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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
Posts: 132282
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| Posted: 26 February 2015 at 11:40am | IP Logged | 1
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Also shows that your influence was being felt far and wide John. Given you are being held up as a healthy example to follow for point 5.•• Looking back over my career, It's quite amazing how many editors have told me they would go to my work first when looking for examples of How To Do It Right. Remember that down shot of Sharon Selleck in the phone booth in the Skrull Milk story? Several editors told me they showed young artists that one, as an example of how to handle odd perspective shots. (You can still quite clearly tell what's going on in my panel.) Howard Mackie has told me on more than one occasion that, when looking for the "action shots" for OHOTMU, he and Mark Gruenwald would first check to see if I had drawn the character in question. As Howard noted, I was one of the few artists working then who included cause and effect in the same panel. It has been very comforting, over the years, to get these votes of confidence. And then there was that time Will Eisner called me a "master storyteller…"
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Darren Taylor
Byrne Robotics Member
Joined: 22 April 2004
Location: Scotland
Posts: 5994
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| Posted: 26 February 2015 at 11:58am | IP Logged | 2
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All of these acknowledgements are deserved, in my opinion. As far as I can tell, -you- are the complete package!
(As an aside, years ago, I was storyboarding for an animated film that called for a character in a red-British phone box. It was a dramatic phone call and the direction for the scene called for drama. I -knew- straight away that an obvious candidate for one of the potential shots was precisely that one you mention. I even brought that issue in with me to show the Director as he was into comics [He was a Jordi Bernet fan but inexplicably didn't care for Toth!?])
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Marc Cheek
Byrne Robotics Member
Joined: 18 June 2014
Location: United States
Posts: 1785
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| Posted: 26 February 2015 at 12:06pm | IP Logged | 3
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And then there was that time Will Eisner called me a "master storyteller…"
**
High praise indeed coming from Mr. Eisner!
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Eric Ladd
Byrne Robotics Member
Joined: 16 August 2004
Location: Canada
Posts: 4506
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| Posted: 26 February 2015 at 12:19pm | IP Logged | 4
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And then there was that time Will Eisner called me a "master storyteller…"
Followed by, "Take me now, Dog! This life is complete!"
Seeing such high praise always makes me smile.
Edited by Eric Ladd on 26 February 2015 at 12:20pm
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Peter Martin
Byrne Robotics Member
Joined: 17 March 2008
Location: Canada
Posts: 15797
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| Posted: 26 February 2015 at 12:26pm | IP Logged | 5
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JB's panels did tend to be the better ones used in OHOTMU, I thought.
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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
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| Posted: 26 February 2015 at 12:29pm | IP Logged | 6
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JB's panels did tend to be the better ones used in OHOTMU, I thought. •• A layout I have long found unsatisfying is when a character throws a punch in Panel 1, there's a big WHAM in Panel 2, and the object of the blow is seen flying away in Panel 3. These were the kinds of shots that were not much use for OHOTMU. (A frustration of working with Chris was that he would often place SFX so as to create essentially the same effect even when I drew a single panel!)
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Darren Taylor
Byrne Robotics Member
Joined: 22 April 2004
Location: Scotland
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| Posted: 26 February 2015 at 12:47pm | IP Logged | 7
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By way of example: Action/SFX/Reaction 3 panels vs 1.
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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
Posts: 132282
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| Posted: 26 February 2015 at 1:31pm | IP Logged | 8
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That Buscema sequence is also an example of why scenes drawn in black & white very often do not work in color. Hulk charges Thing, but it is apparently Ben's disembodied arm that does the punching, and the Hulk is turned into a discount Reed Richards by the force of the blow.
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Darren Taylor
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| Posted: 26 February 2015 at 2:11pm | IP Logged | 9
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---That Buscema sequence is also an example of why things drawn in black & white very often do not work in color. ---JB
I see that! In B&W I buy that I'm seeing the Things arm, drowned out by the shock-wave-effect of the impact but in colour the arm appears more disembodied. Similarly the Hulk's torso appears, in colour, to be stretching.
In animation, they handle these as 'smears'. It looks odd as a single frame but works well in motion. In comics, these graphic lines work well for their job but the really are dependent on colour. I favour the use of a non-related colour, in order to avoid exactly the effect you point out above.
Smear:
Non related colour:
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Eric Smearman
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Joined: 02 September 2006
Location: United States
Posts: 5798
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| Posted: 26 February 2015 at 4:39pm | IP Logged | 10
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I never get tired of seeing that splash of Doc Samson cold-cocking the
Hulk! Classic!
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John Byrne
Grumpy Old Guy
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| Posted: 26 February 2015 at 5:19pm | IP Logged | 11
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That Bat-punch, above, has a classic colorist/separator goof. Look at that yellow blob. Is Batman holding a banana? Did he lose the first joint of his index finger? Or did the colorist or separator come to a line and STOP? Ignoring the context of that line?
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Peter Martin
Byrne Robotics Member
Joined: 17 March 2008
Location: Canada
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| Posted: 26 February 2015 at 6:15pm | IP Logged | 12
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Batman down the abattoir helping out again!
This is one of the panels used in OHOTMU that stands out in my memory:
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Topic Closed)
