Happy know from new blog Stefanelli the masterpiece Tove Jansson will be published in Italy by Black Velvet, in compliance with the remarkable American edition of D & Q.
Friday, January 29, 2010
Best Way To Cure Diarrhea
Moomin
Happy know from new blog Stefanelli the masterpiece Tove Jansson will be published in Italy by Black Velvet, in compliance with the remarkable American edition of D & Q.
Happy know from new blog Stefanelli the masterpiece Tove Jansson will be published in Italy by Black Velvet, in compliance with the remarkable American edition of D & Q.
Thursday, January 21, 2010
Wholesale Warehouse Second Hand
JOHNNY CRAIG DAVID AND EXPRESSION REFUSED
E 'for a couple of years that we are proposing 001 stories from EC Comics .
readings are quite interesting, and being a part of the history of comic book containing short stories by great writers of the period frai which are: Al Feldstein, Harvey Kurtzman , Wally Wood and Jack Davis . In the middle is
Johnny Craig, un autore che non conoscevo bene prima di leggere Crime SuspenStories vol.1 .
Proprio di Craig voglio parlarvi.
Mentre su diverse riviste come Tales of the Crypt era affiancato da Al Feldstein ai testi, qua lo scopro come autore completo. I suoi racconti, messi a confronto con gli altri, si distinguono subito per resa e brillantezza. Il suo tratto preciso e pulito, che nei volti sembra influenzato da Caniff, con un bianco e nero pieno, rispettoso di luci ed ombre, mette in secondo piano persino le storie disegnate da Wally Wood.
Inoltre ciò che colpisce è l'abilità di sapersi calare in a language pulp. Often the labels are used to capture the anxiety and frustration of the protagonist, rarely contain explanatory and if they are short and simplified, by going to contrast with times when the captions were often heavy and, from a cartoon present, certainly unnecessary.
Al Contrario di altri però Craig è molto lento, questo è dovuto alla sua meticolosità nel disegno e al fatto che oltre a scrivere le sue storie è anche il copertinista della testata. Eppure tutta questa lentezza che gli si attribuisce viene contrappesata dall'originalità dei suoi lavori. Non a caso i suoi racconti sono sempre quelli che aprono la rivista. Oltretutto Craig è l'unico a sfruttare al massimo le splash page che inaugurano gli episodi. Infatti, sulla scia della rivoluzione eisneriana di Spirit , le storie della EC incominciano sempre con una splash page .
Craig rarely confined to use this page to a kind of cover, and merges illustration with the story.
Unfortunately I can not find a picture of the front page of "The Double", which is sufficient to explain everything, and then there another place below:
His stories are always loads of pathos and there is a constant surprise the reader by presenting research in descending more shots in a span of only 6, 7 pages. Surely it must be stressed that it is primarily concerned to represent the emotions and reactions of the characters rather than to propose explicitly gruesome drawings. This sometimes goes beyond the covers that are made instead to strike the reader as you can see below.
want it to be just a case for its cover, the last of the thousands of factors at play, to give the advent of the Comics Code . The cover of the offending
can see down here.
E 'for a couple of years that we are proposing 001 stories from EC Comics . readings are quite interesting, and being a part of the history of comic book containing short stories by great writers of the period frai which are: Al Feldstein, Harvey Kurtzman , Wally Wood and Jack Davis . In the middle is
Johnny Craig, un autore che non conoscevo bene prima di leggere Crime SuspenStories vol.1 .
Proprio di Craig voglio parlarvi.
Mentre su diverse riviste come Tales of the Crypt era affiancato da Al Feldstein ai testi, qua lo scopro come autore completo. I suoi racconti, messi a confronto con gli altri, si distinguono subito per resa e brillantezza. Il suo tratto preciso e pulito, che nei volti sembra influenzato da Caniff, con un bianco e nero pieno, rispettoso di luci ed ombre, mette in secondo piano persino le storie disegnate da Wally Wood.
Inoltre ciò che colpisce è l'abilità di sapersi calare in a language pulp. Often the labels are used to capture the anxiety and frustration of the protagonist, rarely contain explanatory and if they are short and simplified, by going to contrast with times when the captions were often heavy and, from a cartoon present, certainly unnecessary.
Far be it from me to imply that the other authors in this series produce little stories, even the quality is never low, but Craig surpasses all, even Kurtzman featuring two stories from the banal and development with very little suspense.
(a table of Craig from Vault of Horror)
(classica splash page of Jack Kamen)
Unfortunately I can not find a picture of the front page of "The Double", which is sufficient to explain everything, and then there another place below:
His stories are always loads of pathos and there is a constant surprise the reader by presenting research in descending more shots in a span of only 6, 7 pages. Surely it must be stressed that it is primarily concerned to represent the emotions and reactions of the characters rather than to propose explicitly gruesome drawings. This sometimes goes beyond the covers that are made instead to strike the reader as you can see below.
want it to be just a case for its cover, the last of the thousands of factors at play, to give the advent of the Comics Code . The cover of the offending
can see down here.
In fact, it is also the latest cover of the series created by Craig, that following the closure of the EC makes sporadic appearances on some of the tested Warren and the late 60 inks diverse cose per la Marvel e la DC. I pochi numeri supereroistici da lui disegnati sono pesantemente ritoccati, finché alla fine, costretto a non potersi esprimere, limitato da una stretta supervisione, e insofferente alle scadenze si ritira dal mondo del fumetto.
Si dedica alla pittura e produce numerose tele legate ai vecchi personaggi delle EC.
Ultimo baluardo di un'epoca finita male, Craig ne è forse l'unico vero illuminato.
(Johnny Craig 1926-2001)
Tuesday, January 12, 2010
Create My Own Uniforms
MAZZUCCHELLI - Asterios polyp
Leggere l'opera di Mazzucchelli in inglese non l'ho trovato affatto easy, because my English is not the top floors, but I did, but perhaps including cutting out all that layer of religious notions, sociological, moral and philosophical in the book is steeped.
Basically, I was interested in the aspect of figurative language with which the work consists Mazzucchelli.
Shortly before reading this book, I was lucky enough to buy An Anthology of Graphic Fiction Vol.1, edited by Bruno. The introduction of the book is outlines a definition of Spiegelman, "the comic is written with the figures" and the same Brunetti adjusts the shooting saying that comics "is not a mix of words and figures, but rather emulsion [...] the cartoonist uses its own display method to establish a visual vocabulary with which to communicate ... "then I eye drops on the image above the text:
E 'a illustration Saul Steinberg and I remain so impressed that when I finish reading the book I Mazzucchelli comes to mind. In Asterios Polyp is the need to revive and renew that comic language of origin. Mazzucchelli, right from 'beginning of its work independently, he was always looking for new forms of expression, dealing Japanese approach, honoring the school Harvey Comics and a wink to the French . With his latest work straight from the base of the so-called American cartoon, setting the discourse on the expression and communication.
It is clear from the above sketch of proof here, coupled with the stylized symbols allows us to identify the moods of the characters and situations, and helps us to understand the differences in both emotional and physical, or the compatibility between one or more actors. also triggers the receptivity of the reader's mind and set in motion all the mechanisms that make the comics a unique medium.
As noted by this picture above, already 60 years Saul Steinberg is used this approach. The size of Mazzuccheli is the ability to enhance and build upon this kind of expression, channeling them in a storytelling and to form a book.
Mazzucchelli breaks, cuts, peels, and the design team, (re) taking the essential comics. In doing so, showing only the backbone, in some way deceive us in the proposal for a comic book difficult to decipher. This is only apparent because all these symbols and geometrical codes that are used we have well etched in our minds since the dawn of time and perhaps have been years of reading super-eroistiche it stays buried in our brains.
Simple things in fin dei conti, immediate, come i colori. Qua sopra potete notare come Mazzucchelli usi il colore e la geometria per evidenziare una situazione di conflitto, di distacco e di indifferenza. Una sostanziale incompatibilità o forse solo un momento no.
E ancora qua sopra Saul Steinberg, diversa situazione ma con esito apparentemente simile.
In tempi più recenti un altro fumettesta che segue questa strada è Mark Newgarden , anche se lo fa in maniera molto più radicale come potete vedere qua sotto.
Mazzuchelli dispone le sue vignette in modo pacato, raramente le sue tavole sono confuse (e se lo sono è volontariamente), ma anzi, hanno un moto circolare che softens the reading as you can see below.
Another detail is the mirror image and balance, here you can see two different examples.
are two different situations, both in composition to that situation (a shocking, the other intimate), but both the first and the second picture everything is perfectly balanced.
An example is even more radical Mark Newgarden, as you can see below.
Mazzucchelli's skill is knowing how to revise the basics of comics without end as pure experimentation, but building a product that can tell a story in a mostly brilliant.
Finally, I show you a recent picture of batman that simplifies what has been said so far approaches to super-vision eroistica.
Leggere l'opera di Mazzucchelli in inglese non l'ho trovato affatto easy, because my English is not the top floors, but I did, but perhaps including cutting out all that layer of religious notions, sociological, moral and philosophical in the book is steeped.
Basically, I was interested in the aspect of figurative language with which the work consists Mazzucchelli.
Shortly before reading this book, I was lucky enough to buy An Anthology of Graphic Fiction Vol.1, edited by Bruno. The introduction of the book is outlines a definition of Spiegelman, "the comic is written with the figures" and the same Brunetti adjusts the shooting saying that comics "is not a mix of words and figures, but rather emulsion [...] the cartoonist uses its own display method to establish a visual vocabulary with which to communicate ... "then I eye drops on the image above the text:
E 'a illustration Saul Steinberg and I remain so impressed that when I finish reading the book I Mazzucchelli comes to mind. In Asterios Polyp is the need to revive and renew that comic language of origin. Mazzucchelli, right from 'beginning of its work independently, he was always looking for new forms of expression, dealing Japanese approach, honoring the school Harvey Comics and a wink to the French . With his latest work straight from the base of the so-called American cartoon, setting the discourse on the expression and communication. 
It is clear from the above sketch of proof here, coupled with the stylized symbols allows us to identify the moods of the characters and situations, and helps us to understand the differences in both emotional and physical, or the compatibility between one or more actors. also triggers the receptivity of the reader's mind and set in motion all the mechanisms that make the comics a unique medium. 
As noted by this picture above, already 60 years Saul Steinberg is used this approach. The size of Mazzuccheli is the ability to enhance and build upon this kind of expression, channeling them in a storytelling and to form a book.
Mazzucchelli breaks, cuts, peels, and the design team, (re) taking the essential comics. In doing so, showing only the backbone, in some way deceive us in the proposal for a comic book difficult to decipher. This is only apparent because all these symbols and geometrical codes that are used we have well etched in our minds since the dawn of time and perhaps have been years of reading super-eroistiche it stays buried in our brains.
Simple things in fin dei conti, immediate, come i colori. Qua sopra potete notare come Mazzucchelli usi il colore e la geometria per evidenziare una situazione di conflitto, di distacco e di indifferenza. Una sostanziale incompatibilità o forse solo un momento no. 
E ancora qua sopra Saul Steinberg, diversa situazione ma con esito apparentemente simile. In tempi più recenti un altro fumettesta che segue questa strada è Mark Newgarden , anche se lo fa in maniera molto più radicale come potete vedere qua sotto.
Mazzuchelli dispone le sue vignette in modo pacato, raramente le sue tavole sono confuse (e se lo sono è volontariamente), ma anzi, hanno un moto circolare che softens the reading as you can see below. 
Another detail is the mirror image and balance, here you can see two different examples. 
are two different situations, both in composition to that situation (a shocking, the other intimate), but both the first and the second picture everything is perfectly balanced. An example is even more radical Mark Newgarden, as you can see below.
Mazzucchelli's skill is knowing how to revise the basics of comics without end as pure experimentation, but building a product that can tell a story in a mostly brilliant. Finally, I show you a recent picture of batman that simplifies what has been said so far approaches to super-vision eroistica.
Instantsteelcutoatmeal
Pig
Shipped directly from his hands ready to draw but unable to register sensations, and there on my bed, a 300-page hardcover volumazzo, freshly signed.
Twenty years of self-production, relentless and daring, able to carve out its niche audiences.
It 's a bit of a case that Pig, perhaps true father of many young American writers who have been around lately, Jeffrey Brown at all. The book
is an anthology, a best of and impact with the first (illegible) stories would anyone give up, but then he takes off and is a great trip.
are very personal things, dreams, visions, and travel problems.
Because I'm lazy and the white space gives me a hand is better that you read here:
-telling simplicity
-perfect example of independence 
Shipped directly from his hands ready to draw but unable to register sensations, and there on my bed, a 300-page hardcover volumazzo, freshly signed.
Twenty years of self-production, relentless and daring, able to carve out its niche audiences.
It 's a bit of a case that Pig, perhaps true father of many young American writers who have been around lately, Jeffrey Brown at all. The book
is an anthology, a best of and impact with the first (illegible) stories would anyone give up, but then he takes off and is a great trip.
are very personal things, dreams, visions, and travel problems.
Because I'm lazy and the white space gives me a hand is better that you read here:
-telling simplicity
-perfect example of independence
Subscribe to:
Posts (Atom)