Mad or Bad?: A few thumbnail sketches

While some, such as R. Harvey considered it a masterpiece, [] others such as Michael Dooley felt Little Annie Fanny was "known more for its lavish production values than its humor", [] or that it compromised Kurtzman's genius. Named in Kurtzman's honor, the Harveys are administered by Fantagraphics Books , and nominees and winners are selected by comics professionals. To Comics Journal editor and Fantagraphics publisher Gary Groth , Kurtzman's style "achieves some sort of Platonic ideal of cartooning. Harvey was a master of composition, tone and visual rhythm, both within the panel and among the panels comprising the page.

He was also able to convey fragments of genuine humanity through an impressionistic technique that was fluid and supple. Harvey conjectured that Kurtzman "may be the most influential American cartoonist since Walt Disney ", [21] and comics historian Don Markstein considered him "among the most influential cartoonists of the 20th century".

In , Kurtzman's estate and Al Feldstein filed to reclaim the copyrights on their s work at EC. The claim was based on changes to copyright laws made in , in which copyrights sold could be reclaimed by the original independent creators at the time of copyright renewal. The basis of the Kurtzman and Feldstein claims was that they were not employees of EC, but subcontractors. Comics collector Glenn Bray published The Illustrated Harvey Kurtzman Index in , a complete guide to everything Kurtzman had published to that point.

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Harvey Kurtzman Author photo from Help! Mad Little Annie Fanny. Harvey Kurtzman's editorship of Mad. Benson, John; Groth, Gary Crumb, Robert ; Holm, D. University Press of Mississippi. Dortort, Fred; Ault, Donald D. Estren, Mark James []. A History of Underground Comics 2 ed. Science fiction film directors, — Of Comics and Men: Gray, Susan Kim Encyclopedia of Comic Books and Graphic Novels: In Groth, Gary; Sadowski, Greg. The Comics Journal Library. The Art of the Comic Book: Visits With Contemporary Cartoonists.

The Mad World of William M.

Masters of the Comic Book Universe Revealed! From Krakow to Krypton: Jews and Comic Books. Revel with a Cause: Liberal Satire in Postwar America. University of Chicago Press. Kitchen, Denis ; Buhle, Paul Harvey Kurtzman's Jungle Book.

The Battle of Brazil. Meskin, Aaron; Cook, Roy T. The Art of Comics: Oropeza, Brisio Javier The Gospel According to Superheroes: Religion And Popular Culture. Raphael, Jordan; Spurgeon, Tom A History of the Comic Book and Magazine. Little, Brown and Company. Ryall, Chris; Tipton, Scott The History, Methods and Madness. Icons of the American Comic Book: From Captain America to Wonder Woman. The Life and Legend of Wallace Wood: The Best of Steamshovel Press.

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The Transformation of Youth Culture in America. Johns Hopkins University Press. Wolf, Mary Montgomery Comics Journal staff March Groth, Gary , ed. Archived from the original on Evry, Ron February Spurgeon, Tom , ed. Norwood, Rick December Marschall, Richard , ed. Malcolm, Rolf December Powers, Thom September The Comics Journal Reynolds, Eric February Sullivan, Darcy February Mad 1—24, —, Edited by Harvey Kurtzman". Thompson, Kim February Harvey Kurtzman's Jungle Book , ".

Wochner, Lee July Genzlinger, Neil March 30, The New York Times. Arts and Leisure, p. Kimmelman, Michael October 13, Retrieved October 22, Terry Gilliam on Harvey Kurtzman". Archived from the original on July 30, Retrieved November 24, Retrieved October 21, Archived from the original on April 16, Retrieved December 28, Archived from the original on March 15, Schwartz, Ben April—May Wood, Alex March The Official Crumb Site. Use this handy-dandy online interval timer , or a kitchen timer, to set up a system of count downs that will limit your time on each frame.

You can set up different times depending on whether you are brainstorming initial concepts, or expanding on an existing concept. For an initial concept brainstorm I like to give myself 3 frames at 1 minute, 3 frames at 45 seconds, 3 at 30 seconds, and 3 frames at 15 seconds. Start your timer and get going!

1. Get out your favorite pencil or pen

When the bell rings move on to the next frame and a fresh concept. At the end of the time you will have a page of at least 12 unique concepts. You can repeat the same process with your favorite concepts and increase the time if you want to get a little more detailed. Designers, check out these contests so you can start building your career. Next time you feel yourself in the clutches of creative block try to pull out yourself out of it using the following exercise: Get out your favorite pencil or pen Photo: I really appreciate the post!

You've got some killer sketchbooks yourself.

Harvey Kurtzman - Wikipedia

I can't wait for you to start sharing some of your pages online. Hmm, interesting… I normally start out with a dialogue and verbal description of scenes on a piece of paper or computer and then split the dialogues out after imagining the scenes for it… Your process is completely opposite from mine lol. Once I have the general cuts laid out then I start drawing in the scenes.

Maybe I should try the thumbnail method, since I seem to the issue of having things too packed in one page. It seems like there are many ways to approach it depending on the end result you are going for. I've read that lots of comics are planned out with the dialogue placed first but from what I can tell, it's because that use to be the only way to plan your page and leave room for it.

I bet if you start with thumbnails and do your sketches with dialogue based on that, you'll find it useful. I know lots of artists who love to sketch big and full size though and there's nothing wrong with it. I just have the worst time keeping my eye on the whole page if my sketches are giant. Everyone has to start with chicken scratches, right? Keep up the good work, and show more of your preliminaries. I'm glad you like seeing them. I'm the same as you, as I love to see the rough sketches to see how the artist thinks.

Nothing tells you more about the artist then the sketches.

2. Draw or download some frames

They've been an incredible boon to me. But speaking of thumbnails — have you ever had a situation where the thumbnail sketch is actually better than the final formal drawing? I'm getting that right now, and I wondered whether it was just me, or what.

In any case, the art is going from strength to strength, here, so keep it up! And incidentally, I'm starting to test out your "boosted pencils" theory for avoiding ink on a side project of mine so it'll be interesting to see how it works out! So far, I'm finding trace to be very unforgiving of the soft sketch pencils I normally use — smudges and smears galore!

But perseverence, as ever! This is one of the biggest reasons I try to hold true to my thumbnails AND why I don't ink my work anymore too. Whenever I ink my stuff it just sucks the life out of it. The sketches are almost always more what I wanted then the final as far as the feeling. Maybe not the thumbnails but the next stage where I do the rough pencils.

gormlessness

In traditional animation, the animators would always be upset at the bad clean up artists because they would 'suck the life out of the characters' when they would put them on model. The clean up artists would hate the animators because they could never draw the characters 'on model'. Finally you'd get that special animator who would draw exact lines on model and with life in it. It's super rare though. But since working in animation, I learned to let my characters slip off model a bit more to convey an emotion or something. It's similar to letting them be more of a sketch then a perfected piece for me.

That's a really tricky thing though and it seems like everyone experiences it so you are definitely not alone. As far as the Ink free art, I generally don't use anything softer then a normal 2 pencil. I think that equals an HB in mechanical pencil led. When I am tracing my final lines on a light table, I try to start from the top left and work my way down to avoid smudging but it still always happens.

But you can clean it all up in Photoshop later. Fantastic advice, as ever, Jason. I plan to put it to use. Actually, I've been using "F" lead in my tech pencil, but it depends a lot on the weather — it's been damp here lately so the lead and the paper have been really soft and muddy. You are spot-on about inks and sketches. I had simply never managed to put my finger on it until you articulated it.