I was reading "Monkey Business" by Wallace Edwards to my son tonight, when I noticed something interesting on this page:
Look at one of the comics on the bottom left. Here is a detail, turned 90 degrees for your viewing enjoyment:
This is clearly a grasshopper with good taste--after all, right next to that abstract comic is an issue of "Waw," no doubt edited by Ant Spiegelman.
Wednesday, February 23, 2011
strand
Please welcome new blog contributor Nina Roos!
I have mentioned and praised Nina's work in several previous posts. Nina has been introducing sequentiality into her abstract work for a while now (the earliest example I can find on her site is from October 2008) and, if I dare say so, discovering our blog seems to have brought new impetus to this trend in her work, which has yielded beautiful results in the last few months. Now Nina, who lives in Holland, tells me she is working toward gathering her sequential pieces into a comic-book, which I, for one, can hardly wait to see. If I had know of her work earlier, she would definitely have been included in the anthology. Nina's work will be featured, along with that of anthology contributors, in the exhibition "Silent Pictures" at the James Gallery, CUNY.
Saul Bass: The Man with the Golden Arm
Designer Saul Bass's wonderful abstract Film Titles for the movie The Man with the Golden Arm. The film was based on the book by Nelson Algren, still one of the greatest, yet most underappreciated American authors. Abstract Comics avant la lettre?
Abstract 8 series 2 remix
Abstract 8 remix. A friend of mine was really interested to see how the series 2 abstracts would look like with the panels rearranged in a more 'traditional' comics form.
Original below
Abstract 8
Drawingsilence.com
Saul Bass: The Man with the Golden Arm Redux
Following up on Mark's suggestion in the earlier post, here is a "transcription" of Bass's titles into comics form, based on screen caps.
I cheated a bit with panels 13 and 14, because there are only 13 "stable" states in the title sequence, and 13 panels do not fit nicely into a grid. So I assigned the stable states to panels 1-12 and 15, and for 13 and 14 I used "in-betweens. " Still, I think it works nicely. A longer strip could be done using many more of the in-betweens.
Edit: now that I look at it, it kind of reminds me of the I-Ching. Just look at that eighth (and central, though not consciously intended as such) panel.
I cheated a bit with panels 13 and 14, because there are only 13 "stable" states in the title sequence, and 13 panels do not fit nicely into a grid. So I assigned the stable states to panels 1-12 and 15, and for 13 and 14 I used "in-betweens. " Still, I think it works nicely. A longer strip could be done using many more of the in-betweens.
Edit: now that I look at it, it kind of reminds me of the I-Ching. Just look at that eighth (and central, though not consciously intended as such) panel.
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