Tagged: art

Jeffrey Brown and The Holy Consumption: From Chicago to Paris

Jeffrey Brown and The Holy Consumption: From Chicago to Paris

With only a matter of hours until much of the ComicMix team heads out to Chicago for this year’s show, it’s only right to post a story or two with ties to the ol’ Windy City.

From June 21 to July 26, several members of the Chicago-area comic creators collective known as "The Holy Consumption" will have their art featured at Galerie Anne Barrault in Paris, France. Among the creators whose work is currently on display are Paul Hornschemeier (Mother, Come Home), Anders Nilsen (Dogs and Water) and Jeffrey Brown, the author of one of my favorite minicomic collections, I Am Going To Be Small.

The exhibit, titled "Midwest," promises to explore "the American Midwest, a huge, flat, agricultural area around Chicago, stretching over several states, swept by the winds, dotted with the Great Lakes."

IVY Paris News recently spoke with Brown about the exhibit and the notion of being an "artist" instead of a cartoonist:

Traditionally in comics, the final published book has been the ‘art’ – the drawings are just in service of the published version. In art school, I had the idea of the original drawings being the final work, imagining the book as it’s own final result. I think there’s an intimacy to the real, tangible marks on paper as opposed to the printed versions, where you still can get the story but you lose a little bit of that life that comes with the actual drawings. As for approach, I pretty much approach all of my art making the same way. It’s all just having an idea and finding the way to express it.

The image posted here is Anders Nilsen’s "Batman and Wolverine" (chosen for obvious reasons, with a larger version posted after the jump). More examples of the art on display (sans superheroes) are posted on the gallery website.

 

(via journalista)

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Happy Birthday: Jesse Santos

Happy Birthday: Jesse Santos

Born in Teresa, Rizal, in the Philippines in 1928, Jesse F. Santos was already displaying his art as a young boy—at the age of ten he did the mural for his church.

By 14 he was working as a professional artist. During World War II Santos sketched portraits for American G.I.s. This led to an invitation to work on Halakhak Komics, the Philipines’ first serialized comic book, in 1946. Santos teamed with writer Damy Velasquez to create Kidlat, and later they created the detective strip DI-13 for Pilipino Komiks.

In 1969 Santos and his family moved to the U.S. He then got work with Western Publications, where he illustrated books like Davy Crockett and worked on several Gold Key comic books, including Dr. Spektor, Brothers of the Spear, Tragg, and Dagar.

 

Happy Birthday: John Workman

Happy Birthday: John Workman

Born in Beckley, West Virginia in 1950, John Elbert Workman Jr. grew up in Aberdeen, Washington and studied at Grays Harbor College and Clark College, getting an Associate in Arts degree in 1970.

He worked in advertising briefly before creating the science-fiction comic series Sindy and the humor strip Fallen Angels in 1972. In 1974 his work on Star*Reach attracted attention from DC Comics, and they offered Workman a job in production.

From 1977 to 1984 he was art director Heavy Metal magazine, where he wrote, drew, edited, colored, designed, and lettered. Since then he has written and drawn for DC, Marvel, Archie, Playboy, and others, but he is best known as a letterer. He worked on many projects with Walt Simonson, including Thor and Orion, and also did the lettering for Jim Starlin’s Cosmic Odyssey series.

More recently Workman lettered The Question, Bullet Points, and 1985, all Tommy Lee Edwards books. He has also done the lettering on ComicMix’s own GrimJack and Jon Sable: Freelance.

Workman is well-known for his tight craftsmanship, his distinctive style, and the fact that he still does traditional lettering on art boards instead of using the computer and digital fonts.

Comic Artists Sketch David Bowie

Comic Artists Sketch David Bowie

My buddy Sean T. Collins received a lot of attention late last year when he posted a gallery of sketches from his David Bowie-themed sketchbook, and rightly so. Over the last year or so, Collins has been collecting some outstanding sketches of ol’ Ziggy Stardust himself by some of the industry’s most popular creators in print and webcomics (as well as some of its rising stars), and the results have been endlessly amusing, to say the least.

Collins recently posted the Bowie sketches he garnered at this year’s MoCCA Art Festival (you can read our ComicMix coverage of MoCCA here), and the art continues to not only be amazing on its own, but also spark some great discussion of Bowie and the various artists’ impressions of him.

The art I’ve posted here is by Jason, a favorite of mine, and his depiction of "Bowie as an anthropomorphized doggie version of The Little Prince." You can view the full gallery of Collins’ MoCCA sketches of David Bowie here, then be sure to go back and view the first Bowie sketch gallery, The Thin White Sketchbook, and its sequel, The Return of the Thin White Sketchbook

The list of artists featured in Collins’ sketchbook reads like a Who’s Who of cartoon and comic celebrity, so no matter where your interests lie, there’s a good chance you’ll see one of your favorites’ renditions of David Bowie.

Interview: Adam Freeman on ‘Genius’ and Top Cow’s Pilot Season

Interview: Adam Freeman on ‘Genius’ and Top Cow’s Pilot Season

Marc Bernardin and Adam Freeman’s first big comics project, last year’s five-issue miniseries The Highwaymen, was one of last year’s biggest surprises — but not for the reasons you might expect.

Despite a massive marketing push by the series’  publisher, Wildstorm, as well as fairly positive reviews of the first issue, in the end the series was widely regarded as a commercial disappointment. After all was said and done, the series’ performance left many figures in and around the industry, including Bernardin himself, wondering what the difficulties experienced by The Highwaymen say about the industry as a whole.

Nevertheless, the pair has persevered, and this week marks the release of Genius, their original story about a 17-year-old girl in South Central Los Angeles who unites the region’s gangs in a war against the L.A. Police Department.

From the Top Cow solicit for the project:

Alexander, Hannibal, Napoleon, Patton. What if the greatest military mind of OUR generation was born in strife, surrounded by violence and combat since birth? When the gauntlet is dropped, the question isn’t "How did 17-year-old Destiny Ajaye unite the gangs of South Central into a killer army and declare war on the LAPD?" No, the question is, "Can anyone stop her?"

This Wednesday, Genius will hit shelves as one of the titles in Top Cow’s "Pilot Season" program, and readers will eventually be able to vote on which of the "Pilot Season" projects becomes an ongoing series with the publisher.

I spoke with Adam Freeman about Genius, where the idea for the story originated and the Top Cow program that once again puts a story he co-created with Bernardin at the mercy of comics fans everywhere.

COMICMIX: Can you tell me about the genesis of Genius? What was the spark that developed into this story?

ADAM FREEMAN: It was an idea that Marc had swimming in his head for a while, but I responded to instantly.  I have always been fascinated with prodigies and savants.  I am not a religious or spiritual person by any means, but the idea that someone — regardless of their walk of life — could be "chosen" to be the best at something is incredibly cool to me.

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Barefoot In The Dark, by Dennis O’Neil

Barefoot In The Dark, by Dennis O’Neil

I don’t know when I first saw an English edition of Barefoot Gen. It was probably sometime in the mid 70s, when I was editing for the modest enterprise that has become the mighty Marvel Entertainment. In those days, a lot of stuff crossed editorial desks and we read most of it, if not all. So: Japanese comics? Sure, I’ll give it a look. It was probably my first experience with manga and I remember feeling a mild taste of cognitive dissonance – a perceived disconnect between subject and form. (I am choosing to ignore, because it’s a bit off-subject, the hybrid of cartooning and illustration that’s most superhero art.)

The subject was grim. Barefoot Gen is the autobiographical tale of a child who witnessed and survived the atomic bombing of Nagasaki. But it was presented in a visual style I would have described as “cartoony.” Like most American pop-cultch consumers, I associated bright, simple, exaggerated drawings – cartoons – with material that was at least supposed to be humorous, and there was nothing remotely funny about Barefoot Gen. It was, and is, a powerful anti-war document and, because it is that, deeply humane.

It’s creator, who did both art and copy, is named Keiji Nakazawa, and Barefoot Gen is his story. He had this to say about it: “People should be told what happened. If you live through something like the A-bomb, you know that war is too horrible not to be avoided at all costs, regardless of the justifications offered for it.”

The work first appeared in 1972 as a serial in a mass market Japanese publication, Shukan Shonon Jampu (and perhaps some kind reader will translate that for us). Later, it migrated to smaller magazines, and later still, it was published in English as a paperback book series. The most recent English iteration appeared in 2004, with an introduction by Art Spiegelman.

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Happy Birthday: Susan Van Camp

Happy Birthday: Susan Van Camp

Born in Flint, Michigan in 1959, Susan van Camp has always loved art and doodled pictures on all her school notes as a child.

Her first commercial work was in roleplaying games, on Steve Jackson’s Car Wars. She worked on Tales from the Aniverse for Arrow Comics in 1984, and then Varcel’s Vixens for Caliber Comics.

In 1994 Van Camp began doing artwork for a brand-new card game, Wizards of the Coast’s Magic: The Gathering. She has also worked for several other game publishers, including Flying Buffalo, FASA, Pinnacle, and Alderac.

In 1996 Van Camp produced her own roleplaying game, Dragon Storm. Today she  continues to do artwork for various roleplaying games and to produce and sell Dragon Storm as well.

Happy Birthday: Charles Vess

Happy Birthday: Charles Vess

Born in Lynchburg, Virginia in 1951, Charles Dana Vess fell in love with comic books and art while still a child—he drew his first full-length comic when he was ten years old.

He attended Virginia Commonwealth University and graduated with a BFA in 1974, then went to work as a commercial animator for Candy Apple Productions in Richmond. In 1976, Vess moved to New York City to try his hand as a freelance illustrator. In 1980, he joined Parsons School of Design as an art instructor.

He was getting regular comic book work, and drew books for Dark Horse, Marvel, Epic, and DC, but it was in 1989 that Vess became truly well-known in the field. He collaborated with Neil Gaiman on one of the issues of the original Books of Magic mini-series and also drew three issues of Gaiman’s Sandman series for Vertigo. One of those issues, #19 (“A Midsummer Night’s Dream”) won the World Fantasy Award for Best Short Story.

In 1994, Vess moved back to Virginia and organized The Dreamweavers, a traveling exhibition of 15 fantasy artists. Since then he has had many other showings and worked on many other comic books.

Another Vess-Gaiman collaboration, Stardust, won an Alex Award from the American Library Association, a Mythopoeic Award, and a World Fantasy Award for Best Artist. Vess has won a Will Eisner Comics Industry Award three times. He has also won a Comic Creators’ Guild award, a Silver Award, and an Ink Pot. He has won numerous children’s book awards as well, primarily for his collaborations with Charles de Lint.

Happy Birthday: Graham Ingels

Happy Birthday: Graham Ingels

Born in Cincinnati, Ohio in 1915, Graham Ingels began work early, joining the work force at 14, shortly after his father died. At 16 he began doing art jobs. He married at 20 and entered the Navy at 27 in 1943. After WWII, Ingels worked for Fiction House, Magazine Enterprises, and several other comic book and pulp magazine publishers.

In 1948, he began drawing Western and romance stories at EC Comics. He switched to the horror line—Tales from the Crypt, The Vault of Horror, and The Haunt of Fear—as soon as they began and was quickly dubbed “Ghastly Graham Ingels” for his facility with the genre. By 1952, Ingels was even signing his work as “Ghastly.”

After the horror line was canceled in the early 1950s, Ingels contributed to other EC lines, and then did some work for Classics Illustrated after EC folded in the mid-1950s.

He later taught art in Westport, Connecticut, and then became an art instructor in Florida. Ingels died in 1991.

 

The Art of Harvey Comics Exhibit Announced

The Art of Harvey Comics Exhibit Announced

Later this month, Richie Rich, Casper the Ghost and the rest of the Harvey Comics crew will be the focus of a new exhibit in San Francisco’s Cartoon Art Museum.

According to Diamond’s industry news site, Scoop:

Beginning June 28, 2008 and running through November 30, the Cartoon Art Museum will host “Harvey Comics: From Richie Rich to Wendy the Witch: The Art of Harvey Comics,” an exhibit celebrating the art and characters including Casper, The Friendly Ghost; Wendy, The Good Little Witch; Richie Rich, The Poor Little Rich Boy; Hot Stuff, The Little Devil; Sad Sack; Joe Palooka; Little Dot; Little Audrey; Little Lotta, and many more. Original art from various Harvey comic books and merchandise by the likes of Warren Kremer and Steve Muffatti, who together defined the Harvey “look,” will be on display along with artwork by Ernie Colón, Sid Couchey, Howard Post, Fred Rhoads, Ham Fisher, Dom Sileo, Marty Taras, and many more.

There would seem to be a lot for Harvey Comics fans to like about this exhibit, but let’s hope they gloss over the ’90s film adaptations of Richie Rich and Casper the Friendly Ghost. *shudder*