Unfinished Fridays: Daredevil Bulleyes: The Target

Dork Note: Comic book series may not be completed for a variety of reasons...sales too low, the publisher ceases to be, personal conflict, or the creative team just gives up. For whatever reason...I just have to say I DO NOT GIVE A FUCK!!! I WANT TO SEE THE STORIES FINISHED!

DAREDEVIL BULLSEYE: THE TARGET, written by Kevin Smith and drawn by Glenn Fabry was a limited series that focused on Bullseye.

I bought the first issue in 2002...and then waited for the second one...that was 15 years ago. It was an interesting take and hopefully if time and schedule permit, Kevin Smith and Glenn Fabry can do the second issue. If they did, at least it would make comic book history with the longest time between the first and second issue. And shit, I'd probably still buy it.

Rob's Room: Superhero Origin Stories as IKEA Instruction Manuals by Steve Downer

Superhero origin stories as IKEA instruction manuals by Steve Downer
(via Marvel Comics of the 80s tumblr)

Rob's Room: What If…? Covers by Bill Sienkiewicz

Love these!
What If…? Vol.1 #43, #44, #45 and #47 covers by Bill Sienkiewicz (via The Bristol Board & google)

The Mysterious Superman Painting by Kate Willaert

via Kate Willaert

While doing research for the Superman infographic, I came across this intriguing illustration by pulp artist H.J. Ward. It’s said to be the first time Superman ever appeared in painted form, and is the subject of not one, but two mysteries.

The first mystery was of the painting’s disappearance. It hung on a wall in Harry Donenfeld’s office at DC Comics until he retired in 1957, and then was considered lost for over 50 years. However, a few years ago art historian David Saunders discovered it hanging on the wall at the Lehman College library in New York. You can read the full story on that here.

The other mystery was why an image painted in 1940 has a version of Superman’s emblem that didn’t appear until 1941.The easiest explanation would be that this is the first appearance of the emblem appeared, and it took a year before the artists at DC adopted it. But wait, what’s this?

This photograph of the same painting hanging in Donenfeld’s office reveals that it was originally painted with the 1939 emblem! Not only that, but he also had a stronger jaw, and his hair was styled differently!

Saunders says the image was originally commissioned to help promote the 1940 radio serial (“an image for a medium you cannot see,” as the New York Times article says). You can see how it was used in this photograph, with the stars of the radio serial:

But this photograph was taken no earlier than 1942. How do I know? Because the microphone says “Mutual,” and the Superman radio series wasn’t broadcast on Mutual until August of 1942, by which time the 1941 emblem was well in use.

I wouldn’t be surprised if the emblem was repainted just for this occasion, especially if it’s true that the painting was originally commissioned for the start of the radio serial in early 1940. Do any photos exist from the original promotional campaign?

But even if they did exist, they wouldn’t be in color. And that’s what saddens me. It appears no color, or even high quality reproduction exists of the painting in its original form.

What’s worse, according to this source the retouching may not have even been done by Ward himself. Instead it was modified by airbrush artist Joseph Szokoli, who was experienced at doing touch-up work. (It’s unknown why he decided to paint the emblem with six sides, the only time Superman’s shield has been represented that way.)
The physical painting may have since been found, but in some ways the original still remains lost.

Alex Toth's Rules

#1 Eliminate the superfluous, the unnecessary. Be lazy!
#2 Edit your art continuously, at every stage. Save work!
#3 Focus on the remaining (important) picture elements.
#4 Emphasize what is important in a scene. Save drawing!
#5 Isolate such key elements (as one does in a view finder).
#6 Closeups only when needed: face(s)-for mood and expression, and objects-small, difficult to distinguish in other ways.
#7 To set a scene, a place, to establish a locate, etc., go to a wide shot, angles okay (down/up, etc.)-but again, simply!
#8 Then, cut to tighter shots-pace them, for interest, etc....(wide/one shot/two shot/group/close-up/tight close-up).
#9 Establish light source, if need be, for dramatic mood and for blacks, drop shadows, etc., on figures & objects and walks, as correctly placed as you can make 'em!
#10 Eliminate such light/shadow work in other shots.
#11 Simplify, simplify, simplify, throughout!
#12 Remember, some scenes will and must be pedestrian, unimportant, and dull- because they are "bridges" between key storytelling scenes. As in any story telling form, movies, TV, books, plays, music, opera, painting, etc., you can't knock 'em dead with every shot. Remember, this is what gives pace to a story, visual commas and periods in a pictorial "paragraph" or "sentence"! These are the resting places in an otherwise moving storm! Use them! Without fear!
#13 Some such "rests" or "pauses" can be heightened in pictorial interest by way of a pretty scene of quiet mood-if your locale allows! Don't stretch logic to do it!
#14 By learning to eliminate unnecessary objects, figures, and background, etc., you can focus on what is left to draw in the shot-and draw it well enough to "carry" the shot!
#15 In other words: strip it all down to essentials and draw the hell out of what is left!
#16 All of this advice is based on Roy Crane's critiques of my work-and he is absolutely correct, on all points!
#17 In the Wash Tubbs and Captain Easy strips and in Buz Sawyer, with Sundays focused on pal Roscoe Sweeny, his work of fifty-odd years demonstrates its validity! in his work, as in no other of his contemporaries' offerings, you will find an extraordinary sense of balance, in his design of space within a panel frame, a strip, or a page! His simplicity allows us to see the use of shapes within his pictures, how they create tension, action or repose...clearly!
#18 He avoided confusing details!
#19 To quote something just read: "To add to truth only subtracts from it!!! (Isn't that beautifully put?)
#20 Authentic devices, objects, machines, locales, furniture, buildings, etc....to lend credibility!
#21 As Sickles put it: "Understand how a thing is built and you'll have no trouble drawing it through!"
#22 Spend more time thinking-about what and what not to draw, and how-and you'll do less drawing!
#23 Pre-plan, pre-think...Thus, save work and time!
#24 But-whatever you do, do it well!
#25 Tell the story as best you can! Bend to that storm!
#26 Be honest to it. Give it all you've got! Enhance it!
#27 Study films, photographs, paintings, etc. for composition! For cutting, cropping out of nonessentials, pacing, punch, economy, forceful and direct impact. But also for beauty and subtlety-tension, suspense, action, humor, light and dark, balance, line vs. mass, ad infinitum! Use it all!
#28 Analyze everything you see-be critical! Positively so!
#29 See-observe-remember! Build up your memory file!
#30 Good luck

Via 10 Rules for Drawing Comics

ME WANT: Justice League Customizable Photo Panel

BUY at Shop DC Entertainment

Wanted TPB: Nightfall, the Black Chronicles

Writer:Ford Lytle Gillmore
Artist: Tomm Coker
Publisher: Homage Comics/Wildstorm/DC Comics (2000)
Includes: Nightfall: The Black Chronicles #1-3 

Dork Note: Mostly want this as a TPB for Tomm Coker's artwork. 

Clipped from Wikipedia: The series takes place on an earth where the supernatural exists and are organized into various groups, tribes, or clans. In the 8th century a truce, called "Pax Daemonica", was arranged between the monsters and the Catholic Church. Part of this treaty also involved the creation of group that would police the monster world, the Nightwatch.

Off The Record DVD with Jim Shooter

Rob's Room: Justice League Revisited

I wish I could get excited about this, but after watching the new 'Justice League' trailer I just feel "meh."  Am seriously considering waiting to see this when it is out on home release instead of in the theatre.  I can't get over how much dislike I have for that Flash costume, though I do like how he moves (Cyborg looks only slightly better).  At least I am looking forward to the new Sony 'Spider-Man: Homecoming' film (looking forward to a Sony Spider-Man movie is something I'd never expect...)

How about some fan art with Arnie Hammer as Green Lantern?

Rob's Room: Superman: One-Man JLA covers by Walt Simonson

Superman: One-Man JLA covers by Walt Simonson (via Alex Chung tumblr)

The Fabulous World of Krypton

in Superman #375 (September 1982)

story by Bob Rozakis, art by Gil Kane

Wanted TPB: Green Arrow Mini-Series+

Writer: Mike W. Barr
Artist: Trevor von Eeden
Publisher: DC Comics (1983)
Includes: Green Arrow #1-4

Dork Note: Many Green Arrow's stories have been told in backup tales (World's Finest), through other books (Justice League of America), and as a piggyback (Green Lantern) for years, but I believe this Green Arrow mini-series is the first time Green Arrow appears in his own title. This mini-series should be collected with perhaps some backup stories included from other titles like Brave and Bold, DC Presents and World's Finest.

Cool Artist: Ryan Lang

via Ryan Lang

Rob's Room: Amazing Heroes Swimsuit Special, published by Fantagraphics

Highlights from the third Amazing Heroes Swimsuit Special, published by Fantagraphics, June 1992.
(via The Bristol Board)