Life drawing at Lieber's web page
Steve Lieber
updating fairly regularly. The gallery is at:
http://www.geocities.com/SoHo/Museum/8914/lifedrawingindex.html
and is organized rather simply, with regrettably sloppy html formatting.
As the subject line implies, these are life drawings, which means naked
people. The drawings are guaranteed 100% educational and artistic, and have
been declared free of prurient interest by a review board of seven
thin-lipped matrons. My scans are as rough as you'd expect from a
technophobe running an eighty dollar scanner with a freeware image-editor,
but some of the spirit of the originals does, I think, come through.
Steve Lieber
--
My web page: http://www.geocities.com/SoHo/Museum/8914/
WHITEOUT #4 is available in comic shops everywhere. Everywhere, I say.
Preview of WHITEOUT #1 at http://www.easystreet.com/~kodiak/Whiteout.html
Richard Pace
Steve Lieber wrote in message ...
>I've added a gallery of charcoal drawings to my web page, which I'll be
>updating fairly regularly. The gallery is at:
>http://www.geocities.com/SoHo/Museum/8914/lifedrawingindex.html
>and is organized rather simply, with regrettably sloppy html formatting.
Those us us who know you expect this sort of slovenly coding from you.
>
>As the subject line implies, these are life drawings, which means naked
>people.
Pervert.
>The drawings are guaranteed 100% educational and artistic, and have
>been declared free of prurient interest by a review board of seven
>thin-lipped matrons.
Your string of whores doesn't count, Lieber. We're on to you!
> My scans are as rough as you'd expect from a
>technophobe running an eighty dollar scanner with a freeware image-editor,
>but some of the spirit of the originals does, I think, come through.
You pimp spammer. I can see right through your "code"! Technophobe =
teknophobe (fear of children - and you think I don't read the other
threads) -meaning no children allowed. Your "running an eighty dollar
scanner" is obviously your whores' asking price and "freeware image-editor"
means watching is free. The "but some of the spirit of the originals does,
I think, come through." is self-explanatory.
Have you no shame? Have you no morals? Have you any franchise
opportunities?
Take care,
Richard Pace
________________________________________________________________
Mediocrity knows nothing higher than itself, but talent instantly recognises
genius.
Arthur Conan Doyle
________________________________________________________________
Todd VerBeek
>I've added a gallery of charcoal drawings to my web page, which I'll be
>updating fairly regularly. The gallery is at:
>http://www.geocities.com/SoHo/Museum/8914/lifedrawingindex.html
>and is organized rather simply, with regrettably sloppy html formatting.
Speaking as someone who once paid a whole dollar for a booklet of nude
Liebers(*), and who just finished a Life Drawing class(**), I can assure
you they will be worth every cent he's charging(***). Heck, anyone who
can make a charcoal drawing look like something other than a bunch of
burnt plant matter smeared on a sheet of wood pulp gets my respect.
(*) In this context, "Lieber" refers to a work of art by Mister Lieber,
not to Mister Lieber or any member of his family.
(**) This makes me an expert.
(***) Even though he isn't.
Cheers, Todd (who didn't enjoy the charcoal-using part of his Life class)
--
"They can be a great people, Kal-El; they wish to be.
They only lack the light to show the way."
- Jor-El, speaking (perhaps) of Christopher Reeve
Brandon Blatcher
<rp...@idirect.com> wrote:
>Steve Lieber wrote in message ...
>>I've added a gallery of charcoal drawings to my web page, which I'll be
>>updating fairly regularly. The gallery is at:
>>http://www.geocities.com/SoHo/Museum/8914/lifedrawingindex.html
>>and is organized rather simply, with regrettably sloppy html formatting.
>
>Those us us who know you expect this sort of slovenly coding from you.
>
>>
>>As the subject line implies, these are life drawings, which means naked
>>people.
>
>Pervert.
>
>>The drawings are guaranteed 100% educational and artistic, and have
>>been declared free of prurient interest by a review board of seven
>>thin-lipped matrons.
>
>Your string of whores doesn't count, Lieber. We're on to you!
>
>> My scans are as rough as you'd expect from a
>>technophobe running an eighty dollar scanner with a freeware image-editor,
>>but some of the spirit of the originals does, I think, come through.
>
>You pimp spammer. I can see right through your "code"! Technophobe =
>teknophobe (fear of children - and you think I don't read the other
>threads) -meaning no children allowed. Your "running an eighty dollar
>scanner" is obviously your whores' asking price and "freeware image-editor"
>means watching is free. The "but some of the spirit of the originals does,
>I think, come through." is self-explanatory.
You seem pretty familiar with this scene. Care to tell us why?
-Brandon
"You're working in burger king, in the kitchen...(and) they won't let you work counter again, NEVER, not after that last incident."
-How to Mutate and Take Over the World
Richard Pace
Brandon Blatcher wrote in message ...
Ah, who am I kidding, I'm just trying to drive the competition outta
business.
--Richard
Brandon Blatcher
<rp...@idirect.com> wrote:
>Brandon Blatcher wrote in message ...
>>You seem pretty familiar with this scene. Care to tell us why?
>>
>I too, was once a sinner . . .
But were you a winner?
>Ah, who am I kidding, I'm just trying to drive the competition outta
>business.
Are you...bigger than him?
-Brandon
"Me, I've always been into tools"
Richard Pace
Brandon Blatcher wrote in message ...
>In article <36796...@nemo.idirect.com>, "Richard Pace"
><rp...@idirect.com> wrote:
>
>>Brandon Blatcher wrote in message ...
>
>>>You seem pretty familiar with this scene. Care to tell us why?
>>>
>>I too, was once a sinner . . .
>
>But were you a winner?
Aren't we all?
>
>>Ah, who am I kidding, I'm just trying to drive the competition outta
>>business.
>
>Are you...bigger than him?
You have to ask?
--Richard
ShutUpRob
>Have you no shame? Have you no morals? Have you any franchise
>opportunities?
And could you introduce me to your models?
-- Rob Jensen
=======================================
"I'm a zen-judeo-christian-deist version of Woody Allen on helium."
=======================================
Slandered by the M*owers. Read the FAQ at
<http://digital.net/~gandalf/trollfaq.html>
Bradly E. Peterson
>Brandon Blatcher wrote in message ...
>>Are you...bigger than him?
>
>You have to ask?
But the more important question here is...
Why does he want to know? oh my...
Bradly E. Peterson, Psychodrama Press
(Remove OMELETTEDUFROMAGE from address to reply)
<http://www.fastlane.net/homepages/drama>
"Obscene" = 'It turns me on and I don't like it'.
(Samael)
"So be it. I misremembered. I was incorrect."
(Pat O'Neill)
Richard Pace
W. Allen Montgomery wrote in message
<75ltjr$e...@bgtnsc02.worldnet.att.net>...
>
> "Have you seen...?"
>
>--
>W. Allen Montgomery
>- my filthy chunk is all over you
>
So THAT's what that was!
--Richard
always preferred conte crayon to charcoal for anything other than a
barbecue.
Bradly E. Peterson
here deal:
>ver...@bigfoot.com (Todd VerBeek) wrote:
>>Heck, anyone who
>>can make a charcoal drawing look like something other than a bunch of
>>burnt plant matter smeared on a sheet of wood pulp gets my respect.
>
> I must be the exception that proves the rule.
>
>>Cheers, Todd (who didn't enjoy the charcoal-using part of his Life class)
>
> The credo of kids who can't draw.
Or the credo of kids who don't like the FEEL of coarse goddamn
charcoal. sheesh...
Brandon Blatcher
<61129D9441F66F50.FF96A430...@library-proxy.airnews.net>,
dramaOMELET...@fastlane.net (Bradly E. Peterson) wrote:
>YREMOGT...@spamless.org (W. Allen Montgomery) done said this
>here deal:
>
>>ver...@bigfoot.com (Todd VerBeek) wrote:
>>>Heck, anyone who
>>>can make a charcoal drawing look like something other than a bunch of
>>>burnt plant matter smeared on a sheet of wood pulp gets my respect.
>>
>> I must be the exception that proves the rule.
>>
>>>Cheers, Todd (who didn't enjoy the charcoal-using part of his Life class)
>>
>> The credo of kids who can't draw.
>
>Or the credo of kids who don't like the FEEL of coarse goddamn
>charcoal. sheesh...
Yeah, you tell'em Bradly!! I don't like using charcoal (although I do
enjoyed the finished look), but I can use when so forced by the ruling
Artist party.
--
-Brandon
Bradly E. Peterson
deal:
>dramaOMELET...@fastlane.net (Bradly E. Peterson) wrote:
>>YREMOGT...@spamless.org (W. Allen Montgomery) done said this
>>here deal:
>>>ver...@bigfoot.com (Todd VerBeek) wrote:
>>>>Heck, anyone who
>>>>can make a charcoal drawing look like something other than a bunch of
>>>>burnt plant matter smeared on a sheet of wood pulp gets my respect.
>>>
>>> I must be the exception that proves the rule.
>>>
>>>>Cheers, Todd (who didn't enjoy the charcoal-using part of his Life class)
>>>
>>> The credo of kids who can't draw.
>>
>>Or the credo of kids who don't like the FEEL of coarse goddamn
>>charcoal. sheesh...
>
>Yeah, you tell'em Bradly!! I don't like using charcoal (although I do
>enjoyed the finished look), but I can use when so forced by the ruling
>Artist party.
Yeah, the look is good. Wearing gloves might be a good solution.
heh...
Todd VerBeek
>>>>Heck, anyone who
>>>>can make a charcoal drawing look like something other than a bunch of
>>>>burnt plant matter smeared on a sheet of wood pulp gets my respect.
>>YREMOGT...@spamless.org (W. Allen Montgomery) done said this
>>> I must be the exception that proves the rule.
No, not really. If you can draw well with charcoals, then I respect you
for that. I'm glad that you have something =positive= to offer society.
I'll even go on record saying that I found the critique you volunteered
several months ago of a (graphite) drawing I created about my erstwhile
boyfriend to be surprisingly thoughtful and helpful (despite the arrogant
tone, and lack of any positive feedback).
>>>>Cheers, Todd (who didn't enjoy the charcoal-using part of his Life class)
>>> The credo of kids who can't draw.
Are you implying that I can't draw?(*) With all =due= respect, you know
better than that, Monty. If I were to disparage your artistic abilities
(something I don't believe I've ever done), I'd at least have the lame
"defence" that I've never seen your work, so I didn't know you were any
good. You've seen some of mine, and despite its weaknesses (to which I
admit), to imply that I "can't draw" is simply dishonest.
(*) I'm ignoring the "kid" bit because it's patently absurd.
Cheers, Todd
--
My reviews of new graphic novels can be found at <http://www.GraphicNovels.com>.
Most recently added: /You Are Here/ by Kyle Baker.
See <http://www.RZero.com/books/> for lots more reviews.
gno...@my-dejanews.com
> >>Or the credo of kids who don't like the FEEL of coarse goddamn
> >>charcoal. sheesh...
> >
> >Yeah, you tell'em Bradly!! I don't like using charcoal (although I do
> >enjoyed the finished look), but I can use when so forced by the ruling
> >Artist party.
>
> Yeah, the look is good. Wearing gloves might be a good solution.
> heh...
Hey! My drawing teacher wore surgical style gloves last semester whenever she
used charcoal... I thought it a little odd, at the time, actually. But, as
time went on, though, it seemed like a better and better idea.
Considering how many times I've had to wash my hands off in these classes,
gloves certainly would save water.
Robert Altomare
http://www.graphicnovels.com
Lazarus Churchyard, written by Warren Ellis, only $3.95, everyday.
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
Bradly E. Peterson
>Hey! My drawing teacher wore surgical style gloves last semester whenever she
>used charcoal... I thought it a little odd, at the time, actually. But, as
>time went on, though, it seemed like a better and better idea.
>
>Considering how many times I've had to wash my hands off in these classes,
>gloves certainly would save water.
But don't use the damnable powdered kind, though. Horrible. You
just can't get the damned stuff off your hands after wearing
them. I'm using vinyl gloves that come in boxes of 100 sans
powder.
sli...@compuserve.com
"Richard Pace" <rp...@idirect.com> wrote:
> always preferred conte crayon to charcoal for anything other than a
> barbecue.
If the truth be known, there is some conte among those drawings. I'm an
extremely undisciplined draftsman, and tend to grab the closest tool that
looks like it might do the job. Most of the drawings were drawn with a hard
charcoal pencil- one of those kinds that you use by unraveling the paper
wrapper. Then I sharpened it on one of those fifty cent sandpaper paddles
until I had a tool that was filthy and dangerous. The results, such as they
are, can be viewed at:
http://www.geocities.com/SoHo/Museum/8914/lifedrawingindex.html
I don't know if I can work out an effective way to use this manner of drawing
in comics, except perhaps as mood pages in between chapters of an ongoing
story, or perhaps as back cover illos, (with some actual story content.) I
wasn't happy with the panels in Whiteout where I rendered things fully in
grease crayon. It reproduced nicely, but I thought the shift from line to
tone interrupted the steady flow of the storytelling. Still, as mentioned in
th editor thread, the notion that you can't do something is a powerful
motivation for giving it a shot.
Can anyone think of people who have used dry-media in comics? (Mike Chary
might've asked this a couple of years ago.) I've seen work scanned from
pencils, of course, which can look quite nice in a black and white book where
the artist intended to work this way, such as in Josh Shephard's "Junkyard
Enforcer." Neal Adams drew at least one story for Warren in pencil. I'm
certain Carol Swain works in some kind of crayon. Lorenzo Mattoti kicks ass
with pastels. This is where I start to run out of names. Anyone?
--
Steve Lieber
My web page: http://www.geocities.com/SoHo/Museum/8914/
WHITEOUT #4 now in stores. The ongoing follow-up series is coming in 1999.
Preview of WHITEOUT #1 at http://www.easystreet.com/~kodiak/Whiteout.html
-----------== Posted via Deja News, The Discussion Network ==----------
sli...@compuserve.com
proxy.airnews.net>,> nom...@bellsouth.net (Brandon Blatcher) done said this here
> deal:> >>YREMOGT...@spamless.org (W. Allen Montgomery) done said this
> >>here deal:
> >>>ver...@bigfoot.com (Todd VerBeek) wrote:
>
> >>>>Heck, anyone who
> >>>>can make a charcoal drawing look like something other than a bunch of
> >>>>burnt plant matter smeared on a sheet of wood pulp gets my respect.
> >>>
> >>>
> >>>
> >>> The credo of kids who can't draw.
> >>
> >>charcoal. sheesh...
> >
> >Yeah, you tell'em Bradly!! I don't like using charcoal (although I do
> >enjoyed the finished look), but I can use when so forced by the ruling
> >Artist party.
>
> Yeah, the look is good. Wearing gloves might be a good solution.
I can't help but picture a bunch of artists setting up easels in the clean
room of an Intel chip factory in Malaysia.
--
My web page: http://www.geocities.com/SoHo/Museum/8914/
WHITEOUT #4 now in stores. The ongoing follow up series is coming in 1999.
Brandon Blatcher
>In article <367e9...@nemo.idirect.com>,
> "Richard Pace" <rp...@idirect.com> wrote:
>> always preferred conte crayon to charcoal for anything other than a
>> barbecue.
>
>If the truth be known, there is some conte among those drawings. I'm an
>extremely undisciplined draftsman, and tend to grab the closest tool that
>looks like it might do the job. Most of the drawings were drawn with a hard
>charcoal pencil- one of those kinds that you use by unraveling the paper
>wrapper. Then I sharpened it on one of those fifty cent sandpaper paddles
>until I had a tool that was filthy and dangerous. The results, such as they
>are, can be viewed at:
>http://www.geocities.com/SoHo/Museum/8914/lifedrawingindex.html
>
>
>I don't know if I can work out an effective way to use this manner of drawing
>in comics, except perhaps as mood pages in between chapters of an ongoing
>story, or perhaps as back cover illos, (with some actual story content.) I
>wasn't happy with the panels in Whiteout where I rendered things fully in
>grease crayon. It reproduced nicely, but I thought the shift from line to
>tone interrupted the steady flow of the storytelling.
It didn't bother me at all. Quite the opposite. The scene where Carrie
finally confronts the doctor was a good use of this technique. It helped
to shift the tone, allowing to the scene to be quietly dramatic. You know
how the color and intensity of lighting can change the mood in film?
Switching to charcoal or pencils can do the same for comics.
In other scenes, it conveys that wordless thing about the enviroment that
was throughout the story. I think your biggest problem with it' s use in
Whiteout is not how you use per se, but that you seemed to want to use it
, but were holding back for some reason. As the story progressed you
seemed to feel more comfortable with using it. It sound like you're just
holding yourself back 'cause you're not sure how to use in the story. I
say you're doing fine, it looks good.
>Still, as mentioned in
>th editor thread, the notion that you can't do something is a powerful
>motivation for giving it a shot.
>
>Can anyone think of people who have used dry-media in comics? (Mike Chary
>might've asked this a couple of years ago.) I've seen work scanned from
>pencils, of course, which can look quite nice in a black and white book where
>the artist intended to work this way, such as in Josh Shephard's "Junkyard
>Enforcer." Neal Adams drew at least one story for Warren in pencil. I'm
>certain Carol Swain works in some kind of crayon. Lorenzo Mattoti kicks ass
>with pastels. This is where I start to run out of names. Anyone?
Have you seen Hiroaki Samura's "Blade of the Immortal"? He does pen an
ink, pencils, and wash and will often shift the medium for dramatic
reasons. It's beautiful stuff, you have to check it out. It's an ongoing
comic from Dark Horse and there are two TPB's so far. If you head over to
http://www.geocities.com/Tokyo/Bay/3675/, you'll see a gallery of the
covers and other images, some of which are done partly or entirely in
pencils.
I also have a collection of short stories by Migueleanxo Prado called
Tangents, published by NBM which makes heavy use of conte. According to
the blurb on the back, he's also done an album(I have no idea what they
mean here) called Streak of Chalk, which might give a clue to the media
used.
Kyle Baker did a lot of Justice Inc, a two book LS in a graphic novel
format from DC, in colored pencil.
If you haven't seen Jon Muth's adapt ion of M, you're missing something.
It was done in silverpoint, graphite, pastel, and charcoal on prepared
paper. He did another graphic novel in pencil, but the name escapes me at
the moment. That fellow(?) known as nomaddbc should be able to give you
the title.
Marc Hempel's Gregory uses a mixture of ink and charcoal/grease pencil,
particularly the first volume.
Hope this helps.
--
-Brandon
Leah Adezio
>
> gno...@my-dejanews.com done said this here deal:
>
> >Hey! My drawing teacher wore surgical style gloves last semester whenever she
> >used charcoal... I thought it a little odd, at the time, actually. But, as
> >time went on, though, it seemed like a better and better idea.
> >
> >Considering how many times I've had to wash my hands off in these classes,
> >gloves certainly would save water.
>
> But don't use the damnable powdered kind, though. Horrible. You
> just can't get the damned stuff off your hands after wearing
> them. I'm using vinyl gloves that come in boxes of 100 sans
> powder.
You can buy really cheap plastic gloves at beauty supply stores...these
are the types used to protect your hands when coloring hair. I don't
know how a pencil would feel in your hand when using one, but they might
be worth a shot to try.
Leah
everhelpful :)
--------------------------------
"The guy kicked me once in my head, and that was it. I
thought, 'Forget this! I'm a communications major!' You
can learn katas and all that intricate stuff, but once a
brother kicks you on top of your head, everything goes
out the window." - Arsenio Hall
Nomaddbc
>
>In article <75qk5u$851$1...@nnrp1.dejanews.com>, sli...@compuserve.com wrote:
>>Can anyone think of people who have used dry-media in comics? (Mike Chary
>>might've asked this a couple of years ago.) I've seen work scanned from
>>pencils, of course, which can look quite nice in a black and white book
>where
>>the artist intended to work this way, such as in Josh Shephard's "Junkyard
>>Enforcer." Neal Adams drew at least one story for Warren in pencil. I'm
>>certain Carol Swain works in some kind of crayon. Lorenzo Mattoti kicks ass
>>with pastels. This is where I start to run out of names. Anyone?
>
>Have you seen Hiroaki Samura's "Blade of the Immortal"? He does pen an
>ink, pencils, and wash and will often shift the medium for dramatic
>reasons. It's beautiful stuff, you have to check it out. It's an ongoing
>comic from Dark Horse and there are two TPB's so far. If you head over to
>http://www.geocities.com/Tokyo/Bay/3675/, you'll see a gallery of the
>covers and other images, some of which are done partly or entirely in
>pencils.
i mean it too.
>If you haven't seen Jon Muth's adapt ion of M, you're missing something.
>It was done in silverpoint, graphite, pastel, and charcoal on prepared
>paper. He did another graphic novel in pencil, but the name escapes me at
>the moment. That fellow(?) known as nomaddbc should be able to give you
>the title.
don't listen to him.
>
>--
>-Brandon
also, Perez did something like that in some New Teen
Titans issues.
Goseki Kojima used what looks like charcoal in many
Lone Wolf and Cub
and that Muth book I mentioned was
Mythology of an Abandoned City, from the
now defunct Tundra/KSP.
-brandon, pretending to be damon
or vice versa
Steve Lieber
nom...@bellsouth.net (Brandon Blatcher) wrote:
> It didn't bother me at all. Quite the opposite. The scene where Carrie
> finally confronts the doctor was a good use of this technique. It helped
> to shift the tone, allowing to the scene to be quietly dramatic. You know
> how the color and intensity of lighting can change the mood in film?
> Switching to charcoal or pencils can do the same for comics.
I'm glad to hear that. In the flashback with the murderer, I wanted the
graininess and crosshatching to carry a different mood, full of angry
static (like some of the insert shots Oliver Stone used in "Nixon," as one
reader observed,) but I was afraid that the heavy level of rendering would
suddenly put the readers in a different story altogether. Maybe in these
post-"Elektra Asssassin" days, the only thing unity really requires is that
things be printed on the same page...
> >Can anyone think of people who have used dry-media in comics?
> Have you seen Hiroaki Samura's "Blade of the Immortal"? He does pen an
> ink, pencils, and wash and will often shift the medium for dramatic
> reasons. It's beautiful stuff, you have to check it out. It's an ongoing
> comic from Dark Horse and there are two TPB's so far. If you head over to
> http://www.geocities.com/Tokyo/Bay/3675/, you'll see a gallery of the
> covers and other images, some of which are done partly or entirely in
> pencils.
> I also have a collection of short stories by Migueleanxo Prado called
> Tangents, published by NBM which makes heavy use of conte. According to
> the blurb on the back, he's also done an album(I have no idea what they
> mean here) called Streak of Chalk, which might give a clue to the media
> used.
> Kyle Baker did a lot of Justice Inc, a two book LS in a graphic novel
> format from DC, in colored pencil.
> If you haven't seen Jon Muth's adapt ion of M, you're missing something.
> It was done in silverpoint, graphite, pastel, and charcoal on prepared
> paper. He did another graphic novel in pencil, but the name escapes me at
> the moment. That fellow(?) known as nomaddbc should be able to give you
> the title.
> Marc Hempel's Gregory uses a mixture of ink and charcoal/grease pencil,
> particularly the first volume.
I completely forgot about M, and Justice Inc. And I'm pretty sure that
"album" refers to "graphic album." There's astually a cool Prado thing
that's just been remaindered- Laura Esquivel's prose novel "The Law of
Love" contains several full color comics dream sequences drawn by Prado-
(in colored chalks, I think.)
I'll look around for Samura's work.