This time we have another MY FRIEND IRMA comic book. Stan Lee took credit for the writing and Dan DeCarlo drew the pictures. Stan Lee would frequently put "Stan" or "Lee" or "Stanly" references into Marvel comics, such as the "Lee" school in CAPTAIN AMERICA. This issue also has a special guest appearance by J. Bartholomew Olsen. A
Discover the art of Akira Yonekawa, Cartoon Brew's Artist of the Day.
Todd Klein describes the comic book coloring process in the 1970s-80s with tools and swatches on different kinds of paper.
Passionné par l'univers de Queen, l'artiste Butcher Billy a eu l'idée de créer des couvertures de comics en hommage aux titres chantés de Freddie Mercury.
Oh, my heck! This is almost an exact dupe of a way-back post about The Inhumans pin-ups in Jack's second greatest comic ever, Fantastic Four Annual #5 (see Inhumans in my search for a quick way-back machine--see New Gods #7 for Jack's greatest comic), but I forgot and/or dinnae have the pencils on Medusa. You may see where this is going....I need some help here, peeps, with Triton and/or Maximus pencils
Fifty years ago, comic artist Stan Drake drew an unscrupulous director trying to seduce a young actress. We know the director is up to no good because he praises her horrible acting: From the Heart of Juliet Jones, 1966 Drake's audience immediately understood the joke. The girl's way of demonstrating rejection (sticking out her hand and turning her head) was so simple minded, the director's praise couldn't possibly be sincere. Fifty years later, when it was illustrator Ivan Brunetti's turn to draw a woman rejecting a suitor, he employed the exact same body language. Only now it's no longer a joke: Today's version of "rejection with mute futility" using circle heads Many people like to believe that today's comics and graphic novels are more sophisticated and mature than the soap opera strips they replaced (such as Drake's). Brunetti's work (unlike Drake's) is collected in books by the prestigious Yale University Press and translated into seven languages. Brunetti lectures in colleges and wins awards (such as The Eisner and Ignatz awards) that didn't even exist in Drake's day, when the medium was less self-congratulatory. But take a closer look at Drake's work. Note how he assumes his newspaper audience is familiar with the story of King Priam from the Iliad. How many comparable literary references do you see in today's comics? Note too that in Drake's panel, the words are not to be read literally-- they are a lie. Only by contrasting the words with the drawing do we understand the wicked intention of the director and the lack of talent of the actress. Fifty years later it's rare to find this type of creative tension between words and drawing, in part because most artists of graphic novels and comics don't draw well enough to pull it off. Note how Drake's mastery of facial expression, body language and staging give him a range of communication tools that aren't called upon today. Of course, Drake did employ the now unfashionable photo based realism. But if you take a look at the great variety in Drake's line, his editorial choices and expressive exaggerations, you can decide for yourself what value comes from the artist and what comes from the camera. Whatever Drake's tools, it seems to me that he was able to achieve a result with more layers of awareness, more irony and humanity, and with greater aesthetic quality than the result we see from Brunetti and many of his peers. So, for those of you who still enjoy good linework, this week I'm offering a collection of Drake's drawings from an era when comics were less chic, and drawings were expected to carry their own as a full partner with the words: No mechanical lines here: you could always tell that Drake's favorite time of day was when it came time to draw Eve Jone's hair. There is undisguised pleasure in the act of drawing which is often missing from today's flatter efforts.
Vulcan's Hammer - "Not only have they put together a scalable system that will let any flying robot perch in a tree or similar structure, but now they've gone and developed a platform for swarming air vehicles. . ." VALIS...
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The Cuphead font is a custom font designed as an old comic book title. Alegreya Sans SC is a bold letter that is very similar to the Cuphead title font.
