdEnDBcakuaCR2-2-8/s400/Untitled_Artwork+4.jpg" width="296" /></a></div>
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<span style="font-family: Helvetica; font-size: 15px;">With all the different possibilities with different brushes, paints, color,etc., there is a whole world of possibilities that I can’t wait to explore. For years I started the day doing a 30 minutes still life in charcoal and pastel; I now do those on the IPad. While I’m still pencilling my comics traditionally, I am planning on trying to do the inking process on this device sometime in the near future.</span><span class="Apple-converted-space" style="font-family: Helvetica; font-size: 15px;"> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtSqu-wLdrtb662nu9AlycGpevumIL22jJ3wVqAeZF89IwJ11rwY_Xu7XDTWqABkPBA-l0UilXW26ov-WhkzuX8bz4RzeR0eOypU1SVH3ABQFuB6ZihemGC8ra8lRAhnm3zcdu2JBiSQA/s1600/Untitled_Artwork+7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtSqu-wLdrtb662nu9AlycGpevumIL22jJ3wVqAeZF89IwJ11rwY_Xu7XDTWqABkPBA-l0UilXW26ov-WhkzuX8bz4RzeR0eOypU1SVH3ABQFuB6ZihemGC8ra8lRAhnm3zcdu2JBiSQA/s400/Untitled_Artwork+7.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUw5jvRMoKyNgEWTjCssr1ZtRGQWrvO7F_DJRDDQiHaFBPUp_4lF0ywGIlVfpP0KLOmIuxu_6z2fq0tahNzNB47qNCHNZ1NVh6cfXgt1LENXPezczLkq3w_sxMsVw05AGNnsBrCBSwf4/s1600/Untitled_Artwork+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUw5jvRMoKyNgEWTjCssr1ZtRGQWrvO7F_DJRDDQiHaFBPUp_4lF0ywGIlVfpP0KLOmIuxu_6z2fq0tahNzNB47qNCHNZ1NVh6cfXgt1LENXPezczLkq3w_sxMsVw05AGNnsBrCBSwf4/s400/Untitled_Artwork+copy.jpg" width="296" /></a></div>
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My only issues with it are that it is an electronic device and you have to constantly make sure it it charged. The “super pencil” had a little protective cap that fell off and was lost within two days. There should also be a way to secure the pencil the IPad when it’s not in use. Likewise, charging the pencil using the machine is a fairly awkward process. but all that said, if they come out with a slightly larger model I’m buying it tomorrow.</div>
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ps. Since I already know how to drive,<span class="Apple-converted-space"> </span>when I buy a car I don’t have to take a course in being a mechanic, which I’m simply not interested in. So while I appreciate all the technical advice that many of you will want to foist on me, you can probably save your breath. If you have any tips that will make me better at drawing, I’m all ears.<span class="Apple-converted-space"> </span></div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com3tag:blogger.com,1999:blog-2992113655753293816.post-66581308890834038852018-02-02T08:09:00.000-08:002018-02-02T08:18:40.160-08:00TRINA ROBBINS, POP CULTURE ICON<div class="p1">
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Here are<span class="Apple-converted-space"> </span>a couple of great books that have<span class="Apple-converted-space"> </span>my recommendations for great additions to your library . First there is <i>Dope</i> , Trina Robbins adaptation of a tale by the great Sax Rohmer, best known for his Fu Manchu novels. The story takes place at the time of WWI and centers around a group of young socialites who are caught up in the nefarious world of narcotics. It wouldn’t be Rohmer without a shrewd police inspector abetted by an English Lord whose special area of expertise is Asia.<span class="Apple-converted-space"> </span>The setting is Limehouse, the Chinese district of London, and the villains are the evil Mrs. Sin and her more complex husband Wa. A fun read with lots of twists and turns well orchestrated and well drawn by Trina.<span class="Apple-converted-space"> </span></div>
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<span style="font-family: "arial"; font-size: 14px;">My only caveat with the book is that it is a reprint of work originally done in the l970’s in black and white. While Trina has a wonderful graphic sense of</span><span class="Apple-converted-space" style="font-family: "arial"; font-size: 14px;"> </span><span style="font-family: "arial"; font-size: 14px;">design, with the current printing technology, I think adding a bit of tone to the artwork might have helped a good bit with mood and character identification. (IHowever, a real plus to this book is the extra features at the end on Sax Rohmer, Sex, Drugs, and the Yellow Peril, and The Devil Doctor in Comics, the latter even featuring a couple of drawings by yours truly.</span></div>
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<a href="https://www.blogger.com/goog_63460985"> </a><br />
<a href="https://www.amazon.com/Sax-Rohmers-Dope-Trina-Robbins/dp/1631409573/ref=sr_1_1?s=books&ie=UTF8&qid=1517588284&sr=1-1&keywords=Dope+trina+robbins">https://www.amazon.com/Sax-Rohmers-Dope-Trina-Robbins/dp/1631409573/ref=sr_1_1?s=books&ie=UTF8&qid=1517588284&sr=1-1&keywords=Dope+trina+robbins</a><br />
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The other book is Trina’s autobiography<i> Last Girl Standing.<span class="Apple-converted-space"> </span></i></div>
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Trina wears her wampum beads</div>
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She fills her drawing book with line</div>
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Sewing lace on widows' weeds</div>
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And filigree on leaf and vine</div>
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Vine and leaf are filigree</div>
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And her coat's a secondhand one</div>
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Trimmed with antique luxury</div>
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She is a lady of the canyon</div>
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- Joni Mitchell- Ladies of the Canyon.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge3UfWcj0Wajd4bBO45mTxpZQuzlSN3V0m_RY-7VwnxCDwoAnXj6OywELeN6mghYfvOmn6yyRHgDm4sIQJZafhHd-vhvKtvoCKSlmRD0Baa2L1eKuqHL6vmHsGH7DvshpQHE2QQBYwxp0/s1600/41qOdrVToqL._SX355_.jpg" imageanchor="1"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge3UfWcj0Wajd4bBO45mTxpZQuzlSN3V0m_RY-7VwnxCDwoAnXj6OywELeN6mghYfvOmn6yyRHgDm4sIQJZafhHd-vhvKtvoCKSlmRD0Baa2L1eKuqHL6vmHsGH7DvshpQHE2QQBYwxp0/s400/41qOdrVToqL._SX355_.jpg" width="400" /></a></div>
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I had listened to that song a thousand times and had no idea that those lines were<span class="Apple-converted-space"> </span>about one of my comics and drawing cronies. And this book is filled with so many wonderful stories about Trina’s life that make it one of the more entertaining reads you’ll find in some time. I’ve met a few folks in the pop music industry who were part of that world, and way too many who were involved in the rebirth (and death throes) of the comics world. I don’t think I’ve ever knew anyone who was so involved in an intricate way with both.</div>
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Trina’s journey as an aspiring cartoonist is interwoven with her years in<span class="Apple-converted-space"> </span>NYC, LA and San Francisco. Not only was she writing, drawing and producing the first feminist comics (It Ain”t Me Babe, Wimmin’s Comix) but at the same time was designing and creating clothes for the likes of Donovan, Mama Cass, David Crosby,etc. . And then there is her relationship with Jim Morrison.<span class="Apple-converted-space"> </span>Believe me, there is rarely a dull moment in the narrative.</div>
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There is a good bit of acerbity with regards to her effort to<span class="Apple-converted-space"> </span>gaining a foothold in the male dominated comics world, but while I wouldn’t diminish her struggle as a woman in this field, I think there is a bigger picture. When I was growing up there were all kinds of comics: westerns, mystery, funny animal, teenage comedy, classics illustrated, and superheroes. But by the time Trina and I started looking for work as a cartoonist, the reality was that if you didn’t draw superheroes in the house (Marvel or DC) style , work was extremely difficult to find. While there were “underground” comics, and “independents” as alternatives, neither of them could<span class="Apple-converted-space"> </span>offer economically competitive rates. The real pioneers in the independent field were<span class="Apple-converted-space"> </span>Artie Spiegelman, Howard Chaykin, Harvey Pekor, Dave Sim, Moebius, and several others who were doing their own<span class="Apple-converted-space"> </span>material that shattered the mold for traditional comics. While they made little money and often got even less respect, they were reshaping the graphic story as we knew it.</div>
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Trina was also in this mix. So while a lot of the rejection she faced in the industry might have been gender based, a good deal more was<span class="Apple-converted-space"> </span>simply that her work was far too personal and original for corporate comics whose only focus was on sales. Probably the best interview I ever had was at Nickelodeon where after the art director looked at my samples he told me, “Wow. Your work is really good. You couldn’t work for us.” We both laughed out loud because I knew exactly what he meant. Trina probably also experienced this, and thank god she didn’t conform or her book might never have been as provocative and enchanting a read.<span class="Apple-converted-space"> </span></div>
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<span class="Apple-converted-space"><a href="https://www.amazon.com/Last-Girl-Standing-Trina-Robbins/dp/1683960149/ref=sr_1_1?ie=UTF8&qid=1517588166&sr=8-1&keywords=last+girl+standing+trina+robbins">https://www.amazon.com/Last-Girl-Standing-Trina-Robbins/dp/1683960149/ref=sr_1_1?ie=UTF8&qid=1517588166&sr=8-1&keywords=last+girl+standing+trina+robbins</a></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAMBUZCNgKumaG7bNo_YOztmEPAUSOTVeZhE4iAlfokhAzBNqk_28ZGvlTIohPVkyfMTpbUQYIulgdLq1QEzpSe9hQ_SbgZfdRNzk81zsPNv0dIdjggoHA3vWAbcoRQvc5SVXwxc86MFA/s1600/8a34c6dde2702af1bfaa0ea0da5c0477--the-sans-fest.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="736" data-original-width="736" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAMBUZCNgKumaG7bNo_YOztmEPAUSOTVeZhE4iAlfokhAzBNqk_28ZGvlTIohPVkyfMTpbUQYIulgdLq1QEzpSe9hQ_SbgZfdRNzk81zsPNv0dIdjggoHA3vWAbcoRQvc5SVXwxc86MFA/s400/8a34c6dde2702af1bfaa0ea0da5c0477--the-sans-fest.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Above a photo of Trina and Steve Leialoha and below a drawing of Trina done for a Kickstarter promotion.</td></tr>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-751613630388359232018-01-17T14:57:00.000-08:002018-01-17T14:57:38.283-08:00A G.I. JOE SKETCHBOOK PT. 2I'm always surprised at just how much this series was an influence on and was enjoyed by so many people. This set of sketches taught me just how much the fans took to it. Enjoy!<br />
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-13327570353359629862018-01-10T12:15:00.000-08:002018-01-10T12:18:13.219-08:00A G.I. JOE SKETCHBOOK PT. 1<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The two jobs that I worked on in my career that still resonate with fans these days are first the one hundred "covers" I created for the HBO <i>Tales From the Crypt</i> series that ran for seven seasons. Second there is my association with Hasbro's <i>GI Joe</i>, where I penciled the comic books series (issues #9-20,22-23) and once I moved to LA, worked on storyboarding episodes of the animated series four a couple of years. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Working on the comic book in the early eighties was certainly not my favorite assignment. It was not one of the "popular" books at Marvel (though who knew what a monster commercial hit it would be), and while everyone insured me it was a "spy" adventure, I found it hard to get past the "war" connotation. Lara Hama's writing was brilliant and fun to work on, though Larry was a rather taciturn with his comments. The inker probably fit the series well, but it became increasingly clear that no matter what I was doing to improve the quality of my penciling, the results always remained the same. Since I was working in Battle Creek MI and mailing the work in, it was difficult to plead my case.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">When I left the series editor Denny O'Neill called me desperately asking my help to do one more issue because the one they had assigned to Russ Heath looked to never be completed. While he couldn't offer me more than the base pay for "pencil breakdowns", he did promise me that there was a heft royalty payment on the issues. So I did the favor, penciled issue #24 and sent it in. Lo and behold, when the book came out, Russ had managed to get his work in at the last minute, and it was magnificent. However, not a word from Denny explaining any of this to me...and so much for that royalty payment. (If I can scare up all the xerox's I'll print that in a future Vozcomix blog.)</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Working on the animated series, because I had moved to LA, had the distinct advantage of working in house and dealing daily and directly with my directors and producer. Once I managed to convince them that I could actually storyboard (another interesting story), I found that my work was not only respected but admired by the other artists. And while it didn't pay royalties, the animation salary I thought was phenomenal. There were many friends I made in those days that I still cherish to this day. (And speaking of royalties, IDW has never paid any of the creative talent a dime in royalties for all the work they have continually reprinted.)</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Growing up after Korea and watching the Vietnam fiasco unfold, by the time the Gulf Wars rolled around, I really wanted to disassociate myself from any connection with the military. And no matter how much they pushed the "spy" concept, GI Joe to me was the perfect fantasy for convincing youngsters that the army and combat was a fun place to be. Consequently, I've always had misgivings about the series. However, meeting all the wonderful fans over the years has eroded some of those, and fulfilling their requests for sketches gave me a chance to pencil and ink my renditions of their heroes. Here's hoping you enjoy looking at this portfolio as much as I enjoyed drawing it. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Next week, stay tuned for part 2 of the portfolio. Don't miss it!!</span>Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com3tag:blogger.com,1999:blog-2992113655753293816.post-27880771610985094042017-12-14T14:16:00.001-08:002017-12-14T17:13:03.526-08:00E. A. Abbey in Color<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKSlu1eEdcwrnfLIY_QcPEqGAkqFjLDG0vCpAuECrFNjfwrKzJtDUxsFzzALjO9PcJIDQAuRWDnkUdYSCZoFfpmwQSkPrHmMb3rZ2vdYWUVhDtvnJT1RA_enXZy1UzFAI43XmAAP04o4g/s1600/1_aLQEUEewteTD3IsJW04U_w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="676" data-original-width="1600" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKSlu1eEdcwrnfLIY_QcPEqGAkqFjLDG0vCpAuECrFNjfwrKzJtDUxsFzzALjO9PcJIDQAuRWDnkUdYSCZoFfpmwQSkPrHmMb3rZ2vdYWUVhDtvnJT1RA_enXZy1UzFAI43XmAAP04o4g/s400/1_aLQEUEewteTD3IsJW04U_w.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHK8so_XPqq2BhDsufa9USHEtByFnINI4lRpgqgkpcR8aUpOT9FGamXSU8ICZy3-64dtCI8RJg5UHpY0ThGZOorl8q9e02-JboS5cEFBXS9bOYHqha6rmbMKy2t1FnwcCoOqpIAPWmZXU/s1600/Abbey_Edwin_Austin_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="255" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHK8so_XPqq2BhDsufa9USHEtByFnINI4lRpgqgkpcR8aUpOT9FGamXSU8ICZy3-64dtCI8RJg5UHpY0ThGZOorl8q9e02-JboS5cEFBXS9bOYHqha6rmbMKy2t1FnwcCoOqpIAPWmZXU/s400/Abbey_Edwin_Austin_02.jpg" width="300" /></a></div>
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When I was living in Kalamazoo, MI, my<span class="Apple-converted-space"> </span>friend and neighbor Jim “The King” Wellington had a print hanging in his front room that always blew me away when I would see it.<span class="Apple-converted-space"> </span>The picture had three women, one in black, one in red, and one in white, standing and looking at each other. It was rife with symbolism, infused with drama, and handled with a mastery of draftsmanship and painted in a classical style. While I never could get Jim to part with it, he was gracious enough to lend it to me for an extended period of time.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhns2Pb8jbpaY3ORV-f_aSUjEYxwYCC0xTMig9ZUyiBwNelzAtihp5tirkuyiuef_boykgf1u1Ras8fL26lLH0eCyXmhCDV2NnnBUHFUQyVhWnpv6hd-qGN6_JlCz1zh9fMmb48DE3g1LQ/s1600/940922bbcb1ad7872211d8d8b8c87204.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1559" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhns2Pb8jbpaY3ORV-f_aSUjEYxwYCC0xTMig9ZUyiBwNelzAtihp5tirkuyiuef_boykgf1u1Ras8fL26lLH0eCyXmhCDV2NnnBUHFUQyVhWnpv6hd-qGN6_JlCz1zh9fMmb48DE3g1LQ/s400/940922bbcb1ad7872211d8d8b8c87204.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Two of the sisters from King Lear. and below, a closeup of Cordelia from the larger mural.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvlIxG0LILR4NQK9aQYJM6iIFdHmsMcw82FQieqSLI4I2VJ4qM1eqei_QnwW7X3pdThwaJAnM5omkyuFAXfrCCShff0xwpkokOJktqNOwRWyerzuh0ZUEf7AAuiK8eV0mOgoq7a_NXR4/s1600/fcbd2fbcea411b470b0ae7061b3104c7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvlIxG0LILR4NQK9aQYJM6iIFdHmsMcw82FQieqSLI4I2VJ4qM1eqei_QnwW7X3pdThwaJAnM5omkyuFAXfrCCShff0xwpkokOJktqNOwRWyerzuh0ZUEf7AAuiK8eV0mOgoq7a_NXR4/s400/fcbd2fbcea411b470b0ae7061b3104c7.jpg" width="331" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLCL2bJNr67IFkdzFVcaPTu6QXrXMOuDjrlw8leSqZ4_YW5NFzzatk6zYntBe2hRLhvKBRuxfIhr0xLx88H420AYBcHVFd_U1PVWlXOI_wg0z04HCD_jFe2UNR_Ls-y5kiJyzXxJCNWJ0/s1600/KingLearDibs1_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="362" data-original-width="768" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLCL2bJNr67IFkdzFVcaPTu6QXrXMOuDjrlw8leSqZ4_YW5NFzzatk6zYntBe2hRLhvKBRuxfIhr0xLx88H420AYBcHVFd_U1PVWlXOI_wg0z04HCD_jFe2UNR_Ls-y5kiJyzXxJCNWJ0/s400/KingLearDibs1_l.jpg" width="400" /></a></div>
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These were pre-internet days and being fairly ignorant of illustrators and paintings, I had no idea that the artist was Edwin Austin Abbey and that the picture itself, a scene from Shakespeare’s <i>King Lear</i><span class="Apple-converted-space"> </span><i> </i>featuring his three daughters, was quite famous. Before I returned the print to Jim, I do remember using one of the central figures as a character in the <i>Sisterhood of Steel</i> comic I was drawing at the time.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFGtxDXH_I_HSnz6LGIU_Ct0aHIR2FSW76yzVK9u9rUHbp6TJ0GKC45BNoLZZGQPQjuDd0OLKZoH41Ohl6RbKgHAURtILoRcvGT6kMRbULHlY_q09GWYKOW6g1uGZRrYjtlrFy4ba6OPw/s1600/326.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="681" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFGtxDXH_I_HSnz6LGIU_Ct0aHIR2FSW76yzVK9u9rUHbp6TJ0GKC45BNoLZZGQPQjuDd0OLKZoH41Ohl6RbKgHAURtILoRcvGT6kMRbULHlY_q09GWYKOW6g1uGZRrYjtlrFy4ba6OPw/s400/326.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Twelfth Night</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuztUB2UtWvKqCNC__bh6BsR2VH_VXeu8gPn0Y7I-tT-Ct9sG5hOIbSeHkZHJfponQtWjF8_abr_UfPTK7qgy2wHjH-gGQV0RhFXPsUPEAFu4ZBcvY3AIS9Wy-3S376CL7yVtDfHJKRlY/s1600/2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="373" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuztUB2UtWvKqCNC__bh6BsR2VH_VXeu8gPn0Y7I-tT-Ct9sG5hOIbSeHkZHJfponQtWjF8_abr_UfPTK7qgy2wHjH-gGQV0RhFXPsUPEAFu4ZBcvY3AIS9Wy-3S376CL7yVtDfHJKRlY/s400/2.jpg" width="307" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">McBeth</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12yy0Cri6bCUr87Qy8mh6iNwuhthsXK7-f3chBo6iNZ-PSVqwuycToflb9TMvgiRMsvZ9YTPk5WWreVeHnjFlWLIWrfRWCUZ2W0Mn-yC8_W2SJv1t4O5xB54APaMjYQ4gu2_P7aHmJ7w/s1600/800px-Edwin_Austin_Abbey_richard_duke_of_gloucester_and_the_lady_anne_1896.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="368" data-original-width="800" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12yy0Cri6bCUr87Qy8mh6iNwuhthsXK7-f3chBo6iNZ-PSVqwuycToflb9TMvgiRMsvZ9YTPk5WWreVeHnjFlWLIWrfRWCUZ2W0Mn-yC8_W2SJv1t4O5xB54APaMjYQ4gu2_P7aHmJ7w/s400/800px-Edwin_Austin_Abbey_richard_duke_of_gloucester_and_the_lady_anne_1896.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Richard the Third</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhku1mPk9RqUgSFrHnp2qJmHUb1hDQbrKn0_EFWzbouXJIo4prd-MnFSiINoUVscyX9CDxXrqpgaMZXrm5hIBmiVp_pc5oQjqWhl3i6H1JqVgH1e3CLE1tI-J7YdjWJ3LRQ6rGpe6x-3UI/s1600/800px-The_Play_Szene_in_%25E2%2580%259CHamlet%25E2%2580%259D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="492" data-original-width="800" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhku1mPk9RqUgSFrHnp2qJmHUb1hDQbrKn0_EFWzbouXJIo4prd-MnFSiINoUVscyX9CDxXrqpgaMZXrm5hIBmiVp_pc5oQjqWhl3i6H1JqVgH1e3CLE1tI-J7YdjWJ3LRQ6rGpe6x-3UI/s400/800px-The_Play_Szene_in_%25E2%2580%259CHamlet%25E2%2580%259D.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hamlet</td></tr>
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Ten years later when I was working on HBO’s <i>Tales From the Crypt</i> they were shooting at the Mount St. Mary’s University library. The room was dominated by three different mural forms Shakespearean plays. One look and I realized this was the same artist who’s work had stunned me a decade before. Fortunately, when I mentioned the work to my good friend Bill Stout, he immediately explained to me whose work this was.<span class="Apple-converted-space"> </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Two gentleman of Verona</td></tr>
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Working in the latter part of the nineteenth century, Abbey was famous for his intricate pen and ink drawings done for <i>Harper’s</i>.<span class="Apple-converted-space"> </span>Full color reproduction was a luxury at best, so linework dominated the drawings done at the time. However, Abbey was also involved in designing sets and costumes for a number of Shakespeare’s plays as well as producing several large murals featuring literary subjects, and these are the source of most of the color work presented here.<span class="Apple-converted-space"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIJqp-3TOL4aJfiRWP4cAdKOnFq8HegxXvnT4ai7lPaG9-6acoLPb7N4Q5ZrPyM8x7w6fmywb3ehOV0RLXCpNrtws1gyfO1_2EEU6FcdK3oCdfakZhM46bSbahtINjYdnRrB9CnLPn9OI/s1600/Eaabbey01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="993" data-original-width="1426" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIJqp-3TOL4aJfiRWP4cAdKOnFq8HegxXvnT4ai7lPaG9-6acoLPb7N4Q5ZrPyM8x7w6fmywb3ehOV0RLXCpNrtws1gyfO1_2EEU6FcdK3oCdfakZhM46bSbahtINjYdnRrB9CnLPn9OI/s400/Eaabbey01.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Costume designs</td></tr>
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(The Abbey bio below is from Arpi Emoyan's excellent book on Hall of Fame Illustrators, <i>Famous American Illustrators</i>. A must for your book collection.)<br />
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<span class="Apple-converted-space">Edwin Austin Abbey (1852-1911) </span></div>
<span class="Apple-converted-space">The brilliant draftsmanship of Edwin Austin Abbey's pen and ink drawings were perfectly suited to the reproduction techniques of the late 1800's. His genius as an artist was further established when he began working in other media as well- watercolor, oil, pastel- and swiftly mastered them all. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Henry VI</td></tr>
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<span class="Apple-converted-space">A major contributor to the "Golden Age of American Illustration". Abbey was held in high esteem by art establishments on both sides of the Atlantic. Living in England as an American expatriate, he became a full member of the Royal Academy, painted the coronation of King Edward VII at the King's request, but declined an offer of knighthood in order to retain his U.S. citizenship.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Hamlet</td></tr>
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<span class="Apple-converted-space">Growing up in Philadelphia, Abbey attended the Pennsylvania Academy of Fine Arts and began illustrating books and magazines at the age of 16. At 19 he joined the staff at Harper's, concentrating on English scenes and Shakespearean works. A trip abroad in 1871 made him realize that England was a great source for authentic props, costumes, and backgrounds for his historical illustrations. He returned there seven years later to take up permanent residence.</span></div>
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<span class="Apple-converted-space">Even his enormous murals for the Boston public library and the State Capitol in Harrisburg, Pennsylvania, were painted in England. The Capitol murals, for which he paid $25 per square foot, are now valued at well over a million dollars.</span></div>
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<span class="Apple-converted-space">In 1889 Abbey married a socialite and at their summer home in Gloucestershire they entertained such notables as Charles Dana Gibson, Augustus St. Gaudens, Stanford White, Henry James, James McNeill Whistler, Mark Twain and Arthur Conan Doyle. John Singer Sargent, a close friend, often used Abbey's Chelsea lodge studio in London.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Arthurian legends</td></tr>
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<span class="Apple-converted-space">Abbey died in London in 1911, leaving behind an unfinished mural and a large collection of exquisite pen-and-ink illustrations. Today the Yale University Art Gallery in New Haven maintains the worlds largest repository of Abbey's works.</span></div>
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For more on Abbey, you can check out the link to Wikipedia<span class="Apple-converted-space"> </span>(<a href="https://en.wikipedia.org/wiki/Edwin_Austin_Abbey">https://en.wikipedia.org/wiki/Edwin_Austin_Abbey</a>, or track down the volume <i>Unfaded Pageant </i>by Lucy Oakley at Amazon.com.</div>
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-19045390082843580762017-12-01T12:51:00.000-08:002017-12-01T12:51:42.961-08:00The Staging of Macbeth PT. 2<div class="separator" style="clear: both; text-align: center;">
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If you done the proper preparation with collecting research, working through all the storytelling and compositional problems, and drawing the pictures with a sense of drama and correct draftsmanship, the actual finishing stage is in some way the simplest part of the job. It is the icing on the cake; if it is finished poorly all the preparation is for naught. <br />
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You have to remember that inking is more than just tracing off your pencil drawings. (In this case, I already did this by copying my pencil roughs onto bristol board, a surface tough upon to take the use and abuse of pen and ink.) With the inking stage you are transforming the mass of gray shapes into a cohesive statement in high contrast black and white.<br />
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It is very much a painting process where you are using the india ink as your medium. Every time you put in a line or add a bit of black, you have to continually interpolate the rest of the composition accordingly. I find on a lot of jobs I like laying in the black areas first, and adding only the necessary minimal amount of line necessary. I don't have any dogma about what should or shouldn't be done first. You just have to dive in and keep moving.<br />
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My background in comics taught me the necessity of having a very slick line in this stage. My experiences in doing illustration forced me to unlearn that concept and to let your drawing create the line that you use. So while I still admire those with the amazing facility with pen and brush lines, I don't seek to emulate them as much.<br />
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The last stage of this job was creating color guides for John Ott to work with. First off, John is an accomplished colorist and he certainly could have done an amazing job without any input from me. Because I had a lot invested in this job, I wanted to give him a sense of what I wanted to see in the finish. He certainly took what I gave him and went far beyond my suggestions. Certainly one of the best color jobs I've ever had on a comic book project. Take a bow, Mr. Ott. John also handled the lettering chores, and after balloon placement, I had the good sense not to give him any input here.<br />
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So there is your graphic story from start to finish. It's always a task that is infinitely harder than you ever think it will be, but it also has it's own special rewards when you see it finished. That must be the reason why I still continuously crank out my own comic books as a hobby long after I've given it up as a career.<br />
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-3618751375043517462017-11-25T13:32:00.004-08:002017-11-25T13:33:13.712-08:00The Staging of Macbeth PT. 1<div class="separator" style="clear: both; text-align: center;">
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When I was a youngster, my favorite comics were always the Classics Illustrated series, so as a professional it was my good fortune to actually do three jobs that were adaptations of classic material. One was <i>Kidnapped </i><a href="http://vozcomix.blogspot.com/2016/07/kidnapped-pt-1.html" target="_blank">(CLICK HERE)</a> and the other two were for Boy's Life Magazine: <i>The Hound of the Baskerville's</i> <a href="http://vozcomix.blogspot.com/2017/06/the-hound-of-baskervilles-pt-1.html" target="_blank">(CLICK HERE)</a> and <i>Macbeth</i>. <a href="http://vozcomix.blogspot.com/2017/11/macbeth-pt1.html" target="_blank">(CLICK HERE)</a><br />
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These jobs required a lot more preparation than the normal work.When you're doing period pieces, you have to be extremely accurate with costumes and settings. Their are a thousand little details you have to deal with.<br />
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On Macbeth not only did I have the advantage of working on a Shakespeare play, but I also have an excellent sci-fi writer, the late Suzette Haden Elgin. The biggest problem for both of us was reducing a five act play to sixteen pages of comic book material.<br />
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Step one was doing character designs for all the principal players. For this I used several costume book for accurate reference. I also went to a number of famous illustrators like N.C. Wyeth, E.A. Abbey, Robert Fawcett and Dean Cornwell for their stylistic interpretations.<br />
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I also "cast" the actors. I used photo reference of Sean Connery for the lead, and Greta Garbo as his wife. Wherever possible, I also tracked down photo reference for the rest of the players.<br />
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The second step was to break the script down into a series of pictures that quickly and concisely moved the story along. As the compositions are worked out to best show the action, the placement of the captions and dialogue balloons are part of the process.<br />
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With penciling I make use of my character sketches, thumbnail drawings and whatever reference I have gathered. At this point most of the thinking problems have been solved and you're just slaving over the hard work of producing crisp and lively drawings. Normally, for comic books I was using the standard 10" x 15" paper size but with this story I was using 14" x 19" with the full page bleeds.<br />
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Next week: Ink the pencils and doing color roughs.<br />
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-26712959302618281412017-11-15T15:18:00.001-08:002017-11-15T15:18:27.107-08:00Mitchell Hooks<div class="separator" style="clear: both; text-align: center;">
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Since I know virtually nothing about Mitchell Hooks himself except that he was a fellow Detroiter, the following is the artist's bio that appeared in Walt Reed's <i>The Illustrator in America.</i><br />
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"The career of Mitchell Hooks (1923-1913), like that of many other artists of the post-World War II era has been involved to a great extent with paintings for paperback book covers. His interpretations have a strong poster quality, in keeping with the need to hold their own on display with other competing titles on the bookstands, but also have a subtlety and sensitivity that attracts a closer and longer look.<br />
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In addition to his book designs for Avon, Bantam, Dell, Popular Library and Fawcett publications, Hooks has illustrated for <i>Costmopolitan, The Saturday Evening Post, The Ladies Home Journal, Redbook, McCall's, Woman's Day </i>and other magazines.<br />
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Mitchell was born in Detroit, Michigan, and obtained his art education at the Cass Technical High School there. Later he studied further with James Billmeyer in New York. After the way, and Occupation duty as a Second Lieutenant in Germany, he returned to New York to begin his free-lance illustration career.<br />
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In recent years, Hooks has become more diversified, dividing his work between magazines, hardcover books, paperback covers and advertising. Hardcover books include illustrations for The Franklin Library, Reader's Digest Books and Coronado Publishers."<br />
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But while I know very little about the man himself, his illustrations have been a source of inspiration to me since I first discovered them when I started my tearsheet collection many years back. Hooks was a precise draftsman, and despite the spontaneous style that he painted in, that quality always showed through. He had a strong sense of color and knew how to effectively and emotionally use it. But what really sold me was the way his cinematic storytelling drew you into the complicated designs of his compositions. <br />
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com3tag:blogger.com,1999:blog-2992113655753293816.post-8945225043319159272017-08-22T14:05:00.000-07:002017-08-22T15:56:55.203-07:00The Art and Life of BERNIE FUCHS<div class="separator" style="clear: both; text-align: center;">
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When I was at a meeting of our CAPS (California Artists Professional Society) a few years back I had the good fortune one night to attend a lecture by Bernie Fuchs on his career as an illustrator. I was very familiar with the work of Bernie Fuchs and he was one of my idols. Getting a chance to see his originals first hand and to listen to him speak about his life made for a splendid evening for me. Later in the evening after the talk, I brought several books illustrated by Bernie up for him to sign, and afterwards shook it hand. It was only then I realized that he had<span class="Apple-converted-space"> three </span>fingers missing missing on his drawing hand. I was a bit shocked, but also had a new found respect for the man; his hand had been injured in an industrial accident late in his teenage years, but he hadn’t let it stop him from excelling as an artist.</div>
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And excel he did. When he exploded on the scene in the late 1950s his work was extremely competent, but stylistically looked little different from most of the illustration being used. That changed quickly as like Parker, Briggs and Peak before him, once his foot was in the door, he immediately began to develop a unique and dynamic style which has influenced so many other artists. Coming into a field that was facing a life and death battle with photographic competition, he not only survived, but flourished where so many others were fell by the wayside.</div>
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Ironically, growing up in Detroit, one of my complaints when I was trying to break into comics, was that there weren’t the plethora of great illustrators to learn from in the area, as there were in New York. It wasn’t until much later in life I discovered that even at that time the great Bernie Fuchs worked in advertising for the car industry in Detroit; and he was not alone as Bob Peak, Austin Briggs, Harry Borgman and a number of others were continually in the area because of the automobile clients. I just hadn’t taken the time to find out about them.</div>
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My fellow Fawcett collector and noted illustration historian, David Apatoff has just written a remarkable book, <i>The Life and Art of Bernie Fuchs </i>and it’s a must for any serious fan of illustration. Besides being filled with amazing pictures, the biography is a fun and interesting read. One anecdote he relates is that when Fuchs moves to Westport, Connecticut one of the first persons he meets is Robert Fawcett, who insists that they run over to meet his neighbor, Austin Briggs. Fuchs had just replaced Briggs as the artist on a major account and Fawcett, who was feuding with Briggs at the time, thought it would be amusing to twist the knife. Ironically, while the meeting was awkward, Fuchs and Briggs immediately liked each other, bonded, and became close friends. It might be poetic justice that Fuchs also replaced Fawcett on a major account not soon after.</div>
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Here is a link to where you can pick up this wonderful book: <a href="https://www.amazon.com/Life-Art-Bernie-Fuchs/dp/0997029269/ref=sr_1_1?s=books&ie=UTF8&qid=1503421003&sr=1-1&keywords=Art+and+life+of+Bernie+Fuchs" target="_blank">Amazon.com</a></div>
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(Bio from Wikipedia)</div>
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Fuchs was born in O’Fallon, Illinois on October 29, 1932. He grew up in humble circumstances with no father. His ambition was to be a trumpet player, but that ended after he lost three fingers on his right hand in an industrial accident the summer after he graduated from high school. Fuchs turned to art as a career, despite having had no formal art training. He enrolled in Washington University in St. louis, Missouri, where he graduated in 1954.</div>
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His first job was illustrating car advertisements for New Center Studios, located first in the Fisher Building, then in the Penobscot Building in Detroit. Art Greenwald was the owner of the studio. it was the largest and most successful studio in Detroit in the 50’s and 60’s. A couple of the other illustrators were Chic Albertson and Donald Silverstein. Bernie was recognized immediately for his incredible talent and pulled in major accounts for Greenwald. Within a few years of moving to Detroit, Fuchs’ opened the studio The Art Group, which specialized in work for the city’s auto companies. In the late 1950s, Fuchs moved to Westport, Connecticut where he began doing illustrations for McCalls, Redbook, The Ladies Home Journal, Sports Illustrated and other magazines.</div>
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Fuchs was commissioned for the illustration of four US postage stamps, released in 1998. The stamps featured folk musicians Huddie “Leadbelly” Ledbetter, Woody Guthrie, Sonny Terry, and Josh White. Fuchs also illustrated several children’s picture books, including Ragtime Tumpie and Carolina Shout!, both written by Alan Schroeder.</div>
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He painted portraits of several U.S. Presidents, including John F. Kennedy, Lyndon Johnson, Gerald Ford, Jimmy Carter and Ronald Reagan, as well as of such athletes and celebrities such as Muhammad Ali, Arnold Palmer, Jack Nichlaus, Ted Koppel and Katharine Hepburn.</div>
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At age 76, he died September 17, 2009</div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com2tag:blogger.com,1999:blog-2992113655753293816.post-77399079521182026322017-07-10T09:55:00.000-07:002017-07-10T14:15:06.087-07:00 DRAWING WITH A DEAD SHARPIE<div class="p1">
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When I was a kid and starting to get serious about this drawing stuff, the first step after doodling with a pencil was to start learning how to finish your drawings in ink. And in those days, it was not an easy step. First off you had to use a bottle of black india ink which was always either dripping on the paper (or your clothes of your parents furniture.) The tools were even more frustrating: there was the cantankerous crow quill pens that you constantly had to dip in the bottle, and then try and get some kind of some of kind of line that wasn’t squiggly or scratchy or filled with little blotches where the pen caught on the paper. Sometimes when you pressed<span class="Apple-converted-space"> </span>the nib on the paper the ink would simply refuse to flow….the next time, as you applied more pressure there would suddenly be a blot on the paper. And after you worked so hard on that pencil drawing.<span class="Apple-converted-space"> </span></div>
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There were also the lettering pens which were slightly more dependable. Unfortunately, being a leftie , trying to letter with a tool and a process that was designed for the opposite hand, was an added challenge.( It wasn’t until much later in life that I discovered there were actually left-handed nibs for the lettering pens. And you weren’t supposed to dip then into the ink; you filled a reservoir in the nib itself.)</div>
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Truthfully, I didn’t spend a lot of time practicing with those pens because it was so frustrating, and setting up a workplace and cleaning it up afterwards was always a chore. I was more apt to use what was convenient at the moment, and in the 50’s if was that Schaeffer fountain pens that we all used for our written assignments. There were drawbacks (no pun intended). The ink was usually peacock blue or a very washed out black. The nib had very little flexibility to change line weights. And the pens leaked constantly.</div>
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It’s no wonder that by the end of the 50’s, fountain pens were becoming relics, and the ball point became the standard. And you could get them in a bunch of different colors.<span class="Apple-converted-space"> </span>While my first homemade comics were in color, when I did try inking the drawings, I was using either my Schaeffer or a Bic. The ballpoints were also perfect for tracing your drawings onto the spirit duplicator stencils that I used when I started doing my Masquerader fanzines. The comic book pages that I drew on bristol board and finished in ink, I often used the new nylon tipped markers (Flair was the most popular) and the just introduced “roller ball” drawing pens. Since I’d been writing with them most of my life, they were the natural tool for me and felt comfortable in my hand. Cleanup was easy. You simply put the pen back in your pocket (hopefully remembering to put the cap back on….).</div>
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In the sixties all the younger artists were becoming proficient with these new marker pens. For lettering the wide tip of the “Magic” Marker was perfect…or for filling in large areas of a color. And every few months there were constantly new and improved products that you could try out, and they usually cost much less than the traditional tools. My favorite, which was introduced in l964 and is still the most popular one used today is the Sharpie. The company was founded in l857 by Mr. Sharp, who was the first to mass produce a crude version of the marker….so it took them 100 years to perfect it.<span class="Apple-converted-space"> </span></div>
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When I first starting using them, I thought they were a bit clumsy. The ink line often bled on even very good papers. (And after a few weeks, the dye would stain through the paper and bleed<span class="Apple-converted-space"> </span>onto whatever was underneath. That ink formula is long gone.) and while they were called Sharpies, after about thirty minutes of use, that precise point was reduced to a blunt stub. So you went through them very quickly.<span class="Apple-converted-space"> </span></div>
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But I discovered two things. You could take an Exacto knife and trim and reshape the nib to create some interesting lines and patterns. And more importantly, while I’d been tossing the pens that started to dry out (and they quickly did), I discovered that if I started draw using the side of the nib as you would a pencil, you could get a remarkable variety of tones and patterns. Consequently, over the years they have become my favorite tool to draw with. I’m not sure I would ever use them to try and ink comic book pages, but as a drawing and sketching tool they are amazing.</div>
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The first time I went to a life drawing class I was probably thirty years old and had been working professionally (standards were low) for a number of years. But it quickly become a weekly routine for me and a discipline I still practice forty years later.<span class="Apple-converted-space"> </span>These days in class I use Prismacolor pencils to draw the model, and time permitting, I’ll add a bit of background, using my “dead” Sharpie collection. This is an ever-changing<span class="Apple-converted-space"> </span>supply of Sharpies that have lost a bit (or a lot) of there “life” and are great for tone and usually delicate lines.<span class="Apple-converted-space"> </span></div>
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Never one to waste paper (ok, I’m cheap), at some later point, using the Prismacolor figure drawings as a foreground, I’ll head out to a garden area and an interesting subject for a background. While I lay in the drawing quickly with Prismacolor, I then start using the array of Sharpies to produce a line and tonal background for the figures. It’s primarily a composition and design exercise to create an interesting illustration on the page.<span class="Apple-converted-space"> </span></div>
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When I have the under drawing done, I literally have handful of seven or eights “dead” sharpies, and I’ll quickly test them out to see what they can produce, and pick two or three to give me a range of line and tone, and start finishing the work. I didn’t invent this process. The illustrator Robert Fawcett was a master of this technique, back when he was using a Flo-Master marker (basically a tube filled with ink with a 1/4” square piece of felt sticking out as a nib.) By squeezing the tube, you could increase/decrease the flow of ink, and Fawcett was using his Exacto knife to customize his felt nibs.<span class="Apple-converted-space"> </span></div>
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So hang onto those old markers you thought were useless, and see what new life they have in them if you try using them in a different way. Oh, and next week I’m buying the new IPad Pro and starting to practice with that; they have finally produced a nib that you can hold and draw with on it’s side like a pencil!<span class="Apple-converted-space"> </span></div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-47305066618953293322017-06-29T15:56:00.001-07:002017-06-29T15:56:15.941-07:00ALEX TOTH REVISITED<div class="separator" style="clear: both; text-align: center;">
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When I was a young lad one of the favorite movies I saw was the 1960 George Pal version of <i>The Time Machine</i>. A classic story that I’ve rewatched many times (it was my</div>
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viewing to welcome in the new millennium) I loved Rod Taylor, the Morlocks were truly creepy, but most of all I think Yvette Mimieux introduced me to lust. When the Dell comic book version of the movie came out, I immediately glommed onto it, and couldn’t believe the sacrilege. Every male character in the story from Taylor, to Sebastian Cabot, to Alan Young, and even the housekeeper Doris Lloyd was spot on…and Weena was so off she didn’t even have the same haircut as Ms. Yvette. I was outraged and disgusted and when I discovered later that the art was done by someone named Alex Toth I knew I was never going to warm up to him as an artist.</div>
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As I became more involved with comics and got into comic fandom, I discovered that this Toth character was a bit of a legend. Like my idol Joe Kubert, Toth had started out working as a teenager, most notably on the Golden Age Green Lantern, and had also done a number of the western books for DC. Carmine Infantino was also in with this group, and while he and Kubert were mainstays at the company, in contemporary comics I would only occasionally see a Toth job. While I liked the Rip Hunter character, I wasn’t impacted by the art, and while I started to warm up to the art by the time Eclipso came along, I wasn’t that fond of the character. And the resentment of <i>The Time Machine</i> probably still lingered.</div>
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That all changed when I started to get serious about drawing, storytelling and perhaps even trying to get work in the field of comics. Alex Toth’s work then took on a new dimension for me when I started to examine his craft. It helped that about this time he was starting to do some of his most brilliant work for Jim Warren’s black and white horror magazines. Suddenly I became aware of the importance of picture making, the use of black in design, and how even in simple drawings, that draftsmanship was essential. And this Toth guy was inking all this was just a marker…which was a tool I often used and was more comfortable with than a pen.</div>
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But if you wanted to get work in comics in those days, you needed to concentrate on Jack Kirby and the Marvel style, because even though you might get more lip service at DC about being your own man, what they really were looking for was Jack Kirby inked by Neal Adams. You didn’t get work imitating Alex Toth. Joe Orlando told me one time that while he loved Alex’s work, the fans screamed about him using an amateur when the work was printed. Alex refined everything he did to the simplest of lines, much like his idol Noel Sickles. For comic fans, the more lines that were used the better the art was supposed to be. And while your average reader (like that twelve year old who read <i>The Time Machine )</i> couldn’t relate, virtually every artist I met in the business admired and respected Alex. He was an idol in the business, as well as having a reputation for being a truly volatile personality.</div>
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When I first visited Los Angeles in 1975 I had the temerity to call up Alex and ask if I could come by and visit and he graciously invited me over to his apartment<span class="Apple-converted-space"> </span>off of Highland Avenue in Hollywood. When I showed him my work, he was a tough, but fair critic. He asked me if I was afraid of black…and suggested that I learn how to letter and color because it would help in my understanding of creating the design of a finished page. Somehow me drifted into politics, and I happened to mention the word fascism, and things looked like they might be going south, when my ex-wife, who had gone shopping at Frederick’s of Hollywood showed up with her purchases. Alex immediately reverted to his most charming and the visit ended very upbeat.<span class="Apple-converted-space"> </span></div>
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I would occasionally get a postcard from him over the next few years. I would see jobs by him ever so often, and hear great stories from all my cohorts in the business. Howard Chaykin was the most adamant of his artistic supporters, and he was continually pointing out little pieces of brilliance in his work to me. I was opening up to all kinds of new influences and art styles at the time, but Alex was definitely making a mark on me.</div>
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In 1985 I eventually moved to LA with the love of my life, my wife Annie, and soon started working in animation. I reconnected with Alex on <i>Bionic Six</i>, where we were both doing character designs for art director Bob Dranko. Bob had been friends with Alex and his wife Guyla, who had died recently. Alex was pretty depressed and Bob got him involved both because he was a terrific artist, and to help him get on with his life. The work he did on the show was again brilliant. Whenever he brought in new characters, my good friend Zhara who was the production assistant, would make sure I got a pristine xerox of everything. Occasionally Bob would hand me one of Alex’s drawing and say, “Here,</div>
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fix this.”<span class="Apple-converted-space"> </span>First off, if Alex ever found out I was “fixing” his work, I was dead. Secondly, how you fix something Alex Toth does. I understood in a way what Bob wanted- mostly stylistic adjustments: this was the 80’s and Alex still gave us things from the 50’s. Still, it was intimidating.</div>
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One night Annie and I invited Alex over for dinner. He was a chain smoker, and I think he was the only person I’ve ever seen my wife allow to smoke inside her house. Once again, he was at his most charming; Alex really did enjoy being around what he considered ladies. He also brought along a copy of Preston Sturgess’s<span class="Apple-converted-space"> </span>classic film, <i>The Palm Beach Story,</i> which we ended up watching. I quickly became of Sturgess fan and tracked down everything else I could find by him.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGdT5wenYgHk6Lnao4hw1NOVONm7RtZiUglwDy2bv3lWe_Ey7VQ7h3Bt44eZ7nG8GlGxUVO8HV3-bNDyXzZ76qruyrxZGOaR-JYrjfBenD4cxoIWJ2-9_gjcbXiSCGAlb-1REVr-4TB_A/s1600/MV5BNzRhZWY1MDgtM2U4Ni00ZjdmLTk2ZWEtMDJkOGI5MDBhYmQ3XkEyXkFqcGdeQXVyMzI5NDcxNzI%2540._V1_.jpg" imageanchor="1"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGdT5wenYgHk6Lnao4hw1NOVONm7RtZiUglwDy2bv3lWe_Ey7VQ7h3Bt44eZ7nG8GlGxUVO8HV3-bNDyXzZ76qruyrxZGOaR-JYrjfBenD4cxoIWJ2-9_gjcbXiSCGAlb-1REVr-4TB_A/s400/MV5BNzRhZWY1MDgtM2U4Ni00ZjdmLTk2ZWEtMDJkOGI5MDBhYmQ3XkEyXkFqcGdeQXVyMzI5NDcxNzI%2540._V1_.jpg" width="400" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">(The above two shots are from the Palm Beach Story and the two below from<br />the classic The Lady Eve.)</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjC98XwqjRARg7qoDTrEyXtZtwKUyFi243ioDi0nH8BFOwxw0gYB-Z1qu0kShevRxnFG_B-_1dwm40TpW9Gg4GaxoZoZey8GKo2nJanr3dQRRIC3cvWkChGOI12cP7sk9XhOp2hEbfkY/s1600/download.jpg" imageanchor="1"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjC98XwqjRARg7qoDTrEyXtZtwKUyFi243ioDi0nH8BFOwxw0gYB-Z1qu0kShevRxnFG_B-_1dwm40TpW9Gg4GaxoZoZey8GKo2nJanr3dQRRIC3cvWkChGOI12cP7sk9XhOp2hEbfkY/s400/download.jpg" width="400" /></a></div>
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When you talk about Hollywood, I think you really get to the one of Toth’s great centers of ambivalence. He was a child of the Great Depression, living through the misery, despair and poverty that permeated America at the time. And yet when Alex looked back at that era, what he truly remembered was not the actual reality, but a world that existed only on film. He saw a vision of hope, and an honor in the way people treated each other. He laughed at a whimsical madcap world. In Errol Flynn he saw all his youthful enthusiasm<span class="Apple-converted-space"> </span>and joy of life. He loved The Thin Man movies, screwball comedies, and especially anything to do with airplanes. But he never would acknowledge all the dark side of that era, and it kept him from reaching that next level as an artist.</div>
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After Bionic Six, we had a falling out when I started working with Chaykin on <i>American Flagg</i>.<span class="Apple-converted-space"> </span>I got the letter; well everyone eventually got a letter from Alex listing their failings (and how they had failed him). Eventually, something pissed off Alex and he wrote you a dismissive epistle, and rarely got over it. Even Leonard Starr mentioned it to me, musing on Alex as,’the saddest man I ever met.”<span class="Apple-converted-space"> </span>A couple of years before his death we spoke once or twice on the phone and it was good to hear him again. He was someone who had taught me an immense amount, and also someone who was always entertaining. I miss him.</div>
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His work was… brilliant. As someone said of him, he took comics and lifted it to the level of illustration. Like Wally Wood and Steve Ditko, in<span class="Apple-converted-space"> </span>comics he was a man out of his time, working in a field that wanted to homogenize your work to fit their marketing scheme. And that was never going to work for Alex. I often kick myself for never asking him about that <i>Time Machine</i> job and my reaction to it. After working in entertainment I realize that while Alex could certainly have done an excellent Yvette Mimieux, but had probably been instructed not to; maybe they hadn’t the rights to use her likeness. Who knows…and I passed up whatever chance I had to find out. Oh yeah, and if you get chance, make sure you check out that <i>Time Machine</i> adaptation; if you’re not twelve years old it is truly brilliant. <span class="Apple-converted-space"> </span></div>
Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com2tag:blogger.com,1999:blog-2992113655753293816.post-26740769249454436032017-06-08T13:25:00.000-07:002017-06-08T13:25:22.087-07:00FRED LUDEKENS Pt.2<div class="separator" style="clear: both; text-align: center;">
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Below is an article on Fred Ludekens and his working style </div>
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that appeared in American Artist in the late 1940s.</div>
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For a quick visual index of any of the best Vozwords posts, click below:</div>
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<a href="http://www.lorilovecraft.com/Vozwords.html" target="_blank">LoriLovecraft.com</a></div>
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<a href="http://vozart.com/Vozwords.html" target="_blank">Vozart.com</a></div>
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-15351087474069352702017-05-25T13:35:00.001-07:002017-05-25T13:35:29.411-07:00FRED LUDEKENS Pt. 1<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJiY4Z4_8A0v_lYW3hQZfwLs3yQprDE7Qze0dOa0m2h1vMRKdDdewtvM_cOCu94jpiV7JotJJrC0zlbdbsJZOiFcEunYoLBs3wDwQoV-A2la5o7tIXntarEYTZJ0PhM6dxRTEw_dLA3YI/s1600/Ludekens11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1106" data-original-width="1600" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJiY4Z4_8A0v_lYW3hQZfwLs3yQprDE7Qze0dOa0m2h1vMRKdDdewtvM_cOCu94jpiV7JotJJrC0zlbdbsJZOiFcEunYoLBs3wDwQoV-A2la5o7tIXntarEYTZJ0PhM6dxRTEw_dLA3YI/s400/Ludekens11.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ludekens used himself as a model for this illustration.</td></tr>
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Years ago when I was at a San Diego Comiccon I was leafing through the bin of some dealers box of miscellaneous illustration when in this box of very average pictures I came across this masterful work of two lions and a row of zebras behind them. One glance at the signature and I knew I had a find: Fred Ludekens. Of course I was familiar with the name from the Famous Artists course, but this was the first original of his I had ever seen. I bought it immediately and to this day it hangs on my wall. I can never get over the bold and broad brushwork on the lions, contrasted with the incredibly delicate lines used on the graphic arrangement on the zebras in the background. <br />
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Fred Ludekens had already taught me a lot through the Farmous Artist course. His demonstration on how he creates a picture in line was, along with Harry Borgman's demonstration, the most helpful and informative simplification of the process that I've ever found. As much as possible I try to incorporate it my working style and it rarely lets me down.<br />
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And next to the great Bob Kuhn, Ludekens was the master of drawing animals. He wasn't creating his pictures from photo reference but from his own firsthand experience. And like Sickles and Toth and so many of the great ones, the simplicity of his work belies the underlying knowledge of anatomy and composition. <br />
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Fred Ludekens (1900-1982) was born in Huoneme and was a third generation Californian. He grew up in Victoria, British Columbia, and during those years made several trips to Alaska.<br />
His only art training was a night class under Otis Shepard at the University of California Extension.<br />
Ludekens worked for the Foster and Kleiser outdoor advertising agency in San Francisco, then free-lanced for a time, and later became art director for the San Francisco office, of Lord and Thomas. This gave him an insight into advertising art from the business point of view which helped him eventually to become one of the best advertising illustrators in the country.<br />
A commission to illustrate a book about his boyhood country, <i>Ghost Town</i>, led <i>The Saturday Evening Post</i> to assign him a Western serial story. The success of these pictures thus launched his second career as an editorial illustrator, and he pursued both, later adding another top position as a co-creative director of Foote, Cone and Belding. He also, with Albert Dorne, founded the Famous Artists School in Westport, Connecticut and was Chairman of the Board of Directors prior to his death.<br />
(From, <i>The Illustrator in America</i> by Walt and Roger Reed)<br />
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Next Week: More Ludeken's illustration and a fascinating interview with him from American Artist.Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-19682270078096872972017-05-08T09:52:00.001-07:002017-05-08T09:52:26.551-07:00Remembering Bernie Wrightson<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">(Bernie and Voz)</td></tr>
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When I broke into comics in the mid 1970’s there was an astonishing number of new talent that arrived in the business as comics were suddenly feeling a resurgence. One of these was Bernie Wrightson, who I had been aware of from comic fandom, which introduced me to this world, and was also the gestation pool a large segment of the newcomers. </div>
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From the first work I saw of his in fandom, it was pretty clear that Bernie was certainly cut above most of us, and when his first stories started to appear in print, there was the realization that that gap might be even wider. What he was doing was pretty special.</div>
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I first met Bernie on one of my trips to NYC when I was schlepping my portfolio around to the publishers looking for steady work. When I came into the city one of my old friends from Detroit, Al Milgrom, graciously always lets me crash at his apartment which he shared with Walt Simonson. One night they dragged me over to visit Howard Chaykin’s studio, and while we were there, we dropped down a floor to also say hello to Bernie who also lived in the building. </div>
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He was working on a series of Edgar Allen Poe oil paintings. Bernie had already achieved a level of fame as one of the premier artists working in pen and ink with his Swamp Thing book, and now he was trying a different medium. He was curious about our take on the work. Needless to say it was stunning. Whatever respect I had for his talent before, now I was truly impressed. </div>
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What I came away with from that first meeting was not only just how good Bernie was, but also how well he treated you. There was a definite pecking order in comics from how the editors reacted to you on down, and even among your peers. But there didn’t seem to be any of that with Bernie. He always treated me and my work as if we were equals. That was something I truly liked and respected him for.</div>
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<tr><td class="tr-caption" style="text-align: center;">(Bernie, Batton Lash, Don Glut, Bill Stout)</td></tr>
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I saw a bit of Bernie now and then in those early years, either when I was in NYC, or at conventions. I do remember once being the designated driver with a van when Bernie, Walt, Al and myself drove upstate to visit Jeff Jones. Seems I was the only one who knew how to drive a stick shift…and it was my first experience driving in NYC traffic. However, in the mid 80’s I moved to LA with my wife Annie, and saw very little of the comic book crowd as I started working in animation and advertising and film. </div>
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There was a show in Pasadena that I attended to meet a potential buyer of some artwork, who ended up blowing me off. At the time, the same was pretty important so I was pretty bummed;however I did run into my good friend Trevor Goring who suggested I bring in a portfolio to the Chronicles of Narnia movie and I ended up working on those for the next five years.</div>
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And as I was leaving that show, suddenly down the cooridor I hear someone yelling out my name, and there comes Bernie and grabs me and gives me a big hug like I was a long lost friend. Once we reconnected, we got together several times for dinner and I got to meet his wife Liz, and his two sons. They were always great gatherings with interesting conversation. Usually it was at our house in Tujunga, or at a monthly gathering of artists I used to host at an Italian restaurant in Burbank. It was good times. There was another space when he suddenly wasn’t around, and I discovered he had moved out of LA.</div>
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<tr><td class="tr-caption" style="text-align: center;">(Above Bernie and Bill Stout. Below Bernie, Mike Kaluta, Barry Smith and Jeff Jones)</td></tr>
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Working in the commercial art business gives you a fairly nomadic life. You meet folks and work closely with them for a shorter or longer times and you’re best friends. Then the job changes and you never see them again. It is always tough to stay in contact with your friends and acquaintances as distance and jobs drag you in different directions. With Bernie you also had the reality of dealing with a celebrity. The last time I saw him was at a convention in Anaheim where we were having an interesting conversation and catching up a bit. A group of fans descend on him and and I was suddenly standing on the sidelines. It wasn't Bernie who pushed me there, but you understood that there were restraints on his time and availability. </div>
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What always impressed me when I saw Bernie and his family, was just how much two boys loved and respected him, and how devoted he was to them. Someone had told me once that Bernie didn’t have a great relationship with his own father, but there certainly was a bond among all the members of his own family. There was great affection between him and his wife Liz. Most fans will think of him as a world class artist, but for me I always remember him as world class dad and husband. It was an honor and a pleasure knowing him and his family. </div>
Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-89137335846393352532017-04-17T10:24:00.000-07:002017-04-17T10:28:59.520-07:00MAD MUMMY IN PRINT PT. 4 Solos<div class="p1">
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There were twelve issues in the Mad Mummy series, which I spent a little over two years working on. They were published digitally and you can find them on sale at iVerse. (<span class="s1" style="font-size: x-small;"><a href="https://digital.comicsplusapp.com/product_lines.php?publisher_id=171">https://digital.comicsplusapp.com/product_lines.php?publisher_id=171</a></span>) Currently I am planning on a very limited print run of the series, which will be broken up into a series of three graphic novels. From time to time I get requests from fans wanting to know if there is a print edition of the books, so I’m this offer is to any of you who might be interested.</div>
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Because both the costs of printing and shipping are outrageously expensive, even offering this product at slightly above cost doesn’t always make it affordable to readers. Each of the three 92 page volumes will run $15, plus an additional $7 postage/handling.(Postage for orders outside the U.S. will have to be calculated differently.) I thought about lowering the shipping cost by sending the material Media Mail instead of priority, but tracking/insurance keep this from being a realistic option. However, you are only stuck with the shipping cost once; if you order more than one of the volumes the shipping stays the same.<br />
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What you are getting for that price is a one of kind book, because I certainly don’t have any plans to print and sell this commercially. Also, you will receive a piece of signed artwork from series from one of the thumb nailed pages or a series of panels from one of the pencil roughs. While I won’t guarantee you can pick whatever page you desire, I will try and give you options. And when the original art goes on sale, if you have purchased one of the volumes you will always get a 15% discount on anything you might be interested in. </div>
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So if any of you are interested in having any of the Mad Mummy Exclusive Trade Paperback editions, send me an email and reserve your copy today. I am planning on having the books ready to ship to any who are interested by the end of May, 2017.<br />
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<span style="background-color: #f6f6f5; color: #323333; font-family: "verdana"; font-size: 13px;">Mad Mummy #9</span></div>
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<span style="background-color: #f6f6f5; color: #323333; font-family: "verdana"; font-size: 13px;">"Whether you have bullies for schoolmates, a child predator after you in a locked museum, </span></div>
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or just a very nasty parent, it’s good to have a mummy looking out for you."<span class="s1"> </span></div>
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Mad Mummy #10</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwq07h5yGKMZ3xMe_FyZC1_VoTZnmhCzAEBhS9lj3uhkc7OIY3shEbU4_9RiklCbii8bBBAgvZ_tyh-GyrLXg753Y8AiWToGwE77KLp0Uf92c7kTIiye3nGzTJGngn3_7R12o4yagfANE/s1600/MM10Cov.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwq07h5yGKMZ3xMe_FyZC1_VoTZnmhCzAEBhS9lj3uhkc7OIY3shEbU4_9RiklCbii8bBBAgvZ_tyh-GyrLXg753Y8AiWToGwE77KLp0Uf92c7kTIiye3nGzTJGngn3_7R12o4yagfANE/s400/MM10Cov.jpg" width="268" /></a></div>
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Since he is 3400 hundred years old, Adam Ray can offer some great firsthand insights to his his friend Colin, the museum curator on the artifacts discovered of the cat god Bast. But there are others interested in this find as well: two space aliens Augah and Rushee who have a much greater affinity for cats than for humans. When the three terrorist stooges who are thrown into the mix, all hell breaks loose with Adam, Colin and our kitty narrator thrown right in the middle. Zany and wacky antics ensue with a hot heroine and non stop action. Don’t miss it! </div>
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Mad Mummy #11</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPOW3DuWNlBHiKHaM6hdaomcpA27kfBLyVqq-Uq2H9lM3cyzxOrh-e9EDZIXj99LiZ6xxNlBWOa1bCnTegHTwAnLM95pv2pA8NHzeZ3J-w79TRr9xhwCeWWyL9iXKiXDoOZ7UTvPubiU/s1600/MM11Cov.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPOW3DuWNlBHiKHaM6hdaomcpA27kfBLyVqq-Uq2H9lM3cyzxOrh-e9EDZIXj99LiZ6xxNlBWOa1bCnTegHTwAnLM95pv2pA8NHzeZ3J-w79TRr9xhwCeWWyL9iXKiXDoOZ7UTvPubiU/s400/MM11Cov.jpg" width="276" /></a></div>
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In an effort to save an innocent boy, Aten Ra, the Mad Mummy, takes on the despicable and debauched demon, Rumscheyliesha and her soulless minions in a vicious game of organ poker. Will Adam Receive the unkindest cut of all? Gasps, gore and guffaws in another tale narrated by the cat, Mr. Ard.</div>
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Mad Mummy #12<br />
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There are trials and tribulations for along the way for Aten Ra as he escorts his friend Robert too the land of the dead. But there is a sexy boat Captain named Sharon to ferry them, and our feline friend Mr. Ard is there to narrate. Fun and thrills for all. </div>
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When I was working on my fanzines back in the 60’s and had aspirations toward being a cartoonist, the main folks that I was looking at were the popular working artists of the day: Joe Kubert, Leonard Starr, Wally Wood, Jack Kirby, Al Williamson,etc. However, my friend Richard “Grass” Green kept raving about his favorite comic strip…something called the Spirit, by Will Eisner. The first time I finally saw any of this work was when Harvey Comics reprinted to giant size comics of several of the stories when I was a junior in college. Needless to say, I was immediately hooked.</div>
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For those of the uninitiated, the Sprit was Denny Colt, a police detective who is presumed dead, but comes back in the secret identity of the Spirit to fight crime. His hidden lair is in Wildwood Cemetery. He wore a suit and as a token to costumed heroes, a mask to cover his eyes. I didn’t know what to make of the artwork when I first saw it. It was definitely cartoony, but with a sense of realism and lighting that was beyond what I was seeing most comics. And the acting, the staging and the camera movement were far ahead of anything else that I was familiar with . Yeah, it looked like a movie.</div>
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What really impressed me was that although Eisner was from an era of genocide, h-bombs, mass starvation and despair his stories still maintained a light touch.They might be filled with violence, hatred and drama, but you knew that it was all going to work out in the end. If I had wanted realism, there was literature and history. Eisner’s Spirit was just there to entertain, and what wonderful entertainment it was. While Marvel and DC filled their comics with super human misfits and giant aliens, Eisner’s stories were always about real people. Often the secondary characters were far more important to the plot that the Spirit. </div>
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When I started writing my own comics, way back when I created Linda Lovecraft, I immediately went to Eisner for direction and inspiration. And thirty years later you can certainly see it in these last four tales of the Mad Mummy. </div>
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<tr><td class="tr-caption" style="text-align: center;">(Above and below: me doing my homage to Will who once told me, "My heroines are usually women who promise a lot more than they can deliver." I've also tried to add that element to my stories.) </td></tr>
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(For more on Eisner and his approach to writing, you can check out <i>Eisner and Film:Trouble In Paradise</i>.<a href="http://vozwords.blogspot.com/2016/12/eisner-and-film-trouble-in-paradise.html">http://vozwords.blogspot.com/2016/12/eisner-and-film-trouble-in-paradise.html</a>)</div>
Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-22290519447385022482017-04-11T14:07:00.003-07:002017-04-11T14:20:48.208-07:00MAD MUMMY IN PRINT PT. 3- The Devil Doctor<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">(Alternative cover for #7 that wasn't used.)</td></tr>
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There were twelve issues in the Mad Mummy series, which I spent a little over two years working on. They were published digitally and you can find them on sale at iVerse. (<span class="s1"><a href="https://digital.comicsplusapp.com/product_lines.php?publisher_id=171">https://digital.comicsplusapp.com/product_lines.php?publisher_id=171</a></span>) Currently I am planning on a very limited print run of the series, which will be broken up into a series of three graphic novels. From time to time I get requests from fans wanting to know if there is a print edition of the books, so I’m this offer is to any of you who might be interested.</div>
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Because both the costs of printing and shipping are outrageously expensive, even offering this product at slightly above cost doesn’t always make it affordable to readers. Each of the three 92 page volumes will run $15, plus an additional $7 postage/handling.(Postage for orders outside the U.S. will have to be calculated differently.) I thought about lowering the shipping cost by sending the material Media Mail instead of priority, but tracking/insurance keep this from being a realistic option. However, you are only stuck with the shipping cost once; if you order more than one of the volumes the shipping stays the same. </div>
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What you are getting for that price is a one of kind book, because I certainly don’t have any plans to print and sell this commercially. Also, you will receive a piece of signed artwork from series from one of the thumb nailed pages or a series of panels from one of the pencil roughs. While I won’t guarantee you can pick whatever page you desire, I will try and give you options. And when the original art goes on sale, if you have purchased one of the volumes you will always get a 15% discount on anything you might be interested in. </div>
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So if any of you are interested in having any of the Mad Mummy Exclusive Trade Paperback editions, send me an email and reserve your copy today. I am planning on having the books ready to ship to any who are interested by the end of May, 2017.</div>
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All in all lots of thrills, chills, and laughs. So if you are enjoying the series on Vozcomix or through Comics Plus, here’s your chance to have your own hard copy. The deadline for ordering is May 1, so don’t delay if you have any interest. Contact me:VOZART@GTE.NET </div>
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The second volume of the Mad Mummy deals with his relationship with the mysterious and ageless Chinese doctor, and the fact his daughter,Ming Yue, is the reincarnation of Aten Ra’s (Adam Ray, the Mad Mummy) estranged wife Ahnkesenamun. While last week I explained that the 1932 Boris Karloff film, The Mummy, was my major source of inspiration for the series, another equally important inspiration was Sax Rohmer’s Dr. Fu Manchu stories.</div>
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MM05 Dashing to the Rescue</div>
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It's nineteenth century China and Aten Ra meets up with Sir Richard Dashing, the most decorated hero of the Victorian Age...who's also a an unrepentant womanizer, dedicated cheat and major league coward. Both Aten Ra and Dashing have to deal with the powerful and mysterious Group of Seven and the Chinese doctor who dominates the scene. Thrills, romance, laughs...a rollocking good time for all! </div>
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MM06 The Devil Doctor</div>
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Adam reunites with his friend the Chinese doctor and they reminisce about their earliest meetings and Adam’s relationship with his daughter. This one is set in Egypt back in the latex l920’s at the Tomb of the Black Ape. And some revelations about how the doctor’s <i>elixir vitae </i>was created.</div>
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MM07 Fires of the Devil Doctor</div>
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<span style="text-align: start;">As their reminiscing continues, Adam and the Doctor continue their discussion about how his daughter, Ming Yue, had interfered with his plans so many times in his career…until he finally plans for her destruction. Adam has to rush to the rescue to save his reincarnated estranged wife from this horrible vengeance.</span></div>
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MM08 Reincarnalation</div>
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While convalescing in Egypt, Ming Yue is given a guided tour by Adam of her many past lives as he takes her back and reexamines their tenuous relationship. As all this is revealed, things aren’t going as well as planned by Adam.</div>
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While convalescing in Egypt, Ming Yue is given a guided tour by Adam of her many past lives as he takes her back and reexamines their tenuous relationship. As all this is revealed, things aren’t going as well as planned by Adam.<br />
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When I was about twelve my older cousin Robert Hiller had suggested I might be interested in reading these books. I tracked a couple down at the local library and I was hooked from page one. By the time I graduated from high school I had tracked down the entire collection of thirteen novels and read them all…most of them more than once. In the earlier books (written in 1910-17) Dr. Fu Manchu is a brilliant scientist and the head of an Asian organization, the Si-Fan, and the bane of the English empire. He was the original demented and sadistic Yellow Peril villain. Rohmer took a hiatus from the series for well over a decade, and when he revived the Doctor in the early 30’s, through his travels and experiences, the writer had a very different world view. While Fu Manchu was still a megalomaniac bent on world domination, Rohmer turned him into a much more complicated and sympathetic character. Disgusted with what was going on in the world, the man had a plan to run things better, and as long as you didn’t get in his way, things were fine. Usually it was his own daughter who would screw things up for him with her romantic notions. What a family. All in all, they were always a very fun read.</div>
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About the time I discovered the Chinese doctor, I also became friends with Fred Jackson, who showed my some of his own homemade comics he had created, and one of them featured a villain who was the son of Fu Manchu. Needless to say, I was soon emulating Fred and writing and drawing (I use the term loosely) my own comics. One of the first was called The Cursed and had Fu Manchu recruiting Dracula, Frankenstein and the Wolfman to help him in some nefarious scheme. (Hmmm…did I ever show that one of Alan Moore.) Fred also had the advantage of having seen some of the TV and film adaptations of the Rohmer material. Not having a TV I had been spared that “luxury”; I’ve yet to see a film adaptation that ever captured the character with any real understanding. Karloff was especially miscast in <i>The Mask of Fu Manchu</i>.</div>
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"Imagine a person, tall, lean and feline, high shouldered, with a brow like Shakespeare and a face like Satan, a close-shaven skull, and long, magnetic eyes of the true cat-green. Invest him with all the cruel cunning of an entire Eastern race, accumulated in one giant intellect, with all the resources of science past and present, with all the resources, if you will, of a wealthy government … Imagine that awful being, and you have a mental picture of Dr Fu Manchu.” That was Rohmer’s description of the Doctor in his first book. Later after he had travelled to Egypt he used the mummy of Seti I as a visual replica.<span class="s2"> </span></div>
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One of my comic book treasures as a teenager was a copy of Wally Wood’s brilliant artistic adaptation of <i>The Mask of Fu Manchu</i>. That was definitely source material for the Mad Mummy. Probably my first published drawings were used on the dust jacket of Sax Rohmer’s biography, <i>Master of Villainy</i>. When I started working in comics, one of my first assignments was drawing Chang Chi, the Master of Kung Fu. He, of course, was the son of Fu Manchu and I got to draw his old man a lot in the issues I did. Later I did my own creator owned series called <i>Off-Castes</i> where which featured the mysterious Ju-Tan, who was inspired by the doctor, and was modeled after Seti I. With <i>The Mad Mummy</i> I went directly back to the source material again, and what a guilty pleasure it was working on the series. </div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-50435776391188474992017-04-05T11:23:00.001-07:002017-04-05T11:31:46.236-07:00MAD MUMMY IN PRINT Pt. 2<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There were twelve issues in the Mad Mummy series, which I spent a little over two years working on. They were published digitally and you can find them on sale at iVerse.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;">(</span><a href="https://digital.comicsplusapp.com/product_lines.php?publisher_id=171" style="font-family: Arial, Helvetica, sans-serif; text-align: start;" target="_blank">https://digital.comicsplusapp.com/product_lines.php?publisher_id=171</a><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;">) </span><span style="font-family: "arial" , "helvetica" , sans-serif;">At one point they </span><span style="font-family: "arial" , "helvetica" , sans-serif;">were also available on Comixology, but I’ve pulled them off the latter for unrelated reasons. Currently I am planning on a very limited print run of the series, which will be broken up into a series of three graphic novels. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is not a commercial venture, as I have long since learned the folly of trying to sell books as an independent publisher. For selfish reasons, rather than rushing to computer every time I want to look at one of the issues, I want to be able to view and hold the finished product in my hand and stick it on a shelf in my library. So my initial motivation is to print up a limited number for my own use. I also need a limited number of issues to be able to hand out to publishers and for business reasons. From time to time I also get requests from fans wanting to know if there is a print edition of the books, so I’m also offering to any of you who are interested.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here's a preview of the first volume of Mad Mummy and the first four issue it contains:</span><br />
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Mad Mummy 01- Resurrection</div>
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<span style="font-size: small;">Cursed to spend eternity roaming the world , Aten Ra, the Mad Mummy is just trying to find a little peace and quite in the suburbs of LA, but 3350 years later the reincarnations of his two old girlfriends are still making his life miserable.</span></div>
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Mad Mummy 02 - She Who Walks in Beauty</div>
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<span style="font-size: small;">Cursed to wander the world for eternity, high priest Aten Ra is now try to make the best of it enjoyed the sunshine and living in a quiet section of LA. Then the reincarnation of Nefertiti, the woman who destroyed his life, shows up. Some guys just can't catch a break.</span></div>
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<span style="font-size: small;">A relaxing day at Malibu Beach takes a twisted turn when Adam discovers the reincarnation of his former lover and betrayer Queen Nefertiti is one of the cuties playing volleyball on the sand. Adam recalls his former life in a flashback sequence, and ponders whether his future in LA will ever be peaceful again.</span></div>
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Mad Mummy 03 - Pawns in the Game</div>
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When a cabal of military, business and political men attempt to evict the Harperlys and the Mad Mummy, Adam Ray, from his current LA residence he goes on the offensive. </div>
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This wild conspiracy results in Adam Ray’s landlady Agnes Harperly and her kids Jeb and Jean in danger of losing their home and livelihood. When Adam confronts the reincarnation of his estranged wife Ankesenamun it is no surprise when he discover that HE is actually the target of this cabal. The army, the city, and the corporation are about to find out just how annoyed a mad mummy can get.<span class="s1">It's not nice to mess with a Mad Mummy! 28 pages in full color.</span></div>
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MM04- War of the Wizards</div>
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Learning how to exist as a living corpse with rotting flesh is one of the first things Aten Ra must deal with when released from the tomb where he has been imprisoned for a century. So he turns to the feared necromancer, Ragmar, and is soon dragged into a battle with the wizard’s rival, the beautiful and wicked Kshayla. A mad-eyed wizard, a slinky sorceress, a sword battle with savage apes…and one immortal mummy just trying to keep things together.</div>
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Action and magic galore in this flashback into Adam Ray’s past.</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Because both the costs of printing and shipping are outrageously expensive, even offering this product at slightly above cost doesn’t always make it affordable to readers. Each of the three 92 page volumes will run $15, plus an additional $7 postage/handling.(Postage for orders outside the U.S. will have to be calculated differently.) I thought about lowering the shipping cost by sending the material Media Mail instead of priority, but tracking/insurance keep this from being a realistic option. However, you are only stuck with the shipping cost once; if you order more than one of the volumes the shipping stays the same. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">What you are getting for that price is a one of kind book, because I certainly don’t have any plans to print and sell this commercially. Also, you will receive a piece of signed artwork from series from one of the thumb nailed pages or a series of panels from one of the pencil roughs. While I won’t guarantee you can pick whatever page you desire, I will try and give you options. And when the original art goes on sale, if you have purchased one of the volumes you will always get a 15% discount on anything you might be interested in. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">So if any of you are interested in having any of the Mad Mummy Exclusive Trade Paperback editions, send me an email and reserve your copy today. I am planning on having the books ready to ship to any who are interested by the end of May, 2017.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">This should give you an idea of contents of the first volume. A similar preview for volumes two and three will be posted soon.</span></div>
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<a href="mailto:VOZART@GTE.NET" style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-family: arial, helvetica, sans-serif;"></span></a><span style="font-family: arial, helvetica, sans-serif;"><a href="mailto:VOZART@GTE.NET" style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-family: Arial, Helvetica, sans-serif;">All in all lots of thrills, chills, and laughs. So if you are enjoying the series on Vozcomix or through Comics Plus, here’s your chance to have your own hard copy. The order goes in late in April, so don’t delay if you have any interest. Contact me</span></a><span style="font-family: arial, helvetica, sans-serif;">:VOZART@GTE.NET </span></span></div>
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<br />Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-47601821073015373912017-03-28T09:28:00.004-07:002017-04-03T16:14:08.684-07:00MAD MUMMY IN PRINT PT. 1<div class="p1">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0PEGsDUjhdHkeSGUN__JYUCQ9Z82gIb0JGQdByYwgFB6p9t_H50lJ_UyNNo0YgGH0VydzAEmNS6LK_0O5KC5pQ9UmRttCeVPh8j4cRv-fBa1EGqn4bnt0gplNPcFCOXlsjSqluQ4XY_E/s1600/MMPromo02Finish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0PEGsDUjhdHkeSGUN__JYUCQ9Z82gIb0JGQdByYwgFB6p9t_H50lJ_UyNNo0YgGH0VydzAEmNS6LK_0O5KC5pQ9UmRttCeVPh8j4cRv-fBa1EGqn4bnt0gplNPcFCOXlsjSqluQ4XY_E/s400/MMPromo02Finish.jpg" width="265" /></a></div>
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<span style="font-size: small;">My favorite horror film of all time is The Mummy, starring Boris Karloff. And it was a movie that I didn’t see until I was in my mid twenties. The movie was made at a time when the world was fascinated with the newly discovered tomb of Tutankhamun and makes use of the art and treasure that had been brought to light. (King Tut was the son of Akhenaten, the pharaoh who will cause Aten Ra all his problems.)</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtmDNlPJpiGyvF9Y9DzAb3Wt2G8QMAbvTT-0EI_rCdCfJOkm_EzBRSxSSDKOA4Xh7LQvPPDSPz7JxDUeBYt38RG1HypK5HzscEqK00n5GSncNiVp8PMsEPybhXoVfJkYsxt8HeBmFwa8g/s1600/seti1_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtmDNlPJpiGyvF9Y9DzAb3Wt2G8QMAbvTT-0EI_rCdCfJOkm_EzBRSxSSDKOA4Xh7LQvPPDSPz7JxDUeBYt38RG1HypK5HzscEqK00n5GSncNiVp8PMsEPybhXoVfJkYsxt8HeBmFwa8g/s400/seti1_1.jpg" width="350" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Seti I who Sax Rohmer described as his model for Dr. Fu manchu.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJj6QU4RLMGnZTKKP5Rb6lAzvMFSPUIBHCpadSMSytjBej95MvOd_fzBf1SLOaqSEqyOT9GpV6HjhDjJiHiPnINOcRSjyjVOiHnZmvFEgIi6KH477R4hkrOKn6aghYKz6eNukRegVjlgs/s1600/seti1_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJj6QU4RLMGnZTKKP5Rb6lAzvMFSPUIBHCpadSMSytjBej95MvOd_fzBf1SLOaqSEqyOT9GpV6HjhDjJiHiPnINOcRSjyjVOiHnZmvFEgIi6KH477R4hkrOKn6aghYKz6eNukRegVjlgs/s320/seti1_2.jpg" width="320" /></a></div>
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<span style="font-size: small;">Karloff is superb in both his fully wrapped Mummy makeup, and as the living corpse Ardeth Bey. The sets and the cinematography are magnificent. Some of my most vivid childhood experiences were visiting the Egyptian room at the Detroit Historical Museum and this movie brought them all back for me. While King King, Dracula and Frankenstein were the seminal moments of film fantasy for a lot of my contemporaries, for me it was always the Mummy. So it was only natural that I would eventually do a comic book about a mummy. </span></div>
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<span style="font-size: small;">My first effort was a shorter piece called Mummy’s Boy, written by my Lori Lovecraft co-writer Pete Ventrella, which eventually was published as a Voodoo Mansion story. That still didn’t satisfy my creative lust for the character. As I thought more about the character, I understood that whatever I did, I wanted it to have to same whimsical approach as Will Eisner’s Spirit. And like that series, the stories wouldn’t always focus on the mummy as the main character. The two cartoonists who’s work really impacted me emotionally were always Joe Kubert and Wally’s Wood, so I pulled out of lot of their earlier work from the l950s when I began to design and draw the character. And while it didn’t happen immediately, I knew that Sax Rohmer and Dr. Fu Manchu were going to play a big part in the stories.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmzrhyoBehAogwoGAUukqpj3Fs8k8mvPxBU-_A7BlcpXQTer_e7P-xdsc25KEsL3OHh0GDVUmomcsHHJMX-ZNnxjNLUUwCcvL37QKCjr3SOt409C0R_bOgr4xvhXocwtTRNiLgv8EQII/s1600/MM0102.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmzrhyoBehAogwoGAUukqpj3Fs8k8mvPxBU-_A7BlcpXQTer_e7P-xdsc25KEsL3OHh0GDVUmomcsHHJMX-ZNnxjNLUUwCcvL37QKCjr3SOt409C0R_bOgr4xvhXocwtTRNiLgv8EQII/s400/MM0102.jpg" width="400" /></a></div>
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<span style="font-size: small;">Because of the sheer amount of time involved in writing, drawing and producing a comic, I originally planned on finding someone to write the stories, and to draw the stories in my simply storyboard style. I failed on both counts on that approach as I did wind up writing all the stories, and somehow there never seemed to be any shortcuts I could take with the art. This really was my labor of love, so commerce never entered into the creative process. </span></div>
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<span style="font-size: small;">Every morning my habit is to take an hour long walk up into the foothills behind my house, and this is where I did a lot of the writing and development of the characters and the story. When things would eventually gel, I’d sit down and write out a plot for the issue, and then thumbnail the entire story. After I had gathered the necessary reference I would then rough out the pages in pencil, and then trace those off onto the boards, which I would then ink. (I usually did a line drawing using a Vision rollerball pen or something similar, and then would lay in black and texture with India ink and a brush. Not having the hand of a surgeon, I tried to rely more on design and value rather than line.) The last stage was then to scan the pages in and letter and color them. Thank god I had my assistant Leyanna around to help with those chores; she was invaluable. </span></div>
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<span style="font-size: small;">There were twelve issues in the series, which I spent a little over two years working on. They were published digitally and you can find them on sale at iVerse. (<a href="https://digital.comicsplusapp.com/product_lines.php?publisher_id=171" target="_blank">https://digital.comicsplusapp.com/product_lines.php?publisher_id=171</a>) At one point they were also available on Comixology, but I’ve pulled them off the latter for unrelated reasons. Currently I am planning on a very limited print run of the series, which will be broken up into a series of three graphic novels. </span></div>
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<span style="font-size: small;">This is not a commercial venture, as I have long since learned the folly of trying to sell books as an independent publisher. For selfish reasons, rather than rushing to computer every time I want to look at one of the issues, I want to be able to view and hold the finished product in my hand and stick it on a shelf in my library. So my initial motivation is to print up a limited number for my own use. I also need a limited number of issues to be able to hand out to publishers and for business reasons. From time to time I also get requests from fans wanting to know if there is a print edition of the books, so I’m also offering to any of you who are interested.</span></div>
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<span style="font-size: small;">Because both the costs of printing and shipping are outrageously expensive, even offering this product at slightly above cost doesn’t always make it affordable to readers. Each of the three 92 page volumes will run $15, plus an additional $7 postage/handling.(Postage for orders outside the U.S. will have to be calculated differently.) I thought about lowering the shipping cost by sending the material Media Mail instead of priority, but tracking/insurance keep this from being a realistic option. However, you are only stuck with the shipping cost once; if you order more than one of the volumes the shipping stays the same. </span></div>
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<span style="font-size: small;">What you are getting for that price is a one of kind book, because I certainly don’t have any plans to print and sell this commercially. Also, you will receive a piece of signed artwork from series from one of the thumb nailed pages or a series of panels from one of the pencil roughs. While I won’t guarantee you can pick whatever page you desire, I will try and give you options. And when the original art goes on sale, if you have purchased one of the volumes you will always get a 15% discount on anything you might be interested in. </span></div>
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<span style="font-size: small;">So if any of you are interested in having any of the Mad Mummy Exclusive Trade Paperback editions, send me an email and reserve your copy today. I am planning on having the books ready to ship to any who are interested by the end of May, 2017.</span></div>
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Volume One: Issues #1-4</div>
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<span style="font-size: small;"><i>Resurrection</i> introduces several of the main characters and establishes the relationship between Aten Ra, the defrocked high priest who is doomed to wander the earth for eternity and the reincarnation of his estranged wife, Ankhesenamun. And of course there is a cat,the scraggy Mr. Ard...or Bast if you want to call him by his formal name. <i>She Who Walks in Beauty</i> which introduces another woman from Aten Ra's past, Nefertiti, and we learn more of the basis of this love triangle. Issue three continues with Atan Ra (now known as Adam Ray) settling into his new residence in the northern suburbs of LA with his landlady Agnes Harperly and her two kids Jeb and Jean. But things are never simple in life, especially an endless life, and the Mad Mummy goes into full battle mode to solve his current problem. In <i>War of theWizards</i> we go back into Aten’s Ra’s past after he is rudely awakened by grave robbers and tell the story about when he meets his first instructor in his study of the occult and the mystic arts. It’s not a long relationship and it’s filled with manipulation and betrayal, but it is a beginning for him in his new life. </span></div>
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Volume Two Issue #5-8</div>
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<span style="font-size: small;">Issue five picks up his story several hundred years later when he is at the height of his mystic powers. And our narrator, the cat Mr. Ard, gets a break from his duties, as this tale is told to us by an English officer who is surprisingly similar to George McDonald Fraser’s Sir Harry Flashman. The location is China shortly after the TaiPing Rebellion. And of course we get at first look at Ming Yue/Ankesenamun’s father: a young Chinese doctor who will go on to become the world’s greatest terrorist of fiction in the early twentieth century. In issue six, the back story of Aten Ra (now known as Adam Ray) continues in 1928 in Egypt when he once again meets the Chinese doctor, who is now extremely ancient, and his daughter Fah L Suee who is the reincarnation of Aten's estranged lost love, Ankhesenamun. The story explains Aten Ra's part in helping create the <i>elixir vitae</i> that restores Fu Manchu's life force. In issue seven, this triangle continues in the late 30's, and eventually reaches it's conclusion when the Chinese doctor decides to toss his daughter in the furnace for her disobedience and Aten Ra has to rush to the rescue. In the last story, Aten Ra takes Ming Yue through has past lives so that she understands her centuries old connection with him. Yeah..that ends well…and then we reconnect with in current time with the doctor has finally retired to the beaches of Malibu. </span></div>
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Volume Three Issue #9-12</div>
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<span style="font-size: small;">The aforementioned <i>Mummy’s Boy</i> story opens the book, followed by <i>The Avatar of Bast</i>, where a couple of space aliens help Mr. Ard learn more about his past.The third tale, <i>Rumsheleisha’s Paw</i>, features a twisted game of organ poker with Aten Ra playing against a demon for the life of a child. <i>And in Left Turn at Vine</i> Adam has to escort an old friend to the land of the dead. </span></div>
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<span style="font-size: small;">All in all lots of thrills, chills, and laughs. So if you are enjoying the series on Vozcomix or through Comics Plus, here’s your chance to have your own hard copy. The order goes in late in April, so don’t delay if you have any interest. Contact me:<a href="mailto:VOZART@GTE.NET">VOZART@GTE.NET</a></span></div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com0tag:blogger.com,1999:blog-2992113655753293816.post-16309370943912693012017-02-19T17:36:00.000-08:002017-02-19T17:36:19.485-08:00THE DIFFERENT PATH: MIKE KUCHARKSKI<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;">Growing up in Detroit, there was no shortage of those of us who ended up working in comics; it was a great help that we all fostered and encouraged each other and had lots of support when we travelled to the Big Apple to try and break into the business. There was Rich Buckler, Terry Austin, Al Milgrom, Jim Starlin, Keith Pollard and Arvel Jones to name just of few of the group. One of the extremely talented artists who started out with us but took a slightly different path was Mike Kucharski.</span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">His work impresses me because he has certainly gone beyond the confines of comic book art and developed as an illustrator. When I first met Mike his work was as strong as polished as any of the other Detroiters mentioned above. Maybe it was his art school background (few of us actually had that experience) where one of his teachers was the amazing talent Harry Borgman (<a href="http://vozwords.blogspot.com/2013/10/harry-borgman-motorcity-madman.html" target="_blank">Vozwords 10/12/13 </a></span><span style="font-size: small;">). Besides getting a great background in the fundamentals of drawing and design,</span><span style="font-size: small;"> </span><span style="font-size: small;">Mike learned one of the basic lessons young artists should have. When I worked with Chaykin, most of the apprentices would tell us they wanted to be comic book artists. We would correct them and explain that they should work toward being a strong artist who has comic book clients. Never limit yourself to a single field in art because if things are slow there or dry up completely, you’re going to have some rough times.</span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">One of the reasons Mike chose not to pursue a life in comic was he felt he didn't draw fast enough to earn a living. To get the quality of work he wanted he need reference (photos or live models) and that process was a much slower one. With the help of a mutual friend , Byron Preiss, Mike got an interview with Gick Giordano at DC in 1970l In 1991 Byron had Mike do an adaptation of Ray Bradbury's "Besides a Dinosaur, What Do You Want to Be When You Grow Up."</span></div>
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<span style="font-size: small;">He has certainly hasn’t lacked for work as an artist. Over his career he has drawn storyboards for the auto industry, painted covers for VHS and DVD releases, provided illustrations for role playing games, and done a good bit of art for the Detroit museums. Asked about what difficulties he encountered in the working place, he mentioned the lack of logic at times when working for clients: when doing comps the art director would ask him to do three, but do one badly so that it would immediately be rejected by the client who them only had to flip a mental coin. I had heard the same advice often, only to watch clients go gaga over the “bad” drawing. </span></div>
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<span style="font-size: small;">Mike still lives in Detroit and is the father of twin sons. While I started out working as a teacher. Mike’s career in teaching came later in life between 2005-2015, although he did do some work in Adult classes while in college and also some substitute teaching the the 1990's.</span><span style="font-family: Times;"><span style="background-color: #fffb01; font-size: 12px;"> </span></span><span style="font-size: small;">While I loved teaching, I learned that art was a whole lot more fun. And like Mike, I’ve learned that there is more to the world of storytelling and illustration than just drawing comics. </span></div>
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<span style="font-size: small;">Below a few autobiographical words from Mr. Kucharksi:</span></div>
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<span style="font-size: small;"><span class="s3"> </span><span class="s4">Born in Detroit, as a kid I spent nine months out of the year drawing, and the summer months running through Michigan’s northern woods; I grew up in Hazel Park where I discovered King Arthur in a two room public library, and The Batman, The Flash and Doctor Strange on a local corner drugstore rotary comic book stand. I won a regional drawing contest when I was 11 years ago, sold my first piece of fanish artwork at the 1969 Detroit Triple Fan Fair, and discovered I didn’t draw fast enough to make a living drawing comic books when I was 18. I began illustrating table top roleplaying game books and sf/fantasy magazines a decade later; a few years after that went into advertising as both a graphic designer and as an illustrator, where I worked on everything from movie posters and video box covers to TV commercial storyboards, and campaigns for birdfeed, FTD, Motorola and Volkswagon . However, I got tired of creating artwork to help sell stuff to people that they didn’t really need, and so by an odd twist of fate, I ended up in the museum industry first working as a Graphic designer and later as an Exhibit Designer. This freed me up to pursue other artistic endeavors: wildlife painting (several have won national competitions and one has become part of the permanent collection of the Springfield Art Museum), fine art printmaking (most of which via paper lithography), and Pre-Raphaelite imagery which I continue to do.</span></span></div>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1tag:blogger.com,1999:blog-2992113655753293816.post-12032689936914089592017-02-02T15:58:00.000-08:002017-02-02T16:45:26.659-08:00A Tribute to Dan Spiegle<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRiqPHLYmm8-7LWt4k0O6g0ut7muFCPrHnxxgeAdj3OxB7K1WHs4cxTmsCA5f80FQgN6izSs4rqOLCnK6me2xG86Rn6UAmPEkh62w4RgpFJnZGNSvrWX6e24kU4S77AaeUFQWBWjgcQjU/s1600/danspiegle01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRiqPHLYmm8-7LWt4k0O6g0ut7muFCPrHnxxgeAdj3OxB7K1WHs4cxTmsCA5f80FQgN6izSs4rqOLCnK6me2xG86Rn6UAmPEkh62w4RgpFJnZGNSvrWX6e24kU4S77AaeUFQWBWjgcQjU/s400/danspiegle01.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Dan Spiegle 1920-2017. Working here standing upright on his drawing table.)</td></tr>
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DAN SPIEGLE</div>
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This week the world of cartooning and illustration lost one of the great ones with the passing of Dan Spiegle. While there are many of my idols that I refer to as masters of their craft, with Dan I would always add one just what a warm and wonderful man he was. God bless you,Dan. You’ll be missed. Below is the CAPS feature that I put together for Dan when we honored him at one of our banquets several years back. </div>
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By Mike Vosburg</div>
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Although not a California native (his parents moved here from Washington when he was four) Dan has lived in California most of his life, marrying his wife Marie and raising their four children in the Golden State.</div>
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During WWII Dan served in the Navy for three and a half years on a Carrier Aircraft Service Unite based in Maui. He also worked for the base newspaper, drawing covers and doing cartoons inside.</div>
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After the war he decided to pursue a career in the arts, using the GI Bill to enroll at the Chenard School. At the time Mrs. Chenard was a friend of Walt Disney who hired many of the students fresh from school. The instructors were excellent illustrators, often working in the film industry, and their disciplined approach to drawing and draftsmanship would be a hallmark of Dan Spiegle’s work.</div>
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But Mrs. Chenard Frowned on comics strips and books. Greatly impressed by the grandeur and cinematic sweep of Howard Hawkes “Red River”, Dan began developing a western strip which would incorporate that sensibility. During life drawing class he would start on a figure, flip the page over and work on his comic page, quickly hiding it if Mrs. Chenard were to enter the room.</div>
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It was these drawings he took to his first job interview, coincidentally on the corner of Hollywood and Vine, in the fall of “49. They wanted him to draw “Bozo the Clown”, but Dan, not feeling this was his strength, politely turned them down. However, the art director was impressed enough with the western strip that he sent him around the corner to the office of Bill Boyd, aka Hopalong Cassidy.</div>
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Boyd, probably the first movie and TV personality to truly understand the potential of merchandising and was constantly looking for ways to promote “Hoppie” while increasing his audience and his income. He immediately recognized the talents of the young Dan Spiegle (he liked the way he drew horses) and shortly thereafter Dan was hired by the Times Mirror syndicate the draw the Hopalong Cassidy newspaper strip. A year later the strip moved to King Features, and Dan continued to draw the strip until the mid-fifties.</div>
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Paid a salary by King Features, Dan discovered that better money could be made drawing for comic books. When Kind Features asked him to take a pay cut when the “Hoppie” strip started to lose papers, the decision was a simple one and Dan began working for Western Publishing. Because of his background (and their popularity at the time) his assignments were often Westerns: Annie Oakley, Maverick, Rifleman, Lawman and numerous others. </div>
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He also did the Dell Movie Classics, including such films as “Mutiny on the Bounty” and “Old Yeller.” However, his longest running stint and one which gave him the most visibility was an adaption of the popular TV science-fiction series, “Lost in Space.”, which ran for over forty issues.</div>
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Dan’s hobbies include being an avid tennis player (he an Marie were able to attend the opening day ceremonies at Wimbleton this year ) and working on watercolors. The latter has had a major effect on his work. When drawing a comics page, he will try and keep the actual drawing to a minimum, establishing only the basic shapes and tonal patterns. Consequently, when he adds his penline, he is still “drawing” and there is a wonderful life and spontaneity to the work. Then he proceeds to work like a watercolorist as he adds black, putting in the broadest strokes first and finessing as he finishes.</div>
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His influences, not surprisingly are all hall of fame illustrators: Fred Ludekens, Noel Sickles, Robert Fawcett and Harold Von Schmidt ( his favorite.) Their attention to detail, draftsmanship carefully composed compositions are always evident in Dan’s style. But the hallmark of the great illustrators which is so evident in Dan’s work is the absolute precision in telling a dynamic story without cheats or beating the viewer over the head with outrageous style. In Dan’s work, the story always comes first. </div>
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In Scott Shaw’s comments elsewhere in this booklet, you can find the story of how Dan moved into the field of humor with Scooby Doo, and then on to his and then on to his personal favorite, “Crossfire.” And it was his association with Mark Evanier which brought him to D.C. comics in the mid 70’s where he worked on Blackhawk, Sgt. Rock, Bat Lash, Weird War Stories and others. (I’m also HAPPY to say that Dan never had to work for Marvel Comics)</div>
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Until recently Dan had been working on the revamped “Terry and the Pirates.” Had he been the original choice for the strip instead of the miscast and clueless group who introduced the feature, I’ve no doubt that Terry would still be one of the most popular strips in the comics. But they don’t hire executives for their creative genius. Suffice to say that Dan brought to Terry everything that is lacking in the adventure strip today, unfortunately to a depleted audience. Both deserved better.</div>
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Dan is currently working on comic book features (101 Dalmatians) and mulling over the possibilities in animation. Like all his fans, I can’t wait to see his next project.</div>
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HOW I LEARNED TO LOVE DAN SPIEGLE (AND HIS ART)</div>
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Like many baby boomers, i grew up reading lots of comics drawn by Dan Spiegle, especially all those issues of “Space Family Robinson”; “Lost In Space” and a zillion adaptations of movies and TV series. I enjoyed ‘em all. In those days, Dan’s work was realistic but somewhat mild. He was the ideal artist to portray the “live action” elements to starkly contrast with the Paul Murry-drawn Mickey and Goofy in Gold Key’s mid-60’s (thus, pre-Howard The Duck) series “Mickey Mouse, Secret Agent.” Like I said, i always enjoyed his comics, but I couldn’t say he was one of my favorite cartoonists at the time.</div>
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Not long after that, Dan got the assignment to draw the comic book based on Hannah-Barbara’s “Scooby Doo, Where Are You?” Both Jack Manning and Warren Tufts had been drawing the series, and CAPS co-founder (and my after partner-in-crime) Mark Evanier was writing it. now although my affection for Hannah-Barbara’s stable of cartoon characters is well known, I’ve never been crazy about Scooby Doo; to me, the character represents a Sargasso-like trend that Saturday a.m. cartoons languished in for about twenty years. But the team of Evanier and Spiegle soon made Scooby Doo a funny book that deserved attention, even from Scooby haters like me. Prior to this, Dan was never known for doing humor, but he rose to this assignment like never before. Dan started taking artistic chances, and an artistic new approach emerged from his familiar style. And once Dan got into it, this became his new style on other non-humorous strips as well; bigger, bolder, more graphic and dynamic, with more spontaneously juicy inking that somehow still didn’t spare on the precise draughtsmanship. not discounting his body of excellent work prior to this, but somehow, Scooby Doo (and I suspect, Mark Evanier’s encouragement and inspiration.) released a Dan Spiegle that no one (certainly not myself) had ever suspected. Dan and Mark have continued to work together on a variety of projects, including “Tarzan”, “Korak” and “Blackhawk”, culminating in what is arguably their greatest collaboration to date, (and of course one of my all-time favorite comic book series) “Crossfire”. Of course, Dan’s done tons of great stuff without Mark as well, including his recent run on the all-too briefly revived comic strip “Terry and the Pirates.”</div>
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Unlike many of Today’s “hot” comic book artists, Dan’s work is continually evolving and improving in ways that make his a talent that unfailingly inspires and commands the respect of his fellow professionals. His flair for the subtle nuances of acting and staging, bold and inventive layouts, combined with his exhaustive use of research materials to add an authentic feel to any project, and the earmarks of an artist at his creative peak. Like I said, I grew up reading comics drawn by Dan Spiegle, and he’s certainly now one of my favorite cartoonists working in comics. (It’d really be a kick to see him take another crack at the Robinson family with his post-Scooby artistic sensibilities by drawing the comic book adaptation of the upcoming film version of “Lost in Space”; (are there any editors out there reading this?) In any event, I expect to continue seeing more great work from him for a long, long time. Simply put, he’s one of the best cartoonists out there, and C.A.P.S. is lucky to have a professional of his caliber as a member.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1za0w94FtSJN1MU9bIAXoI6RH-tONCn8VB-oqRiadLIktIUgn6cnhFfMYaAg7-36K0dzEfG1TVJMKgEBY11qLddbC7CqJfFyj5G5i2G0eFV2gc_SslQGFUxe2ARQ58Acr1eOeKSUSH8o/s1600/bat-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1za0w94FtSJN1MU9bIAXoI6RH-tONCn8VB-oqRiadLIktIUgn6cnhFfMYaAg7-36K0dzEfG1TVJMKgEBY11qLddbC7CqJfFyj5G5i2G0eFV2gc_SslQGFUxe2ARQ58Acr1eOeKSUSH8o/s400/bat-1.jpg" width="277" /></a></div>
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I’ve been fortunate as well, to work with Dan on a few issues of “Laft-A-Lympics” and “Burger king Comics”. I’ve been even luckier to get to know Dan and his family over the years; his daughter Carrie expertly lettered most issues of Captain Carrot and His Amazing Zoo Crew@“ In fact, he seems so genuinely humble that all these accolades are probably embarrassing the hell out of him (sorry Dan!).</div>
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I welcome this opportunity to celebrate our friend and colleague Dan Spiegle and his many accomplishments!</div>
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Growing up in New York, i missed a lot of the comics that were produced out on the West Coast the first time around, so I came to Dan Spiegle’s work a bit latter than most. But better late than never. if too many modern American comics are the equivalent of being stuck on a long, loud, and dully repetitious roller coaster for the rest of your life, then Dan’s stuff is like a terrific conversation at a cocktail party— witty, charming, subtle, and unpretentious— but filled with a constant level of surprise to keep me interested forever. Thank God for guys like Dan Spiegle— who can still be elegant in a medium choking on its own philistinism.</div>
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—Howard Chaykin</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizXkxgSqA00eSluymiO8D6Nu1U1uPF3iUCIoz_-eY0jfIYr7oc47zLLBWopeltmhJ5CuewkQelelUavPA5YJGhWB_xtSx5dl49iqOlmmet22fBUc2YXvfSAxleFbSHGkKw8PD2ns4TA70/s1600/7883e8c3777e00d484497c8d4977e4aa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizXkxgSqA00eSluymiO8D6Nu1U1uPF3iUCIoz_-eY0jfIYr7oc47zLLBWopeltmhJ5CuewkQelelUavPA5YJGhWB_xtSx5dl49iqOlmmet22fBUc2YXvfSAxleFbSHGkKw8PD2ns4TA70/s400/7883e8c3777e00d484497c8d4977e4aa.jpg" width="400" /></a></div>
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Dan did some of the best “Sgt. Rock” stories while I was editing the book at D.C. His artistic and story-telling abilities were equal only to his dependability and professional attitude. A pleasurable experience.</div>
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—Joe Kubert</div>
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Dan Spiegle not only draws lovely pictures, but he does the hard part too. He puts the pictures together and tells the story with skill, a discipline that’s frequently ignored in the 90’s. And it’s all done with consummate, craftsmanship and understated mastery.</div>
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Still, storytelling aside, when I think of Dan, I always remember that stunning splash page from his adaptation of the film; “Mutiny on the Bounty”, looking across the deck of the Bounty as she’s being provisioned in harbor. It’s a wonderful drawing that still blows me away by a guy who can do it all!</div>
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— Walter Simonson</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMTlQOedP1ee_btXEP2LQOv7N8jEo_WG-qT2C1o5ZEWiy4FIPV6YcV7WqnrYQdcoO4J4eaN4Ei7k6ji3RKH55FTC7UJki75-ExJlLR4nB__8dKd3WJspUowMgxI9ZestDhsrdVCl8nQ0/s1600/On+a+Dead+Man%2527s+Chest-41.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMTlQOedP1ee_btXEP2LQOv7N8jEo_WG-qT2C1o5ZEWiy4FIPV6YcV7WqnrYQdcoO4J4eaN4Ei7k6ji3RKH55FTC7UJki75-ExJlLR4nB__8dKd3WJspUowMgxI9ZestDhsrdVCl8nQ0/s400/On+a+Dead+Man%2527s+Chest-41.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Dan was one of only two folks who did one of the Tales From the Crypt covers for me....the other being my studiomate Shawn McManus.)</td></tr>
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I remember seeing Dan Spiegle’s artwork at a very early age and being attracted to its high quality. Of course, his name certainly wasn’t in the credits back then, but he made the “Space Family Robinson” seems absolutely real and the stories were all the more convincing because he was there every single issue. much later, when I learned the artist’s identity, i was even more impressed by Dan’s work because he can flat out draw anything. Anything… “Crossfive” was a movie on paper, always moving and always “Real” because of Spiegle’s incredible ability to make it work.</div>
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—Dan Jurgens</div>
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Dan Spiegle taught my daughter, Hannah, that there are actually people who draw comic books. It doesn’t matter that i’ve written and drawn “Usagi Yojimbo” for the past thirteen years and that she has seen me doing this in my home studio almost every day of her life and had seen the original art as well as the printed books. She had never made the connection that comics were created by people.</div>
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Hannah was four when Disney released “Pocahontas”. I bought the comic book adaptation illustrated by Mr. Spiegle and read it to her and her younger brother Matthew. After the story were a couple of “how-to-draw Pocahontas” pages. Hannah looked at those pages then turned back to the story and suddenly a light bulb went off in her head and, with the enthusiasm of discover, announced “someone drew this!” I told her Dan Spiegle drew it. “No, no,” she insisted, “Someone drew this comic book!” There are people who draw comic books! What a revaluation!</div>
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So, thank you Dan, for teaching my daughter something in one minute that I had been trying to show her for four years. now if you’ll only teach her to clean her room.</div>
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— Stan Sakai</div>
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<tr><td class="tr-caption" style="text-align: center;">(Dan with longtime friend and writing partner Mark Evanier.)</td></tr>
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Vozhttp://www.blogger.com/profile/07323357492578448815noreply@blogger.com1