Sunday, January 31, 2016

comics in color



I spend a lot of time coloring Jetpack Jr. There was a time when cartoonists didn't worry so much about those things.There are many stages in the production of a comic strip, and prior to the era of webcomics, the cartoonist's involvement often ended with the addition of ink on paper.
But that was never entirely true, and for some of the greatest comics artists, Hal Foster, Roy Crane,  the comic was not complete until the color key was created--or in the case of some like Richard Corben, the comic was painted.
But when  we're discussing comics and cartoonists, whether it’s comic books or comic strips, it’s rare to hear a mention of the role of color on the work.( except, perhaps, in service to some sort of "realism"i.e., in the service to volumetric rendering, as in the work of Alex Ross.) As fans, we often look at those wondrous printed pages by Jack Kirby, particularly those from the late 60’s on, dazzled by Kirby’s graphic power and pop art energy, with nary a word about the role of color in the success of those images.





 Fans often complain about Roy Lichtenstein’s use of Russ Heath’s war comics, as though Heath's line work were the only aspect of the comics panel worth acknowledging. Certainly Lichtenstein was equally interested in the color on newsprint and put as much effort into transposing ben-day dots as lines of india ink. 

 More often than not, our discussions around our favorite comics’ artists eradicate any mention of color from the discussion, as though all comics, and comics art, were in black and white. 

Clearly this is a result of the assembly line approach the comic book companies adopted for speedy production, the industrialized production methods in which newspaper comics developed, and the perfunctory approach often taken to coloring comics throughout a good portion of their history.

But times and technology have changed, and the work of the cartoonist has as well.  Charles Schulz was a one man show for 50 years, writing, drawing, inking and lettering every single strip in the long history of Peanuts; but were he working today—he’d have to add color to that list of duties required of the cartoonist. I think Charles Schulz would have done his darndest to color Peanuts himself, but given the requirements of a daily strip—I’m not so sure even he would’ve been able to keep up the pace. (*Someone else will have to tell me if Schulz laid out the color for his Sunday strips. I’m guessing he did.) 

However, for many web cartoonists, whose strips aren’t under the pressure to appear on a daily basis, the coloring falls to them. And  in this context the coloring becomes as integral an aspect of the work as black lines on paper and text in balloons. But our discussions of comics rarely speak of it, or if they do—it’s as though color is icing on the cake, rather than an integral part of the conception of the strip.
Obviously, the role of technology, and the final destination for a comic, plays an enormous role in the cartoonist’s process. In the 20th century, strong black lines on Bristol board were necessitated by methods available to the printer. In the 21st century, print technology is much more sensitive to a range of subtleties, and cartoonists have a wide array of media at their disposal. Digital destinations allow for even broader palette to draw from, and the options are almost overwhelming.
The intricate pen-and-ink work of a Robert Crumb, ideal for black and white on newsprint, has been usurped by digital color in Photoshop.  However, it would be a mistake to say this shift is a rejection of  cross-hatching per se; it's  a technological shift in the production of comics which has opened the floodgates to a plethora of stylistic choices previously unavailable.

For myself, when I began to move from Plastic Babyheads to Jetpack Jr.,  color, and the process by which I color the strip via Photoshop, was an integral part of the transition; it was there from the ground up.  I purposely moved away from the more literal approach to color I’d used in the latter portions of Babyheads, filled with graded transitions in value and hue, to a more stylized approach derived in part from much limited animation from the Fifties( UPA, early Hanna-Barbera); moving from an illustrative style to one more fully steeped in the world of the cartoon.  

Color( as well as texture) has been as much a part of the world I've been building as character design, as the process by which I color in Photoshop has moved my drawing away from line based illustration filled with hatch-marks towards shape-based design. Not only does this move allow for color to speak more clearly --but it is acknowledgment that comics today are, more often than not, meant for a destination in which color is ubiquitous. As a result,  color does a lot of the work previously assigned to line. 

This is not to say that the bulk of narrative heavy-lifting is done by color; obviously in that regard, drawing and text are paramount.

But the right color choices will enhance the emotional and psychological impact of the work; just as the wrong choices can undermine its impact. Everything in a comic is visual--down to the text itself, and all of those choices add up to a totality; the context in which characters exist and their lives unfold. Imagine Peanuts with something other than Charles Schulz's distinctive lettering. The imposition of color onto his daily strips as they are repeated on the web, while innocuous enough, does nothing to serve the highly personalized world Schulz created. It lacks the warmth of his personal choices and imposes a layer of digital coldness that does not exist in the strips in their original form. ( I mean no disrespect to whomever is coloring the work; at best it is a thankless task.)

One of my favorite webcomics these days offers a wonderful example of the impact color can have on a strip. The Mildly Extraordinary Adventures of Leslie Lawrence by Daniel Saunders is an off-beat strip about the life of fireworks factory employee( and much more and less).

The success of Saunders surreal brand of dry humor is dependent upon a world of quiet melancholy; in this case, a world delicately constructed via the sensitive application of apt color choices( as well as an overall general weirdness).




 Thinking then about comics created by a team, my thoughts immediately turn to Mike Mignola's Hellboy(my favorite recurring title) and the powerfully evocative work Dave Stewart has done issue after issue; year after year on these books.  Mood is an integral part of Hellboy's world and Stewart's color, working with Mignola's ( or Duncan Fegredo's) flat blacks, conjures a landscape steeped in Gothic atmosphere, born in the darkest recesses of the mind and spirit.



Stewart's color complements Mignola's deliberate pacing; his low-lit palette and his subtle shifts in tone and hue put pressure on the brakes as we read.
 Color is more than icing on the cake, more than mere filling in the lines; it can be a fundamental aspect of a contemporary cartoonist's voice.
 


Saturday, November 14, 2015

Stops and Starts

I just finished David Levy's "Animation Development: From Pitch to Production". This book is helpful on many levels, not merely for the next potential Matt Groening, but for writers and cartoonists of all stripes, whether you're working on the next "Rick and Morty" or just slaving away on the next "Jetpack Jr." comic strip. The first few chapters alone, detailing the content necessary for any good "pitch bible", forced me to think, and re-think, character over and over again, as "Plastic Babyheads" gradually transitioned to "Jetpack Jr." this past year.
Character is the honey that keeps the flies coming back; whether
to comic or cartoon, novel or TV series. Of course, that's no news to even the most inexperienced writer, but artists are most interested in pretty pictures--and so it was a lesson learned late for me. Nevertheless, I worked and worked at it--and put Levy's book aside until I felt I knew who my characters were. That didn't come easy. I didn't start with a defining concept(other than an Earth invaded by plastic babyheads), or the idea of pitting this character against that one. They developed more or less organically as the strip has evolved, and it's taken time to get to know them. 
Picking up with Levy's book where I'd left off  last Fall, I found the remaining chapters no less educational, and just as challenging. The life of the creative animator/story-teller described within its pages is fraught with ups and downs, loads of disappointments and rare success. Frankly, I finished it feeling defeated before I'd begun, so difficult is the world of television animation development Levy describes. If you have illusions about overnight success, this book will wake you up to reality pretty quick.  It's loaded with a lot of insightful information that should help budding young animation developers pitch their ideas and navigate the rough waters of development, should they be so lucky. But it's clear, animation development is not for the faint-of-heart--and if you don't want it badly enough, this book will ward you off the attempt.
Levy might as well have been writing about the world of comic strip development; for while the details differ, the trials are the same. For every Phoebe and Her Unicorn  there are hundreds
(thousands?) of strips that never get off the ground, and many more that get to one stage of development but not the next. And every step of the way is fraught with the same emotional highs and lows. It's not for the faint-hearted.
Obviously, the subtext of this post is that I've been thinking of the next step for "Jetpack Jr.", both as comic strip and as animation. In both cases, the chances are slim; realistically next-to-nil, and I know that(accepting it is another thing).  At this point in my life, I still have dreams( yes--geezers still dream!) but very few illusions. I work on "Jetpack Jr." because I love it, I'm obsessed with it- it's great fun and, go figure, I have to know what happens to these people.  
If I put together a pitch bible, or a submission package, it's not only because I have a hope for success(sure I do), but because it's a learning experience, a creative endeavor in itself.  The process teaches me more about the strip, its world and its characters--and makes the strip better.  Putting together a pitch, or working on sample animation--can only be a plus for me.(All of the work on character this past year wouldn't have happened if I'd not been challenged by David Levy's book.)  Not only will I be creatively engaged in a medium I've always loved and admired, challenging myself to broaden the range of my abilities--  I'll bring my experience back to the classroom, to my students! And... if I'm very lucky, I might make something good, something I can be proud of. 


via GIPHY
Jetpack Jr. may never make it to syndication, and it may never be an animated TV show. I mean, get real--right? But there's always the next step--and continually stretching oneself, as a story-teller and as an artist--will have a different payoff.
If I were to let the challenges posed by David Levy's fine book dissuade me from trying, then I never wanted it bad enough in the first place--and the only one who loses in that equation....is me.



Friday, November 6, 2015

Jetpack Jr. in The Sunday Funnies!

Jetpack Jr. in print! Who'da thunk it?

The folks at "The Sunday Comics"--that's who! Check them out at: https://www.facebook.com/TheSundayComicsPaper/ 

Marc and Rachel at The Sunday Comics have a simple idea:  bring back the Sunday Funnies!
It's no news today's newspapers are missing something--Sunday comics sections aren't what they used to be( all ads and few comics)--and newspaper readers are missing out. Is it  a surprise newspaper sales are down? Put together a big, overstuffed package featuring as many of the great new comics out there as you can fit, plus some of the old-and you'll have a package people will love.


Kevin Mutch and I had a similar idea when we printed "pood" a few years back--our short-lived tabloid comics newspaper. But "The Sunday Comics" has gone us ten times better by bringing together venerable syndicated comics like "Dennis the Menace" and "Garfield" with newer comics like "Jetpack Jr." and "Pirate Mike", upping the page count and printing full color all the way.

What you see in the photos is the promo preview; the real deal should be out sometime in 2016--and it's gonna be a smash! 

 ______________________________________

While I've been publishing Jetpack Jr. online in one form or another since 2011, I have to say, there's still nothing like the charge of seeing your work in print. I don't think it's my solely my age that predisposes me to paper--Marc and Rachel are in their twenties! E-books have not replaced hard copies( far from it!), magazine racks are overstuffed and despite all of the talk around the subject, and yes, the serious decline in circulation, newspapers are still on newsprint.
Holding the comic in your hands makes it real, tangible. It's a connection to all of the great comic strips, characters and creators we've come to love throughout the history of newsprint. I'm hopeful--but not expectant--this will be the first of many times Jetpack Jr.  is in print on paper.

____________________________________________________________________

Other than Jetpack Jr., my online presence has dwindled to next to nothing these past few months. Between my job, the comic strip, traveling back and forth to work( 200 miles each way), the house, helping the missus with her craft shows-it's hard to find time to write for my blog.  My Twitter and Tumblr accounts lay idle and I barely have time to keep up with friends on FB. Despite my negligence, subscriptions to Jetpack on GoComics.com have risen-- a little bit ahead of the pace when I spent all that time working on Gifs, tweeting and tumbling! Go figure.
__________________________________________________________________

 I'll be on sabbatical in 2016,and I have some exciting projects in mind for Jetpack Jr.! More about that later--in the meantime, it's off to another craft show this weekend, selling Deb's hats in the town of Clinton, NY--home of Hamilton College and Colgate University! I'll be the guy behind the booth drawing the next series of Jetpack Jr comics!
I'll say "so long" for now--and in honor of my Dad and his bad jokes--see ya' round if you're a doughnut!

Yeesh!
 
Geoff



Sunday, September 20, 2015

"Jetpack Jr." returns October 1st!


"Jetpack Jr." is back! October 1st new material begins appearing again at GoComics.com.  
Lots of surprises in store--I won't let on now, you'll just have to wait! 
Those strips you see strewn across my drawing board in the photo above are the product of my "hiatus", a brand new bunch of comics, which I'm in the process of coloring now.  Time off was really no time off at all!
For those of you introduced to the strip through the reruns that have been running  on GoComics since August, or the material appearing at Tapastic.com, the transition should be seamless--picking up right where we left off.  And for those of you who've been reading all along, I appreciate your patience! I promise--the new strips will be worth the wait!

Thursday, September 17, 2015

My Dad



Today would've been my father's 81st birthday. The following is for him, with love.


William Leonard Grogan
Sept. 17, 1934-July20,2015


My Dad.



I’m going to try to avoid getting too mushy with this; my Dad was never one for mushy-stuff, so I’ll try not to over do it—for his sake, cause I know he’s listening.

But it is me speaking here Dad, so you know there’s going to be some tears shed. I can’t help it, but bear with me.



My Dad was a smart guy, a fun guy, an honest, hard-working guy who liked the company of family and friends. He enjoyed a good meal and he liked to laugh. He was a small guy, who achieved big things. He was a warm guy, but he wasn’t demonstrative. He was a gentle man, he could be kind and generous, but he had no tolerance for BS and he could be impatient. He was a traditionalist but believed in progress.

 Still, I wouldn’t say he was a complicated guy. (An example of this—once we were in the Metropolitan Museum of Art and looking at Van Gogh’s “Starry Night”.  I asked him, “What d’you think of it, Dad?” “Too Swirly”, he said—which is Dad all over.) He liked the simple things.



And- -he was a lucky guy. He was certainly lucky to have the mother he did.  My grandmother, my wonderful loving grandmother, Lena—whom we all called “NeNe”, would tell me lots of stories about how Dad got into all kinds of trouble as a kid—never anything serious, mind you---but he was a fun-loving kid---and somehow, Dad always ended up on top and unscathed.  He was lucky that way.



My Dad was small in size, but he was a giant to me.  It wasn’t that he was without flaws, or that he did world-changing things. He wasn’t infallible.

It was in his warmth, the way he’d laugh, take pleasure in the joys of his children (and then his grandchildren), the way he made poached eggs for us on a Saturday, the way he worked on the crossword or read a book, the way he could be so focused on what he was doing that he wouldn’t hear a word you were saying, the way he could be quiet, the way he called us all “Tiger”, the way he wanted to share his favorite things—like the Horse Races, or golf, the Giants and the Yanks… the small ways he showed his love. He wasn’t much for holding hands or big hugs, but little gestures, a word here and there, carried enormous impact. We believed in him, we depended on him, we asked his advice, we learned from him, we emulated him. He took care of us, guided us, watched us grow. He was my Dad.



There are too many memories—they all come flooding back. But here are a few stories my Dad might like to hear:



One of my first memories of Dad and me together is haircuts. On Saturday mornings, when I was young, his routine was to go the grocery store and the barber next door—and sometimes he’d bring me along.  He was fanatical about haircuts. I never shared that passion—for what are now obvious reasons. He loved everything about the barber shop, the ritual, the smells, the talc on your neck --after the barber brushed you off.  Perhaps because his grandfather had been a barber-or maybe he just liked looking clean.  He was a clean-shaven guy—and I never knew him to have a 5 o’clock shadow. Never.  Obviously he and I had different perspectives on facial hair. Dad belonged to that  generation of men who believed a guy with facial hair had to be a communist.  Or a college professor, which is just as bad. 

Anyway-- I sat in the chair looking at the magazines—I remember a lot of hunting magazines, but most importantly –for me--a stack of comics with the covers ripped off.  I don’t know if that’s where I’d first encounter the art-form that would define my life, or if Dad knew what he’d begun, but after that I loved going to the Barber too—despite my disdain for haircuts.    Dad must’ve thought his son was a chip off the old block—but clearly time has proven him wrong.  Still, Dad never stopped liking a good haircut—even in his later years-- —and I can say--from my particular perspective, in that regard, he was indeed lucky.



Dad was in the right place at the right time when he joined IBM in the early 60’s—and he made the most of it. He worked really, really hard—and he loved every minute of it—and as a result, he did very, very well. He had great experiences at IBM in those days. His plant worked with NASA on a variety of projects, including Apollo 11 and the first moon landing. I was really proud of him, although I never understood what it was he did, exactly. But I did understand his passion for his work and what it meant to work hard at it.  Money was secondary, a reward for working hard at something you loved. And he was lucky- in that for him, the two went hand-in-hand.  



On Saturday afternoons when we were little, Dad would invariably take a catnap on the sofa. He could sleep like nobody’s business.  He’d lay on his side with his legs bent at the knee., making a little space, bordered by his  butt , legs and the sofa—just right for two little kids to crawl into. One of our favorite things to do while he was sleeping was climb over him and into the crook of his legs, and play fort.  We’d hide back there –play cowboys  or something. All the while we were playing, climbing on him, pushing him around, Dad never budged. Not once. He was fast asleep. And nothing-barring an earthquake --could wake him. And even then----



Dad introduced me to sports, passed on his love of the Yankees and the NY football Giants—and unfortunately his loyalty to them as well. I’ve lost many a fine Sunday to Giants games. I remember my brother David and I getting so upset at a Giants loss, back in the day—my Dad would reprimand us for being upset…”It’s only a game! You can’t take it so personally! “ Which is like the pot calling the kettle black if you know what I mean.



Dad did all of the usual things that Dad’s will do—taught me to ride a bike and drive a car. And he did a good job of it.  One of my favorite memories is buying a bike together on my 13th birthday. It was a bike called an “Apollo Racer”—and he and I picked it out together and he did some assembly on it. I was so proud of that bike. My friends made fun of me mercilessly—so the kickstand was on backwards.  So what?  --I still think it was a cool bike—and so did my Dad.



Dad drove a car with a confidence that baffled me. Just an example—for a time, he commuted a good deal between IBM offices in Westchester, NY and Endicott., NY, where I grew up—about 3 ½ hours drive along route 17.

  Years ago, the January just after we were married, my wife Deb and I were driving the same route to visit friends in Endicott, NY—in the middle of one of the worst snowstorms I can remember. We were crawling along at about 5 miles an hour—blinded by the blizzard—when all of a sudden this car comes zooming up behind us at about 80. “Who is this idiot?” I said—and as the car zoomed up behind our car and then overtook us—the driver was revealed to me as---none-other than my Dad—who never looked back and passed us as though we were at a standstill.  Snowstorm, blizzard, slippery roads—didn’t faze him.   I asked him later if he saw us—he didn’t know what I was talking about.



He told jokes. Well—he told one or two jokes --over and over again—for years.

 “I’ll see you down at the clothes line…where the gang hangs out.”  Or this one:

 “For seven years I followed in your footsteps—until you changed your socks and I lost the scent.”  “See you around if you’re not square” or it’s variation  “See you around if you’re a doughnut”. You can see where I get my sense of humor.



I remember –preparing for college, it was too late to get into the dorms—so Dad and I went to Philadelphia to find me an apartment. We didn’t have much time. Not knowing much, we started looking through newspapers—and we found an ad for a place that had rooms for something like $10. a day. Dad thought that sounded like a good temporary solution to the problem. We searched the place out—and I remember walking into the lobby…..It looked like something out of  “the Wire” or “Homicide” one of those gritty cop shows and smelled worse.  I took a deep breath as I watched my Dad following the somewhat dubious clerk up the stairs to look at one of the rooms—(“you stay here” he ordered) –only to run back down the same stairs faster than a roadrunner. He wasn’t a runner. Anybody here ever see my Dad run? I don’t think so. Not in his skill set.

I looked at him and asked hopefully—“well?”

“Shut up and move fast”  He said as he pushed me out into the street. I think he thought whatever he saw in that room was contagious.



Those are some of the things—but there are a few moments  that had a more lasting impact, and formed the person I am. Moments wherein my Dad both taught me—and showed me a bit of who he was.



He’d say this to me over and over growing up… a lesson he learned from his own Dad…”You have to love what you do. There’s nothing worse than going to work  each day hating your job…”—he drummed that idea into me. And pretty early on, I knew what I wanted to do—and it wasn’t going to be what Dad did. If he was disappointed in that, he never showed me. From day one, he offered his unconditional support—and showed it in so many ways—too many to mention.

I think he knew the road would be difficult for me—because I didn’t really have the personality for it—but he always told me he admired the fact that I never gave up.   Me and the NY Giants.  One day. Maybe this is the year. Could be worse. Could be the Bills.



One Saturday when I was about 12, a bunch of my friends were going bowling---I was invited. But my best friend, who was a friend of all these other guys too—wasn’t invited. I didn’t feel too good about that. I asked Dad what I should do. He said, “why don’t you ask if your buddy can come too?” So I did. And these guys said they didn’t want to hang out with my buddy—cause he wasn’t very cool.   I knew if I went with these guys, I’d be one of the cool kids—but I was upset that my friend wasn’t invited and that they’d said mean things about him. I knew I had to make a choice. I asked Dad what I should do.  “He looked at me and said…”who is your real friend here? Who do you care about? Follow your heart, Geoffy—and you’ll do what’s right.”

I wasn’t one of the cool kids, but my buddy has been my friend for life. 



Dad shared other words of wisdom he promised would guarantee a boy’s safe passage to manhood.

“You’re becoming a man now” he’d say. “These are the things you need to know:  I’d be waiting with baited breath.

“You’ve got to…. mow the lawn….take out the trash… and change the oil every 3 months.”

He also gained important knowledge from his military experience: “Carry a hammer, keep your head down and everyone will think you’re busy.”





When I was in my early 20’s, there was a time when I was broken-hearted—the way only a 20-something can be broken-hearted, nearly catatonic, moping around the house like a zombie.

Dad felt he had to address the issue with me. He took by the arm and said: “Snap out of it! The world isn’t coming to an end!”

Just like in that Four Seasons song. Thankfully he didn’t break into song—but thinking about Dad doing Frankie Vallie did a lot to get me through a bad time.





I don’t think he ever dreamed as a boy that he’d travel the world and see the places he’d seen. Europe,Russia Asia, Japan.  He had a wonderful life, filled with experiences and joys—and good golf games—that the little kid from Great Bend, Pa. never imagined, I’m sure.

But remember, I said he was a simple guy. And while he treasured all of those wonderful globe-trekking experiences, my Dad was just as happy on a Sunday morning, walking to the store in Ocean Grove, picking up the newspaper and coming back home to sit on the porch and do the Jumble.  That simplicity is one of the things I loved most about him, one of the things I’ll miss the most. Whether it was going for ice cream at Days, or dunking a doughnut in your coffee when we were kids—picking up corn from a roadside farm stand---he taught me to love those simple things too-because that’s what life is made up of…those simple moments that pass us by when we’re not paying attention.  When you’d go to visit Dad, or he’d visit us—he was just as likely to find a comfy chair and read a good book as have a deep conversation. He took pleasure in the simple experience of our company.  Just to have us nearby was enough, just to be able to see us sitting near…was enough.  It would be enough now.



So I’m going to miss the simple things about him...the infectious nature of his happiness. The way he could make a Christmas joyful just by saying “this will be the best Christmas ever”.  His reassuring voice on the phone, the way he called me “Geoffy” (never Geoff—it was either Geoffrey (when he was serious) or Geoffy) or “Tiger”—he called all of us “Tiger”, nobody else ever did—nobody ever will again. I’ll miss the sense when I spoke to him that everything was alright, everything is okay.  Your Dad is here.



But like all grown up children, I hear my father’s voice in my head everyday—whether I want to or not—in my inflections, my choice of words, the way I take a breath.  So many—involuntary responses that are part of my DNA—a reflection of him. He lives deeper in me than I ever knew.



I cherish my Dad, and I’m thankful to know he knew that. I’m thankful for the life we lived together. I’m thankful that he found happiness. I’m thankful-- that he never knew what hit him—and that he was here, in Ocean Grove, with his friends and the wife he loved (and who loves him dearly) when he left us. He was a lucky guy, after all….







**One final thought: —When I was a kid he served weekends at Fort Drum in NY with the National Guard. I would watch him --sitting at the top of the stairs in his Uniform-- lacing up his boots.  I wanted to be just like him. Like any child watching his Dad getting ready to go away, I’d get upset—and start to make a fuss.

“Stop it now” he’d say. “I’ll be home before you know it.”  And I’d watch him leave from the top of the stairs, thinking it was forever until Sunday night.



Some scientists say … Time is relative…. ---and it’s possible our perception of time is limited by our senses—and the present, the past and the future all co-exist—all have equal reality simultaneously.  All are equally “real”—If that’s true, then all of our memories of Dad, at all different moments of his life-- have reality…and somewhere--- out there--- in the Milky Way… sits a young boy…waiting at the top of the stairs. And his Dad will be home soon.



Geoff Grogan; with love

 William Leonard Grogan
Sept. 17, 1934-July20,2015



Saturday, August 22, 2015

Comic Book Apocalypse! A Jack Kirby Blockbuster!





Kirby is here! Or rather--Kirby is at California State University Northridge Art Galleries in Los Angeles,  where Comic Book Apocalypse: The Graphic World of Jack Kirby opens to the public on Monday, August 24th with a proper opening celebration on Saturday, August 29 at 4 P.M. Curated by my friend and colleague Charles Hatfield, preeminent Kirby expert and author of the best critical evaluation of comics art I know, Hand of Fire: The Comics Art of Jack Kirby;  this exhibition has already been touted in the Los Angeles Times as "not to be missed" and is likely to elevate Jack Kirby from "great American comics-artist" status to "great American artist"; no qualification necessary.
Arriving just ahead of  what would've been Jack Kirby's  one hundredth birthday, the show is sure to inspire both critical re-evaluations of comics, super-heroes and Jack Kirby's monumental contributions to American pop culture, as well as the work of up-and-coming comics artists in this generation and the next. "Not to be missed" is right--and if you love art, love comics, love Jack Kirby, and are anywhere near Los Angeles, I urge you to make a point of seeing this show!  Congratulations, Charles!  and congratulations as well to Gallery Director James Sweeters and the team at CSUN Art Galleries, who've done such a beautiful installation! 


 Info on the exhibition, directions,etc. are all here on Charles Hatfield's blog.

Finally, I'm more than a little thrilled to have made a small contribution to what is sure to be an epic moment in comics exhibitions. Using Jack Kirby's illustrations, I designed the mural of Orion and Darkseid on the right side of the top photo of the show, in honor of Jack Kirby and my own father, who passed away on July 20th and was ill while I worked on this image of a father and son.  Dad was certainly not Darkseid, and I'm not Orion--but I couldn't help but have him in my thoughts as I looked to create an image that would both honor and add to an understanding of Jack Kirby's achievement.  And to that end, perhaps there's a little of the King's titanic tale of fathers and sons in all of us.