Jon Contino is an artist I have admired for a while. From New York, and influenced by New York, his style is instantly recognisable. Much of Mr Contino’s work revolves around typography. Combining traditional techniques with digital tools he has bridged the gap between traditional and modern.
Mr Contino’s work is not the case of making something new look old, it is quite the opposite, taking the lost art of hand-drawn lettering and making it relevant in today’s market. He does it so well that he has become one of the most sought after designers. So much so it would probably be quicker to list all the clients and company he hasn’t worked with. But to give you an idea of how long his client list here are but a few:
20th Century Fox, AIGA, AT&T, American Express, Coca-Cola, ESPN, Ford, Harley Davidson, Harper Collins, IBM, Jack Daniel’s, Jameson Whiskey, Kellogg’s, Random House, The Washington Post, Dockers, H&M, JCPenney, Lacoste, New Balance, Nike, Obey Clothing, and Victoria’s Secret.
Rodolphe Guenoden is one of those artist whose work you would stumble on every now and then online. However, it wasn’t until his contribution’s to the Flight Anthology I really took note. To stand out in a creative roster such as Flight’s is a tall ask, but Mr Guenoden’s work definitely did just that. My personal favourite, and possibly most people’s, was in Flight Volume 2, simply called “The Ride”.
Though an excellent comic artist, Rodolphe Guenoden’s day job is actually in animation. He has worked as a traditional animator for over 20 years. Some of his Supervising Animator credits include The Prince of Egypt (1998) and The Road to El Dorado (2000). Working within Dreamworks Animation, some of his Storyboard Artist work includes the very successful Madagascar (2005) and both the Kung Fu Panda movies (2008/2011).
If you are a fan of Kung Fu Panda, there is a really nice interview with Rodolphe Guenoden over at Art of VFX.
I remember getting off the train, looking up and getting distracted by a poster. Stopped in my tracks, I stood staring at Queens of the Stone Age’s …Like Clockwork poster. As soon as I got home I “investigated” (quick Google search) who the illustrator was. It was Liverpool-base creative, Boneface.
You may already be familiars with Mr. Boneface’s work, especially if you are a habitué to Society6. A few years ago he did a series of illustrations depicting some of our most-loved superheroes severely injured. So severe, I believe if they had experienced a beating like that in their comics, they would have probably just quit.
That grittiness is a definite draw of Mr. Boneface’s work. Coupled with deft linework and vibrate colours, you don’t need many more reasons to keep and eye on this canny illustrator. You can find more of Mr. Boneface’s work on his website.
Last month saw Titan’s release of The Art of John Harris – Beyond the Horizon. A carefully curated collection of artist John Harris’ recent work and older pieces. It’s large format beautifully showcases a variety of Mr. Harris’ futuristic paintings, sketches, acrylics and watercolours.
To celebrate, Titan Books very kindly gave us the opportunity to interview John Harris about the book and his carer.
Q. You have dedicated over 30 years to Sci-Fi. What attracted you into the genre, and what is it about Sci-Fi that has sustained your interest?
A. The sense of a larger perspective, wider horizons, the unknown, something about the evolutionary possibilities of Man. All of that.
Q. You often seem to combine of the fantastical with the plausible, incorporating building and mechanical structures that are familiar. Is this a conscious effort to make your worlds more believable?
A. Yes, this is a crucial point, mixing the possible with the apparently impossible. We may pretend to know the difference but actually, we just don’t know what is possible. Embedding fantasy within the known and credible, makes it easier to relate to, and also raises the question ‘how?’. There is excitement there, in that question.
Q. Born in London, you now live and work in Devon. How much do you think your environment influences your work?
A. Yes, living in a rural setting has definitely shaped a lot of the imagery. The weather and the light that springs from it makes its presence felt in much of the work. And the cycle of growth and decay which is always in your face here, is constantly finding its way in.
Q. Do you stick to a routine when producing your artwork?
A. No, I try to break routines when I become aware of them. When I get into habits of production, I start repeating myself in the work.
Q. How important is it for you that the final image matches the vision you have in your head?
A. This is a delicate point. I do usually have a clear image in my head to begin with, but inevitably accidents occur (and I encourage these), which may suggest alternative directions. I try to keep open to them. But some images are imperative and demand to be produce, willy nilly.
Q. At the Lounge our primary goal is to widen artists’ pool of inspiration. So who are the artist/illustrators that inspire you?
A. Just about every artist I have ever seen, has something I would like to have. I think all artists are basically magpies and too many to mention have contributed to what I am.
That said, when I was a student, I identified very closely with the work of the English Romantics like Turner and John Martin. They influenced my direction, as did the Surrealists. From a technical point of view, Whistler was a great teacher for me and more recently Graham Sutherland. All very Old School, I know.
Q. Reading about your career, you have achieved a great deal. So what’s on the horizon for you? Do you have any artistic goals that you are still chasing?
A. I feel (like most artist, I suspect) that I’ve hardly started. And yet, looking at the collection in this book, I see that I’m travelling in a definite direction. But what the goal is, who knows? That’s beyond the horizon.
Last weekend I attended the British Library’s exhibition Comics Unmasked: Art and Anarchy in the UK. The exhibition set’s about to challenge preconceptions and prejudices surrounding comics, at the same times as celebrating British comics.
It is the UK’s largest comic exhibition, which stands as a bold statement of the cultural and media influence that comics have had in recent years. With such fanfare for a medium that I love, it goes without saying that I was very excited to see it.
Upon entering the British Library the exhibitions presence was obvious, the gift shop was plastered with comic-related merchandise. Walking through the gift shop to enter the exhibition you are greeted by mannequins sporting V for Vendetta Mask, a theme that ran throughout the exhibition (for reasons unbeknown).
Effectively the exhibition was broken up into six parts: “Mischief and Mayhem”, which concentrated on humour; “To See Ourselves”, which contained more socially-conscious examples in comics; “Politics: Power and the People”, which, as you have probably guessed, focused on politics in comics and their often anarchic standpoint; “Let’s Talk About Sex”, another easy one to guess, this was a slightly sectioned-off area which had examples of the more erotic side of comics; “Hero with a Thousand Faces”, celebrated the hero-types and spoke of the British influence in American comics; The final section was titled, “Breakdowns: The Outer Limits of Comics”, and featured the depiction of magic and spirituality in comics.
I preconceived the exhibition to have an abundance of wall-to-wall framed original artwork, as this is what I have come to expect from illustration exhibitions in the British Library. Instead the work was housed in glass cabinets, mostly prints, with very few original pieces.
Some examples on display dated back before the twentieth century, they gave focus to Punch and the Penny Dreadful. The accompanying descriptions often only explained what was happening on the page. Occasionally there was information regarding the creators and the state of politics at the time of their publication. However, overall I did not feel the descriptions explained well enough why the curator chose that particular example, why that page, why those creators. The majority of examples just felt completely random.
This randomness of examples may have worked if there were a plethora of work. But this was not the case, the examples were limited. If I were alone in the exhibition, and not queuing to see each piece I think I would have been in and out within 30 minutes (and I read very slowly).
Some smaller gripes with the exhibition were the fact that it was presented as a praising of UK comics and the majority of the “Hero with a Thousand Faces” section were American publications. I completely agree that the influence of UK creators on an international scale should have been represented in as exhibition such as this, but some of the examples were not particularly note-worthy, and just muddies any statement of the sort. Reading the accompanying information, I felt at no point did the descriptions adequately explain the impact that the UK creator’s had on the comic industry. They would uses words such as “groundbreaking” but not go on to explain why it was groundbreaking.
Another gripe, which is probably just me, was that there were quite a few examples of racism in UK comics and strips. From my basic knowledge of the UK comic scene, historically and todays, I do not feel racism has ever been a spotlighting factor. The examples were not by any eminent creators, and the issue felt a little shoe-horned in. Perhaps one or two example may have shown how comics were being used as a means to express social reactions. However more than that seem as if the curator was trying to make a point, a point which I feel is simply not there.
Suffice to say, I walked out of the exhibition (through the gift shop), disappointed. I felt the British Library really missed the boat on this one. The exhibition was convoluted and didn’t offer much in the way of learning. The information given was only for specific pieces, which did not help create a bigger picture of the history of UK Comics. I can honestly say that if I did not know anything about UK comics, after visiting this exhibition, I still would not know. Perhaps I am not the target audience. Perhaps it is just aimed at those whom do not already have an appreciation for the comic medium. In which case, I would have to concede and say it does offer a broad scope of what comics are capable of, and what they have already achieved.
Side note: If you are interested in the history of UK and US comics, I highly recommend picking up Comics, Comix & Graphic Novels. It is extremely informative and chronicles the milestones of the medium.
With that all said, I still highly commend the British Library for putting on the exhibition in the first place, and I do hope that it stands as a statement for other esteemed establishments to pay attention to. I guess what it may come down to, as with most things inspired by comics, you simply can’t please everyone.
If you have seen the exhibition, or are planning on going I would be most interested in hearing your opinions. Am I alone in my criticisms, do you disagree? You can leave us a comment, or drop us a note on Facebook and Twitter.