Famed English street artist Banksy has created two pieces in response to the London Olympics. The two paintings appeared to have been crafted using his renowned stencil style, featuring athletes in a demonstration of their athletic power. One shows a man about to throw what appears to be a javelin, but is actually a missile. The second painting features a man performing a high jump, which is made to look like he’s jumping over a fence and onto an abandoned mattress. Interpretation on what they mean is open for discussion, but using a missile as a javelin seems to reflect the potential for danger at the London Olympics
The Medium we call comics is based on a simple idea.
The Idea of placing one picture after another to show the passage of time.
The potential of that Idea is limitless, but perpetually obscured by its limited application in popular culture.
To understand comics, we need to separate form from content ….
…. and see with clear eyes how other eras have used this same idea to beautiful ends ….
… and what a limited palette of tools and ideas our own era has used.
Comics is a language, its vocabulary is the full range of visual symbols ….
… including the power of cartooning and realism, both apart and in startling combinations.
The heart of comics lies in the space between the panels …
… where the reader’s imagination makes still pictures come alive !
It’s a process that can be quantified, classified …
… and even measured ..
yer remains utterly mysterious in the way it paints mental pictures.
In relying on visual sequence, comics substitute space for time .
Yet there is no conversion chart and time flows through comics ….
… in a staggering variety of ways.
Through their still images using only one sense …
…comics represents all the senses …
… and through the character of the lines themselves ….
…comics represents, the invisible world of emotion.
Lines evolving to become symbols in their own right …
… as they dance with the much younger symbols called …
Reunited after thousands of years apart …
…in a relationship far closer than in any other form.
Like other media, comics is merely a simple idea …
…in search of complex applications ….
…yet comics offers a medium of enormous breadth and control for the author …
… a unique, intimate relationship with its audience …..
…and a potential so great, so inspiring, yet so brutally squandered, it could bring a tear to the eye.
(thanks damien niolet and scott mccloud)
Here’s a novel concept: Take the best writers and artists in comics, give them only a handful of pages to work with, and ask them to create complete and compelling stories about the Dark Knight. The result is the fascinating, varied, and sometimes hilarious Batman: Black & White. If Batman’s legend were a diamond, this book would show you every facet.
Some of the stories in B&W are larks, some are very serious. Each shows a slightly different side of the Batman. My personal favorite is the Neil Gaiman/Simon Bisley romp “A Black & White World” which imagines Joker and Batman as actors playing out parts within the pages of a comic book.
This is the story of a man and a woman fighting over the heart and soul of their child. Unfortunately for the world, the man is BATMAN, the woman is TALIA AL GHUL, and the child is DAMIAN.
Robert McGinnis was the king of paperback covers. The golden age of pulps was also the golden age of his art. He was an astute painter. There were many who can draw scantily clothed women. But McGinnis has the gift of composition. His lines were clean and sensual, his anatomical details lifelike.
It was the use of colour that sets him apart from other. The little detail sand the bright and breezy compositions were remarkable. His ability to illustrate and punctuate the drawing with highly coloured accessories is second to none. The atmosphere is always erotic and electric but never lewd.It is no wonder that Robert McGinnis has been one of the most sought after artists during the heyday of paperback and Magazine illustrators.
The Paperback era was an era where pulp writers churned them out at a rate one novel a month, they were cheap and cheerful. They got paid by the word. The quality varied enormously but the conveyor belt of production meant very little promotion or advertising. The product had to speak for itself.
Hanging in the drug store racks, the covers were the only enticing factor. Maybe the word of mouth about the author. People also liked to read the series identity. McGinnis contributed enormously to these.
Robert McGinnis: Painting The Last Rose Of Summer (2008)
Robert McGinnis (born 1926), is an American artist and illustrator. McGinnis is known for his illustrations of over 1200 paperback book covers, and over 40 movie posters, including Breakfast at Tiffanys (his first film poster assignment), Barbarella, and several James Bond and Matt Helm films.Paul Jilbert has produced a relaxing 78-minute eye opening celebration of the work of one of Americas greatest living artists. No lover of movie poster art or for that matter, art lover should be without. Remarkable work lovingly showcased. Jilbert has created a superb documentary that pays tribute to the masterful artist Robert McGinnis, who painted some of the most legendary movie posters and pop culture paperbackcovers of the 1960s and 1970s before largely concentrating on his current work relating to the American West.
When we first see the artist in Robert McGinnis: Painting the Last Rose of Summer, he’s painting natural landscapes near his Ohio home. When you get to see some of these later, you will or should appreciate them, but the documentary quickly moves on to the subjects McGinnis is best known for: “dangerous beauties.”
In the 1950s and 1960s, McGinnis’ artwork, usually featuring some dangerous dame, graced the covers of paperback novels about characters like Mike Shayne and are even believed to have boosted sales of Carter Brown novels. From there, he went on to play a role in making the Sixties swing by painting the posters for James Bond movies.
“There was no one better,” United Artists art director Donald Smolen said. Couldn’t he have said “Nobody does it better” and made it a really great quote* Anyway, watch for a discussion of his Diamonds are Forever poster and a quick reworking by UA. Among his other classic film posters are Barbarella, Breakfast at Tiffany’s, Cotton Comes to Harlem, and Serial. Even without Bond, it’s a resumé to be reckoned with. McGinnis has also been known to paint elegant nudes, which hang in galleries without shame or irony, and romance novel covers. Last Rose of Summer also shows a side of McGinnis that a lot of people might overlook. In addition to those landscapes, McGinnis does illustrations for Guideposts magazine, paints nostalgic scenes, and creates vast Western landscapes that are best summed up in his own words: “An artist is a one-man theater. He or she conceived the plot, writes the scripts, stages, directs, and acts out the roles.” Whatever words you use, they’re impressive, and they show McGinnis unbound by the narrow confines of a paperback cover or a movie poster.
As you’d guess, a lot of screen time is devoted to showcasing McGinnis’ canvases, but there’s still room to give viewers glimpses of him at work. Last Rose shows concept sketches for a paperback cover and his initial canvas work. And, yes, one of those paintings he’s doing appears to be “The Last Rose of Summer.” It’s an elegant nude, and you will get glimpses of breasts. Robert McGinnis: Painting The Last Rose of Summer will pique the interest of anyone who’s seen those paperback covers or movie posters and should satisfy artists and collectors.