DRAGONCON Part Four: Finale and Final Thoughts
The final day at any convention is usually one of pick-ups, last minute deals, and saying goodbyes to people that you might not see for quite awhile, or until the next convention. I don't know what would have had to happen to make the day anything other than a letdown after the incredible Day Of The James, so understand if it seems a little less entertaining than the previous posts. I had no more art to pick up, and that was a relief. I can't tell you how many conventions I've been to where I've had to wait until the end of the show, or even after the show closed (last year's Heroes waiting for my Tex commission) for a piece of art. They've all been worth it, mind you, I'm the first to say that...but when you're facing a drive home of around 6 hours or so, it can make the end of the t
rip rather gruelling. The crew and I awoke, took care of the last minute details in checking out, packing the car, and taking some last minute pics. Sumbitch had to leave, but it was fantastic to see him again, and I look forward to our next reunion. Pecker, Sweet Will, and I headed to the con with Johnny StarWarz, and we looked again for free stuff, looked over the dealer's room and exhibition rooms, and then went back to Artist Alley, where the rest of the crew was hanging out, watching Brian put an awesome head shot of Batman in some guy's JLA book. Brian, wearing his DOTJ t-shirt, looked fabulous. The main thing we were waiting for on Sunday was Brian's panel on Sequential Art, and JJ and Joanne joined us for it as well. If you've never heard the Grandmaster lecture on Art, either through portfolio review from an aspiring artist, or while he's painting, or at a panel, you are missing out on one of the most illum
inating experiences you could ever get. I'm not an artist...I make no claims in that area...but even I can understand all of Brian's "artspeak," and that's a testament to his ability to "illustrate" the indescribable processes that artists must go through in terms of vision and craft. What was supposed to be a 1 hour panel turned into a 2 and 1/2 hour experience as Brian and "Bob," a professor from SCAD, delivered a journey through the power of sequential art, and speaking for myself, it was enlightening. One interesting thing I will comment on from the panel, was Brian explaining how the artists at Gaijin Studios had long ago realized what kind of artist they were, and then played to their strengths. They compared their sequential art sensibilities to film directing styles, and to the directors themselves. Adam Hughes was supposedly like Richard Donner, and favored the incredible emotional impact in character's faces, and was pe
rfect for huge mainstream blockbuster success like a Superman, or a Wonder Woman. Jason Pearson was compared to John Woo, probably like vintage Hong Kong John Woo, and favored the balletic action sequences and a more kinetic sequential style. Brian then said that his sensibilities favored the Michael Mann style of dark, moody, and even expressionistic types of material. This might explain his penchant for the Bat characters, and darker heroes and heroines like Domino and The Matador. I will now go on record and say that Brian was wrong. Yes, Grandmaster...you were wrong. While I agree that you do capture dark and expressionistic sensibilities with your style, and conjure film noirish aspects in your panels with ease...I'd compare you with my favorite director that ever worked in film: Akira Kurosawa. Kurosawa also worked in the moody and expressionistic palette for many films, includin
g The Bad Sleep Well, Stray Dog, and some aspects in Rashomon and The Seven Samurai. In fact, I can only dream at how awesome a Batman film would have been in his hands. Brian's eastern influences are also inescapable in every panel...hell, he's in Gaijin Studios. However, Kurosawa was equally as talented in using colors and dreamlike imagery to convey a variety of different themes and visions, like in Dreams, and his Shakespeare adaptations. It makes perfect sense to me that Brian, modest as he is, would limit his comparison to a talented, journeyman director like Michael Mann, when in fact he ranks up there with the Little Emperor, himself. I just wanted to set the record straight, and not embarrass Brian in the process. My favorite artist and favorite director...it comes as no surprise to me how similar they are. Anyway, after a few farewells and pics, Pecker, Sweet Will, and I finally hit the road out of Atlanta. It was a fantastic trip, Cully Ham
ner even bought me lunch and took a sweet picture with me, but you have to look on Pecker's myspace to find it, because he didn't send it to me. It will truly be one that sets the standard for any future conventions that I attend. I can only say that the people I hang out with make the trip a success, not how many pieces of art or sweet deals you get (not that Higashi would agree.) I hope to hit a couple more this year, but MegaCon in Feb next year looms as the next huge opportunity. Adios all.
The final day at any convention is usually one of pick-ups, last minute deals, and saying goodbyes to people that you might not see for quite awhile, or until the next convention. I don't know what would have had to happen to make the day anything other than a letdown after the incredible Day Of The James, so understand if it seems a little less entertaining than the previous posts. I had no more art to pick up, and that was a relief. I can't tell you how many conventions I've been to where I've had to wait until the end of the show, or even after the show closed (last year's Heroes waiting for my Tex commission) for a piece of art. They've all been worth it, mind you, I'm the first to say that...but when you're facing a drive home of around 6 hours or so, it can make the end of the t
rip rather gruelling. The crew and I awoke, took care of the last minute details in checking out, packing the car, and taking some last minute pics. Sumbitch had to leave, but it was fantastic to see him again, and I look forward to our next reunion. Pecker, Sweet Will, and I headed to the con with Johnny StarWarz, and we looked again for free stuff, looked over the dealer's room and exhibition rooms, and then went back to Artist Alley, where the rest of the crew was hanging out, watching Brian put an awesome head shot of Batman in some guy's JLA book. Brian, wearing his DOTJ t-shirt, looked fabulous. The main thing we were waiting for on Sunday was Brian's panel on Sequential Art, and JJ and Joanne joined us for it as well. If you've never heard the Grandmaster lecture on Art, either through portfolio review from an aspiring artist, or while he's painting, or at a panel, you are missing out on one of the most illum
inating experiences you could ever get. I'm not an artist...I make no claims in that area...but even I can understand all of Brian's "artspeak," and that's a testament to his ability to "illustrate" the indescribable processes that artists must go through in terms of vision and craft. What was supposed to be a 1 hour panel turned into a 2 and 1/2 hour experience as Brian and "Bob," a professor from SCAD, delivered a journey through the power of sequential art, and speaking for myself, it was enlightening. One interesting thing I will comment on from the panel, was Brian explaining how the artists at Gaijin Studios had long ago realized what kind of artist they were, and then played to their strengths. They compared their sequential art sensibilities to film directing styles, and to the directors themselves. Adam Hughes was supposedly like Richard Donner, and favored the incredible emotional impact in character's faces, and was pe
rfect for huge mainstream blockbuster success like a Superman, or a Wonder Woman. Jason Pearson was compared to John Woo, probably like vintage Hong Kong John Woo, and favored the balletic action sequences and a more kinetic sequential style. Brian then said that his sensibilities favored the Michael Mann style of dark, moody, and even expressionistic types of material. This might explain his penchant for the Bat characters, and darker heroes and heroines like Domino and The Matador. I will now go on record and say that Brian was wrong. Yes, Grandmaster...you were wrong. While I agree that you do capture dark and expressionistic sensibilities with your style, and conjure film noirish aspects in your panels with ease...I'd compare you with my favorite director that ever worked in film: Akira Kurosawa. Kurosawa also worked in the moody and expressionistic palette for many films, includin
g The Bad Sleep Well, Stray Dog, and some aspects in Rashomon and The Seven Samurai. In fact, I can only dream at how awesome a Batman film would have been in his hands. Brian's eastern influences are also inescapable in every panel...hell, he's in Gaijin Studios. However, Kurosawa was equally as talented in using colors and dreamlike imagery to convey a variety of different themes and visions, like in Dreams, and his Shakespeare adaptations. It makes perfect sense to me that Brian, modest as he is, would limit his comparison to a talented, journeyman director like Michael Mann, when in fact he ranks up there with the Little Emperor, himself. I just wanted to set the record straight, and not embarrass Brian in the process. My favorite artist and favorite director...it comes as no surprise to me how similar they are. Anyway, after a few farewells and pics, Pecker, Sweet Will, and I finally hit the road out of Atlanta. It was a fantastic trip, Cully Ham
ner even bought me lunch and took a sweet picture with me, but you have to look on Pecker's myspace to find it, because he didn't send it to me. It will truly be one that sets the standard for any future conventions that I attend. I can only say that the people I hang out with make the trip a success, not how many pieces of art or sweet deals you get (not that Higashi would agree.) I hope to hit a couple more this year, but MegaCon in Feb next year looms as the next huge opportunity. Adios all.
posted by The James at 7:42 AM
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