Potrzebie
Thursday, November 05, 2009
Pete Candeland's The Beatles: Rock Band
By the way, do you know who the Eggman is? It's Eric Burdon, as he explained in his autobiography. ¶ 9:41 AM 0 comments
By the way, do you know who the Eggman is? It's Eric Burdon, as he explained in his autobiography. ¶ 9:41 AM 0 comments
Friday, October 30, 2009
Bob Dylan Comics
November 16 is the publication date of the English language edition of Bob Dylan Revisited featuring visual interpretations of Dylan's lyrics by more than a dozen top international illustrators. Below are some preview pages. The clip is from a Canadian television series, Quest (February 1, 1964). François Avril's site (with the "Girl of the North Country" roughs) is here.
Bob Dylan Revisited contents:
"Blowin' in the Wind" interpreted by Thierry Muraty
"A Hard Rain's A-Gonna Fall" interpreted by Lorenzo Mattotti
"I Want You" interpreted by Nicolas Nemiri
"Girl of the North Country" interpreted by François Avril
"Lay, Lady, Lay" interpreted by Jean-Claude Götting
"Positively 4th Street" interpreted by Christopher
"Tombstone Blues" interpreted by Bézian
"Desolation Row" interpreted by Dave McKean
"Like a Rolling Stone" interpreted by Alfred (drawings), Raphaëlle Le Rio, Maël Le Maé (scenario) and Henri Meunier (color)
"Hurricane" interpreted by Gradimir Smudja
"Blind Willie McTell" interpreted by Benjamin Flao
"Knockin' on Heaven's Door" interpreted by Jean-Philippe Bramanti
"Not Dark Yet" interpreted by Zep
I'm a-wonderin' if she remembers me at all.
Many times I've often prayed
In the darkness of my night,
In the brightness of my day.
So if you're travelin' in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
She once was a true love of mine.
The Black Crowes in Moscow (1991)
Unfortunately, the creative highs seen above must conclude with a sad footnote on the downward spiral of Dylan music critic/biographer, PKD authority, Crawdaddy creator and past pal Paul Williams, who soared in print with illuminations like lightning over water. I remember the day he pointed out to me the "time differential" pun he viewed as the key sentence in The Crying of Lot 49: "She knew that the sailor had seen worlds no other man had seen if only because there was that high magic to low puns, because DT's must give access to dt's of spectra beyond the known sun, music made purely of Antarctic loneliness and fright."
November 16 is the publication date of the English language edition of Bob Dylan Revisited featuring visual interpretations of Dylan's lyrics by more than a dozen top international illustrators. Below are some preview pages. The clip is from a Canadian television series, Quest (February 1, 1964). François Avril's site (with the "Girl of the North Country" roughs) is here.
Bob Dylan Revisited contents:
"Blowin' in the Wind" interpreted by Thierry Muraty
"A Hard Rain's A-Gonna Fall" interpreted by Lorenzo Mattotti
"I Want You" interpreted by Nicolas Nemiri
"Girl of the North Country" interpreted by François Avril
"Lay, Lady, Lay" interpreted by Jean-Claude Götting
"Positively 4th Street" interpreted by Christopher
"Tombstone Blues" interpreted by Bézian
"Desolation Row" interpreted by Dave McKean
"Like a Rolling Stone" interpreted by Alfred (drawings), Raphaëlle Le Rio, Maël Le Maé (scenario) and Henri Meunier (color)
"Hurricane" interpreted by Gradimir Smudja
"Blind Willie McTell" interpreted by Benjamin Flao
"Knockin' on Heaven's Door" interpreted by Jean-Philippe Bramanti
"Not Dark Yet" interpreted by Zep
"Blowin' in the Wind"
"A Hard Rain's A-Gonna Fall"
"I Want You"
"Girl of the North Country"
I'm a-wonderin' if she remembers me at all.
Many times I've often prayed
In the darkness of my night,
In the brightness of my day.
So if you're travelin' in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
She once was a true love of mine.
"Lay, Lady, Lay"
"Desolation Row"
"Like a Rolling Stone"
"Hurricane"
"Blind Willie McTell"
"Knockin' on Heaven's Door"
"Not Dark Yet"
Also see "Rainy Day Women #12 & 35" by Flemish cartoonist Kim Duchateau:
The Black Crowes in Moscow (1991)
Unfortunately, the creative highs seen above must conclude with a sad footnote on the downward spiral of Dylan music critic/biographer, PKD authority, Crawdaddy creator and past pal Paul Williams, who soared in print with illuminations like lightning over water. I remember the day he pointed out to me the "time differential" pun he viewed as the key sentence in The Crying of Lot 49: "She knew that the sailor had seen worlds no other man had seen if only because there was that high magic to low puns, because DT's must give access to dt's of spectra beyond the known sun, music made purely of Antarctic loneliness and fright."
Labels: avril, bob dylan, crawdaddy, duchateau, mattotti, mckean, paul williams, pkd, zep
¶ 12:16 PM 0 comments
Wednesday, October 28, 2009
The BigDog Whisperer
Who let the bots out? Boston Dynamics
Who let the bots out? Boston Dynamics
Labels: bigdog, boston dynamics, littledog, petman, pkd, uncanny valley
¶ 9:48 AM 2 comments
Friday, October 23, 2009
Hitchcock #4: Are we having font yet?
This is the Saul Bass font. To download, go to Typographica. Joel Gunz uses the Saul Bass font for the heading of his Alfred Hitchcock Geek blog of critical commentary.
In the trailer for Psycho, the woman screaming in the shower is not Janet Leigh. It's Vera Miles.
Barefoot Cassandra compares the photos in Vanity Fair's Hitchcock tribute with the original scenes. Scarlett Johansson and Javier Bardem appeared in this recreation of Rear Window, but there's a discrepancy. Before you click for Cassandra's explanation, can you tell what's wrong with this picture?
This is the Saul Bass font. To download, go to Typographica. Joel Gunz uses the Saul Bass font for the heading of his Alfred Hitchcock Geek blog of critical commentary.
In the trailer for Psycho, the woman screaming in the shower is not Janet Leigh. It's Vera Miles.
Barefoot Cassandra compares the photos in Vanity Fair's Hitchcock tribute with the original scenes. Scarlett Johansson and Javier Bardem appeared in this recreation of Rear Window, but there's a discrepancy. Before you click for Cassandra's explanation, can you tell what's wrong with this picture?
Labels: barefoot cassandra, font, hitchcock, joel gunz, moqilok, psycho, saul bass, typography, vanity fair
¶ 12:29 AM 0 comments
Sunday, October 18, 2009
Friday, October 16, 2009
Death of Newspapers #9: Grafix fades out
.
Leading cartoonists once had their own Sunday pages to fill, and many people bought newspapers for the comic strips. So the newspapers made the strips small and then even smaller. Why? Instead of improving, color printing became inferior. New strips by people who could not draw were introduced. The logic is elusive, leading to this question: Why didn't the National Cartoonists Society do something about the impending doom?
When Roy Crane launched Buz Sawyer in November 1943, no one thought newspapers would fade away. Here are the first five Buz Sawyer Sunday pages (running from November 28 to December 26, 1943). In the dailies, Buz went on adventures with his sidekick Roscoe Sweeney. (Why is Roscoe spelled two different ways?) In the Sunday strips, Sweeney was the star. Instead of a single Sunday situation, Crane kept the story continuity going, and despite the passage of seven days, readers were so involved that they had no problem remembering previous weeks.
End of an era footnote: While newspapers die, it was announced last month that Grafix Duoshade and Unishade papers are being discontinued due to a decline in demand, says Grafix prez Hayley Prendergast. These papers were long used by editorial cartoonists for shading, and Roy Crane used this product effectively back in the days when it was known as Craftint. Cleveland's Craftint Manufacturing Company sold the process to the Ohio Graphic Arts Systems, also in Cleveland. Then in 1990, Ohio Graphic Arts changed their name to Grafix.
Crane's artful application of Craftint gave his Wash Tubbs and Buz Sawyer strips a unique three-dimensional look. The process involved brushing a chemical solution over an inked drawing to develop shading lines embedded in the paper. A separate solution brought out cross-hatching. Crane used this for watery wave effects, smoke clouds, atmospheric perspective and leafy jungles. He effortlessly turned panels into miniature b/w paintings, and no one else doing comic strips ever equaled his Craftint creations.
Leading cartoonists once had their own Sunday pages to fill, and many people bought newspapers for the comic strips. So the newspapers made the strips small and then even smaller. Why? Instead of improving, color printing became inferior. New strips by people who could not draw were introduced. The logic is elusive, leading to this question: Why didn't the National Cartoonists Society do something about the impending doom?
When Roy Crane launched Buz Sawyer in November 1943, no one thought newspapers would fade away. Here are the first five Buz Sawyer Sunday pages (running from November 28 to December 26, 1943). In the dailies, Buz went on adventures with his sidekick Roscoe Sweeney. (Why is Roscoe spelled two different ways?) In the Sunday strips, Sweeney was the star. Instead of a single Sunday situation, Crane kept the story continuity going, and despite the passage of seven days, readers were so involved that they had no problem remembering previous weeks.
End of an era footnote: While newspapers die, it was announced last month that Grafix Duoshade and Unishade papers are being discontinued due to a decline in demand, says Grafix prez Hayley Prendergast. These papers were long used by editorial cartoonists for shading, and Roy Crane used this product effectively back in the days when it was known as Craftint. Cleveland's Craftint Manufacturing Company sold the process to the Ohio Graphic Arts Systems, also in Cleveland. Then in 1990, Ohio Graphic Arts changed their name to Grafix.
Crane's artful application of Craftint gave his Wash Tubbs and Buz Sawyer strips a unique three-dimensional look. The process involved brushing a chemical solution over an inked drawing to develop shading lines embedded in the paper. A separate solution brought out cross-hatching. Crane used this for watery wave effects, smoke clouds, atmospheric perspective and leafy jungles. He effortlessly turned panels into miniature b/w paintings, and no one else doing comic strips ever equaled his Craftint creations.
Labels: buz sawyer, death of newspapers, grafix, roy crane
¶ 7:49 AM 4 comments
