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Post by Chris on Mar 26, 2018 20:53:39 GMT -5
(C) Craftint was a brand name for Duotone, a paper stock with preprinted patterns that could be brought up by application of a developing fluid. Lots of newspaper cartoonists used it, Roy Crane (Wash Tubbs, Captain Easy, Buz Sawyer) being considered the absolute master of Craftint shading. I've heard about Duotone for years but never knew how it worked! To be honest I don't like it. Not necessarily in this instance but...John Byrne used it a lot on his Namor run (maybe because Everett did?) Ok, I know this is a very long shot, but.... Does anyone have an idea where to get Duotone anymore? The only place that I knew of that sold it went out of business over 8 years ago. I've searched online numerous times with no luck. Failing that, does anyone know where I could get some of the developer fluid? I still have a handful of blank Duotone pages, but no developer.
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Post by Deleted on Mar 26, 2018 22:11:57 GMT -5
This question came up yesterday at Gem City and I didn't have an answer-Are there any artists who had significant runs on Superman (in any of the titles, not just the main book) in the Golden Age/Atomic Age who are still alive? Aside from Shuster, Wayne Boring, Curt Swan and Murphy Anderson were the only ones I knew off-hand that had significant runs, but I knew all of them had passed.
-M
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Post by codystarbuck on Mar 26, 2018 23:58:52 GMT -5
This question came up yesterday at Gem City and I didn't have an answer-Are there any artists who had significant runs on Superman (in any of the titles, not just the main book) in the Golden Age/Atomic Age who are still alive? Aside from Shuster, Wayne Boring, Curt Swan and Murphy Anderson were the only ones I knew off-hand that had significant runs, but I knew all of them had passed. -M Main ones would have been Shuster, Boring, Swan, Anderson, and Plastino and they are all gone. Mooney had a long run with Superirl and is gone, and Kurt Schaffenberger, who did Lois Lane and the Mr and Mrs Superman is gone. You won't find a live one, with a longer run, until Jose Luis Garcia-Lopez (PBHN), who handled stories in the Bronze Age. Not too many folks left who started before the 50s and 60s.
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Post by codystarbuck on Mar 27, 2018 0:08:07 GMT -5
(C) Craftint was a brand name for Duotone, a paper stock with preprinted patterns that could be brought up by application of a developing fluid. Lots of newspaper cartoonists used it, Roy Crane (Wash Tubbs, Captain Easy, Buz Sawyer) being considered the absolute master of Craftint shading. I've heard about Duotone for years but never knew how it worked! To be honest I don't like it. Not necessarily in this instance but...John Byrne used it a lot on his Namor run (maybe because Everett did?) To my eyes, Byrne didn't use it as skillfully as some of the folks from the 50s and 60s. If memory serves, he used it on OMAC and I hated how that book looked (wasn't overly fond of the story, though I haven't revisited it since it was first published). Byrne was a fine storyteller and penciller; but, I kind of felt some of his technical skills were lacking. Every artist has their strengths and weaknesses. He is color blind and would use Prismacolor markers to color things like the Captain America trade cover, that reprinted his run. It made for some funky looking shades. He used them as they have the color name on them; but, the effect wasn't very subtle and didn't reproduce as well as traditional coloring. Some of the effects he tried on Next Men and 2112 just really didn't look good. He was doing a lot of experimenting during that time frame; so, I may have just been a lack of practice with it. Artists with more of a production background tended to excel at using those kinds of tools, since it was a bigger part of their job and background. The Bronze Age guys seemed more enamored with Zip-a-tones and similar products and computers can do all of that, now.
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Confessor
CCF Mod Squad
Not Bucky O'Hare!
Posts: 10,041
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Post by Confessor on Mar 27, 2018 5:01:24 GMT -5
When MJ turned down Peter's initial marriage proposal in ASM #182, she left for a while. She did not return until ASM 242. Was this part of the writing plan at the time that everyone just seemed to go along with? Wolfman was the writer at the time...were his plans to move away from MJ entirely? Black Cat then came about and we have a lengthy period of time where she becomes his main love interest. I was just curious if Marv was anti-MJ and had bigger plans for an Black Cat/Spidey coupling. Who ended this romance in terms of the writer at the time? I might have to dive back into my ASM to re-read this stuff but though someone here could provide a deeper behind scenes insight, as you fine folks usually do:) Great question. I've no idea about the answer, unfortunately, but this is a really great question.
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Post by Icctrombone on Mar 27, 2018 5:10:25 GMT -5
When MJ turned down Peter's initial marriage proposal in ASM #182, she left for a while. She did not return until ASM 242. Was this part of the writing plan at the time that everyone just seemed to go along with? Wolfman was the writer at the time...were his plans to move away from MJ entirely? Black Cat then came about and we have a lengthy period of time where she becomes his main love interest. I was just curious if Marv was anti-MJ and had bigger plans for an Black Cat/Spidey coupling. Who ended this romance in terms of the writer at the time? I might have to dive back into my ASM to re-read this stuff but though someone here could provide a deeper behind scenes insight, as you fine folks usually do:) Great question. I've no idea about the answer, unfortunately, but this is a really great question. I'm guessing that they thought the relationship went as far as it could. A single Peter Parker is more fun to read, IMHO.
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Post by foxley on Mar 27, 2018 6:13:32 GMT -5
This question came up yesterday at Gem City and I didn't have an answer-Are there any artists who had significant runs on Superman (in any of the titles, not just the main book) in the Golden Age/Atomic Age who are still alive? Aside from Shuster, Wayne Boring, Curt Swan and Murphy Anderson were the only ones I knew off-hand that had significant runs, but I knew all of them had passed. -M Main ones would have been Shuster, Boring, Swan, Anderson, and Plastino and they are all gone. Mooney had a long run with Superirl and is gone, and Kurt Schaffenberger, who did Lois Lane and the Mr and Mrs Superman is gone. You won't find a live one, with a longer run, until Jose Luis Garcia-Lopez (PBHN), who handled stories in the Bronze Age. Not too many folks left who started before the 50s and 60s. Dennis Neville might still be alive. He was one of Shuster's early assistants and worked on both the Superman comic book and the comic strip. I did a brief search online and couldn't find any mention of his death. If he is alive, he'd be in his late 90s. There is also an artist called Sam Citron. He did work on the Superman titles from 1943-46, ghosting for Shuster. He did work up until the late 60s, but I can't find any record of him after that. No idea if he's alive or dead.
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Post by Cei-U! on Mar 27, 2018 7:22:59 GMT -5
Dennis Neville, best known for co-creating Hawkman, is something of an enigma. In researching my book, I learned that next to nothing is known about him. He left comic books in '46 to pursue other career paths. His last known credit was ghosting Stan Lynde's Rick O'Shay syndicated strip in 1977. If he is still alive, he's well-hidden. There have been searches for him by Jim Amash and other comics historians, all to no avail.
Sam Citron was an experienced film editor before he went to work for the Shuster shop with professional credits dating back to 1930. It'd be a small miracle if he's still with us.
Cei-U! I summon the MIA maestros!
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Post by badwolf on Mar 27, 2018 8:52:19 GMT -5
The Bronze Age guys seemed more enamored with Zip-a-tones and similar products and computers can do all of that, now. Okay, I guess my next question is what is zip-a-tone?
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Post by brutalis on Mar 27, 2018 8:55:24 GMT -5
The Bronze Age guys seemed more enamored with Zip-a-tones and similar products and computers can do all of that, now. Okay, I guess my next question is what is zip-a-tone? It is a technique which applies texture/shading over drawings. The patterns transfer from pre-printed adhesive sheets and is now done by computer mostly.
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Post by Deleted on Mar 27, 2018 9:03:43 GMT -5
Zip a tone effect. The jacket pattern. Neck shading. The lines on the phone booth :
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Post by Deleted on Mar 27, 2018 9:07:15 GMT -5
Duotone effect used by Byrne:
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Post by MDG on Mar 27, 2018 9:18:31 GMT -5
Okay, I guess my next question is what is zip-a-tone? It is a technique which applies texture/shading over drawings. The patterns transfer from pre-printed adhesive sheets and is now done by computer mostly. Here's what it looked like as a partially-used sheet. It was available in a bunch of shades, patterns, colors for different applications. Letraset had a similar product called Letra-tone. Before you ask: Letraset was a company that made rub-on letters in many faces and styles. Now ask me what a burnisher is.
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Post by codystarbuck on Mar 27, 2018 11:05:18 GMT -5
Okay, I guess my next question is what is zip-a-tone? It is a technique which applies texture/shading over drawings. The patterns transfer from pre-printed adhesive sheets and is now done by computer mostly. Yeah; basically, it was a film with a pe-printed pattern, like dots, which was trimmed into a specific shape and applied on top of the art board. Bob Layton was a big user of it on Iron Man, as it added textures to different things. he was one of the first to really make Iron Man's armor look like metal (aided by better printing and coloring techniques that weren't available in the 60s. Here's an example... Notice the patterns add shading and texture to objects and figures. It was used quite a bit with black & white publishing; but, a lot of artists, especially in the 70s and 80s used it to save time in the inking stage, or to add effects that inking didn't achieve as easily. There have been similar products used for years before, such as Ben-Day dots, which were used in the coloring process, to create colors and add shading. They were then made a central feature in the Pop Art movement, where they were brought front and center in the focus of the work. Computer graphic programs have replaced these things, as the computer can add the tones or adjust the color formula more exactly. If you look at a lot of art since the 90s, with the advent of computer coloring, you see more examples where the computer coloring has taken over from the work that an inker might have previously done. I have a fully inked piece of Don newton original art and the zip-a-tone stands out, as it sits on a layer above the board. There is also some correction fluid on the piece. Quite interesting to look at, and see how the image was constructed. Kind of like looking at the works inside a clock.
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Post by badwolf on Mar 27, 2018 11:52:38 GMT -5
Seems like it would be more trouble to cut out the shapes than to just draw it in by hand.
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