|
|
Post by electricmastro on May 15, 2020 21:20:06 GMT -5
Rudy Palais liked to draw his visuals as if they were melting, at least with his horror art anyway, and had a distinct way of drawing wrinkly heads: May 1952 issue of Chamber of Chills #8:  Sept 1952 issue of Chamber of Chills #12:  May 1953 issue of Horrific #5:  July 1954 issue of Horrific #12:  |
|
Confessor
CCF Mod Squad
Not Bucky O'Hare!
Posts: 10,222 
|
Post by Confessor on May 16, 2020 16:38:17 GMT -5
|
|
|
|
Post by Prince Hal on May 16, 2020 16:47:20 GMT -5
|
|
|
|
Post by codystarbuck on May 16, 2020 18:44:41 GMT -5
Aw, he just needs to do his laundry on a softer rock. |
|
|
|
Post by Farrar on May 17, 2020 10:53:21 GMT -5
Back when I was a regular reader of comics, I noticed that John Buscema often drew his male characters standing around with their arms folded across their chests. So a few years ago when I got back into comics and started collecting old issues, when I came across this panel in FF #137 I burst out laughing.  |
|
|
|
Post by Farrar on May 17, 2020 11:21:12 GMT -5
|
|
|
|
Post by Farrar on May 17, 2020 11:38:54 GMT -5
I think he found that angle dynamic, partly because it was unusual. When movie director Edward Dmytryk visited my film class, he talked about his crews would laugh 'cause he would squat down or stand on boxes when lining up shots because what was unusual kept audience interest. Right. In interviews Gil Kane's said just that: he wanted to do comic book art/illustration that was closer to cinema/movies rather than portrait painting. He strove to incorporate cinematic techniques in his work. And he liked to use that low angle shot in particular for precisely the reason you mention: it was dramatic, plus it added "menace." From what I've seen in his work he'd used it here and there before the 1960s, but it was a natural for him to use in The Atom and it took off (for him) from there. |
|
|
|
Post by tarkintino on May 17, 2020 12:21:30 GMT -5
Speaking of John Buscema…. One of his most distinctive flairs was illustrating characters in ultra-dramatic, gap-legged poses, with arms extended, as if they were reading themselves expecting some incoming threat, or already facing it--  With his command of anatomy in a way few 1960s Marvel artists matched, he always created stunning covers, panels or pin-ups with characters actually appearing to be in motion...and in some sort of turmoil written across their faces. Brilliant work. |
|
|
|
Post by adamwarlock2099 on May 17, 2020 12:48:27 GMT -5
Well let’s just hope no one’s complaining about exposed female midriffs. 😗
|
|
|
|
Post by rberman on May 17, 2020 13:30:08 GMT -5
I think he found that angle dynamic, partly because it was unusual. When movie director Edward Dmytryk visited my film class, he talked about his crews would laugh 'cause he would squat down or stand on boxes when lining up shots because what was unusual kept audience interest. Right. In interviews Gil Kane's said just that: he wanted to do comic book art/illustration that was closer to cinema/movies rather than portrait painting. He strove to incorporate cinematic techniques in his work. And he liked to use that low angle shot in particular for precisely the reason you mention: it was dramatic, plus it added "menace." From what I've seen in his work he'd used it here and there before the 1960s, but it was a natural for him to use in The Atom and it took off (for him) from there. Alex Ross prefers "pedestal" shots as well for the same reason, especially for team portraits of heroes. They are above us.     Grant Morrison felt the same when he took over JLA, asking for a "pedestal" shot for the first cover:  He was reacting against the "readers are above the heroes" image that characterized the Giffen/Maguire JLA comedy years.  |
|
|
|
Post by electricmastro on May 17, 2020 14:09:17 GMT -5
Speaking of women, Bill Ward, perhaps one of the most prominent good girl artists of his time alongside Matt Baker, did work at Quality Comics which showed that he liked drawing women flashily and happily “showing themselves off” and having long flowing hair, seemingly not caring if they’re thought of as “degenerates” by others. Doll Man #14 (Autumn, 1947):  Heart Throbs #2 (October, 1949):  Campus Loves #2 (February, 1950):  Diary Loves #15 (October, 1951):  |
|
|
|
Post by rberman on May 18, 2020 8:43:51 GMT -5
In another forum I'm on, I made a Liefeld-o-meter to measure how Liefeldian a particular cover is, on a scale from 0 to 8:
Tiny head?
Wrestling headgear?
Gritted teeth?
Giant gun?
Giant muscles?
Garter?
Pouches?
Absent feet?
I'll spare your eyes by not posting an example.
|
|
|
|
Post by Deleted on May 18, 2020 8:49:40 GMT -5
In another forum I'm on, I made a Liefeld-o-meter to measure how Liefeldian a particular cover is, on a scale from 0 to 8: Tiny head? Wrestling headgear? Gritted teeth? Giant gun? Giant muscles? Garter? Pouches? Absent feet? I'll spare your eyes by not posting an example. I don't think I want to spend that much time or give that much effort considering Rob Liefeld art. If I did, I might start to think I am a closet Liefeld fan  -M |
|
|
|
Post by codystarbuck on May 18, 2020 11:13:40 GMT -5
Right. In interviews Gil Kane's said just that: he wanted to do comic book art/illustration that was closer to cinema/movies rather than portrait painting. He strove to incorporate cinematic techniques in his work. And he liked to use that low angle shot in particular for precisely the reason you mention: it was dramatic, plus it added "menace." From what I've seen in his work he'd used it here and there before the 1960s, but it was a natural for him to use in The Atom and it took off (for him) from there. Alex Ross prefers "pedestal" shots as well for the same reason, especially for team portraits of heroes. They are above us. Grant Morrison felt the same when he took over JLA, asking for a "pedestal" shot for the first cover: He was reacting against the "readers are above the heroes" image that characterized the Giffen/Maguire JLA comedy years. For Kingdom Come, specifically, he was modeling it after a Norman Rockwell painting (The Right to Know) that used that composition...  Rockwell is one of Ross' big influences on his painting and Rockwell used a lot of that in his deliberately inspirational paintings...   ps That's Rockwell in the bow tie, with the pipe, on the right of the woman hugging the man. |
|
|
|
Post by electricmastro on May 18, 2020 11:45:03 GMT -5
|
|
