A couple of weekends ago DK and I travelled to Madrid and played what might be the perfect template for all DJ sets in the future. Four deck AV set at 8.15-9.45pm to a receptive crowd on the top floor of the amazing Espacio Arts Centre. Pack up by 10pm, drop bags at hotel and go to a bar for beer and tapas, then go to a great seafood restaurant and be in bed by 1am. Get a good nights sleep and make it to breakfast at a normal hour. They don’t often happen like that…
These are the pencils for a Judge Dredd commission I’ve been waiting on for between 18 months and 2 years from one of the greats – Mike McMahon.
I asked for a full-on Cursed Earth scene, basically a recreation of either the cover or inside spread of Prog 61, the first issue of 2000ad I ever bought and he’s knocked it out the park.
I’ve enhanced the pencils in Photoshop here as Mick uses a very light grade – you can see the original plus many more commissions both penciled and inked on his excellent tugging your coat blog.
Now to wait for the inked version…
Kid Acne has just completed this incredible mural up in Sheffield which was commissioned by the Festival of the Mind. What’s interesting about this image is that it’s around 15 years old and was originally going to be the cover for DJ Vadim‘s side project The Isolationist when it was still called ‘Orators of Advanced Thought’.
Back in the late 90’s I was doing the artwork for Jazz Fudge, Vadim’s label and was introduced to Edna (Kid Acne) with a view to him contributing to some of the releases. Ed was finishing his college course at the time but painted a version of this as part of the final show I think (could be wrong here) and sent photos down to be scanned.
I can’t remember why they weren’t used but I still have roughs of it in the archive. What a great image and exciting way to end a terrace of houses, we’re seeing more and more murals like this springing up these days in the UK and that’s a good thing as far as I’m concerned.
Photos by Shaun Bloodworth (portrait) and Andy Brown (Yo! action shot) courtesy of Kid Acne. Check the video of the making below too.
THE BIRTH OF HIP-HOP / UNIVERSE RAP from Tom Sykes on Vimeo.
Gutted I can’t go to this as I will be away but a great opportunity for kids to get into comic-making… Download the first issue of Moose Kid Comics for free here.
You may remember me featuring the Madlib ‘Pill Jar’ album cover a while back when he put it up as a free download. Well, it’s still there but he’s added more tracks and it’s now available as a physical LP with that great cover image by Rogerio Puhl. Another couple of nice cover designs, courtesy of Jeff Jank, come for the Rock Konducta 1 & 2 LPs – taking classic Beatles and Black Sabbath sleeves and bastardizing them.
I bought this on spec a couple of months back, purely because I was intrigued by the artwork and wanted to know more. Derek Stenning has collected together a bunch of images he’s created centering around floating cosmonauts in various scenarios – titled the EK Series. I’m still to read it to uncover the full story but it’s beautiful to look at.
This is an interesting comic I picked up the other week out of curiosity. It’s a one-off ode to the masters of the art – Jack Kirby, Steve Ditko and Wally Wood – by Sergio Ponchione who’s a new name to me. He manages to give a brief overview of each artist’s career, contributions to the medium and personal life whilst channeling a little of their style as he explains their importance to a budding young illustrator who’s not familiar with their work.
It’s an oddity whose only weakness is its shortness, this could have been expanded to 3 issues easily. As a love letter to the three creators it’s charming though, search it out as I will be doing for his 4 issue comic, Grotesque from Fantagraphics. Annoyingly it seems he was in London at Gosh Comics not 10 days again discussing the comic but I missed it.
A Kickstarter campaign to get a book with vinyl made has just 2 weeks left to run. It’s run by the Gamma Proforma guys who do a nice line in the more leftfield artists in their exhibitions. Check out this little film for more info and look at that line up of artists!
Visual: Jerry ‘Joker’ Inscoe, Poesia, sheOne, Nawer, Stendec, Moneyless, Phil Ashcroft, Derm, Robert ‘Tone’ Proch, Sebastien Preschoux, Sat One, Graphic Surgery, Felipe Pantone, O.Two, Roids, Clemens Behr, Christopher Derek Bruno, 108
Audio: Kidghe, Stohead, Luke Vibert, Divine Styler, Mike Ladd, Andrea Parker / Daz, Quayle, Cristian Vogel, Arovane, Einoma, Third Shock, Methodblack, Lyken, Monkphat, Plaster, Clatterbox, GFQ, Quinoline Yellow, Evac, Kero, Dalglish, Bogger, Northburg & Ed Devane.
It’s been a bit quiet on here of late because I’ve been very busy tying up the last pieces of the Frankie Goes To Hollywood box set with Philip Marshall and the deadline is this weekend with the book still to finish. We’ve had some 11th hour changes due to the USM legal dept. getting cold feet over the cassette front cover (there’ll be a lengthy blog post about the cassette one day) but also some higher res images arrived today of one of the Lo Cole gatefold prelims for the interior of the book. These were courtesy of a German fan who went out of his way to get a decent copy of the image from someone who had bought the rough draft painting when it was sold years ago. Now we can have a much larger version of the image rather than the low grade jpegs we’ve had for years.
But the subject of this post is about the Flick book* – maybe considered a throw away item to some, certainly the runt of the litter but getting as much love as the rest in its construction. The book features scenes from the TV advert that briefly aired around the time of the album launch in November ’84 with imagery based on Lo Cole’s paintings – a brief 40 second rampage into the Pleasuredome by the band accompanied by assorted mythical beasts. As pages are limited in the book the original film was broken down into an image sequence – 25 frames per second x 40 to nearly 1000 frames – which were then stripped down to essential frames and made into .gif files to see which few seconds of animation would work best.
*( this is a provisional cover design – it’s changed a bit since this version)
Luckily we can print on both sides of the page with this book so you can view two separate animations depending on which way round you hold the book. In an effort to get the best possible image quality for the book we went back to the sole surviving master copy, a U-Matic tape, and pulled the frames we needed. These were still fairly grubby looking with a dark caste over most, dull colours and lots of ‘noise’ across the image. In Photoshop I set up a series of image filters to find out how best to lighten the images and bring out the vibrancy of the colours without it looking too forced. It turned out that different scenes needed different amounts of filtering as the saturation kept changing so there was no chance to automate the process.
When I was satisfied I’d got the best colour and light balance there was still the subject of the noise and how to remove it, this is when you can see a texture like a grain across an image, usually caused by light or introduced by generations of copies. I use a great Photoshop plug in caused Neat Image (yes, terrible name but amazing results) to remove this. It takes a digital fingerprint of the image and then smooths out all the bumps without blurring the image, something some similar plug ins tend to do. See the process below, at the top is the original as it came to me, then the filtered version with enhanced colours and any dark cast taken away. Finally there’s the denoised version that will end up in the book.
Regular readers of this blog may have noticed that I post original comic art alongside copious amounts of comics news and such. This is because I’ve collected it since the late 90’s, mainly from artists who have drawn for the British comic 2000ad. The original art collecting community is a growing one but the 2000ad-centric one is still small enough that most people know or know of each other.
A couple of collector friends of mine – Simon Beigh and Julius Howe – have started a regular podcast and Facebook page called Inky Fingers that talks about all things related. This can mean interviews with the artists themselves and collectors or musings on pieces currently on eBay and collecting tips. I was recently asked to chat about my collection on their latest podcast and I share time with the great Carlos Ezquerra in another interview. Check it out here...
Anyone of a certain age who was into sci-fi in the 70’s and 80’s will be familiar with Peter Elson‘s work, if not his name. His highly detailed spaceships and futuristic tech were as recognisable as Chris Foss‘s and I used to seek out the tiny ‘PE’ logo that he hid in most of his work time and again as confirmation that an image was by him.
*Special ‘Originals’ guest post – I don’t own this one* My friend David Rees recently bought this original painting from Peter’s sister (Elson passed away many years ago) and was kind enough to share these images with me. It’s fascinating for me to see the close up details of this piece – ‘Mission To Universe’ – that I first saw in one of the Steven Caldwell Terran Trade Authority books way back when. As far as I know there is only one book of Elson’s work collected, ‘Parallel Lines’, long out of print and shared with another artist of the genre, Chris Moore. That’s a real shame and he deserves wider recognition. The painting is shown next to the paperback which it was painted for below.
Found this online, no idea who took it, possibly Henry Chalfont or Martha Cooper. Always nice to see one of the classic whole cars from a new angle and in situ to see the scale and surroundings. It must have been incredible to see these running in the early 80’s. R.I.P. Dondo White, a true style master who made his mark and still impresses today.
Jim Mahfood comes with the goods two years after he did our ‘Caught In The Middle of a 3-Way Mix’ cover.
This is for SM&A Productions‘ forthcoming Visual Companion to Paul’s Boutique, due online on July 25th, the 25th anniversary of the great album.
They also commissioned Derek Langille to do a poster, he of the Sabotage comic fame.
“Yeah, you can’t front on that!”
Due out September or mid-October (depending on what you read online), ‘Training Days’ catches up with the characters and writers who populated the scene during the early 80’s when Henry Chalfort, Martha Cooper and James Prigoff were documenting the New York graffiti scene in book and film with ‘Subway Art’ and ‘Style Wars’.
Interviews by Chalfont and Sacha Jenkins find out who did what and how the movement changed their lives when graffiti was catapulted into the international spotlight 30 years ago. The 176 page hardback has B&W and colour images plus interviews with writers like Lady Pink, Kel, Jon One, Skeme, Daze and more. It looks like it will be a perfect addition to Subway and ‘Spraycan Art’, making it a neat trilogy after 30 years.
Seems like you can only pre-order if from A*az*n at the moment unfortunately but it’s a bargain at under £10 so if you have no qualms with dealing with them, go here.
I’ve been scanning the original Welcome To The Pleasuredome artwork by Lo Cole this week and, comparing it to the existing scans I was working with, there’s quite a bit of difference. It’s tempting with Photoshop to put images through all sorts of filters and processes to make the image ‘pop’, much like compression and limiting on audio files. After a while you can lose sight of the original but having the original paintings to hand I could check on screen that they were as accurate reproductions as possible. Certain colours didn’t initially scan exactly so I made sure that I corrected them to as near as possible with the colours of origin.
It’s actually hard to tell but the lower left of the moon is a subtlely different shade to the rest. The background is a more yellow/grey tone of blue.
This is a little like remastering from the original master tapes, cleaning up any stray dust or hair particles that have got on to the surface in the process. The blurrier, more saturated images here are the working files I’ve had and the subtler, sharper ones are the new scans that will be seen on the forthcoming box set. If you get the prints from the box, rest assured that the colours on them will be as accurate as possible to the original source (as long as the printer doesn’t mess things up) and if you display them they will nearly pass for originals.
As you can see with this comparison, there’s a bit more of the image on the top and the blues are more grey/yellow.
Seeing at Glastonbury is upon us once more it’s appropriate to post this – an image of festival organisor Michael Eavis made from names of all the artists who have ever played the festival. The image is by Annemarie Wright who does text-based illustrations and I’m proud to say that my name is there, just below the neckline.
Death Waltz Recording Company releases for Record Store Day 2014 (only 2 of the 4). Each album has a splattered colour vinyl disc, a huge 36″x36″ poster, a 12″x12″ card print of the poster plus sleeve notes, a housebag that’s both embossed and debossed and a paper wraparound with release details.
These retail at an average of £20 each – incredible when you see the prices of other releases only offering half that. Plus Spencer Hickman, the label owner, is a straight up dude, one of the soundest people I’ve come across in the music industry. 
I visited the MoWax 21 / Urban Archaeology exhibition that opened at the Southbank Centre in London, currently home to the James Lavelle-curated Meltdown season.it was stuffed with everything you could want from a visual label retrospective with memorabilia and artwork from across the label’s history and beyond into post MW UNKLE releases.
For those familiar with the label there us much here to wallow in but plenty of behind the scenes stuff too. A letter from Mike D about a planned MoWax / Grand Royal ‘Battle of the Beats’ record, working drawings and model for Futura Pointmen toys and plenty of original art that graced many a sleeve. There are toys in every kind of colourway, some still at prototype stage, flyers reaching back to the early 90’s to when MoWax was more of a Talking Loud wannabe than the trip hop and electronica powerhouse of its heyday.
It’s free but only open until June 22nd so you only have this week to catch it before it’s gone. But if you don’t manage to make it down then there is an extensive book now available with even more info and photos. Initially funded via Kickstarter, I received a copy last week and it’s beautiful to behold, a perfect visual encapsulation of the label.
The Electric Hoax Pt.24 by Pete Milligan and Brendan McCarthy. This strip appeared in the weekly UK music paper, Sounds, in 24 parts sometime between mid ’78 and ’79. Click image for larger version – the End, thank you for reading.
Last Sunday I was lucky enough to see the 1992 work print of Richard Williams‘ life’s work, ‘The Thief & The Cobbler’ at the BFI on the Southbank. To make the occasion even more special, the man himself was on hand to present it and answer questions, something he’d been reluctant to do for over 20 years since the film was taken, unfinished, from him by the studio and bastardised into not one but two flop versions of his great vision. It’s a long but fascinating story which ends in tragedy and is best told via the Wiki article here or Kevin Schreck‘s documentary ‘Persistence of Vision’.
In conversation with film critic David Robinson after the showing Williams was in fine form, laughing and joking about events during and after the film’s premature end. Several animators and people who worked on the film were present in the audience and he was at pains to mention as many of them as possible. Sadly because of the time that had passed since the film’s abrupt halt, several of the more elderly animators had died and Williams himself is now 81. There was a sense of closure about the showing, with the audience all willing a visibly moved Williams to shakily get through his list of thankyous before the film commenced.
The film itself was incredible to see on the big screen and at a fairly decent quality even though certain scenes were unfinished and shown via basic pencil animations or even story boards. The sound was also unfinished but most of the voice work was in place even if the music featured placeholders or rough drafts. You got a sense of the story and there were several new sequences that I’ve never see before in the various different versions floating around the web.
The incredible war machine sequence near the end was just breathtaking to behold, surely one of the greatest long-form animated sequences ever created. The pace of a lot of the animation was far slower than would be acceptable in today’s ADD world but this added to its charm and the humour was light but cutting. Had it of emerged at the time, after the spectacle of William’s other great work, ‘Who Framed Roger Rabbit’, it would have looked like little else seen before. Since more than 20 years has now passed you can see that ‘inspiration’ had been very liberally taken from it for the animated version of ‘Aladdin’ that Disney released some years later.
After the showing and a rather large applause, Williams took to the stage with Robinson and went through a number of anecdotes connected to the film before engaging in a Q&A with the audience. He was at pains to point out that this version of the film was only the last version they had before all the footage was repossessed, and not a very good quality copy at that. He revealed that his wife had sent the film to an overnight copy house to get a dub of the footage they had in the order that was assembled at the time. In this interview with London Calling he expands further on how the showing came about:
“The Academy wanted to screen my cut of the not quite finished ‘The Thief and the Cobbler’. With their help we reconstructed the work-print as it was on the day we had to abandon the film in 1992. Which is why we’ve called this version ‘The Thief and the Cobbler: A Moment in Time’. The whole film is there in good working order with all the amazing voices including Kenneth Williams and Joan Sims from the ‘Carry On’ films, and the legendary Vincent Price.”
During the session he recounted some of his battles with the studio and how it had affected him afterwards. When asked about why he hadn’t spoken about it he replied that, “when that happens to you, the last thing you want to do is talk about it”. Talking about surrounding himself with the best people in the business so that he could be sure they could be relied on to get on with the job he told a story he’d heard concerning a jazz musician with a drunk guitarist. On finding the inebriated player shortly before a show and realising that he wouldn’t be up to the job he hissed at him, “Don’t fuck with my hustle”, and this appeared to be his attitude to anyone who worked for him who couldn’t pull their weight.
Best of all was a seemingly throwaway comment he made when talking about the control studios exert over their charges once the finance is in place. Summing up probably a lifetime of experience at the hands of the moneymen and relevant to virtually any area of the industry where creativity is involved: “You know what the Golden Rule is, don’t you?” he asked the audience, “The one with the gold, makes the rules”…
Many thanks to Mark Nicholson (aka Osymyso) for not only getting me a ticket but for taking these photos during the event. For more behind the scenes info on the original production of ‘The Thief…’ take a look at this blog, written by some of the original animators and creatives involved in making it.
