View allAll Photos Tagged comics
Had an amazing time at Granite State Comic Con this year. It was my first comic con ever, and it was amazing to get to be one of the official photographers. Got to see some awesome artists, cosplayers, panelists, actors from the Game of Thrones, and just ice cool people.
If you were there please feel free to tag yourselves. If you use any of these please remember to like Rodrigo Ramirez Photography on facebook and to please add a photo credit.
Please visit and like:
(First picture taken at the new apartment!)
Chloé would like to know when all the comics will be sorted out.
Wir hatten zwischen den Tagen Langeweile, also haben wir mal unseren großen Waschkorb voller Micky-Maus-Hefte und ähnlichem sortiert, die Hefte geflickt etc.
Suspended Animation Classic #624 First published December 10, 2000 (#50) (Dates are approximate)
Comics Legend Graham Ingels
By Michael Vance
His was a different world.
His time was different. Born in 1915, Graham Ingels became a comic book artist in 1942 during their first surge in popularity. At sixteen, Ingels had already painted theatrical displays. At twenty, he was active as a freelance artist. After a discharge from the Navy, Ingels produced illustrations for pulp magazines for a year before becoming a comics editor.
His talent was different. It was EC publisher William Gaines and EC artist, writer and editor Al Feldstein who would bring Ingels fame as “Ghastly”. That was his trademark signature on covers and interior stories in EC’s Crime SuspenStories, The Haunt of Fear, The Vault of Horror and Tales from the Crypt. It was his incredible, unique talent that earned Ingels a fame that remains undiminished by time or his death.
Graham Ingels became the greatest horror artist in comic book history. His scratchy, fine lines draped everything he drew in cobwebs, shadows and decadence. A subtle, physical deformity in almost every character, many of who were barely more than parchment flesh stretched over arthritic bone, made his readers’ skin crawl. His Victorian houses tottered on the verge of collapse, and even animals and vegetation smelled of Gothic decay.
He was the master of atmosphere, his settings alone producing more shudders than any gory movie.
Ingles work included: “Lost World”, “Sea Devil”, “Commando Ranger”, “Clipper Kirk”, “Suicide Smith”, “Auro, Lord of Jupiter” (Fiction House, 1942-’49); Heroic #39 (Eastern Color, 1946); covers, Startling, “Lance Lewis”, “Tygra” (Pines, 1947); covers, “The Duke”, Trail Colt, U.S. Marshall (ME, 1048-’49); western, crime, love, horror, sf, New Directions titles (EC, 1948-’56); “Outlaws” (DS, 1948); Waterloo, Classics Illustrated Special Issues (Gilberton); Treasure Chest, western (Pflaum, 1957) and work at Fox Comics (1948).
The work of Graham Ingels is highly recommended.
Some older comics are expensive or difficult to locate. Price guides or comics dealers help. Comics shops, conventions, mail order companies and trade journals are good sources. Prices vary; shop around.
Stu - also from Forbidden Planet - an utter scholar and gentleman. He can also drink anyone I know under the table.
Suspended Animation Classic #524 Originally published January 10, 1999 (#2) (Dates are approximate)
Comics Legend Reed Crandall
by Michael Vance
One of the first artists to 'raise the bar' for the quality of art in comic books tragically ended his life by another bar.
Originally considered a short-lived fad, comic books were often churned out with no consideration for the quality of art or story. When the industry stabilized, however, Quality Comics began to raise industry standards with artists like Lou Fine (on Dollman), Will Eisner (on The Spirit) and Reed Crandall on Blackhawk).
Crandall's art was heavily influenced by earlier magazine illustrators who used "cross-hatching" and "feathering" to give the illusions of shading and depth to their work. Cross-hatching uses tight grids of lines, and feathering uses clusters of tight parallel lines to create these effects. Time consuming for an artist, it is particularly effective in black and white pen work.
Crandall often used this technique on characters or in titles including: Stormy Foster, Ray, Uncle Sam, Dollman, Firebrand, Hercules, Blackhawk, Midnight, Capt. Triumph, Espionage (1946-'49, Quality), Captain America and misc. genre work ('41-71, Marvel), Tops Comics ('49-'50 Gleason), Kayo Kirby, Sheena, Kaanga ('41-'45, Fiction House), Treasure Chest ('50's+, Pflaum/Denison), crime, horror, SF, war and New Direction titles ('53-'55, EC), Classics Illustrated ('60-'62, Gilberton), Gunga (early '50s, Buster Brown), Hercules Unchained, Twilight Zone, Supercar covers ('59-'62, Western), NoMan, Dynamo ('66-'68, Tower), Flash Gordon ('67, King), and work in the early 1950s for Pine, Avon, Eastman Color, Ziff-Davis and Harvey publishers. Some of his best work was published in Creepy and Eerie magazines ('-64+ Warren).
Although prolific and uniquely talented, Crandall suffered from alcoholism. It destroyed his career in comics, and he ended his amazing life as a janitor.
Reed Crandall's work is highly recommended.
Some older comics are expensive and difficult to locate. Price guides or comics dealers help. Comics shops, conventions, mail order companies and trade journals are best sources. Prices vary; shop around for the best values.
no balloons comics.
eu tentei postar no blog, mas deu pau. =/
então lá vai o texto:
taí, minha primeira história em quadrinho. até então eu só fiz tiras e uns esboços de HQ. posso dizer que essa sim é minha primeira HQ em termos. demorou mas saiu. comecei ano passado, antes do natal e só terminei ontem.
essa história tem muitas estórias por trás, a começar pelas influências. além de kill bill, tem uma HQ que li ano passado que me influenciou de certa maneira, chama ZEN COMICS, de ionna salajan. parece que essa mina, além de ter sido meio que discípula de mestres zen é também artista e uma espécie de peregrina. ou seja, uma viajandona. o caso é que ela trata o zen budismo de forma bastante cômica nesses quadrinhos.
outra bem menos direta foi a gastronomia japonesa, sério. no dia em que comecei a fazer esse desenho tava no msn com o träsel e ele me passou o link de um vídeo, realizado por japoneses, sobre como se comportar à mesa de um restaurante japonês. era o Ó do bizarro. pena que agora ele tá pegando brasileiras morenas e gatas na alemanha e provavelmente não vai poder me passar essa informação. ah, ele também mantém um excelente blog gastronômico: o garfada.
outra estória por trás da história é o seguinte: ano passado fiz uma oficina de HQ com o fábio zimbres (meeestre!). na aula, ele mostrou um livro do calibre de uma bíblia com histórias em quadrinhos de gente de todas as partes do mundo, inclusive dele mesmo e do allan sieber (outro meeestre!), dos brasileiros que lembro de ter visto. mas o barato mesmo do livro é que nenhuma HQ ali contida tem balão, diálogo, fala. no máximo onomatopéias, de modo que qualquer pessoa em qualquer lugar do mundo pode compreender. aquilo virou a minha cabeça. e quando eu tive a idéia de fazer a HATORI HANZO FOR FOOD, esse esquema 'sem balões' caiu bem certinho. eba!
essa HQ está para sair na revista MUAMBA, de londrina, a convite do beto e do sassá. como eu não sei quando isso vai acontecer ainda, como a maior parte das pessoas que acessam as tiras da nina não terão acesso à revista e como na muamba ela sairá em grayscale (parece o nome do castelo do he-man), eu resolvi postar. =D
*clique na imagem para vê-la ampliada.
update: já tá no blog com links no texto e tudo. /
Anarchy Comics / Heft-Reihe
cover: Jay Kinney
Verlag: Last Gasp Eco-Funnies (Berkeley/USA; 1978)
ex libris MTP
Simpsons Comics / Heft-Reihe
cover: Bill Morrison
Reprints from Simpsons Comics (Bongo, 1993 series) #8 (January 1995)
Dino Verlag
(Stuttgart / Deutschland; 1997)
ex libris MTP
Tarzan de los Monos. Año X número 109. Diciembre 1 de 1960. Editada por Novaro Sea México. Capítulos: LOS HONDEROS DE KRU MAUN. JUICIO CON COMBATE. HERMANDAD DE LA LANZA ATRAPADOS POR UNA GRAN INUNDACION. FFB
It's time to sort out the comic collection again, separating the wheat from the chaff.
These are all oversized specials that won't fit in comic bags. I particularly like the reprint of Action #1 at the top right.
Should be able to see most of it if you open the larger size. And there is actually a box of books that has been misplaced somewhere.You may notice a distinct dearth of books between J and S.
Super-Mystery Comics / Heft-Reihe
Magno the Magnetic Man
cover: ?
Ace Magazines / USA 1945
Reprint / Comic-Club NK 2010
ex libris MTP