For years, Awesome Art We’ve Found Around The Net has been about two things only – awesome art and the artists that create it. With that in mind, we thought why not take the first week of the month to showcase these awesome artists even more? Welcome to “Awesome Artist We’ve Found Around The Net.” In this column, we are focusing on one artist and the awesome art that they create, whether they be amateur, up and coming, or well established. The goal is to uncover these artists so even more people become familiar with them. We ask these artists a few questions to see their origins, influences, and more. If you are an awesome artist or know someone that should be featured, feel free to contact me at any time at theodorebond@joblo.com.This month we are very pleased to bring you the awesome art of…
Laurent Durieux...
Laurent Durieux...
- 3/2/2024
- by Theodore Bond
- JoBlo.com
The idea of a horror host is almost as old as the horror genre itself, dating all the way back to radio serials where an in-character narrator would ensure that the audience stuck around between stories; television viewers are similarly familiar with the notion, with names like Elvira, Mistress of the Night and Svengoolie transcending the B-movies they introduced on a weekly basis. It’s in comic books, however, that the horror host has truly blossomed, with characters like The Crypt Keeper, Uncle Creepy, and DC’s Cain and Abel becoming as famous — if not more so — than the stories they foisted upon the unsuspecting reader.
Amongst the scores of comic hosts, one holds an especially dear place in the heart of a generation of British readers: Misty, the cover star and fictional editor of the short-lived horror weekly of the same name, which ran from 1978 through 1980. The only constant...
Amongst the scores of comic hosts, one holds an especially dear place in the heart of a generation of British readers: Misty, the cover star and fictional editor of the short-lived horror weekly of the same name, which ran from 1978 through 1980. The only constant...
- 10/19/2020
- by Chloe Maveal
- DailyDead
In the mid to late '60s, Warren Publishing added a significant strand to the presentation of comics via the publication of titles such as Creepy, Eerie and Vampirella, which duplicated the general approach of the EC-style horror and science fiction comic anthologies of the '50s, but with a magazine format aimed at adults that cleverly skirted the comics code and thus allowed for unprecedented creative freedom within the field of American comics. By the early '70s, in parallel to the evolution of the Hollywood New Wave Movement Warren's approach had grown similarly multilayered and internationally inspired, showcasing comics and painted pieces by American auteur pulp masters like Frank Frazetta, Neal Adams, Alex Toth and Richard Corben alongside work by emerging auteur European artists like Esteban Maroto, Jose Gonzalez and Jose Ortiz.
Meanwhile, in Spain itself, perhaps inspired by the success of their countrymen abroad, in 1972, two artistically minded entrepreneurs,...
Meanwhile, in Spain itself, perhaps inspired by the success of their countrymen abroad, in 1972, two artistically minded entrepreneurs,...
- 8/4/2020
- by Otis Whitaker
- DailyDead
While we wait to see if his long-gestating Megalopolis sees the light of day as reported, those who want to see Francis Ford Coppola gems–both praised and overlooked–have recently had a field day. After restoring Tucker: The Man and His Dream, he reworked and restored both Apocalypse Now and The Cotton Club. He’s now returning to his Palme d’Or-winning masterpiece The Conversation, striking new 35mm prints for a nationwide tour beginning next month. In some locations, they’ll present a Dcp restoration remixed in Dolby 5.1 by sound designer Walter Murch.
In the film, the lonely wiretapping expert and devout Catholic Harry Caul (Gene Hackman) is hired to record a seemingly innocuous conversation in San Francisco’s Union Square between two lovers (Frederick Forsythe and Cindy Williams). Upon re-hearing the tapes, however, Caul believes he may be putting the couple in danger if he turns the material...
In the film, the lonely wiretapping expert and devout Catholic Harry Caul (Gene Hackman) is hired to record a seemingly innocuous conversation in San Francisco’s Union Square between two lovers (Frederick Forsythe and Cindy Williams). Upon re-hearing the tapes, however, Caul believes he may be putting the couple in danger if he turns the material...
- 2/20/2020
- by Jordan Raup
- The Film Stage
I came of age (whatever that means) in the ’80s, so I’m always very interested in what Severin Films re-releases from that era; some I’ve seen and some I haven’t, and others I’ve never even heard of before. The two new releases from Severin I’ll be looking at today fit in that middle category—ones I know of very well, but yet remained unseen. Until now, that is; Severin has seen fit to load up the fantasy/actioner/softcore Gwendoline (1984) and the harrowingly violent The Boys Next Door (1985) with everything a viewer could want to know.
Gwendoline (1984): Otherwise known as The Perils of Gwendoline in the Land of the Yik Yak, this film is goofy, immature, leering, and has stunning set design. Yes, it’s French; how’d you guess? Writer/director Just Jaeckin (Lady Chatterley’s Lover) has concocted an almost unwieldy mix of Raiders of the Lost Ark,...
Gwendoline (1984): Otherwise known as The Perils of Gwendoline in the Land of the Yik Yak, this film is goofy, immature, leering, and has stunning set design. Yes, it’s French; how’d you guess? Writer/director Just Jaeckin (Lady Chatterley’s Lover) has concocted an almost unwieldy mix of Raiders of the Lost Ark,...
- 1/13/2020
- by Scott Drebit
- DailyDead
Comic-Con International has announced the nominations for the Will Eisner Comic Industry Awards for 2015. The nominees, chosen by a blue-ribbon panel of judges, highlight the wide range of material being published in comics and graphic novel form today, from companies big and small, in print and on line. The awards will be given out during a gala ceremony on Friday, July 10 during Comic-Con International: San Diego.
Best Short Story
“Beginning’s End,” by Rina Ayuyang, muthamagazine.com
“Corpse on the Imjin!” by Peter Kuper, in Masterful Marks: Cartoonists Who Changed the World (Simon & Schuster)
“,” by Lee Bermejo, in Batman Black and White #3 (DC)
“,” by Max Landis & Jock, in Adventures of Superman #14 (DC)
“When the Darkness Presses,” by Emily Carroll, http://emcarroll.com/comics/darkness/
Best Single Issue (or One-Shot)
Astro City #16: “Wish I May” by Kurt Busiek & Brent Anderson (Vertigo/DC)
Beasts of Burden: Hunters and Gatherers, by Evan Dorkin...
Best Short Story
“Beginning’s End,” by Rina Ayuyang, muthamagazine.com
“Corpse on the Imjin!” by Peter Kuper, in Masterful Marks: Cartoonists Who Changed the World (Simon & Schuster)
“,” by Lee Bermejo, in Batman Black and White #3 (DC)
“,” by Max Landis & Jock, in Adventures of Superman #14 (DC)
“When the Darkness Presses,” by Emily Carroll, http://emcarroll.com/comics/darkness/
Best Single Issue (or One-Shot)
Astro City #16: “Wish I May” by Kurt Busiek & Brent Anderson (Vertigo/DC)
Beasts of Burden: Hunters and Gatherers, by Evan Dorkin...
- 4/24/2015
- by Luana Haygen
- Comicmix.com
Mars et Avril is a striking new Canadian science fiction film, currently in post-production. The feature film about a future where people are emigrating to Mars is based on the graphic novels of the same name and is written, produced and directed by newcomer Martin Villeneuve who was kind enough to pass along some stills from his film and give us an update on where production's at... and if you're wondering why the film looks so visually interesting, it's because Belgian comic book artist François Schuiten, who has worked on film's such as Golden Compass and Mr. Nobody) is on production design duties.
To get the world of Mars et Avril just right, the film was shot almost entirely on green screen and with a budget of $2 million - a decent size for a Canadian production - Villeneuve was actually able to do the technique justice.
Synopsis:
Mars et Avril...
To get the world of Mars et Avril just right, the film was shot almost entirely on green screen and with a budget of $2 million - a decent size for a Canadian production - Villeneuve was actually able to do the technique justice.
Synopsis:
Mars et Avril...
- 4/4/2011
- QuietEarth.us
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