Alan Hunt's Linklog

What can I say, another photo that’s too late for...

Fri, 04 Dec 2009 18:56:50 -0500

What can I say, another photo that’s too late for Halloween. I’ve been working!

Frank King pumpkin and toys via D&Q

"At times like that I’m drawing mostly with my mind’s eye, so it’s like I’m..."

Fri, 04 Dec 2009 18:52:40 -0500

“

At times like that I’m drawing mostly with my mind’s eye, so it’s like I’m trying to trace what’s in my head with my hand, and telling my hand not to try and take control at all. I do it while sort of telling my hand it’s not allowed to assert itself or make the drawing it’s own.

The strong hand (drawing hand) is a thief. That might be useful when drawing certain patterns, but the A,B,C,D flow of an acting flow is all in the realm of the final experience. It’s a problem when my hand tries to steal that. In my comics I’m basically going for certain faces on my characters, or as we say “Face Manga” (???: kao manga). This is something I’ve been disliked for in the manga world; those long sequences of faces with word balloons. I think that’s probably because the editors have come to think that the faces the artist draws are just signs or symbols. However, I have come to question the general trend that shuns “Face Manga”. I feel like, “What’s wrong with going for the faces of the actors as they act!?” The angle of the face, the sight lines of the eyes, all of those things are of the utmost importance, so I couldn’t understand why I was being told it was no good.

I’m sometimes asked, “How is it that you are able to draw the same face over and over again?” and I always answer, “I never draw the same face again, even once.” A character that appears in volume one, panel one of a comic has a completely different face from that same character in volume 11.

They carry the burden of the whole story to that point, and they have specific expressions that only exist at that moment in time in volume 11. It’s exactly the same as actors. So there is a reason for even the angle of the drawing for an expression in a given panel. We (comic artists) are doing things that are so difficult, but it’s not often that people understand this. Many tend to think we’re just pumping out drawings with the same faces.

”

- Naoki Urasawa on the right hand as a drawing thief and ‘Face Manga’

Too late for halloween, but I like this Doug Wright Boogie...

Fri, 04 Dec 2009 18:48:35 -0500

Too late for halloween, but I like this Doug Wright Boogie Man

Via Sequential

"With his family firmly based in Canada, Johnston spent the remainder of his career launching cartoon..."

Sat, 26 Sep 2009 21:59:10 -0400

“With his family firmly based in Canada, Johnston spent the remainder of his career launching cartoon projects of a nationalist bent. During the Diefenbaker years, he worked with newspaper columnist Gerald Waring on a syndicated editorial cartoon feature. In May 1960, during one of the tensest periods of the Cold War, he launched Jeff Buchanon, an adventure strip about a Canadian spy. Drawn with flair and confidence in a modified variation of Alex Raymond’s Rip Kirby style, Jeff Buchanon showed real promise. Ferreting out spies, the title character travelled all over Canada, from Cape Breton to Montreal to the Arctic. Johnston’s gift for capturing the feel of different geographical locals shone through in this strip. Unfortunately, it didn’t last long enough to make a mark, fading out a little over a year after it first appeared. (The strip can now be located in the back issues of the Montreal Star and Winnipeg Free Press.)”

- Western News - It Happened At Western

POOL PARTY WOO WOO! (via blaaaaaake!)

Mon, 21 Sep 2009 06:55:12 -0400

POOL PARTY WOO WOO! (via blaaaaaake!)

Heritage Large Image Via HA

Thu, 17 Sep 2009 22:46:48 -0400

Heritage Large Image

Via HA

via jessfink.com

Thu, 17 Sep 2009 13:36:28 -0400

via jessfink.com

Jillian Tamaki: “I found this shirt in the North Value...

Thu, 17 Sep 2009 12:58:37 -0400

Jillian Tamaki: “I found this shirt in the North Value Village in Calgary and it makes me really happy. I can see the earnest face of a youngster begging for a Bart t-shirt and a mom insisting there’s no need to buy one because she “can make a perfectly good shirt… and for half the price!”

via www.jilliantamaki.com

"Personally I think the key to DRAWING a beautiful female face is a bit of masculinity in it… I..."

Thu, 17 Sep 2009 12:54:27 -0400

“Personally I think the key to DRAWING a beautiful female face is a bit of masculinity in it… I think it gives an edge to the form. Actually, the reverse is true too. A bit of femininity in a male face to soften it up. In real life, of course, all bets are off.”

- Jillian Tamaki Sketchbook: Streets of Soho Pt 3

More Powers and it’s wayyy past my bed time and now I have...

Sat, 12 Sep 2009 00:20:12 -0400

More Powers and it’s wayyy past my bed time and now I have to read this too.

via members.cox.net

and http://members.cox.net/sjrohde/index_scifi_a_c.html

Richard Powers illos via www.goofbutton.com (via Dan...

Sat, 12 Sep 2009 00:08:43 -0400

Richard Powers illos via www.goofbutton.com

(via Dan Nadel’s recent obsessions)

"Spiegelman. He had seen DFTS on Charlie’s desk at Abrams’ New York City offices, and..."

Wed, 02 Sep 2009 08:51:27 -0400

“Spiegelman. He had seen DFTS on Charlie’s desk at Abrams’ New York City offices, and seen some of the discussions on the cover design.Art generously spent two hours talking about covers and cover design with me. I wish I’d recorded that conversation for future reference!The gist of Spiegelman’s comments and insights was that the cover has to really sell the heart and soul of the book. He expressed the importance of making an emotional connection to the potential reader/buyer. The main image on the cover might best convey the promise of drama, and of something compelling.He suggested that we take the most dramatic moment in the book and portray it on the cover. Alas, the Carters’ story has a lot of intense emotional drama, but none of it is of the screaming match/thrown crockery/drunken spree variety that some later country music biographies might contain.He also challenged us to get asymmetrical with our design. Our previous designs had tended to center everything. He suggested that an offbeat, asymmetrical design might further leap off the shelves and connect with the reader.”

- Carter Family Comics: Don’t Forget This Blog!: The Cover Story, pt. 2

Preview of colour panels from David Lasky’s and Frank M....

Wed, 02 Sep 2009 08:48:32 -0400

Preview of colour panels from David Lasky’s and Frank M. Young’s Carter family Graphic Novel

(via Thunderoni)

Wed, 02 Sep 2009 07:33:17 -0400

(via Thunderoni)

"It’s not accident, I think, that so many horror films rely on some ancient object or person (a..."

Sun, 30 Aug 2009 20:25:33 -0400

“It’s not accident, I think, that so many horror films rely on some ancient object or person (a mummy, a vampire, a long-forgotten curse) coming back to life. The past can easily feel like a threat, a reproach to the living, a competitor that can’t be easily bested.”

- Jeet Heer

The Eiffel Tower: Victim or Monster « sans everything

"Are you angry? Punch a pillow. Was it satisfying? Not hardly. These days people are too angry for..."

Sun, 30 Aug 2009 20:24:01 -0400

““Are you angry? Punch a pillow. Was it satisfying? Not hardly. These days people are too angry for punching. What you might try is stabbing.””

- Miranda July from ‘No One Belongs Here More Than You’

"In 1942, Highsmith graduated from Barnard College, where she studied English composition,..."

Fri, 28 Aug 2009 20:48:01 -0400

“In 1942, Highsmith graduated from Barnard College, where she studied English composition, playwriting and the short story. Living in New York City and Mexico between 1942 and 1948, she wrote for comic book publishers, turning out two stories a day for $55-a-week paychecks. With Nedor/Standard/Pines (1942-43), she wrote Sgt. Bill King stories and contributed to Black Terror. For Real Fact, Real Heroes and True Comics, she wrote comic book profiles of Einstein, Galileo, Barney Ross, Edward Rickenbacker, Oliver Cromwell, Sir Isaac Newton, David Livingstone and others. In 1943-45 she wrote for Fawcett Publications, scripting for such Fawcett Comics characters as the Golden Arrow, Spy Smasher, Captain Midnight, Crisco and Jasper. She wrote for Western Comics in 1945-47. When she later wrote The Talented Mr. Ripley (1955), one of the title character’s first scam victims is comic book artist Frederick Reddington, a parting gesture directed at the earlier career she had abandoned: “Tom had a hunch about Reddington. He was a comic-book artist. He probably didn’t know whether he was coming or going.””

- Patricia Highsmith

"You have control over action alone, never over its fruits. Live not for the fruits of action, nor..."

Thu, 27 Aug 2009 14:28:51 -0400

“You have control over action alone, never over its fruits. Live not for the fruits of action, nor attach yourself to inaction.”

- DAVID_LYNCH

Like the poses around the outside

Thu, 27 Aug 2009 13:47:29 -0400

Like the poses around the outside

First EC Horror Cover. As of next issue the title would change...

Thu, 27 Aug 2009 13:43:01 -0400

First EC Horror Cover. As of next issue the title would change to ‘The Vault of Horror’

I find this Johnny Craig design really appealling.