1. notes

    11 hours ago

    bartkira:

    I don’t want to spoil you guys too much before the launch, but here’s another couple of pages I couldn’t wait to share. By Rosie Lea and fellow Lord Of Infinity CROM

  2. notes

    1 day ago

    Rina Takeda [x]

    (Source: 0ci0, via beartzu)

  3. notes

    1 day ago

    raccoonrocketeer:

    ancient nerds

    (via rottingmindatplay)

  4. notes

    1 day ago

    fantasy-art-engine:

Meeting with a Warlord by Jakub Rozalski

    fantasy-art-engine:

    Meeting with a Warlord by Jakub Rozalski

    (via fuckyeahconceptart)

  5. notes

    1 day ago

    Two haste bottles to take away please. 

    Two haste bottles to take away please. 

    (Source: axaphoto, via thoughtsupnorth)

  6. notes

    5 days ago

    (Source: zacgormania)

  7. notes

    5 days ago

    hannakdraws:

building concept 

Ladies and gentlemen, Hanna K :)

    hannakdraws:

    building concept 

    Ladies and gentlemen, Hanna K :)

    (via imaketigerscry)

  8. notes

    1 week ago

    ejbarnes:

    This Monday, after Small Press Expo, I spent the better part of a day at the National Gallery of Art on the Washington Mall. The National Gallery has the marble bust that Jean-Antoine Houdon carved of “Count” Cagliostro when the latter was a popular figure in France, in 1786 (see first image, above). Most well-known portraits of Cagliostro (including the engravings that were sold all over Europe during this period) were based on this bust, which shows Cagliostro, his collar untied, turning his eyes heavenward.

    I felt I would be remiss if I did not make a close study of this portrait, as — it being a sculpture — it portrayed him from the rear as well as the front. In my graphic novel Spirits and Seekers: Cagliostro in Courland, I will have plenty of scenes in which I show him in 3/4 rear view, showing from the front (in midground) a person reacting to what Cagliostro is telling them.

    At the Gallery, I drew 5 sketches of the bust. Alas, I did not think to raise up my phone to take photos of the bust from above, merely fretting about having left my camera behind. The bust is placed on a pedestal where Cagliostro’s head level would be about that of a person 6 feet or over. This is most likely a convention rather than a deliberate distortion, but as the historical Cagliostro was in all likelihood more like 5 foot 6 at most, my heroine, Elisa von der Recke, would be taller than he, looking down at him when they met in 1779. (Her exposé of him would be written in 1787.)

    The Houdon bust does make one thing clear: by 1786, Cagliostro’s hairline had receded considerably. De Loutherbourg's caricatures of him (after the two had a falling-out) probably show him with a wig.

    Another bit of information that I’m glad I got from the bust was that Cagliostro’s natural hair was quite wavy. It’s very hard to tell this from the widely-available photographs of the bust, as they are from the front or 3/4 views, and with his head tilted up, the side curls dominate. In 1786 he also wore his hair longer than most men of the era — even tied, it went about halfway down his ribcage.

    There is a painting of Cagliostro on the French Wikipedia page about him that does not look very much like Houdon’s bust: he is shown with an underbite not evident from Houdon. Noplace on the Web can I find any credits for this painting that list the artist or date; I am tempted to chalk this up to people on the Web passing information around without attribution. If anyone can help me nail down the true source of this portrait, I would be very grateful.

    (via bostoncomicsroundtable)

  9. notes

    1 week ago

    thetwopagespread:

    fantagraphics:

    Praise for It Was the War of the Trenches

    “’The war to end all wars’ has become a magisterial comic book to end all comic books. I seldom give blurbs, but this book is an essential classic. Among all of Jacques Tardi’s towering achievements as a comics artist, nothing looms larger than this devastating crater of a work. It’s a compulsively readable wail of Existential despair, a kaleidoscope of war’s dehumanizing brutality and of Everyman’s suffering, as well as a deadpan masterpiece of the darkest black humor. The richly composed and obsessively researched drawings — perfectly poised between cartoon and illustration — march to the relentless beats of Tardi’s three horizontal panels per page to dig a hole deep inside your brain. This is one Hell of a book.” – Art Spiegelman

    "Tardi’s depiction of the First World War is so impassioned and visceral that it can be compared to the work of the artists who actually served in the trenches." – Joe Sacco

    "French master Tardi gives an infantry-level view of World War I’s meat-grinder carnage in grim vignettes that primarily keep tight, telling focus on the stories of individual soldiers. …[It Was the War of the Trenches] deserves a place on the top shelf of graphic lit.” – Cliff Froehlich, St. Louis Post-Dipatch

    Praise for Goddamn This War!

    "As brutal and horrific as the Great War itself, this book rivals All Quiet on the Western Front when it comes to the insane idiocy of the conflict.” – Max Brooks

    Tardi’s WWI: It Was the War of the Trenches / Goddamn This War!
    by Jacques Tardi, with Jean-Pierre Verney

    260-page black & white/color 8.25” x 10.75” hardcover • $39.99
    ISBN: 978-1-60699-769-7

    Due to arrive in about 2-4 weeks. Click thumbnails for larger versions; get more info, see more previews, and pre-order your copy here:

    http://www.fantagraphics.com/tardiswwi

    One day I will have the money to buy all the amazing things Fantagraphics releases.

    But today…

    I have one of these books and is truly a great read and a beautiful piece of story/history telling to have.

    (via spx)

  10. notes

    2 weeks ago