This was way cool ... did I mention how much I liked 'King' Kirby and Steve Ditko?
I am a Marvel cat from the 80's ... John Byrne, Walt Simonson's Thor run in the 90's ... would love to hear your take on what is what in comics ... but I guess you do that elsewhere ...
I have no idea what's hot at the moment in the graphic novel scene. I haven't really looked at any since I left the States. The last thing I was into was Geoff Darrell's Hard Boiled and Big Guy comics. I think what put me off was that they seemed to have lost their proletarian edge, the idea of cheap art in a kid's back pocket. I'm not saying I didn't keep mine in dust jackets too but I loved the pulp aesthetic of comics back then. The standard of storytelling has gone up but a lot of the superhero comics I've glanced at seem to be suffering from constipation of the Photoshop filter when it comes to the art.
Aidan Hughes was born on Merseyside, England, and was formally trained by his father. His influences include: Golden Age comic artists Jack Kirby, Steve Ditko and Jim Steranko; Russian Constructivism; the Italian Dynamo Futurista and the work of woodcut artists Frans Masereel and Lynd Ward.
Hughes began publishing his own comics before embarking on a commercial career, producing illustration and storyboards for clients such as Warner Bros., the BBC and The London Evening Standard. In the 80's he began a long-term collaboration with industrial band KMFDM, created BRUTE! pulp magazine and worked extensively in radio, TV and the media.
Hughes' other work includes: graphic design, short film making, computer games and animation.
Official Wikipedia entry: http://en.wikipedia.org/wiki/Aidan_Hughes
2 comments:
This was way cool ... did I mention how much I liked 'King' Kirby and Steve Ditko?
I am a Marvel cat from the 80's ... John Byrne, Walt Simonson's Thor run in the 90's ... would love to hear your take on what is what in comics ... but I guess you do that elsewhere ...
I have no idea what's hot at the moment in the graphic novel scene. I haven't really looked at any since I left the States. The last thing I was into was Geoff Darrell's Hard Boiled and Big Guy comics. I think what put me off was that they seemed to have lost their proletarian edge, the idea of cheap art in a kid's back pocket. I'm not saying I didn't keep mine in dust jackets too but I loved the pulp aesthetic of comics back then. The standard of storytelling has gone up but a lot of the superhero comics I've glanced at seem to be suffering from constipation of the Photoshop filter when it comes to the art.
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