Got my first shipment. This one from Dylan Todd.
The highlight of this batch is a killer logo by Gray Morrow for this 1974 Red Circle horror comic. Two-point perspective stone walls that at first look like the walls in a creepy old castle with the top of the letters suggesting the crenulations of battlements and some dark arrow slits but then you have details more in line with fog-choked old London like that gaslight lamp burning on the H and the spikes on the roof tops. Then there is a dungeon door and I think the letter A might even have a safe under it. Self-lit logos are even more rare than two-point perspective logos, but close inspection shows that there must be another light source shining in from off-page to the left.
I’m gonna try and convince Depths of Reality to rip off this logo for their demo.
That Madhouse logo is the damn bomb.
Reblogging for the glory of that Eisner-esque Madhouse logo. Genius.
A Complete Lowlife (“The Other Shoe” - Black Eye Books - July 1997)
Writer/Illustrator: Ed Brubaker
A survey of 3,600 comics fans and professionals reveals some dark news.
I wrote about the sexual harassment survey I conducted and what it means for comic conventions.
Pertinent reading on the eve of SDCC.
My cover art for the first in a series of superhero romance novels by Carol Strickland, available in print and on Kindle at Amazon.com
Carol was heavily influenced by The Legion of Superheroes, so this is a fun read for Legion fans.
East of West by Jonathan Hickman & nickdragotta
Lazarus by ruckawriter & Michael Lark
Nowhere Men by Eric Stephenson & fetorpse
Pretty Deadly by kellysue & steinerfrommars
Rat Queens by kurtiswiebe & johnnyrocwell
Saga by Brian K Vaughan & fionastaples
Sex Criminals by mattfractionblog & zdarsky
The Manhattan Projects by Jonathan Hickman & nickpitarra
Zero by aleskot & jordiecolorsthings
(Plus a whole lot of other people)
art for the boy’s 7th birthday invite.
Everyone blames Lumpy for that Holiday Special…
Cheers! I’m glad that you find the work consistent - it’s certainly something I strive for and it’s rewarding to hear that it comes across that way. I think it just boils down to practice and intent. For faces in particular, I kind of view each character as having a different “scaffold” - the parts of the face all fall into place differently depending on the character, and I try to keep that in mind as I draw. Miles’ face is proportioned differently than Ganke’s. It’s much easier on male characters, and I find drawing unique women much more challenging.
As far as programs, there are a few things that photoshop allows me to do - create custom brushes (some for FX, others just to get a more attractive line while drawing) or manipulate objects’ shape and perspective, but it’s not like the program does it *for* me. I wish there was just a “make it look cool” button to press, but like any tool it’s just a matter of learning to use it effectively through hours and hours and hours of practice. And that’s the part that I enjoy - the experimentation, the learning, the creation.
Fun to read an artist break down his craft in this manner.