Neal Adams:The Art of Comic Book Art

This might be something of interest. There are those individuals historically and culturally ranking at the top of every human endeavor. Artists, politicians, scientists…those worthy of note. I recently joined the Neal Adams Appreciation Page on Facebook and have blogged about him here before. In the field of comic book art and graphic story-telling serving both as writer and illustrator Neal Adams remains consistently at the top. He is without doubt my personal favorite and probably among any list of the top three “All Time” favorites imaginable in this remarkably crowded field. Neal Adams: The Best-Ever-All Time!

The first illustration (top of page) from Batman Comics shows off his depth of cover illustration. The sense of urgency, the lighting and minimalist composition is shocking and intriguing to the viewer. It is a must read. What is the meaning of this unsolvable conundrum? How and why would Batman kill himself Bruce Wayne?

This next drawing is from Adam’s run on The Spectre Comics. It is a work that I am convinced belongs in the collection of MoMA or The Whitney. It should hang alongside Warhol, Lichtenstein and Johns. The composition is “perfection” the drama, shock, word placement and draftsmanship are all notable. This is among the finest that “Pop Art” has to offer. 

This is exactly what Adam’s does best; like no other (below). This page is original in design, layout and is cinematic in form. The dramatic lighting and attention to detail in the close-up portrait is amazing. His command of tool is masterful.

The Art of Neal Adams literally sings like no other. His is a treasure that to those who love and cherish his works is unsurpassed in an abundant field of brilliance.

La Planète Sauvage

The opening minutes of the film La Planète Sauvage are among the most startling and engaging scenes of any film of any genre. A young mother runs in terror from some unknown threat. This; as she attempts to shield her infant child from their potential attacker or attackers.  She is eventually taunted, herded and humiliated into submission by something of extreme. The exhausted mother falters and falls; dead from her brutally abusive physical and psychological torture. The child will survive to become the film’s protagonist.

Fantastic Planet (as it was titled in America) appeared in theaters forty plus years ago. This creation from the minds of director René Laloux and designer Roland Topor has amazed and informed for two generations now and is still thrilling in concept, storytelling and visually. The hand drawing; technically good, with a definitive roughness of line and grain is vastly appealing. It marries the surreal and the fantastic with modernity. Elements of Fantasy and Science Fiction combined with the strange and haunting score by composer Alain Goraguer is complete in execution; touching the emotional as well as the intellectual.

Nothing short of exceptional; Fantastic Planet was ground-breaking Cinema. The creation of this film was years before the development of computer generated imagery. Pixar and DreamWorks rule and inform the world of today’s animation. The dialogue of animation has changed so much in the digital era. But the hand still ruled in the times that Fantastic Planet appeared. It is prevalent throughout this marvel. On most levels it holds up into this era as an entertainment and as history. 

I was living in Washington DC when I first saw La Planète Sauvage. My friends and I had taken a bus across the city from South East to George Town in North West DC. We had been witness to the most radical film offered at the time. Had we also been the witness to the brave new future of cinematic artistry?  Standing outside the theater waiting for our return bus I studied a poster for an upcoming feature. The art work was interesting but most of the names of the contributors (other than Ron Howard) were unfamiliar. The name of this feature was American Graffiti; directed by some guy…George Lucas.  

      

FIVE PHOTOGRAPHS Gordon Parks

The release of the sound track to the motion picture “Shaft” starring Richard Roundtree was to be a major event. It featured the music of Maestro; Isaac Hayes for which he would win the much coveted Oscar and sold in the multiple millions. The album was released a few weeks earlier than the film and I had become engrossed in the music. The cover too, was itself an achievement of advertising art featuring the action hero/detective in a pulp fiction moment of triumphant motion with grim expression and guns blazing..  The bold, original concept “Shaft” logo most prominent! The liner notes spoke of many things including the film’s remarkable director; Gordon Parks. There was also a photo of Isaac Hayes with Parks and the creator of Shaft; Ernest Tidyman standing on the MGM studios film lot. All distinguished and excited about their collaboration. This was my introduction to Gordon Parks; an illustrious and variously talented man; one most gifted and accomplished. 

 From the starting point of film director I would discover that Mr. Parks had earlier directed the celebrated account of his own autobiographical novel “The Learning Tree.” He had even scored that film himself as well as having written the screen play. Parks had another major star point in his universe of expression. He was a photo-journalist of the highest order. He had been a staff member of the most lauded photography magazine in history.  The legendary magazine; “LIFE” was his home for a number of brilliant years. His contributions to the magazine included essays and photos on fashion, sports, Broadway and racial segregation. Parks remains a standard bearer for the ages; he is one among the greatest generation of photographers.

The films, writings, music and teachings of Gordon Parks have served as testaments to his journey to understanding, self-expression and the enrichment of the human experience. The catalogue of Gordon Parks’ efforts is eclectic, extensive and extraordinary. I have selected five pieces to illustrate his photography. They are his voice and speak to our pleasure.  

The Frankenstein Monster

The Frankenstein monster

The lifeless; the dead

Seemed utterly harmless

with probes in his head

 A little of lightning

a bolt and a shock

 delivered the message

it’s time to wake up

The roar of the thunder

the crack of the shock

 he listened and heard them

just like a knock, knock

There’s  business for you

both scary and Grimm

a village to greet you

get going again.

He hurried; he worried

His efforts in vain

He grunted and growled

His brain was insane

He couldn’t remember the joy of a LIFE

The next thing he wanted you know was a wife

So quickly constructed

with bride and with friend

again starting over

his dreams to begin

but they too were shattered

when Bride say his face

this creature of science

could not find his place

He wished to belong

just one in the crowd

he ranted and raved

he shouted out loud

there’s no witches brew

or splendid, warm places

 His bride left him too

her beauty not wasted

The monster moved on

without kit or kin

he’s walking the Earth

resistant to sin

Avoiding each village

each hamlet and den

just can’t get connected

there’s never a  friend

You may see him soon

he’ll visit your town

Just some “thing” much scary

he rambles around

The ocean, the river, the light of the moon

Remarkable, distant, magnanimous goon

Dave Mckean: The Arcane The Image

To look into the art of Dave Mckean is to look into places of unlimited intrigue, depth and range. The works are window openings into a mysterious and arcane psyche. The portals are many and vast as a journey outward into the stars or equally inward to the micro biotic multi-verses. 





                                            Mckean seduces and captures with the creations of his unbridled talent and imagination. His worlds are mystical, magical potions of the best alchemy. Mirror Mask, The Sandman, Wolves in the Wall, Coraline are among the stories, novels and films of Dave Mckean. They are all collaborations in part with his colleague/friend; the much admired writer Neil Gaiman.

The work can be dark, foreboding and something strange as that of a counter-culture artist. Mckean’s art is not repellant like many other counter-culturists but inviting and dreamlike without being the stuff of nightmares.    

In 1993 DC Comics would introduce their now legendary line of graphic novels; Vertigo. Editor Karen Berger would enlist writer Neil Gaiman for the initial series of books; “Sandman.” The entire line of books including Gaiman’s “Sandman” were targeted for mature readers and are among the most popular and celebrated of the Horror/Fantasy genre. Dave Mckean would join “Sandman” as official cover artist mid-way through it’s run and his work would become the art most associated with “Sandman.” They are also among Mckean’s most recognizable and original creations. “Sandman would be described as:

“A comic strip for Intellectuals.”

Norman Mailer

Another author from the Vertigo Line; Grant Morrison had earlier (1989) penned the then radical hard-cover novel, “Arkham Asylum: A Serious House on Serious Earth.” His was a Dark Knight Tale remarkably conceived and illustrated with Mckean’s extraordinary graphics and evocative paintings. It remains a land-mark achievement and is in every sense a classical marriage of prose and image.

As a film maker; Mckean’s seminal work to date is “Mirror Mask.” It is yet another brilliant collaboration with Neil Gaiman and The Jim Henson Company. The plot is a variation of Lewis Carroll’s “Through the Looking Glass, and What Alice Found There.” The look is visually stunning with the definitive style of Mckean’s best product. It is memorable as a cult film with a distinct “indie” flavor. 

The reflective study of the works of Dave Mckean is a perfect start for a breezy October evening and then on; into the night.

John Lennon Drawings (at auction)

As the song and legend goes…It was twenty years ago today that Sargent Pepper taught the band (The Beatles) to play. It was just prior to that he (or someone) taught the band’s leader John Lennon to draw and to write. He did it all with an impeccable style and humor. The ability to see the drama and pains of life while recognizing the element of humor was always a part of Lennon’s life and work. He expressed it beginning in his child-hood and it sustained him as it did his career and prodigious creativity.    

 Lennon is universally known for his achievements in music both as a collaborator and soloist. His drawing and writings are to be noted as well. Sotheby’s just days ago sold eighty nine lots exclusively of Lennon’s manuscripts and drawings.  The manuscripts: “In His Own Write” and “A Spaniard in the Works” were the center pieces. The books were published at the height of The Beatle’s popularity and the song “Paper Back Writer” was another humorous reflection of Lennon’s writings and life at that time. Like the best artists Lennon’s works were inspired by his own experiences.

The drawings were illustrations, random cartoons and whimsical musings largely done for himself, family and friends. Lennon’s drawings are on a par with other of the most popular cartoonists and illustrators of his time. Jules Feiffer, Ralph Steadman and Shel Silverstein all come to mind when looking at Lennon the cartoonist/illustrator. Lennon’s work stands up with the greats of the field.

Another of Lennon’s seminal works was the song “Nowhere Man.” He reflected on the writing of it:

“I was just sitting, trying to think of a song and I thought of myself sitting there, doing nothing and getting nowhere. Once I thought of that it was easy. It all came out. No, I remember now. I’d actually stopped trying to think of something. Nothing would come. I was cheesed off and went for a lie down, having given up. Then I thought of myself as Nowhere Man-sitting in his nowhere land”

                                                                                                                  

                                                                                                   John Lennon

In the animated film “Yellow Submarine” the Nowhere Man is a curiously drawn, genius of sorts. He is a master of philosophy, the sciences and the arts. The self-absorbed creature paints on canvas as he calculates complex mathematical problems. He even reviews his own novel as he writes the foot-notes with his own foot; no less. The Nowhere Man inhabits a blank world surrounded by nothingness and no other beings. The life of the creative individual can metaphorically be much like that. Lennon’s song is telling. His wit and honesty; a constant, his true genius, undenied in everything he attempted and in all he achieved. 

Alien

 When director Ridley Scott sought to create something magnificently horrific and challenging for film viewers at the dawning of the “Star Wars” era of film he looked to artists including; Chris Foss, Moebius  and  most strikingly Swiss Surrealist H.R. Giger. The works of Giger were unequaled in terms of their scope; sense of dread, ability to repulse as they equally intrigued and encaptured his viewers. They are with every possibility the purest examples of nightmares ever put to canvas or screen. Giger’s monochromatic creations were very much driven by his own sleep disorder (night terrors) as by his rich imagination. Giger is a technically skilled artist and draftsman with a style almost completely unto himself. There is only one H.R. Giger.

The creations and designs of Giger possess a quality of things emanating from the mind and heart of a madman. His works can be difficult for most viewers. He has referred to the hopelessly insane as being a large portion of his audience. His pieces are as many times representational of eroticism as they are a combination of a repressed violence. They are often composition of the demonic; distantly removed from anything remotely of the saints. What artist could be better suited to contribute to the horror genre films of the late 20^th Century?  

“Bio-Mechanical” is a term Giger often used to describe his own creations. In that too he was singular as I know of no other artist fitting into Giger’s self-titled genre. He was able within his career to expand on many forms of creativity and cross markets. He was first of all a painter (nothing short of a master) and after that he included set design, sculpture and film director. He was very much ingrained in the music field; often as a commissioned artist. Emerson Lake and Palmer, Debbie Harry and many other musicians used Giger’s works for memorable album covers. He inspired video games and calendars while fans are noted for adorning their various body parts with Giger tattoos. His architecturally informed creations decorate interiors for night clubs and restaurants. Giger is many times over a force in the art worlds variously articulated commodities and structures.  

Earlier this week on May 12^th Hans Rudolph Giger passed away from the earth. Giger was 74 years old and still engaged with his art.  His alien is one of the most terrifying creatures ever preserved on film. He will best be remembered for his alien and the sets he designed for the original Ridley Sott film. 

Humanity has looked to the darkness for generations; most often in fear. It is the keeper of mystery and visions of irrational dread. Giger shared with us his own nightmare scenarios and images in the form of stories. In that he is linked to the ages.  By taking us eerily and endearingly into his nightmares he entertained us and helped us understand and live within our own.

HENDRIX

What an amazing career this man; Jimi Hendrix had. He is easily described as extravagant, loud, exuberant, original, blazingly hot and brilliant to genius levels. The recordings and stage performances are legend. “Electric Ladyland” to Woodstock; “Band of Gypsies” to Monterey are recordings and concerts of note. Hendrix was always innovative, unusual and continually pushing farther and farther to the extremes of his craft and art. It was the electric guitar that he transformed into a thing miraculous as he kept the other great players of his time in awe. Hendrix led and ruled in the age of the “Guitar Gods!” He is by consensus number one among them. When the words “The greatest guitarist of all time…” are spoken or written they are usually followed by his name: Jimi Hendrix.

In honesty I was not immediately a fan of Hendrix or his music. He was rarely heard on the radio or seen on television. Photographic images were almost non-existent and he was in many ways an elusive rumor.  The main stream media in both print and broadcast video had chosen to ignore the man. How could they fit this extraordinary, reckless Black American fronting a group featuring only himself and two White Englishmen into a format? Dick Cavett was the first and one of the few, to give Hendrix a national forum. Hendrix appeared on Cavett’s popular late-night talk show and was surprisingly reserved and modest. I missed seeing the original broad cast.    

There was talk about Hendrix around my High School and there were those that were fans. The Hendrix fans were all devoted and spoke about Hendrix with a sort of religious fervor.  There was also a lot of talk about a new movie “Easy Rider.” There was an equal excitement about the film and it was essential viewing for just about everyone I knew; including teachers.  Some of the Hendrix devotees were sitting in the row just in front me at my first viewing of “Easy  Rider.”  From the opening minutes of the film the score was impressive as every element was spell binding and very dangerous. About a quarter into the film a song began that was like nothing I had ever heard before. I was capture from the first beat and it was somehow the perfect fit for the mood and tone of this radical thing we were engrossed in.  The lyrics began and the rapture was total and complete:       

If the sun refused to shine

I don’t mind

I don’t mind

If the mountains

fell in the sea

let it be

it ain’t me

Got my own world to live through

and I ain’t gonna copy you.

The lyrics went on; totally lost “in this spell” my life was being changed for the moment and forever. The lyrics continued and then concluded with:

Fall mountains

just don’t fall on me

point on Mr. Business man

you can’t dress like me.

I’m the one that’s gotta die

when it’s time for me to die

so let me live my life

the way I want to 

As the song ended; somewhat abruptly, the audience with that eerie but beautiful silence that lets you know everyone has had something of the same shared experience. One of the guys in front me turned around and simply said; “that’s Hendrix.”

It was the sound track of Dennis Hopper’s “Easy Rider” that brought me on board with “The Jimi Hendrix Experience.” I have never looked back as that addictive alchemy of the music he created continues to this day. Hendrix was to die young; his song “If 6 Was 9,” something prophetic, lives on, influencing new generations as it continues to capture unsuspecting hearts.

The Wholly Original & Brilliantly Unique Jae Lee

           

        

 

 

 

His work is decorative, minimal intricate, detailed and refined. The work in many ways is a genre unto itself. Artist/Illustrator Jae lee is the elegance among the utilitarian, the poetry among the mundane. lee is best known for his still bourgeoning career as a graphic story-teller for Marvel and DC comics. His assignments consist of the “special” and the “heavy-weight” projects. Marvel’s adaptation of the Stephen King series “The Dark Tower” went to lee and it is to date is his most powerful achievement. The panels are rich with substance, alluring and visceral to an extreme. The ‘Tower” books; scripted by Peter David with King himself serving as creative and executive director are treasures.

 

 

                   

 

 

Lee is easily placing himself among the greats both in and outside of the comic medium with past and contemporary artists. Visionaries from Maxfield Parrish to Chris Van Allsburg are rivaled and complimented by lee. The master sculpture Michelangelo can even be referenced by the work of lee. The “Pieta” seems to be an inspiration for Lee who is quickly becoming a master of his craft and as an artist surpassing all norms.

                    

 

                                                                                                    

 

“The Illustrated Dracula” by Bram Stoker illustrated by Jae lee is one of the handsomest volumes of any modern publication. The book fits perfectly into the hand. It is precisely weighted and just plain feels good to hold. In another time this wouldn’t be so much a consideration but in this increasingly print less society it is a committed endorsement of the ancient process of book making. The paperback edition in design gives the illusion of worn leather and it is  tompe-l’oeil used to spectacular effect. I am reminded of a church hymnal in that it is very equal in look and size. The illustrations are not intrusive or distractions but give the edition an intended welcoming illumination. The enhanced drawings are again minimal, gothic and beautiful.

 

 

 

Jae lee’s new work remains anticipated by his followers and he seldom fails to deliver certain greatness into a pretentious, while ordinary world of massive mediocrity. His involvement with DC Comic’s reboot “Batman/Superman” series gives a marked importance to what might otherwise be a failed project. Lee’s efforts are always interesting, always pushing a little farther than the pack. The folks at DC have fallen behind their chief competition Marvel. They have been vastly outdistanced and hope to revamp and capitalize in publishing and especially in the film industry. Marvel has captured a large portion of the film world with “The Avengers” and their other film franchises like “Thor, Iron-Man and Captain America.” The popularity, quality and fascination Lee brings to his projects are intrinsically valuable especially at this critical time for the industry. DC Comics sees a successful “Batman/Superman” book as essential to their efforts and a prelude to a “Justice League” film franchise.

 

Jae Lee is an artist of the highest standards; someone to count on to deliver and to thrill. Look for him in a book store near you. The Graphic Novel section would be the place to begin; then on to the classics of literature and beyond.