Nothing to see here.
So… this happened.
There’s preserving a model’s modesty, and then there’s whatever-the-heck this is. What’s up with that bruise??! Yikes.
Thanks, Annette! This monstrosity was found here.
The post Hakken: Blur It All Out, Except For The Bruise. That Stays. appeared first on PSD : Photoshop Disasters .
Two Hawker “Tempest” Mk.V in flight in order to visualize the differences between the two tested engines : in the foreground , the experimental “Tempest” serial number NV768 powered by a sword with an annular radiator . The other, serial number EJ823 is more classically equipped Napier Sabre with the well-known radiator .
Formation flight Sunday reblog.
Original source Dave Knott writes Raymond Almiran Montgomery, original publisher and author of the incredibly popular “Choose Your Own Adventure” book series for children, the 4th bestselling children’s series of all time, has died at the age of 78. In 1975, Montgomery founded a small press and when, in 1977, Ed Packard submitted an innovative book for young readers, “Sugarcane Island”, Montgomery immediately saw it for what it was: a role-playing game in book form. He leapt at the chance to publish it, and launched a series, writing the second book, “Journey Under The Sea”, himself. When Montgomery went through a divorce and sold his stake in the press to his ex-wife, he took the series, renamed as “Choose Your Own Adventure”, to Bantam. The books went on to sell more than 250 million copies across 230 titles in 40 languages. Montgomery’s interests also extended to new technology, adapting the series to the Atari console in 1984. He was also responsible for the Comic Creator software on Apple’s Macintosh computers. Montgomery died on November 9th. The cause of death was not disclosed.
Read more of this story at Slashdot.
Midlothian council has invested in technologies that work to reduce collisions between HGVs and cyclists
Cyclists in Edinburgh have been afforded the same safety measures as those in London, Luton and Cardiff when passing refuse lorries.
Midlothian Council has installed Cyclear System technology on four of its refuse trucks that illuminates a large disc at the rear to warn cyclists when the lorry is to turn left.
A sensor is also fitted that alerts the driver when a moving cyclist is passing it on the inside, to ensure appropriate action can be taken to avoid collision.
Scotland’s capital city is the first north of the border to buy the £1,500 technology but Councillor George Rosie says that price pales into insignificance when it comes to protecting cyclists.
“Midlothian Council takes cyclists’ safety very seriously and is extremely conscious of the dangers posed to them when coming into contact with heavy vehicles, especially when turning left,” he said.
Kim Harding, a Pedal on Parliament founding member, says that making roads safer should remain the paramount for local authorities but nonetheless welcomes the move.
“I know a cyclist who was hit by a HGV who overtook him and turned left and it helps reduce that sort of thing then that’s got to be good.”
Source: Edinburgh News
Since the invention of written language, people have tried to find ways to reproduce it more quickly than the age-old method of copying with pen in hand. Writing is made of alphabets or glyphs that repeat in a myriad of combinations. The quest was to reproduce those glyphs reliably to order without having to create each one anew. This seven part series will explore that quest.
Left, replica of the Gutenberg printing press. Right, the Sholes-Glidden Typewriter, the first commercially available model.
The first attempt was the printing press, and as that evolved, it gradually replaced the creators of hand-lettered book manuscripts —often monks in monasteries — with a new technology. Many things still needed to have hand-made copies, though, as in the case of the U.S. Constitution, above, lettered by Jacob Shallus, and many other kinds of legal documents. In the early 1800s the job of “engrosser,” “penman,” “scrivener,” or “copyist” was filled by legions of such letterers keeping records of all kinds for businesses, courts, and governments. The invention of the typewriter began to gradually replace those jobs with typists in the later 1800s as commercially successful machines were released. By 1900 or so, the majority of written documents were being typed rather than hand-copied. This undoubtedly put many scriveners out of work and was probably a source of tumult and outcry at the time.
That worked for many documents, but not all. Music manuscripts had to be transcribed by “music copyists” from composer’s hand-written originals, a skill that required lots of musical knowledge as well as drawing skills. Printed music was usually made from steel engravings of what the music copyist produced by hand, but the engravers needed the clear, clean pen and ink drawings to work from. Interestingly, the job of transcribing music manuscripts by hand survived until the 1990s, when computer software was finally able to do it equally well, in the hands of the right person.
The combination of pictures and words has often been another area where hand-made letters work best, as in this example from the Bayeux Tapestry created in England in the 1100s. It’s done in needlework, but any kind of art that includes letters, from paintings to sculpture, needed to have those letters created by the artists.
From the earliest days of sequential art, cartoonists added text to their pictures with pen in hand, as in this example by Rudolphe Töpffler from “Histoire de M. Jabot” of 1833.
When Töpffer’s work was first translated into English and released in America in 1842 as “The Adventures of Obadiah Oldbuck” (considered to be the first American comic book), the publisher found it easy enough to replace the artist’s hand-lettered text with type, especially since that text was usually in a box below the art. While less organic and interesting than the original script, the type did the job of getting the ideas across, and thus the effort to marry art with type was present in American comics from the beginning.
Many of the comic strips that developed for newspapers continued to use hand-made lettering, as this example from “Little Nemo in Slumberland” by Winsor McCay from around 1910. The convention developed to use all sans-serif capital letters because they were easier to read at small sizes, something that has persisted to the present day in comic books.
The styles varied greatly, here’s a looser one by Rube Goldberg from 1929…
…and a more conservative style from Hal Foster on Tarzan in 1933, with an interesting unfinished lettering change at the end of the second line. (Tarzan © Edgar Rice Burroughs, Inc.)
A few strips used type instead of hand lettering, like “Barnaby” by Crockett Johnson. The font seen here is probably Futura Demi Oblique, and in the 1940s when the strip ran, the type would have been set in galleys to Johnson’s specifications, then cut out and pasted onto his art. Even with that, it must have saved the artist time or he wouldn’t have used it. I think the simple linear style of the art makes it a better match for this font than, say, a typical adventure or humor strip. (Barnaby © Estate of Ruth Krauss.)
Later uses of type in comics can be found in MAD Magazine (example above from 1979, art by Angelo Torres) and HIS NAME IS SAVAGE by Gil Kane from 1968. Personally I think it works less well with these styles of art. (Mad © EC, His Name is Savage © Estate of Gil Kane.)
With the introduction of Wonder Woman in ALL-STAR COMICS #8 dated Dec. 1941 – Jan. 1942 a new kind of lettering entered the scene, one that looked more like type than hand lettering. (Wonder Woman © DC Comics, Inc.)
In fact, it WAS done by hand, but using the Leroy lettering system consisting of a scriber, technical drawing pen, and templates. The Leroy system was created for use in architectural and engineering drawings, and came to comics in the hands of Jim and Margaret Wroten. Jim was a salesman for Leroy, and quite proficient at using it. I’ve written an article about the Wrotens and their work HERE, and most of what I know about them can be found in THIS excellent blog post by Bhob Stewart.
In addition to WONDER WOMAN, the Wrotens lettered many stories for EC Comics, as above… ( © EC)
…and I believe for CLASSICS ILLUSTRATED, where they used upper and lower case templates much more often. The example is from Issue 165A, art by George Evans, from 1961.
While this was something the Wrotens could do well and quickly, it was still all hand work, and not really on the path toward the goal of making lettering in comics easier, except perhaps for them. And having tried the Leroy system myself, I can attest it’s a lot harder and more time consuming than regular hand lettering for everyone not named Wroten. The dream of comics lettering that could be produced by typing was instead developing at small publisher Charlton in the 1950s. I’ll continue with that next time.
More articles you might enjoy can be found on the COMICS CREATION page of my blog.
With apologies to the artist and the person who originally posted it . Can’t remember where I saw it
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Judge Lois eh? Hubba hubba.
Image © Renegade Arts Entertainment, Gordon Rennie & Paul Holden.
Publisher Alexander Finbow was kind enough to send me these, and I enjoyed reading them. The concept is something of a mix of Indiana Jones action adventure and Lovecraftian horror. I have to admit I didn’t find the monsters inside to be very scary. For one thing, I’m old, and I’ve seen drawings of a lot of monsters. For another, even the characters don’t seem very scared of them, so it’s hard as a reader to be so. When I first read Lovecraft as a teenager, his stories really creeped me out because they were so alien and inhuman, but over time Lovecraft has permeated our culture, and now his ideas have become nearly as used and familiar as Dracula and Frankenstein’s creature. The comics include the monster-hunting adventures of several teams, and each team has unique and interesting members. Their back stories are just beginning to unfold behind the action plots, but they work well so far, as teams, and as characters. Probably the scariest thing in the books is the repulsive but human opponents of these teams, Jocasta and Sebastian Lamont. They’re the real monsters within.
Recommended.
DORK ADDENDA:
Greg Hyland’s wonderful LETHARGIC LAD comic can be found here! I’m a huge fan!
And of course check out Brikwars!
