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bolsterstone — Influence Map
Published: 2010-09-03 05:19:57 +0000 UTC; Views: 1582; Favourites: 4; Downloads: 49
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Can't believe it but I got sucked into one of them thar band-wagon meme-thingies. But I have to confess it was fun to do. (I have to confess that it iook me a lot longer to do than I thought though.)By rows, left to right:
First row: Kimba the White Lion, Gatchaman/Battle of the Planets (yup, old school anime - Captain Harlock too), Punch magazine (especially all those wonderful illustrators on the 1980s), Herge, Escher
Second row: the Dandy (and Beano) comics, John Tenniel, Goscinny and Uderzo (I could have included Goscinny's work on Lucky Luke too), DeCarlo, C.C. Beck
Third row: Kyle Baker (a talented chameleon of styles), Edd Uluschak (political cartoonist of the 1970s), Bruce Timm (and Mike Wieringo too -- both I've studied intensely), Lil Abner (Capp and Frazetta), Buscema (and Conan period)
Fourth row: Walt Simonson (and Thor!), Rembrandt, Durer, Renoir, Carl Banks (and Disney generally)
Fifth row: George Perez on the Teen Titans, Witchblade (Marc Silvestri and Michael Turner!), Elisabeth Vigee Le Brun (pastellist), Edgas Degas, the Star Wars comics series. Richie Rich.
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Comments: 11
Thanks - I am glad you approve.
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Me too!! I don't know why -- but something about Al Capp's work just gets you. (Mort Walker once said that Lil Abner just made him want to get out your pencils and draw -- I think I understand why.)
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I agree!! I have a hard back comic book of his that has the story of the Shmoo XD I love the shmoo. All those stories have such personality and emotion. Its hard to stop reading once you start XD
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-Especially the Masters and all the old illustrators from the 1980s!
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Right you are.
Well I did grow up in a British-based artistic family. So, maybe the Masters and old illustrators aren't too unusual. I guess I was lucky in that I could usually find an artbook, a copy of Punch or a European comic lying around which I would copy and draw when I got bored (which was often).
My biggest surprise was the Japanese animation angle though -- especially given that the 'anime invasion' (as it's called) didn't even begin in full yet when I was a wee nipper. But then I remembered when I was younger, I was drawing quite a few Japanese characters I had absorbed from CBC French Edmonton. (The English channels always had too many soaps and talking head programmes for my young mind.) It guess the 'foreign language' media were picking up on anime, long before English-language media gleaned onto it.
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I prefer Cole's plastic man to Baker's, myself. By the way, Al Williamson actually inked Buscema on the first bunch of Wolverine stories, and are worthy of a second look
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Ironically, I just got a collection of some early X-men and Wolverine collected editions -- gotta love those Marvel Essentials -- and will definitely be checking our Williamson's work on the inks, bub.
As for Kyle Baker, I understand what you were saying about Cole's work on Plas -- very much the guy who got the ball rolling with the guy. But my interest in Baker extends beyond just his work on Plastic man. He is a guy who is not afraid to experiment with different styles and techniques in his work. Go back over his corpus and you see him pulling in influences from everywhere. I give him major props for what he is daring to try and do what he does in his work.
Per Walt Simonson, you are right - Thor was when he was top of his form. Not to say that he isn't good now, but his run on Thor was sheer brilliance.
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