Welcome, Guest. Please login or register.

Login with username, password and session length
 

Recent Posts

Pages: 1 ... 8 9 [10]
91
Film & TV / Re: Doctor Who Series 11 Discussion
« Last post by M.I.K. on 17 October, 2018, 11:38:08 pm »
Earliest comment upon TARDIS interior alterations within the programme itself and the start of a very long-running gag...

https://www.youtube.com/watch?v=vbnWmR7piEg
92
Film & TV / Re: Doctor Who Series 11 Discussion
« Last post by Andy Lambert on 17 October, 2018, 11:30:38 pm »
Quote
I always liked that Mid-Tom Baker era console room (pictured above), though it was sorely lacking a time rotor (which might have looked glorious had they made one in stained glass to match the theme of the room).

Oh yes - that would've looked stunning!
93
Film & TV / Re: Doctor Who Series 11 Discussion
« Last post by Taryn Tailz on 17 October, 2018, 11:25:48 pm »
I always liked that Mid-Tom Baker era console room (pictured above), though it was sorely lacking a time rotor (which might have looked glorious had they made one in stained glass to match the theme of the room).

Generally speaking in the classic series the original design was tweaked on a regular basis, though never so major has to make much of a difference. They tried to introduce a new console room in the Jon Pertwee era, rather unflatteringly referred to as the 'washing-up bowl interior', though it didn't stick. It was intended had the series continued into 1990 that a new console room would have been introduced. A design was drawn up for it but it wasn't until the recent Titan Comics run of 7th Doctor strips that the design was actually used.
94
Film & TV / Re: Doctor Who Series 11 Discussion
« Last post by Andy Lambert on 17 October, 2018, 11:21:56 pm »
The classic series had the occasional deviation...

95
General / Re: Goodbye Carlos
« Last post by Jim_Campbell on 17 October, 2018, 11:19:25 pm »
As Jayzus says, in terms of colour, Ezquerra was refining his own distinctive aesthetic at a time when everyone else wanted to be someone else.

One of the most interesting things I thought anyone said on the Thrill Cast was (I think?) PJ, who observed that there are many, many artists working today who you can immediately identify as influenced by Bolland, McMahon, Kennedy, Dillon, but no one you can point to as wearing an Ezquerra influence on their sleeve. McNeil had an early Carlos phase, but it’s a fairly brief period in his own impressive canon.

There are so many ‘tics’ that you can identify as being unmistakably Ezquerra — the dashed outline, the firing-a-weapon-and-round-impact-in-the-same-panel thing, split panels, round cornered panels, montage pages… occasionally you’ll see an artist pay obvious homage to one of these, but no one, Colin briefly excepted, seems to have attempted to absorb the whole thing into their style.

Maybe it’s because, as D’israeli noted when he attempted his own homage to Ezquerra in an Apocalypse War flashback, all these things looked deceptively easy when Carlos did them, but turn out to be murderously hard when attempted by lesser mortals.

(I attempted my own homage to the great man in a contribution to Dogbreath many years ago and can add to that list his ability to design costumes that no other artist in their right mind would come up with knowing they’d have to draw the damn thing from multiple angles week in and week out.)
96
Film & TV / Re: Doctor Who Series 11 Discussion
« Last post by Funt Solo on 17 October, 2018, 11:09:34 pm »
Isn't it a bit weird that the Tardis interior keeps changing?  Was it always this way between Doctors?  Like, did it change between the best Doctor (that's 4, of course) and Tristan Farnon?
97
General / Re: Goodbye Carlos
« Last post by Steve Green on 17 October, 2018, 11:07:45 pm »
Yeah, it's amazing work. Colour Dredd in the annuals was a Christmas treat.

A colour Carlos epic, really was like having our Christmases at once.



I love black and white, it's what I grew up with - but this was stunning.
98
General / Re: Goodbye Carlos
« Last post by Frank on 17 October, 2018, 10:47:06 pm »
I adored his use of colour on his painted (or colour inked) pages.

Splashes of neon through the spectrum from panel to panel.

http://www.illustrationartgallery.com/acatalog/EzquerraJD680-3a.jpg

There's also a panel of Odell in Countdown to Necropolis just loosely painted in silhouetted in a lit doorway, which gives another layer to the art.

Douglas Wolk mentions that sequence in his excellent Necropolis post, one of the finest pieces of writing about any 2000ad story.

I wish I knew the correct technical term for that thing Ezquerra did where he assigned a different, vivid contrasting, non-naturalistic, almost flat primary colour to each plane of the image - like the panels of McGruder and the hand holding the stick, here:



It's the chromatic equivalent of the jagged outline technique discussed above. Look at the way the blue figure pops out from the red-orange background.

I remember going through Necropolis and Young Giant, doing little roughs in my own sketchbook to capture the different colour combinations he was using, because I was convinced Ezquerra had worked out a secret system of colour that worked on the brain to produce maximum impact.

Once we did the colour wheel at school, I realised Carlos was mostly exploiting the complementary properties of colours at 180 degrees from each other, but the insight or instinct to use that so boldly and in context of the focal plane is rare and particular to the greatest talents:



As Jayzus says, in terms of colour, Ezquerra was refining his own distinctive aesthetic at a time when everyone else wanted to be someone else. You see the odd panel of Dermot Power or Sean Phillips's painted Dredd that make occasional use of the technique, but they're rare.

It's only really MacNeil - who's open about his debt to and adoration of Ezquerra - who makes real use (the best possible use) of Carlos pushing the envelope, like Chuck Jaeger, exploring the limits and showing others the possibilities for original expression the medium he loved still contains.

And that's just one aspect of Ezquerra's game.

Alongside the bombast and chutzpah of panels that laid down bold slabs of ink straight from the bottle, he could suddenly drop the thick black line and switch to beautiful, delicate studies of MC1 architecture that reminded me of the crystalline structures demolished by the Dozers in Fraggle Rock rather than any other artist's vision of his most enduring and beguiling creation.

Again, Ezquerra was using that contrast, that shift in focus and depth, in the service of controlling the reader's eye and interest, taking them through the panels and around the page at the speed and in the direction that best told his story. What a talent, and what a loss.


99
Announcements / Re: 2000 AD - The Ultimate Collection
« Last post by Dark Jimbo on 17 October, 2018, 10:34:06 pm »
100
Announcements / Re: 2000 AD - The Ultimate Collection
« Last post by Jade Falcon on 17 October, 2018, 10:13:59 pm »
So, what's the next volume going to be.
Pages: 1 ... 8 9 [10]