While on the Deviantart page of the monumentally talented David Williams, I realised something. I really like looking at line art. Dave's posted the final lineart alongside every finished cover he's done (Click the link if you're curious, this is my blog...)
Sure a finished colored piece is great, but there's just something about black & white, so I'm taking a page from Dave's book and catching you up on my last bunch of covers in lineart versions.
Maybe, like me, you'll realise you like looking at lineart too.
As an added bonus, here's the lineart for my as-yet-unseen cover for STARRO: Unleashed. Color version to follow once solicitation imagery is released...
A nice little piece about me and my R.E.B.E.L.s covers went up today over at the DCU Blog (thanks guys!) Since they've done so, I'm going to go ahead and also post my cover for R.E.B.E.L.s #8.
Will Vril Dox meet his end in the murky waters of Gil'Dishpan? And what is this ominous, uniquely shapd shadow looming over him? Find out all that and more in R.E.B.E.L.S #7.
Despite being one of the most erratic and inconsistent bloggers I've ever met, I've somehow found myself enough in demand to be doing some guest blogging.
Step on over to pageslap to read my heartfelt candied bacon elocution. Wait... candied what? Relax, just read the original post and learn what all the fuss was about. Of course, to really find out, you'll just have to make some yourself, and then post your heartfelt testimonial.
Pageslap is the blog of Nicole Stamp, a ninja of the acting and the Lara Croft of internet strangeness.
Out Wednesday May 20 at finer comics peddling establishments -- NYX: No Way Home the premier hardcover. Offered in both handsome LCS-friendly edition and plucky mass-market edition (pictured below).
Strange, how flipping through this handsome volume, I don't feel at all what I felt flipping through the individual issues as they came out. That is, I don't feel like I'm being bayonetted in the side with each flip. Instead, enough time has passed that it just looks like comics to me.
The title of this blog post is something our resident studio zen master has been known to utter, particularly when I get worked up over the minutia of knuckle-structure, or some other such thing. Flipping through this volume, it's obvious he's right.
Musical obsession du jour: Slagsmålsklubben. It's simple, but it works, and it's been getting me through the long stretches of inking plants, curtains, windows, and flying star-spangled shields, as I bring my Captain America story on home.
Yes, the visuals are very much inspired by the video for Remind Me by Röyksopp. Young Tomas Nilsson is very up front about that, plus, it's a student work (!) so the kid gets a pass.
Very very occasionally, a working stiff like me will get a moment to breathe, a chance to step away from the drawing table and experience normal life, like all those multitudes in the world who get two days off for every five they work. What do guys like me do when those rare, precious moments arise...?
Um, draw. Sad but true.
And here's the real testament to just how rare and precious those moments actually are: I started the Daft Punk fan art above some time in August of 2008.
I came late to the Daft Punk party. Despite being a fiend for all kinds of electronica and digging the 'Da Funk' video, I didn't really pay close attention to these guys until I caught a screening of their Interstella 5555 at RESfest (RIP) years ago. After that I was hooked.
It was to be their next film Electroma, though, that would really get under my skin, despite not actually having any music by Daft Punk in it.
Who knew, back in the late 90's that Daft Punk would turn into what they turned into? They showed up hawking a minimalist, just-out-of-date electro groove, at, what was arguably the heydey of lavish, high-production electronica, but it clicked and, strangely, they were totally embraced by indie-rock kids too. More than 10 years later, it's inarguable that they've spawned their own sub-genre of fuzzy, thumping dance music. Without Daft Punk there would be no MSTRKRFT, no Boyz Noise or Justice. Maybe even no Chromeo. DFA records might still exist, but it would probably sound a little different.
I wasn't sure if I liked Electroma after my first viewing. I found myself thinking that maybe it was a bit self-indulgent and, I'm ashamed to admit, I fast forwarded through some of the slow parts. And there were many slow parts, or, not slow exactly. Rather, long. Long takes, long shots, many of them eerily silent. But as days went by, it haunted me. I found myself going back to youtube again and again to re-watch certain scenes, like this one:
And this one:
Electroma is not about narrative satisfaction. There is a story, but it's extremely decompressed and archetypal to the point where it's debateable that it's there at all. What Electroma is about is moment and mood. It's haunting and beautiful and it will get under your skin and stay with you if you let it. Needless to say, it is excellent background to draw and write to. Especially if what you are drawing or writing is sweeping and morose, as what I do so often is.
Apparently, Electroma was originally conceived, shot, and editied as a visual accompaniment for the Human After All album, and the film is said to sync up perfectly with it (see below) which explains some of the long stretches of silence in the official score. The sync job down there is a little shakey, and I have yet to try it out with the whole film and the whole album, but you get the idea. Further below that is the same opening scene with a custom score featuring M83, which, I think, works even better, both in terms of tone and syncing. See the whole movie re-scored by that guy here.
