“My way of telling stories is so remote from tradition that young artists - rightly, I confess - choose other models. I have no desire to serve as a model. My universe is truly my own.”~Guido Crepax, quote from the introduction to the Evergreen Edition of Bianca, Emmanuelle, and Venus in Furs
I like this quote because I think it speaks to the degree to which, even when he was adapting work the world he creates with his pen is solely his own—he’s not trying to copy anyone—he’s speaking his own language, creating his own unique universes.
The other thing is that I would definitely consider myself as a student in his school. I’m fairly obsessed with picking apart what he does—and that comes across in how my comics read. Especially so the last say 15 pages I’ve penciled—which I haven’t gotten to show a lot of—but I would definitely describe them as me working with the lessons I’ve learned from studying Crepax.
The page above is from Anita Live—which is in my opinion the best colored Crepax work. I own the physical copy of that, and it’s pretty big pages—and really beautiful. Beyond the composition of his pages—one of the things I love about Anita Live and Emmanuelle is how long and languid his characters are. That’s not always the case in work like Bianca, Valentina, Story of O and work like that—but Anita and Emmanuelle have these sort of stretched out long bodies which I really like. I think you can see the advantage of it in the next to last panel on this page—where you can sort of feel a stretching of the figure, which is I think a kind of erotic tension also present in Schiele.
Posts tagged Art
The Devil, apparently, is heavy into the use of psychedelics.
If anyone recognizes the artist, lemme know and I’ll set the credits right.
BEYOND THE GRAVE #8
1983, Charlton Comics
The Devil’s House - A. Funell script, illegible signature art
A little poking around suggests that the artist is Enrique Nieto, an Argentinian artist, who was going under the alias Fred Nieto for this comic. The ‘A. Funell’ listed as the writer is Augustine Funnell. Both are mostly known for doing various horror titles for Charlton in the 70’s and 80’s.
Alex Niño draws Burroughs’ Mars.
JOHN CARTER, WARLORD OF MARS #3
1977, Marvel Comics
TMNT - Raphael
christ this only has like 13 notes or something
get your shit together tumblr
Artworks of Kairos (Studio La Cachette).
This is a reason why i love 2D animation so much. Awesome!
Brian Eno, A Year With Swollen Appendices, 1996. (via esperensnare)
Always reblog Eno (via thedanmorris)
Eno lets you in on a little truth. 8-bit, overcompressed, glitch art, what have you. Exploiting the limits of technology and making stuff to what it’s not really meant to do. That where art breaks things (and gets so popular that it goes on so many t-shirts that you get sick to death of it.)
(Source: imathers)
King City is fucking fantastic
Hydra agents defeated by the Hallucination Cube.
Strange Tales #157, June 1967
Jim Steranko
Future Boy Conan opening sequence storyboards
delicatessen
One oddball's internet magpie nest.
