I give you Paul Pope’s OMAC! with extras.
Posts tagged OMAC
Posted 1 day ago
“The mass production of instruments of comfort - all revolutionary, according to the publicity handouts - has given the most unsophisticated of people the right to express an opinion on the marvels of technological innovation in a tone as blase as the hand they stick in their pants. The first landing on Mars will pass unnoticed at Disneyland.”
Raoul Vaneigem
(Panel by Jack Kirby, Mike Royer et al, from (OMAC #1, 1975)
What the man said.
Posted 5 months ago
Paul Pope draws more Omac.
Day 7 of Paul Pope Draws Kirby week on Ukiyo-e-Pope.
Are you ready for the world that’s coming?
Posted 5 months ago
Paul Pope draws and sketches Omac for DC’s Solo.
You can read his Omac in its entirety on his website
Day 5 of Paul Pope Draws Kirby Week on this blog.
Posted 6 months ago
Some sweet Omac action by Paul Pope from the issue of DC’s Solo where he was the featured artist.
(Source: redribboncorps)
Posted 8 months ago
Samples from Cosmic Debris: Kirby in the Seventies, a scanning project by 4CP (Four Color Process), highlighting the amazing imagery found in the minutiae of Kirby’s 70’s comics.
Here’s the “mission plan” from the project:
For the next three weeks, 4CP is going to be all Kirby, all Seventies. It’s an area we’ve hardly touched until now, because Kirby mostly abandoned the traditional comic book detail in the Seventies, and at 4CP we generally scan very tiny areas of the printed comic book page.
Scanning Kirby this month, we’ve concluded that:
- If he wanted to put a lot of stuff into a frame, he drew it as two-page spread.
- Frames of normal size often bear a resemblance to enlarged details from Kirby’s earlier work. It is as though Kirby were cropping and magnifying his work in advance, going deeper into the comic book page to find his essential composition and images.
- Kirby’s illustrative style had itself become a magnified exaggeration of the techniques and textures that characterized details in his earlier work. His blacks became denser and more expressionistic, and “detail” often took the form of bleedy, blobby, stylized texture, as if he had zoomed in on the black lines and shading of an old comic book page.
In the Seventies, Kirby drew less, but he drew it larger, and as he did this, his style increasingly became the content.
Sure, I’m over-generalizing, but when I went looking for isolated images that define what is particular about Kirby in the Seventies, that’s how it felt to me. In purely practical terms, I had to scan larger areas of the frames to capture recognizable illustration. When you isolate one square inch in a Seventies Kirby comic, the result will often be pure abstraction. In his Sixties work, “frames within frames” abounded.
Posted 10 months ago
Compare and Contrast - Jack Kirby and Paul Pope
Jack Kirby’s O.M.A.C.
Paul Pope’s O.M.A.C.
Don’t ask about the woman in the box.
Posted 1 year ago
If and when I write a forward for a DEMON collection, I will tell how Jack created that entire comic in—this is not an exaggeration, it’s what was happening at that moment—the time it takes to get a hot turkey sandwich at a Howard Johnson’s restaurant. Asked earlier that day to come up with a macabre hero, Jack went to dinner with his family and friends (I was a friend) and he ordered, then sat there very quietly at the table, figuring out all the essentials of his next comic while he waited for the waitress to deliver his meal.
Mark Evanier in the introduction to the collection of Jack Kirby’s OMAC. (via davepress)
Posted 1 year ago
Paul Pope’s “cover” of issue one of OMAC: One Man Army Core, from his issue of DC’s Solo.
Posted 1 year ago
Kirby concept art for the original O.M.A.C. How awesome is this? And yes, I am one of the mourners of the new series, because it was probably the most fun series of the New 52.
Posted 1 year ago
One oddball's internet magpie nest.
