Wednesday, January 31, 2007
Tuesday, January 30, 2007
Luke suggested earlier that it would be nice if there were some variation in line width in these. I think I was starting to get something like that effect here, since I was coloring in long black stringy bits that essentially start to look like thick lines.
Or perhaps I'm deluding myself.
The text read, "You still play with your ears when you drink your milk."
We should all take a moment and vote for Duffield, E.B.D and Zeke on the Eagle Awards site.
Monday, January 29, 2007
An exhibition of unspeakable things: Lovecraft's Commonplace Book
The exhibition concept, in brief:
"An exhibition of unspeakable things" is an exhibition project of the Maison d'Ailleurs, Museum of science fiction (in Switzerland), based on a text by writer H. P. Lovecraft's the Commonplace Book. This work by Lovecraft, consisting of ideas to be developed at a later date, will be used as the basis for illustrations produced by brilliant comics authors/illustrators. The exhibition will present more than one hundred original works by artists whose only common ground is to be willing to embark on such a delirious journey.
Exhibition organizer and location:
The Maison d'Ailleurs (http://www.ailleurs.ch), Museum of science fiction, utopia and extraordinary journeys, is a non-profit foundation with two-fold mission: that of a public museum and a specialized research centre. Founded in 1976, the Maison d'Ailleurs possesses a collection of more than 60'000 objects related to its theme of specialization. This unique museum is the only public institution of its kind in Europe.
Alongside the institutionâ€™s research pole, there is great public interest in the Museum as numerous temporary exhibitions are held that encourage visitors to explore major themes in science fiction (future cities, space travel, etc.) or to discover visionary artists, film-makers, sculptors, painters and comics artists such as: Caza, H.R. Giger, John Howe, Dave McKean, Luc Schuiten, James Gurney and many more. Since 1989, the Maison d'Ailleurs has produced more than fifty exhibitions, both within and outside the Museum, and has attracted the attention of the international press.
H. P. Lovecraft:
Howard Phillips Lovecraft (1890 - 1937), an American writer, is considered one of the fathers of XXth Century weird and fantastic fiction. He is the author of over sixty short stories, a novel, as well as poems. Although Lovecraft had a hard life and died young, he is known today as both a pioneer and genius. He influenced many important artists and writers of our time: Robert Bloch, H. R. Giger, Philippe Druillet, Roger Corman, Stephen King as well as Fritz Leiber.
Lovecraft's Commonplace Book is a written compilation of ideas: from 1919 to 1934, Lovecraft wrote down fragments, plot ideas and scenario outlines, all concrete elements he could put to use at any given time. The texts contain suggestions for story-writing (as many as 221 !) as well as a list of horror fundamentals, intended to stimulate the imagination. Today we would call them "pitches" for horror stories, accompanied by images, disparate quotes... This book totally immerses the reader into Lovecraft's world, almost as a witness to the birth of countless future stories yet to unfold. It is interesting to note that the Commonplace Book was actually used by other authors as a Lovecraftian source on which to base new novels and short stories.
The Commonplace Book was selected for the base of the exhibition as it sums up the work of Lovecraft remarkably well. Consisting mainly of short phrases, it is much easier to use as a source of inspiration for an illustration than a short story. The artworks produced for the exhibition will serve to â€œcomplete â€ the ideas in the selected excerpt, to develop it or to bring it to life (in a quirky way or not!). Each artist can use the amount of text he desires.
â†’ Examples of the author's notes:
- "Man observed in a publick place with features (or ring or jewel) identified with those of man long (perhaps generations) buried."
- "Subterranean region beneath placid New England village, inhabited by (living or extinct) creatures of prehistoric antiquity and strangeness."
- "Ancient and unknown ruinsâ€”strange and immortal bird who speaks in a language horrifying and revelatory to the explorers."
- "Individual, by some strange process, retraces the path of evolution and becomes amphibious."
Copyrights: according to the leading Lovecraft scholar, the text appears to be copyright-free (the copyrights for Lovecraftâ€™s work are very complex). Nevertheless, both the copyright agents for Lovecraftâ€™s work in French and the publisher of the French version of the "Commonplace Book" have authorized the Maison d'Ailleursâ€™ creation of an exhibition based on these texts (as well as an accompanying publication).
â†’ A digital version of the text is attached. It also exists in its original English version.
Illustrations: number, type and format:
- As the Maison d'Ailleurs possesses approximately 250 m2 of exhibition space on three floors, a relatively large amount of artwork is required for "an exhibition of unspeakable things ". Participating artists are therefore encouraged to create several illustrations inspired by the "Commonplace Book". There is no limit as to how many!
- Both style and technique are open (black and white, colour, etc.). The works produced may consist of mere illustrated "notes" or sketches. Even if an "illustrative approach" is applied to Lovecraftâ€™s ideas (as oppose to a "comic strip style"), it is possible to include speech balloons (text bubbles) or to make a series of images for one text fragment (but we do not need a comic strip...).
- In order to facilitate the project's organisation and to ensure a coherent overall aesthetic presentation, we have decided to impose standard format size for all illustrations: A5, A4 or A3.
- The authorâ€™s name and the reference number corresponding to Lovecraftâ€™s note used for inspiration, must figure on each illustration, thank you in advance for your cooperation!
- Original works remain the property of the artists and will be returned once the exhibition has been dismantled. (Please note: it is probable that the exhibition will be presented in other institutions after the first public showing at the Maison d'Ailleurs.) Copyrights for artworks will remain the property of each respective artist, who must grant the exhibition organisers permission,free of charge, to include the works in the exhibition (for public viewing) as well as to be published in the exhibition catalogue.
- Costs for the transport of works, from the artists homes to the Maison d'Ailleurs and back, will be covered by the Museum.
"An exhibition of unspeakable things" will be presented on three floors at the Maison d'Ailleurs, from the end of October 2007 to April 2008. Each illustration will be presented along with the note from Lovecraftâ€™s text that served as inspiration (original scenography will be designed in order to do so). As well, the Maison d'Ailleurs will display rare documents linked to H. P. Lovecraft (such as a hand-written postcard from the Museumâ€™s collections) or are related to Lovecraft's "universe". The H. P. Lovecraft Historical Society will be one of the exhibition partners. A viewing of the medium-length film "The Call of Cthulhu" is planned. As well, it is highly probable that several writers will also contribute to the project.
An exhibition catalogue is to be produced, presenting a selection of illustrations from the exhibition with the Lovecraft text that served as inspiration (in both French and English). Each participating artist will receive gratuitously a certain number of catalogues (the exact amount is to be determined). Michel Houellebecq, a reknowned Lovecraft specialist, has been asked to write the prologue of the catalogue.
Subsequent exhibition locations:
Several other locations/organisations have already expressed their interest in presenting this exhibition, such as the Fumetto Festival in Lucerne, in April 2008, as well as the Utopiales Festival in Nantes, in October 2008.
Fianancial support and budget:
At this stage in the project, it does not appear possible to remunerate participating artists (other than by gratuitously supplying a certain number of exhibition catalogues).
Not to become rich, obviously, but rather to commemorate the 70th anniversary of Lovecraftâ€™s death, to receive a beautiful catalogue of illustrations, to join the group of prestigious artists participating in this group exhibition, to venture â€œoff the beaten pathâ€ into the monstrously frightful, and to â€œbring to lifeâ€ particularly horrifying or abstract situations.
- Mix & Remix: initiator of the exhibition project, Mix & Remix (Philippe Becquelin) is a press and television illustrator. Each weeek, as political cartoonist for the magazine L'Hebdo, he creates comical illustrations on current news. His illustrations are also published in the French newspaper Courrier international and the Italian newspaper l'Internazionale. As well, his work was on exhibition at the Festival of AngoulÃªme in 2005.
- The magazine L'Hebdo: a Swiss news magazine edited in Lausanne. Founded in September 1981, l'Hebdo is the most important publication of its kind in French-speaking Switzerland. They will ensure both the promotion of the exhibition and the distribution of the exhibition catalogue.
- The Lausanne Municipal Library: this institution possesses an extraordinary archive of comics, managed by the official curator, Cuno Affolter. The Library serves as an important contact point in this area of specialisation in Switzerland.
- 28 October 2007 - April 2008: presentation of the exhibition at the Museum
- 27 October 2007: exhibition opening at the Maison d'Ailleurs
- 1 September 2007: deadline for the reception of original artworks from artists; preparation of the publication (scans, layout, printing, etc.)
- 30 June 2007: deadline for artists to communicate the exact number of artworks to be presented (if possible including the size and format of each work)
- 31 March 2007: deadline for artists confirmation of participation
- 15 February 2007: finalisation of artists contracts"
The graphic design of the exhibition (poster, publications, etc.) is by Julien Notter and SÃ©bastien Vigne (at-elier.net), who will also collaborate in designing the exhibition scenography under the supervision of the Museumâ€™s management team.
Patrick J. Gyger, Director â€“ firstname.lastname@example.org
Maison d'Ailleurs, MusÃ©e de la science-fiction, de l'utopie et des voyages extraordinaires, 1400 Yverdon-les-Bains, Suisse
tÃ©l +41 24 425 64 38
Text says, "You life your eyebrows when you look in the garbage can."
Sunday, January 28, 2007
Saturday, January 27, 2007
This monster breaks off the largest mountain he can find and drops it on a development that is growing too fast above his cave home. Here he is on his way to crush them.
The evil heroes are done relatively small and sketchy; I liked the way it turned out, and tried the style again in some later drawings.
The text says, "Shouldn't we take that away from him?"
Friday, January 26, 2007
The quote says, "I am too busy to talk to Mommy right now."
Thursday, January 25, 2007
Wednesday, January 24, 2007
Tuesday, January 23, 2007
The text reads, "Maybe he really is the worst baby ever."
-Click to enlarge
Here's a pic that makes my fore-head look rather bulbous..
click to enlarge..
How about that?
I'm currently working on a mini-comic with no title. Short stories and single panel gag cartoons, all about cats and dating and dieting. I may call it "Cathy". Either that or "Pee Pee Doodlers for You!"
I'm Currently Working on it.
Monday, January 22, 2007
Text reads, "Pretending to sleep is Daddy's favorite game."
This was the first drawing where I *didn't* try to copy every line of the original. Instead I picked a few elements (the snake from Osiris' hat, for example.) I don't know that it entirely worked in this one....
Sunday, January 21, 2007
I just completed this little comic for a Roctober/Chica-Go-Go project http://www.roctober.com/. It's Pedro Bell, best known for his Parliament/Funkadelic art work being interviewed by Chica-Go-Go host Ratso. Here goes a cool interview with Pedro Bell from an old issue of Roctober. http://www.roctober.com/roctober/greatness/pfunk.html What i particularly found cool was that Pedro Bell found some of his earliest influence from Ed Roth/Rat Fink stuff. http://www.ratfink.org/ Because of this, i decided to up the Rat Fink influence in my own illustration here. I do believe that you will find the strength of my own cosmic understandings here with a skinhead rat interviewing a crazy black artist with a marker bandolier.
Saturday, January 20, 2007
Friday, January 19, 2007
Here's a quote that sums up what the film is about. "Conceived in the late '40s by animator Paul Grimault and famed screenwriter Jacques Prévert, this was intended to be France's first full-length animated feature, but, due to budgetary problems, it was left incomplete until 1980. Today it's seen as having been highly influential on animation giants such as Hayao Miyazaki, and as proof that hand-drawn images deserve life after Pixar. A pompous, cross-eyed ruler--named "King Charles V + III = VIII + VIII = XVI"--is in love with a painting. The two-dimensional beauty, however, desires the dashing young chimney sweep in the frame next door. Drawn to one another, this pair decides to elope, stepping out of the paintings and into Grimault's endlessly bizarre castle/town. But a jealous portrait of the King gives chase, imprisoning the real King with a well-placed trap door. Grimault forsakes realism in favor of bold colors, disorienting shifts in scale and perspective, and a number of odd transformations (my favorite is when the King's throne becomes a carnival-style bumper car). Elevators look like beetles attached to telescoping cell phone antennas, buildings hang like barnacles from gargantuan Roman pillars," quote from here.
Here's 50 screenshots from the film...
1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 13 - 14 - 15 - 16 - 17 - 18 - 19 - 20 - 21 - 22 - 23 - 24 - 25 - 26 - 27 - 28 - 29 - 30 - 31 - 32 - 33 - 34 - 35 - 36 - 37 - 38 - 39 - 40 - 41 - 42 - 43 - 44 - 45 - 46 - 47 - 48 - 49 - 50
Thursday, January 18, 2007
And this being the Internet, here's a close up of my fanny
Beware, if you look deep enough inside that tormented right eye, you'll find that i'm lacking an appendix; be quiet, don't panic, i keep it here, in this jar
"My body is my temple", yeah, good luck praying, chanting, spasms talking and don't forget the handling of snakes, you do gotta handle the poisonous snakes; me?, i think the body its a very poor organizer of the internal organs.
Jar it all!
I am a cartoonist from argentina, and before you ask, no, i don't have a clue about any hypothetical argentinian comics scene, i guess i should get out more, but as a virile, outdoors man, i like to read about life to the fullest.
And as long as i'm blabbling about reading, i confess that i learnt english reading old Floyd Gottffredson's comics, i hope this fact somehow clarifies my constant enmanglement of the noble english language.
I was a artistic kid in a working class home, so my first inspirations came from the TV, all the classic Bob Clampett, Tex Avery & et all animation shorts that were the staple of kiddie programs back in the 70's, i will allways love those loonies.
Also loonies like Ornette Coleman, Raymond Roussel and Jean Dubuffet... and synthesis, i love synthesis!
For the sake of archeology, here's the first strip i ever published, in this "countercultural" mag called Cerdos & Peces, in the other side of the page where's my strip is, there's a W. Burroughs interview! This thing was actually sold in newstands, impossible to think of it now, when rebellion means a more agressive scheme to milk money out of your neighbour, Donald Trump's "you're fired" this age Marlon Brando's "what ya'got?". And no, i won't discuss my stupid alias of the time.
I was fifteen and obviously a delightfully charming young fellow, you could very well imagine the viciousness with wich ancient, frail patrician ladies went after each other in filthy back alleys, expensive false teeth clenched, swirling switchblades on a blueblood binge while pearl necklaces exploded under lashing bike chains, all over who would be honored with my presence at tea time.
But i was unhappy with my work, so i quit trying to be a pro and concentrated in just drawing. Fifteen years passed while i worked plenty of shitty jobs and drew all the time, housed a couple extra cuckoos in my skull clock in the proccess, wich lead me to draw long autistic comics with titles like Arachneed, Growing Frenzy and Draw Dust From The Droolers, that i rather doubt will ever see the light of day, all this while i developed a rainbow of vices wich, since slowly getting my life back in track five years ago i'm trying to shed away, i gotta do the comics!
Here's some new stuff
oh man... i'm gonna faint... did you read that? twenty years since the previous strip and i haven't progressed JACKSHIT! i'm a fucking moron! its the same old, "Todo pasa por el culo" (translated: "Everything -as in everything of substance, of meaning- goes through the ass") crap!! here's God: "Through the ass!!!" here's love: "Through the ass!!!" here's decency, gentlesness, reason, beauty, learning... "Through the ass with all of it!!!"
See ya at the other end.
So, i'm working on more Troll pictures... using my favorite pen! The Sharpie Extra Fine Point Permanent Marker! Cheap! Easy to find! Nice line & nice amount of ink. I've tried pretty much every pen & marker on the market & this is my personal favorite. I'm in luck too, considering the prices & bother of alot of other pens. Anyhow, i wrote this piece for my friend Clint Marsh's "The Shrieker" Old School Gaming newsletter. It was fun to discuss stuff this nerdy!
So Many Rules… with Sean Goblin
I think I will do us all a favor in the beginning of this piece by warning you that I think rules & bureaucracy are two sins that are missing from the big list of sin. However, I’m also fairly obsessed with the idea of rules & making up rules to force on other people but then breaking them & reminding people that only fools follow the rules. It’s a trap I set for people. In all apparent ways I’m an anarchist, but there are too many rules in anarchism for me to deal with & there is no way I’m going to have some armchair politician or anyone else for that matter telling me how to behave. So, I’ve been re-reading a bunch of old Role Playing Games & after absorbing all the crazy artwork, the central impression I’m getting is that the rule systems are designed by foetal accountants & lawyers. 1st edition AD&D has been the most ludicrous to me so far, although I remember MERP being the most ridiculous rule set I ever bought. I understand that the goal of role playing games is to have a kind of managed make-believe where everything isn’t arbitrary & there are some structures as far as making it a cohesive & semi-realistic environment, but seriously. These rule systems are ridiculous. I find it comforting that the rule systems that made absolutely no sense or were obviously too complicated when I first started reading these books at age 9 are still nonsensical to me at age 30. I find myself thinking, “Who gives a toss?” & “Another chart?” Part of the issue is that good role playing comes from people who have a good understanding of how things actually work & then, how the fantastical would blend or intrude into reality & how to react. If you want to role dice & look at tables & follow the rules, you might as well do some actual gambling, get involved with market investment or become an accountant. There has to be some kind of a psychological problem with these imaginary rule followers. It’s a bit like the difference in intelligence between computers that can beat humans at chess & how even a baby can tell if their mum is mad at them. Math intelligence is more autistic & retarded, while social intelligence is more natural & complex. That said, it takes a large degree of social & intuitive intelligence to understand what “makes sense” in a role playing world, whereas your typical nerd needs the rules explained to them & they need a bunch of charts so that they can decipher what is happening to them in reality.
The times have changed though, the world is held together by a complex web of rules & bureaucracy. These are days of spreadsheets & computer dating, things we should be embarassed by, but have become the way of the West. The accountants are running things & we are the worse off for it. Those of us who like to keep all of the superfluous material small & easy to stomp to death are having a harder time of it. But I can tell that people want the old ways more than ever before. Me, my problem is that i’m a philosopher & a lunatic with an ironclad moral code, so not only do I not need rules, I actively think about them & how they are the wrong rules. With or without the rules, I will behave in the exact same way. I intuitively know right from wrong, I’m a warrior priest leading the tribe by the smells on the winds. Sure, I might keep a bespectacled chart checker on hand so I can make sure no one is stealing the onions, but in the end, I follow my nose & my gut, much like truffle hunting pigs in the wilds of France.
As far as I know, Role Playing Games always seemed like they were aimed at pre-teens, although I have no idea… pre-teens would like to know how the world works, but they also like to masturbate their egos in imaginary blood-baths, treasure rooms & the like. Apparently grown-ass adults like to do this too. The Role Playing Games do best when they are done in the spirit of great story-telling & exploration, not in rule jockeying & accounting. However, the success of Advanced Dungeons & Dragons does explain the success of Scientology & those silly magic how-to books published by Llewelyn, it’s all for cowardly nerds who don’t feel safe in the world unless the rules have been explained to them already. That’s all well & good, the world will always have its share of cowardly nerds & even a few lunatic philosophers as well, but look, you better side with me before it’s too late, the mists are thick, the oceans are rising & the moon is dripping blood.
The text reads, "If I can vomit on the doggie and sneeze on the doggie, why can't I put humus on the doggie?"
This is one of only two full page illustrations in the book (not counting the front and back covers.)