“My first intent was to do so called faithful adaptations. But now I feel a ‘faithful’ adaptation is not possible in any medium by anybody. My early impressions of Poe’s work came from Roger Corman’s/Richard Matheson’s versions of some Poe stories. Other than the titles, these films have very little to do with Poe’s stories. After thinking about other possible directions they might have taken, other possible amplifications, they all represent a departure from the original intent. However this certainly won’t stop countless writers and artists (and me) from doing their own take on Poe’s stories. So, resolved not to do ‘faithful’ adaptations, I am freed to let the inspiration flow. Yes, the stories and poems are ‘springboards’ for my interpretations.” — Richard Corben
Earlier today, Michael Dooley of Print Magazine’s Imprint blog posted his interview with artist and designer Graham Moore, entitled A Designer’s Midcentury-Mod Music-Graphics Mashups. It is Moore’s collage art that is the focus of the piece. If I could own one of the collages displayed along with the interview or on Moore’s website, it would be GrahamMoore_04.jpg/mo-dernes.jpg (see below), which I imagine to be an enigmatic glimpse of the 1960s through the lens of a parched but ultra-stylish future:
See also here and here on Moore’s site for more sketchbook variations on the silhouette theme.
Magritte did a lot with silhouettes. I’ll post some examples when I have a moment…
[CLICK IMAGES TO ENLARGE]
Update (10 October 2012):
Just thought I would mention here that I contacted Graham Moore after I posted the above images and information and asked him if the mo-dernes collage was for sale — it was! — and even though his asking price was a little beyond what my meagre acquisitions budget can ordinarily sustain for a single work of art, Graham kindly made it possible for me to own the piece by allowing me to pay for it in affordable instalments spread out over about three months.
And as I told Graham by email when I finally had the artwork in hand, I’m very pleased with my purchase. Mo-dernes is a page cut from Graham’s sketchbook, and as such, I expected it to be smaller than it is. In fact, the piece is fairly large for an old-fashioned, hand-cut, magazine-image collage. And needless to say, aesthetically speaking, it really hits a sweet spot for me in terms of composition, colour, and content. I won’t torture you with a formal analysis of what you can see for yourself; however, I must say, this time around, with the actual artwork in front of me, I’m especially taken with the way that the physical texture of the orange paint that Graham has mopped and dragged across the grain of the paper echoes the virtual black-and-white texture visible most clearly in the skin of the models inside the silhouettes. Lovely!
After I posted the above link, the thought occurred to me that many of those illustrations by Jones are exactly the right proportion for bookmarks. So I used Irfanview to quickly assemble a panoramic image of five of the nicest family-friendly images, added some light grey guidelines so I could cut them out with a box cutter and a metal ruler, printed them off at the highest quality on a full sheet of glossy photo paper, carefully sliced along the guidelines, and basked in the glow of my very own Jones bookmarks.
Ragemoor! A living castle, nurtured on pagan blood, harborer to deadly monsters! A fortress possessed of its own will and ability to change itself, with the power to add and destroy rooms and to grow without the help of any human hand. Its owner is mad with jealously, its servants aren’t human, and its secret’s horrific!
Issue #1 of Ragemoor will be available in March. So men let your wallets flop out, and women open your purses, because a man or a woman without a copy of Ragemoor will be suffering with the worstest of curses!
In other words, HEADS UP!
“I’ve had a long career in comics, doing it the way I wanted, mostly. I’m grateful for what success I’ve had. I still love the possibility of comics, as a medium to tell the stories I want to, not just the ones that sell big. I still have some goals to achieve and skills to develop so I don’t intend to retire ever. I’m going to continue doing comics until I drop.” — Richard Corben in conversation, Westfield Comics Blog, January 2012
I’m a bit late with this one, but of course Corben fans will also want to pick up the Murky World one-shot, available in stores now from Dark Horse:
[TOTH:] Whither the comic book; where’s it going, except to hell?
[SPICER:] Someday graphic novels will take up where comic books are leaving off, but what about the artist who has to sit down and draw them? If some one came to you with a 200-page pictorial novel to illustrate, and if the money was okay, do you think you’d be interested?
[TOTH:] I’d probably blow my brains out. It could be done, and there are plenty of guys around who could and would do it. But I’d rather have twenty 10-page stories than one 200-page story. I found this to be the case when I was freelancing; I could be tired as hell, having just come off a job, when a new script would arrive in the mail and I’d be perked up by it. Despite being tired, and wanting a few days off before starting the next assignment, a new script would get me enthused. Change itself is refreshing; a new subject to tackle is stimulating. It juices you up to get into it right away. To sustain yourself for 100 or 200 pages would be rough. Even those 34-pagers used to drive me up the wall. It would have to be a damn good script to keep me going.
This graphic novel concept frightens me. Although, I have to wonder where comics are going. Where the medium is really going. If comic books are going down the drain, and if newspaper strips are being killed off by ads crowding ever deeper into the pages — and by the lack of any real contributing function of their editors — then I think the strip may be finished. If they would reach out into new subject areas, maybe graphic novels will happen as dollar or two-dollar soft covers in black & white or color. The medium deserves a better shake than it’s gotten from its practitioners who’re making it go on the way it’s been going down. I don’t know who’s really doing the experimentation and planning for new off-shoots of the strip. I’d like to get into it, though, when it happens.