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funkidrumr
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« Reply #345 on: March 04, 2010, 05:49:43 PM » |
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Yeah, the scenes displaying the most action seem to be the ones that suffer with the extra mark-making. The gas mask scene especially can be difficult to make out and without the text I think it'd be quite hard, certainly in the first reading. I guess personally I was just surprised I was able to determine what was going on considering when just flipping through it much of the time I couldn't tell up from down. Something about the reading process though changed it and I think that was just eye opening and different. Much of the time I feel you get what ya see at first glance. This one surprised me. Also though without those calm scenes in the bedroom I don't think the frenzy of the action would have worked. Those were like a breath of fresh air after being thrown into those firery war scenes. WHICH also may lead me to have enjoyed those crazy messy brush strokes so much. Blast San Diego for being on the other side of the country! Also, picked up his NO MAN'S LAND book as well, which is a ton of the preliminary sketches he did of WWI soldiers. All pen & ink with some monotypes. Apparently he a bunch of the sketches from people on the subway in NY. Pretty darn cool  |
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r_sail
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« Reply #346 on: March 04, 2010, 06:04:05 PM » |
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I've not read this enemy ace...
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funkidrumr
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« Reply #347 on: March 04, 2010, 06:11:21 PM » |
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Oops! Sorry Steve-O, posted right over ya! Yeah, I love seeing that process. Keeping everything loose and fun and digging your way out. The back & forth, push and pull. And he makes it looks so easy. Read that one at like four in the morning and I could barely keep myself from grabbing my paint and brushes. Sleep won out though. And his descriptions of the process are just as interesting as the images themselves. Yeah Sail, good stuff. May need two thumbs for it though  |
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Neil
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« Reply #349 on: March 04, 2010, 06:57:12 PM » |
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ha ha.
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gregthings
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« Reply #350 on: March 08, 2010, 08:43:19 AM » |
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I think he should take this as an opportunity to finally graft on that bird's wing he's been dreaming about.
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r_sail
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« Reply #351 on: March 08, 2010, 11:31:24 AM » |
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Yes!!
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tony g. brown
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« Reply #352 on: March 10, 2010, 06:08:49 AM » |
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it's interesting about what greg said earlier, that every mark in the panel should be used to push the story forward or it shouldn't be there.
i find that for myself, i'm trained as a fine artist first and an illustrator second and that not treating each panel as a single painting is tough. It's funny but most of allen's guys fall into that problem (kent, jay) dave is simplified a lot from his early stuff, but in someways it makes the work that much more beautiful. With all that simplified artwork out there, i feel that sometimes it's nice to sit down to a full course meal and savor it, what the hell am i talking aobut, i eat like a marine, but that type of work really forces you to slow down and take the time to enjoy the page.
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tony g. brown
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« Reply #354 on: March 11, 2010, 06:30:31 AM » |
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ah yes, mr. columbia. one of the greatest, most visually horrific artists of this day. I love that book and devoured it when i bought it. I've loved Columbia's work for a long time and am glad that he has finally chosen to put work out. Unfortunately that is probably all we are going to see for a another decade. He's slow and very reclusive.
on a different note, i picked up volume six of Viz comic's Vagabond. Its an fictionalized story of the Japanese swordsman Musashi, from youth to his duel with his nemesis, Kojiro. It's by a guy named Takehiko Inoue. Great line and brush work, awesome pacing and just fun storytelling. Viz is republishing them in super volumes so you get more bang for you buck.
Glad you picked up Pin & Francie, matt. devour it like the tasty moursels of small children.
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gregthings
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« Reply #355 on: March 11, 2010, 12:33:26 PM » |
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I think that's right to a good degree... One of the the things I love so much about Eddie Campbell's work on From Hell is how much it requires you to slow down your normally frenzied reading pace in a deliberate and accomplished manner. A drummer friend of mine always told me that drumming slower was always harder because you could lose your way more easily- and I think that's spot on for storytelling. Comics are a quick meal generally and you'll find that most creators, editors publishers and readers think they should be so, but the to slow the cadence of a story down, to take the exact measured time to soak in a panel without getting stuck in it, and losing the flow... that is the real achievement I think. At least in how I see it.
EMotional content can't be had quickly- you have to earn it. It has to sit there and be allowed to grow, and that takes time. Emotional content is expressed I think best visually and musically. I don't think you can write a piece of prose that can more directly impact the emotional nodes in us the way a song can or a single image is able to, not because it's inferior, but by mere structure of the medium itself. It is basically less direct, you need to assemble the shapes into letters then into words, sentences, paragraphs, etc... The single image is direct and immediate- the song too. So it would seem essential to pay respect to what Tony's saying up there- to slow down. I think compared to his peers, George's Enemy Ace comes closest to that at times. There were moments like this in Kent's The Fountain I thought... but to me the finest exmaple of this is a euro comic novel by Mattotti called Fires. It's like a visual opera, and it;s really stunning stuff.
Oh Pim and Francie- sadly that book is still more remnants from Columbia I hear. This is all old stuff, that he didn't get a chance to burn in his grill (true story!). I love those old books and so very much would love to see more of them- but I gave up waiting for Al Columbia to return. Part of me wants the book, but the other part wants me to stop picking through his bones and move on. It's painfully tempting....
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r_sail
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« Reply #356 on: March 11, 2010, 01:32:35 PM » |
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Yeah columbia... I kinda liked the book - the fragmeted state of it Matt mentions. I like that about it, but I'm not sure it's an intentional design so much as just actual fragments abd remnents. Unfortunately.
On the plus side, though, I still appreciate it regardless.
Mmmmm... I'll have to think about pace and emotion a bit before I add. One handed typing has made me consider my thought before blabbing
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tony g. brown
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« Reply #357 on: March 11, 2010, 05:14:10 PM » |
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in regards to Al columbia, i never got to see a majority of his work, just bits and pieces on the internet, which makes getting the book even better for me. The book all in all is good. Greg, if you haven't gotten it, get it, unless you own a majority of his books. I think even in it's fragmentation, there is a sense of great storytelling, and maybe not getting the complete story is better. Its what art is about anyways, leading you in and letting your imagination do the rest.
As for the dude himself. no need to wait for him, just enjoy what's here, its good enough.
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r_sail
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« Reply #359 on: March 22, 2010, 11:10:03 AM » |
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I picked up a hard cover copy of Enemy Ace the other day. Haven't read it yet, but it's beautiful to look at.
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