May 21, 2018

Colourized From Hell

Below you can read an exclusive report by writer and comics journalist Koom Kankesan about his meeting with From Hell's artist and co-creator Eddie Campbell during the latest TCAF.
They talked about... the upcoming colourized From Hell edition!
Grazie, Koom!

Koom Kankesan: "I was really thrilled to meet Eddie Campbell. He’s a unique and interesting talent. I don’t know that there’s anybody else that can quite do what he does with his Alec material. And of course… From Hell has remained my favourite graphic novel for a long time now – it is a remarkable achievement. In person, Eddie is charming and lively. He has a beautiful Steranko-like shock of white hair and is even more dapper than his semi-autobiographical renderings, if you can believe it. He’s a bit of a joker and I’ve told him a few times how much I love From Hell. So, when he replied that he’s in the process of colouring it, I wanted to do one of those cartoon things where the character is floored and his feet angle up into the air beside an exhaust of air.

I’ve always thought of the black and white renderings as unique to From Hell. I had assumed that the fine line work and the moody atmosphere evoking London Victoriana were rendered that way on purpose, as if in imitation of engravings or illustrations in Victorian tabloid newspapers. Eddie found this observation interesting but I don’t think he agreed. I objected that colouring it would ruin the feel of the work and I think I might have been so passionate in my initial views that it perhaps even made him wince. Lovable and charming as Eddie is, the last thing you want to do is make him wince. He showed me some of the coloured pages on his laptop and the colours were lovely – he’s always had a great facility for paint and colour – but it did change the mood and atmosphere of some of the scenes. I said it’s like colourizing black and white films and asked him which he preferred – the black and white version of ‘It’s A Wonderful Life’ or the colourized version. He said that he hadn’t seen the colourized version of that film but he had seen the colourized version of ‘Key Largo’ and quite enjoyed it. I mentioned Apocalypse Now and Apocalypse Now Redux. Those were the kinds of reservations I had.

Eddie also said he wanted to fix the continuity. I was trying to figure out what that meant because I couldn’t really remember any continuity problems in the plot or writing. He grabbed my collected edition of From Hell and flipped to the early, quite remarkable chapter where Netley and Gull are driving around London and Gull discourses on all the historical resonance. He pointed out that the chapter takes place in August and therefore it made no sense for Netley to wear a scarf. He also pointed out that they were atop a very elaborate coach, one that was more like a limousine, and would thus draw a lot of attention. Later on in the book, I think they’re on a hansom cab instead. He also pointed out a panel with a church where the perspective of the foreground and background don’t match. These were the things he wanted to address: more of an issue of accuracy and fidelity rather than continuity. Please see the following photos:
From Hell, selected pages. Art by Eddie Campbell.
The first volume of the colourized version is planned for September [by Top Shelf] and Eddie and I talked about possibly doing a phone interview then to discuss it in detail once it's out."

Apr 26, 2018

Rorschach by Dan Hipp

Art by Dan Hipp.
Above a gorgeous Rorschach by Dan Hipp.
"Hurm. 4x4 pen/ink, Prismacolor marker, colored pencil, acrylic, and a touch of photoshop for the screentone effect."

Apr 10, 2018

Alan Moore by Nicola Testoni

Art by Nicola Testoni.
Above, a fascinating and hieratic pencil portrait drawing of Alan Moore by Italian painter and illustrator NICOLA TESTONI.
More info about Testoni at his website (here) and Twitter page (here).

Mar 25, 2018

Fulgur Limited to publish Fossil Angels

Alan Moore's Fossil Angels.
Later this year, Fulgur Limited will finally print Alan Moore's Fossil Angels with illustrations by John Coulthart. Check here.

Fossil Angels - a piece about Magic - was written by Alan Moore in December 2002, and was planned to be included in issue n.15 of KAOS magazine which never actually appeared. 
In 2010, the text was presented for the first time online on Glycon site: it is available here (Part 1) and here (Part 2).

Mar 12, 2018

Moore question by AUSONIA


Above a mesmerising Alan Moore portrait drawn by Italian acclaimed comic book artist, painter and illustrator AUSONIA (nom de plume of Francesco Ciampi).

Ausonia created several graphic novels (including a stunning reimagining of Pinocchio's classic tale), collaborates with Sergio Bonelli Editore and is currently at work on both a Dylan Dog story and his new graphic novel.

In Ausonia's illustration Moore asks the audience and himself: "What if it's just a sort of neurosis?"

For more about Ausonia: Facebook page - Instagram - Art Station

Feb 28, 2018

Veitch on The One, Marvelman, Greyshirt & Moore

Page from The One by Rick Veitch.
Excerpt from an interview with the great Rick Veitch posted on Vulture the 28th of February 2018. Veitch talks about the new edition of his amazing The One series published for the first time in colour by IDW.

[...] If I recall correctly, you had already read some of Alan Moore’s Marvelman at that point, right? It deals with similar concepts.
Rick Veitch: Right. Marvelman had appeared and had been like a lightning bolt to all of us who were in comics, working in superheroes at the time. [Moore] really was sort of like the Big Bang of the modern superhero — and I should include his artist with him, Garry Leach. They succeeded in — just like the Rolling Stones succeeded in taking old blues music and repackaging it for an American audience, Alan and Garry and the other artists on Marvelman succeeded in doing that. A lot of people recognized it, but didn’t quite know how to make that work. I was probably one of the first, I think, to try to take that inspiration into my own work, and again, try to push the superhero thing in a whole new direction. When I was a kid in art school, at the Kubert School in the ’70s, we would sit around, and we would go, “These superheroes, they’re so infantile. If someone just approached them with the depth of a modern science-fiction novel, like Isaac Asimov or Stanislaw Lem, one of those guys, it could be really amazing.” I think Alan and his partners were the ones that first pulled it off, with Marvelman.

[...] Have you stayed in touch with Alan Moore at all?
Rick Veitch: Oh yeah, yeah. We talk all the time. It’s been fantastic working with him. It’s been sad seeing some of the shit he’s had to deal with, because of his stardom. He’s a lovely guy. He’s always amazing. I’m quite fortunate to have worked with him.

DC just introduced two America’s Best Comics characters into their mainstream universe: Tom Strong and Promethea. Will yours and Alan’s character, Greyshirt, do that anytime soon? Or is he safe from the corporate clutches?
Rick Veitch: I don’t think it’s safe. I think all of them might get inhaled, but I have to go back and revisit the contracts and talk to DC’s legal about what it all means. I’m not sure yet. I haven’t really dug into it. I doubt Greyshirt is one of the first ones they want to get in there, because I think Tom Strong and Promethea were the star characters. I hope they don’t, I really do. I think it’s not good, how they have treated Alan and his creations. I wish, especially … Actually, I probably shouldn’t say anything. Other than to say, I wish they’d leave Alan alone and let him be creative.

[The complete interview is available here.]

Feb 9, 2018

Alan Moore by Robert Hack

Art by Robert Hack.
Above a shamanic portrait of Alan Moore by comic book artist and illustrator Robert Hack.

More info about Hack at his website (here) and Twitter page (here).