Via Megatrip via Geek Art – this popped up on the web but it’s not by Mike Mignola. Thanks to pAUL for the comment, it was Scott Watanabe.
Art
The past few weeks, going through Peckham on the train on the way to London Bridge, I noticed some large scale paintings in amongst the largely derelict buildings just outside the station. Visible from the train is a huge bird perched on top of a stack of skulls plus various other creatures as you whiz past an open courtyard in the building. Today I decided to go and find it and take some pictures as a respite from the studio mix sessions.
There’s no obvious way to get to them but there is a small alleyway off Peckham High St., by the fishmongers, that leads to it. This was, frustratingly, barred by a locked gate so I had to find another way. Various fire escapes out the back of indoor markets led to dead ends or more locked gates. In the end I had to go round the block to the opposite end of the next side street, into a lock up area where store keepers were storing merchandise and I could hear bands practicing behind closed doors. After a couple more wrong turns I found my way down between the buildings, into the courtyard and this is what I found.
[singlepic id=2950 w=640 h=990 float=left]
If anyone knows who the artists are I would be interested to know more. The power of the internet rears its head, apparently the animals and skulls are by ROA from Belgium, couple of galleries here and his tumblr here. Looks like the other stuff is Sheffield artist Phelgm, thanks to all those who pointed it out.
Until recently I knew very little of Brian Lewis’ work, but the handful of pages I did know are etched in my brain as some of my first ever sci-fi comic experiences.
In 1978 I was in a newsagents and spied a comic called 2000ad, it was into its second year and the issue was no. 61. On the cover was their most popular character, Judge Dredd, roaring towards you on his bike, guns blazing. Lucky for me I’d stumbled upon the very issue that the comic decided to begin the first ever ‘epic’ in Dredd’s world – ‘The Cursed Earth’ – now, quite rightly, considered a classic. Opening the cover however, the first strip I was confronted with was an updated take on the old Eagle character Dan Dare. More so than the front cover, the page set fireworks off in my eight year old brain as a spaceship happened upon a huge space monster, the likes of which I’d never seen before. The detail was incredible, every tiny pore of the beast and panel of the ship was rendered meticulously. I’d only read ‘humour’ comics and some of the UK Star Wars weeklies up until then and I couldn’t believe this kind of art existed in a kids comic. I was sold and asked my mum if she could buy it, showing her how amazing it was (to me – I doubt she liked it very much). I loved this comic so much, I even took it to school and showed everyone who would listen how amazing I thought it was, it was ragged and ripped in a very short time but I still have it in a box somewhere.
Around the same time, issue No.1 of Starburst magazine arrived, a new monthly title concentrating on sci-fi in the movies, heavily capitalising on the previous year’s Star Wars fever and sporting an eye-catching wrapround cover of said film. Being mad on SW I picked it up, inside it was very text heavy, which, for an eight year old, was a bit of a no-no but the cover was so beautiful I had to have it. This time I pestered my dad (who was a much harder sell than my mum) and finally got a copy after a number of attempts. On the inside cover was a weird little one page strip where an astronaut is wandering about outside his ship in space, he hears a rumble and flees back inside, desperate to make it as quick as possible. The last panel sees him hooked up to a toilet in his suit, relieved to be relieving himself. Juvenile, sure, but beautifully drawn (and written) – by Brian Lewis.
A recent urge to revisit this issue (long since binned or given away) had me hunting around on eBay and a few days later it popped through the letter box. Most of the magazine was as fresh in my mind as when I’d read it years before, the cover still as great, Darth looking a little tired and droopy-mouthed in this rendition. Then I noticed the signature on it, L E W I S, my god, he did the front cover as well! You’d never know this from comparing the two, one being black and white line work, the other being fully painted colour using photos as reference. Doing some research online I found that he was one of the old school and had been in his prime in the 60’s and 70’s drawing Gerry Anderson comics and later Hammer House of Horror strips and covers for Dez Skinn. He’d also contributed a couple of covers to 2000ad as well as a three part Dan Dare story – you guessed it – the one I saw when I first opened the first issue I bought! How I’d never linked this with the Starburst one-pager I’ll never know but the similarities are obvious now.
Sadly, at the same time I was experiencing these revelations, Brian’s time was almost up and this was some of the last work he did, he passed away in 1979. There are a few pockets of information on him around the net but he’s not remembered as widely as the younger artists who were just starting out when 2000ad was the new comic on the block. He was very much the old school passing over the baton to the new, fresh-faced upstarts like Mike McMahon, Brian Bolland and Dave Gibbons. To me his style is very British, very considered, not overly flash but hyper detailed. Even though I only know a few pieces of his work I’m sure they will stay with me forever.
This entry was originally posted 28th October 2008 on my old Myspace blog, before this site existed.
I have been obsessed with this film since I saw a couple of clips in a documentary called ‘I Drew Roger Rabbit’ back in the late 80’s. It is / was the life’s work of the legendary Richard Williams, who most people will know for his animation on Roger Rabbit. For those that don’t know of it, it’s no big surprise, it’s history is long, complicated and it is still unfinished in the form it’s creator intended. There is an DVD in existence but this is a pale shadow of it’s intended groundbreaking form which Williams has disowned.
A short history of the production: it was begun in the sixties and loosely based on both Aladdin and the Sufi stories of the character Mulla Nasrudin, some of which Williams illustrated in early editions. It was his intention that it would compare to the early Disney greats and feature some of the most jaw dropping animated sequences ever made, all hand drawn, no computer imagery involved. And it does, from the footage I’ve seen, it delivers several scenes of breathtaking brilliance that have to be watched repeatedly just to pick up just how much detail is in them.
Williams worked in advertising primarily and headed one of the leading animation studios in the UK. He was responsible for lots of adverts you would have seen as a child (if you live in the UK) such as Frosties’ Tony The Tiger, the Listerine Dragon or the Pink Panther selling TDK video cassettes. But all the while he was churning out work that paid the rent he was chipping away at his big project. He used actors such as Vincent Price, Anthony Quayle, Sean Connery and Kenneth Williams, constantly revisiting them over the years to re-voice parts as the story changed. By the time Roger Rabbit hit he was an industry legend and finally the larger public also knew his name – it was time to seize the moment and finish his masterpiece. A deal with Warner Brothers meant he worked full time on it for a number of years but financial troubles and missed deadlines bought bankruptcy and the film was taken from him.
Warners finished the film without him, cut it to bits, added and deleted characters and released it as ‘The Princess & The Cobbler’, a thoroughly bastardised version of the original and miles away from Williams’ original vision. The film was later recut again and released as ‘Arabian Knight’ for the US market which ended up wrecking it even further. Even the release of a DVD was so poor it garnered an award for the worst standard edition DVD of 2006. Williams wasn’t involved with any of these versions, having disowned the project when it fell out of his control.
All was not lost though, with the internet, and like anything that promised so much but fell at the last hurdle, (think Brian Wilson’s ‘Smile’ LP) the cult of the Cobbler has grown over the years. Starting in 2004, a fan and industry insider, Garrett Gilchrist, collected all the best sources he could find, including a copy of an original workprint of the almost finished film. He then assembled a ‘Recobbled Cut’ of the film as Williams would have had it and made it available on the web. When I found this I couldn’t believe it even existed, this was too good to be true, a film I never thought I’d see and now someone had gone to the trouble to assemble all the finished parts into a semi-coherent form.
But there was more, a new blog was started last year simply called The Thief by some of the original animators and staff on the project. They post anecdotes, line tests and technical details behind various scenes along with with in-house memorabilia and countless other things privy only to those involved in such a production. This is also one of the reasons I’m writing this blog now, they have recently initiated a poll in an attempt to drum up an official DVD release of the surviving parts of Williams’ version. Finishing the actual film seems out of the question (Williams rarely wishes to discuss it) but there is a wealth of material finished that ranks amongst some of the best animation ever produced. Various restoration projects have been started over the years and here is another attempt to set the wheels in motion to give it some form of dignified release to the public.
This film is a legend in animation circles and it slowly seems to be coming to light via the web (it already has a lengthy Wikipedia entry). I urge you to check out Garrett’s website for more info on a copy and see it, marvel at it’s contents and then tell someone else. Maybe check out the Thief blog for more of the background behind it or add your vote to the poll to have a DVD released by the studio that holds the footage. Whatever you do, try and make time to see it in some way as it is a superhuman feat in a medium that has become dominated by computers – they simply don’t make them like this anymore.
Hot out of the in-box this morning, here’s a detail of Henry Flint‘s cover image for the forthcoming DJ Food album. I’ll post more as time goes on but this is only a close up of part of it, there will be background added (by Henry) and colour (by myself). On the finished product you’ll see how all the different images he’s done for the releases work together too, although I’m trying to find a way to make that work with the packaging!
CUSTOMTONE by Fracture & Neptune feat. Martin Fieber from Astrophonica on Vimeo.
Brand new Fracture & Neptune video for ‘Customtone’ video by resident Astrophonica artists Emilski & Nick Duggins.
By no means definitive, but seeing as I’m on a Mike Hinge kick at the moment, here is a selection of his book and magazine covers, scavenged from various blogs and galleries around the web.
[singlepic id=2895 w=320 h=451 float=left] [singlepic id=2903 w=320 h=451 float=right]
This has been going on for a while now over on Warren Ellis’ sprawling Whitechapel forum. The idea is that you get a few scraps of info about what has now become a classic comic or series, and have to imagine you’ve never seen or read the comic before but were given the job of illustrating the front cover of that issue or book.
[singlepic id=2875 w=320 h=437 float=left] [singlepic id=2866 w=343 h=437 float=right]
The Fantastic Four, Spiderman (via Amazing Adult Fantasy), 2000ad, Superman, Zap Comix and more have all come in for a re-imagining over the last year and I’ve rounded up my favourites in the gallery below.
More can be seen here and there’s also a Remake/Remodel series where you’re asked to redesign obscure characters from the past.
Love this cover for the new Gnod and White Hills LP
[youtube width=”636″ height=”480″]http://www.youtube.com/watch?v=qRShLb49EhI[/youtube]
“68 years ago Disney has asked Dali to draw a cartoon film which would be an embodiment of idea of surrealism, but turned out it was so unusual to the ordinary spectator that display have closed and have not given to publicity already till 2003.” Thanks to Kelly for the hook up.
[singlepic id=2780 w=222 h=298 float=left] [singlepic id=2774 w=222 h=298 float=left] [singlepic id=2783 w=222 h=298 float=left]
The Op Art work by Jean-Pierre Yvaral, the son of Victor Vasarely, three posters from Paris, 2000. This was from one of his final exhibitions whilst he was still alive as he died in 2002. One of the posters is signed.
[singlepic id=2777 w=633 h=478 float=left] [singlepic id=2775 w=633 h=478 float=left] [singlepic id=2781 w=633 h=478 float=left]
Mike Hinge was an illustrator, typographer and graphic designer, born in Auckland, New Zealand, in 1931. Early in his illustration career he worked for the largest ad agency in New Zealand before moving to Los Angeles, where he attended the Art Center of the College of Design. In 1966 he moved to Manhattan, where he worked as an art director for several ad agencies. His graphic designs were notable, and his colorful and psychedelic illustrations appeared on numerous science fiction paperback books and magazines during the 1970s, including Analog, Mediascene, Heavy Metal, Fantastic, and Amazing.
Hinge also did design work for 2001: A Space Odyssey and produced illustrations for mainstream publications like Time magazine, including covers featuring Richard Nixon and Emperor Hirohito. He was nominated for the Hugo Award for Best Professional Artist in 1973, plus nominated for 6 Locus awards in the ’70’s. His designs for typefaces and graphics won him several awards and were exhibited, including a show at the Brooklyn Museum. A book about his art The Mike Hinge Experience was published in 1973 and he featured in the 1982 artists anthology The New Visions. He died of a heart attack in 2003 and still remains relatively unknown outside of the sci-fi community, for more info check out Ivan Richards’ Onyx Cube blog for many examples of his original artwork.
[flv width=”312″ height=”255″]http://www.djfood.org/wp-content/uploads/2011/03/GAL-BANDEANNONCE.flv[/flv] [flv width=”312″ height=”255″]http://www.djfood.org/wp-content/uploads/2011/03/MO-DESSLIVE-STELETATAN-1-MUSIQUE.flv[/flv]
The Moebius exhibition in Paris ends this weekend at the Foundation Cartier. I sadly didn’t make it back there but hope it will come to the UK some day. Here are a selection of the films featured on the exhibition site.
[flv width=”312″ height=”255″]http://www.djfood.org/wp-content/uploads/2011/03/E-CARD-2011.flv[/flv] [flv width=”312″ height=”255″]http://www.djfood.org/wp-content/uploads/2011/03/MO-DESSLIVE-MAJOR-5.flv[/flv]
As subtle as a brick, no one’s pretending they don’t know what the ‘M’ stands for, debuts April.
Jim Mahfood and Ziggy Marley with writer, Joe Casey.
[youtube width=”636″ height=”384″]http://www.youtube.com/watch?v=vsbNtm8M9j8[/youtube]
The opening of ‘Subduction Zones’ at the Muziekgebouw aan ‘t IJ is on Thursday 17th March from 17:00 – 19:00 www.Deltainc.nl
The opening will also be the warm up to the World Minimal Music Festival. Viral radio, Future Vintage, Subbacultcha and 22 tracks will take care of the music.
Some pictures from the show over at the Graffuturism blog
Brendan McCarthy – ‘Dream Tree’ illustration, 2008
(41.5 x 29.5 mm, pen and whiteout on paper).
Unpublished illustration for a story concept by Brendan McCarthy – ‘The Fabulous Dreamtrees’.
“The Dreamtree (is) a phantasmagorical tree whose fruit is the source of all dreams. Eat the fruit and experience the dream of yourself. It is the precious thing you will carry back to the waking world.”
– Swimini Purpose, 2005.