Submitted by Dave Williams (not verified) on Sat, 2012-08-25 09:03.
Hi Arthur,
Just caught up with the story. Really enjoying all the dialogue, twists, turns, new characters, monsters, stunning background work and most importantly the lead character Sirius. Keep up the good work.
Submitted by Bheki (not verified) on Mon, 2012-08-27 15:55.
Thank you for the double whammy! I loved the last episode's wide shots. Especially that last panel, just because it looked so damn good! And you've carried the nature scenes into this episode too. Nobody does a panoramic scene like you do! Nobody! In the penultimate episode of Button Man 1, there's a shot of his car approaching, coming towards the viewer. I loved that shot and spent hours staring at it. It looked like you could go into it and walk around. And you did the same things in episodes of Anderson (Shamballa comes to mind) and Danger Mouse (which I love because it felt like you were using real world mechanics when you drew scenery and perspective.
A reviewer of Button Man rightly noted that, with the advent of all these so-called 'widescreen comics' of the 2000s, it was really you who invented it, long before all these (somewhat) over-rated youngsters. The 'over-rated' bit is by me.
Hullo Bheki,
well, thank you.
Not come across the expression 'widescreen comics'. Am now curious about it. Could you tell me who that reviewer was?
Certainly true that even way back when doing Danger Mouse I liked the idea that events took place in a space that needed to remain consistant from frame to frame. Is that what 'widescreen' means?
Best,
Arthur PS. since the above have checked out 'widescreen' on the internet. Oh. Right.
Submitted by Bheki (not verified) on Tue, 2012-08-28 15:49.
Sorry I can't point you to the review in question, I remember reading it once, and that particular point stuck in my memory. You probably came across this when you researched, what Wiki said about it:
Widescreen comics is a movement within the field of comic books named both for its very cinematic style and its tendency to use wide panels.
Some widescreen comics, such as the New X-Men 2001 Annual, are published horizontally with the staples at the top.
The horizontal comics experiment can be named a failure I think, as that first wave was the last I can remember encountering. But you never needed any gimmicks to achieve it, not a double-page spread in sight*, but you still managed to transport me to all sorts of different places. You have my appreciation.
*You did do that one DPS in Satan, for your collage, and it occurred to me that you had effortlessly done something that a bunch of other people became known for in that particular instance, proving that there's actually no artistic discipline that you have not mastered...
And with Sirius, it seems you have added digital painting to your list. You are a true legend.
Hullo Bheki,
there is a whole "the aesthetics of comic strip" thing here that I think I will dodge for the moment.
Double page spread in 'Anderson' would have been on Alan Grant's instructions.
Best,
Arthur
Submitted by Bheki (not verified) on Thu, 2012-08-30 12:18.
Well, I'd be interested to hear what you have to say. I sometimes feel I'm too harsh and critical of some of these artists, but they blow up and become celebrity draughtsmen and write instructional books on everything, but when I look at their work, all I see is them fostering an unacceptable standard of work.
An artbook. Have you considered doing one, recently? And maybe you could provide a how-to that's actually worth the price of admission. And I know there are plenty of such books out there, but there aren't any by Arthur Ranson. But then, anything you released, even a mish-mash of art and random notes, I would be all over that.
The DPS may have been part of Alan's Story, but was it his or your decision to do it in that particular way, with mixed media? You could have drawn it, but you didn't.
Hullo Bheki,
as an opinionated individual it is always a temptation to put the world right but present projects are giving me more than enough to do.
The double page spread - Alan, who is good like that, had sent picture references for all the items he mentions on that page. I elected not to draw it because photo's made clear that all the incidents were true and actual.
Best,
Arthur
Submitted by Carlene35 (not verified) on Tue, 2014-10-07 21:31.
Very awesome blog post. We are really grateful for your blog post. You will find a lot of approaches after visiting your post. I was exactly searching for. Thanks for such post and please keep it up. Great work. vjobfcrq
Submitted by Etta28 (not verified) on Sun, 2014-10-26 10:26.
I agree with you. This post is truly inspiring. I like your post and everything you share with us is current and very informative, I want to bookmark the page so I can return here from you that you have done a fantastic job .
Comments
Hi Arthur,
Crikey, see what you mean! Great sense of place what with the ice plains, the oncoming snow and then into the woods; looks pretty edgy in there.
Cheers,
Andy.
Hullo Andy,
and we are not out of the woods yet.
Best,
Arthur
Hi Arthur,
Just caught up with the story. Really enjoying all the dialogue, twists, turns, new characters, monsters, stunning background work and most importantly the lead character Sirius. Keep up the good work.
Dave
Hullo Dave,
thanks for the kind words. I would probably be doing this anyway but encouragment helps.
Best,
Arthur
Thank you for the double whammy! I loved the last episode's wide shots. Especially that last panel, just because it looked so damn good! And you've carried the nature scenes into this episode too. Nobody does a panoramic scene like you do! Nobody! In the penultimate episode of Button Man 1, there's a shot of his car approaching, coming towards the viewer. I loved that shot and spent hours staring at it. It looked like you could go into it and walk around. And you did the same things in episodes of Anderson (Shamballa comes to mind) and Danger Mouse (which I love because it felt like you were using real world mechanics when you drew scenery and perspective.
A reviewer of Button Man rightly noted that, with the advent of all these so-called 'widescreen comics' of the 2000s, it was really you who invented it, long before all these (somewhat) over-rated youngsters. The 'over-rated' bit is by me.
Hullo Bheki,
well, thank you.
Not come across the expression 'widescreen comics'. Am now curious about it. Could you tell me who that reviewer was?
Certainly true that even way back when doing Danger Mouse I liked the idea that events took place in a space that needed to remain consistant from frame to frame. Is that what 'widescreen' means?
Best,
Arthur
PS. since the above have checked out 'widescreen' on the internet.
Oh. Right.
Sorry I can't point you to the review in question, I remember reading it once, and that particular point stuck in my memory. You probably came across this when you researched, what Wiki said about it:
Widescreen comics is a movement within the field of comic books named both for its very cinematic style and its tendency to use wide panels.
Some widescreen comics, such as the New X-Men 2001 Annual, are published horizontally with the staples at the top.
The horizontal comics experiment can be named a failure I think, as that first wave was the last I can remember encountering. But you never needed any gimmicks to achieve it, not a double-page spread in sight*, but you still managed to transport me to all sorts of different places. You have my appreciation.
*You did do that one DPS in Satan, for your collage, and it occurred to me that you had effortlessly done something that a bunch of other people became known for in that particular instance, proving that there's actually no artistic discipline that you have not mastered...
And with Sirius, it seems you have added digital painting to your list. You are a true legend.
Hullo Bheki,
there is a whole "the aesthetics of comic strip" thing here that I think I will dodge for the moment.
Double page spread in 'Anderson' would have been on Alan Grant's instructions.
Best,
Arthur
Well, I'd be interested to hear what you have to say. I sometimes feel I'm too harsh and critical of some of these artists, but they blow up and become celebrity draughtsmen and write instructional books on everything, but when I look at their work, all I see is them fostering an unacceptable standard of work.
An artbook. Have you considered doing one, recently? And maybe you could provide a how-to that's actually worth the price of admission. And I know there are plenty of such books out there, but there aren't any by Arthur Ranson. But then, anything you released, even a mish-mash of art and random notes, I would be all over that.
The DPS may have been part of Alan's Story, but was it his or your decision to do it in that particular way, with mixed media? You could have drawn it, but you didn't.
Thanks.
Hullo Bheki,
as an opinionated individual it is always a temptation to put the world right but present projects are giving me more than enough to do.
The double page spread - Alan, who is good like that, had sent picture references for all the items he mentions on that page. I elected not to draw it because photo's made clear that all the incidents were true and actual.
Best,
Arthur
Very awesome blog post. We are really grateful for your blog post. You will find a lot of approaches after visiting your post. I was exactly searching for. Thanks for such post and please keep it up. Great work. vjobfcrq
Hullo Carlene35,
thank you - for the kind words and taking the trouble to send them.
And what is vjobfcrq ?
All the best,
Arthur
I agree with you. This post is truly inspiring. I like your post and everything you share with us is current and very informative, I want to bookmark the page so I can return here from you that you have done a fantastic job .
Hullo Etta 28,
what can I say. Thank you.
All the best,
Arthur