Hmmm. What would have happened if Saul Bass designed the title sequence for Star Wars way back when? Perhaps you may not recognize the name of Saul Bass, but there is no doubt you have seen his designs in everything from company logos, to children’s books, to album covers, to film title sequences. His work is amazing and he is a design legend.
A small listing of the books I picked up from this year’s Con:
• Zombies vs Robots vs Amazons 1 and 2 by Chris Ryall and Ashley Wood. I love Ashley’s meaty oils and gestural/dynamic panels in scratchy ink. Great texture. Plus it’s about zombies and robots and amazons all fighting eachother! C’mon!
• Chris Sanders’ Sketchbook 2 - full of his fantastic little critters and busty babes. Really, this guy is just an incredible draftsman!
• Claire Wendling’s phenomenal work in drawers 2.0. Claire blows me away. She can draw her figures and animals like Frank Frazetta and also do concept work for animation and comics. I don’t think her super simplified characters are as strong or interesting as her other work, but it’s nice to have the entire gamut of her style in one book. I love, love, love her animals and figures. The gestures!
• Afterworks 1 and 2 - I was late on this bandwagon, but I got ‘em now! Lovely work from the folks over at Pixar.
• Istanbul by Dupuy and Berberian. I couldn’t pass this one up. A real lovely book of sketches of this incredible city. It’s full of beautiful quick and whimsical studies of the architecture and people. Again, this is where my family is from, and the illustrator is Armenian. Yay!
One of my favorite children’s book illustrators is Trina Schart Hyman who sadly passed away in 2004 of breast cancer. She won 4 Caldecott medals for her work in children’s books which is no small feat, and she was the art director of Cricket Magazine during the 70’s. (Cricket was cool!) My introduction to her work was through the gift of a Peter Pan book for Christmas when I was nine years old.
Peter Pan was and still is a huge favorite of mine, but Trina’s illustrations in this particular edition brought the story to life in a whole new way for me. Gone were the cutesy Disney designs from the animated film.
Here was a raw and primal vision of Pan in stark black and white, emoting love, rage, curiosity, bravado and naiveté. I literally fell in love with this romantic vision of Peter Pan, the fierceness of this Tiger Lily, the warmth of this Wendy and the cruelty of this Hook and his pirates. No other Pan can be real for me. No other can compare.
Trina’s astonishing draftsmanship was and still is pure magic to me. But there is warmth and richness to her drawings and compositions that take my breath away.
It’s hard for me to describe. But there is something more than just technical prowess here. Trina captured something archetypal and intangible, and each time I look at these drawings they make me want to cry because of the rawness and vulnerability that is somehow apparent to me.
Or maybe I’m just being sentimental. I was nine after all! And yet, why do I still feel the same way looking at these images now, as I did back then? It’s magic. And that’s the quality I would love to have as I keep doing what I do.
I got to see a screening of Marjane Satrapi’s Persepolis last night at the newly remodeled Sundance Kabuki Theater. It was quite the event, with complimentary hors d’oeuvres and popcorn, a man playing some lovely music on a giant standing bass, and media and press people flitting about. But the star was Marjane who was there herself, along with her co-director of the animated film.
Based on her autobiographical graphic novels, Persepolis follows Marjane’s story of growing up in Iran during the revolution, and her life outside of her homeland, when she flees. The animation closely follows the stark black and white graphic style of her comics, but has also been flourished with shades of gray and minute instances of color. There are so many striking moments, visually, graphically. Some scenes are told with only images, and ultimately end up being more powerful than if they had included dialogue.
Marjane discussed her story and her views in a brief interview on stage before the screening, and her striking firebrand of a personality really burst through. However, her sly humor also was very apparent. And despite the horrors that she faced during the revolution in Iran, and some of the horror that is depicted in in her story, Persepolis is just as much about the humor and absurdity of life and of coming of age in this modern world. I loved it, and will see it again when it is released in theaters.
I just had a chance to check out the the animation design of Mary Blair over at the Cartoon Art Museum. I wasn’t aware of Mary as one of the first women concept designers for Disney, or her work by itself. However, you instantly recognize her style, since her designs and color styles are distinctly apparent in such classics as Alice in Wonderland, Cinderella, Peter Pan, The Three Caballeros, and more. She designed the It’s a Small World ride in Disneyland! You can’t escape her work. We have all grown up with her style and whimsy, and I find myself smiling at images of her art that keep popping up in my mind. She managed to capture something iconic, full of warmth, surreal, and yet playful in her designs. I can only hope to try to emulate some her essence in my own work. Go check out the exhibit! It’s up through March 18th, 2008.
