DON:
As you may remember, I am not one of your most intimate fans,
nevertheless I have always wondered from whom (artist(s) whoever) you
were inspired, though still considering you as one of the greatest
artists of this decade. I am talking *art* here, *not* stories!
In my opinion your duck only holds slight resemblance to what I consider
a traditional D U C K. So my question is; what happened? Why on Earth
did you skip the mice, and why did you introduce a duck universe that
art-wise conflicts everything from the "Old Americans" to newer
Americans, including of course any suggestions from Italian artists.
About a year ago or such you commented, that those "Famous Italians"
(Scarpa) left you cold (well, something like that...)
Most artists nowadays try to "fit in" somehow, and make their art a part
of a continous flow of what's already going on (hip). You, Don, did
otherwise. Why?
S=F8ren
Author
Topic: 199905
(139 messages)
Søren Krarup Olesen
Don and art
Message 121 -
1999-05-28 at 01:47:37
Dave Rawson
Los Angeles shops
Message 122 -
1999-05-28 at 03:36:51
Luca Boschi <(Email removed)>:
> Maybe you know also some Los Angeles good shops?
Luca, it depends on what part of Los Angeles.
In the Hollywood area, Golden Apple and Meltdown Comics are both
Retailer-of-the-Year award winners. In Santa Monica is Hi De Ho.
South in Orange County is Comics Unlimited. There are many others
elsewhere. It can take up to two hours to drive from one side of
"LA" to the other.
Let me know if I can provide you (or anyone else) with more
specific information.
Best,
> Maybe you know also some Los Angeles good shops?
Luca, it depends on what part of Los Angeles.
In the Hollywood area, Golden Apple and Meltdown Comics are both
Retailer-of-the-Year award winners. In Santa Monica is Hi De Ho.
South in Orange County is Comics Unlimited. There are many others
elsewhere. It can take up to two hours to drive from one side of
"LA" to the other.
Let me know if I can provide you (or anyone else) with more
specific information.
Best,
Heitmann, Owen James - HEIOJ001
Relettering in Barks stories
Message 123 -
1999-05-28 at 06:33:13
G'day all,
It's been a while since this topic was brought up, but I've just found the time
to write about it.
I went off and looked at my copy of Barks' Horseradish story (in Celestial
Arts' Uncle Scrooge: His Life And Times) after the lettering change was
mentioned here. I did notice that the word horseradish seemed to have been
relettered, especially in the first few pages (I thought the most obvious
difference was in the letter 'r' compared to the lettering in the rest of the
story).
However, after the first few pages, it seems to me that only one half of the
word has been relettered in most cases. But what was most interesting was the
fact that both halves of the word were changed on separate occasions, ie:
sometimes the 'radish' part is left untouched and the 'horse' is changed, and
on other occasions that is reversed. Examples: page 9, panel eight: only
'horse' appears to have been changed. Page 10, panel 1: only 'radish' appears
to have been changed. This suggests to me a possible reason for the change. I
think that Barks originally wrote the word as 'horseradish' throughout the
story, and either he or his editors decided to change the spelling to
'horse-radish' for some reason. It's a very small change, but an answer that I
think covers all the facts.
In any case, it would be extremely unlikely that horseradish could have been
substituted for a completely different object, since there must be very few
other objects that could have been there originally for the story to still make
sense.
Speaking of relettering in Barks stories, however, when this issue was brought
up it reminded me of another case that I knew of: The Secret of Hondorica. On
pages 20-23, the word 'spirit' seems to have been substituted for a smaller
word. The obvious culprit is 'god', in my opinion (although 'god' is used
without alteration on page 20). And 'spirit' seems to be the original word used
in panel 3 of page 20. I got some of this information from Daniel Van E's
Guidebook to the Carl Barks Universe internet page (which I can't currently
recall the address for).
A change that I don't recall seeing mentioned there, though, is on the last
page of the same story. In panel two, one of the nephews says "Now's our chance
to rescue Unca Donald and scram out!" where 'scram' seems to have been
substituted for another word. I couldn't even make a guess at what that word
was originally, or why it was changed.
(I'm looking at the Gladstone series II reprint, so I presume that an odd
looking reference to "poor" savages in page 3, panel four is the result of them
having to change the phrase from "dumb" savages.)
However, another very odd point that I don't think Daniel mentioned is the use
of some very strange grammar by the nephews, particularly when referring to the
gods or spirits. On page 20, one nephew says "Their picture writing says that
he is, Bru, their spirit of deeds! He flew down long ago and captured, Chu,
their god of good-eating!" (panel 3). Then on panel 6, another nephew says "Is
that, Chu, the good spirit!" Both examples have commas used in very odd places
- both in front and behind the gods' names. The latter example makes very
little sense at all. I think that when the word 'spirit' was substituted, an
exclamation mark was put in place of a question mark, which would lead on to
the nephews' next statement much better. But it's the use of commas that stands
out most to me as being very odd.
By the way, I forgot to thank everybody who answered my questions about 'The
Uncensored Mouse.' So... thanks.
Cheers,
Owen
It's been a while since this topic was brought up, but I've just found the time
to write about it.
I went off and looked at my copy of Barks' Horseradish story (in Celestial
Arts' Uncle Scrooge: His Life And Times) after the lettering change was
mentioned here. I did notice that the word horseradish seemed to have been
relettered, especially in the first few pages (I thought the most obvious
difference was in the letter 'r' compared to the lettering in the rest of the
story).
However, after the first few pages, it seems to me that only one half of the
word has been relettered in most cases. But what was most interesting was the
fact that both halves of the word were changed on separate occasions, ie:
sometimes the 'radish' part is left untouched and the 'horse' is changed, and
on other occasions that is reversed. Examples: page 9, panel eight: only
'horse' appears to have been changed. Page 10, panel 1: only 'radish' appears
to have been changed. This suggests to me a possible reason for the change. I
think that Barks originally wrote the word as 'horseradish' throughout the
story, and either he or his editors decided to change the spelling to
'horse-radish' for some reason. It's a very small change, but an answer that I
think covers all the facts.
In any case, it would be extremely unlikely that horseradish could have been
substituted for a completely different object, since there must be very few
other objects that could have been there originally for the story to still make
sense.
Speaking of relettering in Barks stories, however, when this issue was brought
up it reminded me of another case that I knew of: The Secret of Hondorica. On
pages 20-23, the word 'spirit' seems to have been substituted for a smaller
word. The obvious culprit is 'god', in my opinion (although 'god' is used
without alteration on page 20). And 'spirit' seems to be the original word used
in panel 3 of page 20. I got some of this information from Daniel Van E's
Guidebook to the Carl Barks Universe internet page (which I can't currently
recall the address for).
A change that I don't recall seeing mentioned there, though, is on the last
page of the same story. In panel two, one of the nephews says "Now's our chance
to rescue Unca Donald and scram out!" where 'scram' seems to have been
substituted for another word. I couldn't even make a guess at what that word
was originally, or why it was changed.
(I'm looking at the Gladstone series II reprint, so I presume that an odd
looking reference to "poor" savages in page 3, panel four is the result of them
having to change the phrase from "dumb" savages.)
However, another very odd point that I don't think Daniel mentioned is the use
of some very strange grammar by the nephews, particularly when referring to the
gods or spirits. On page 20, one nephew says "Their picture writing says that
he is, Bru, their spirit of deeds! He flew down long ago and captured, Chu,
their god of good-eating!" (panel 3). Then on panel 6, another nephew says "Is
that, Chu, the good spirit!" Both examples have commas used in very odd places
- both in front and behind the gods' names. The latter example makes very
little sense at all. I think that when the word 'spirit' was substituted, an
exclamation mark was put in place of a question mark, which would lead on to
the nephews' next statement much better. But it's the use of commas that stands
out most to me as being very odd.
By the way, I forgot to thank everybody who answered my questions about 'The
Uncensored Mouse.' So... thanks.
Cheers,
Owen
Bror.Hellman
Disney comics Digest V99 #96
Message 124 -
1999-05-28 at 10:23:47
> I'm not sure.. I discussed the American FP with a guy working
> in an Irish
> branch of the store, and I remember him mentioning that the
> American FB was
> bought by some Scottish person.
McDuck? ;-)
Steamboat Willie
> in an Irish
> branch of the store, and I remember him mentioning that the
> American FB was
> bought by some Scottish person.
McDuck? ;-)
Steamboat Willie
Per-Erik Malmström
Rota's new Life of Scrooge chapter (not a typo)
Message 125 -
1999-05-28 at 11:28:12
OLE:
> His latest story is unmistakenly
> inspired by Don Rosa's Life of Scrooge series, and IMHO better than many
> of his recent stories.
I agree, but talking about gravitation laws, this story violates them all!
The carriage that Scrooge is traveling with seems to be pulled by Santa's
deers and not regular horses. (And in reality even that wouldn't be enough
to pull off that jump.)
> Questions must go to Don Rosa and Byron Erickson, who must be holding
> the leashes on both Don and Marco,
I think Anders Bergström is Rota's editor, but I also think that the Egmont
editors have meetings where they tell each other the plot of every new
story.
But remember that there are lots of non-Rosa stories dealing with
Scrooge's past. The big difference between these and Rosa's Lo$ is that
Rosa bases the stories in his series on facts from Barks classics--a lot of
other creators dont.
/Per-Erik
> His latest story is unmistakenly
> inspired by Don Rosa's Life of Scrooge series, and IMHO better than many
> of his recent stories.
I agree, but talking about gravitation laws, this story violates them all!
The carriage that Scrooge is traveling with seems to be pulled by Santa's
deers and not regular horses. (And in reality even that wouldn't be enough
to pull off that jump.)
> Questions must go to Don Rosa and Byron Erickson, who must be holding
> the leashes on both Don and Marco,
I think Anders Bergström is Rota's editor, but I also think that the Egmont
editors have meetings where they tell each other the plot of every new
story.
But remember that there are lots of non-Rosa stories dealing with
Scrooge's past. The big difference between these and Rosa's Lo$ is that
Rosa bases the stories in his series on facts from Barks classics--a lot of
other creators dont.
/Per-Erik
Fluks, H.W.
Jippes / Rosa
Message 126 -
1999-05-28 at 11:41:55
Ole wrote:
> While we're at it, there's also Daan Jippes' new art for Carl Barks'
> story "A Day in a Duck's Life" in Dutch Donald Duck #20/1999.
> http://www.geocities.com/soho/museum/4289/rotajipp.htm
Yeah. And since I'm still in a ranting mood: this is the *ugliest* Jippes
story I have ever seen! At first sight I thought it was someone else trying
(but not succeeding) to imitate Jippes!
But maybe that's a good fit, since the drawings are for one of the worst
Barks scripts...
Other news:
Two weeks ago, the latest Dutch "Oom Dagobert" album was issued. It contains
Rosa's Wendigo story and "Son of the Sun". A short article clearly states
that SotS is Rosa's first Duck story. The album also has two colour
reproductions of a French Picsou Magazine (PM): the original Gladstone
cover, and the PM illustration to SotS.
The cover of the album is an enlarged panel of page 10 of "War of the
Wendigo" (the splash panel for part 2). Not redrawn this time: the D.U.C.K.
is still clearly visible. This cover, of course, spoils the Wendigo
"surprise"...
--Harry.
> While we're at it, there's also Daan Jippes' new art for Carl Barks'
> story "A Day in a Duck's Life" in Dutch Donald Duck #20/1999.
> http://www.geocities.com/soho/museum/4289/rotajipp.htm
Yeah. And since I'm still in a ranting mood: this is the *ugliest* Jippes
story I have ever seen! At first sight I thought it was someone else trying
(but not succeeding) to imitate Jippes!
But maybe that's a good fit, since the drawings are for one of the worst
Barks scripts...
Other news:
Two weeks ago, the latest Dutch "Oom Dagobert" album was issued. It contains
Rosa's Wendigo story and "Son of the Sun". A short article clearly states
that SotS is Rosa's first Duck story. The album also has two colour
reproductions of a French Picsou Magazine (PM): the original Gladstone
cover, and the PM illustration to SotS.
The cover of the album is an enlarged panel of page 10 of "War of the
Wendigo" (the splash panel for part 2). Not redrawn this time: the D.U.C.K.
is still clearly visible. This cover, of course, spoils the Wendigo
"surprise"...
--Harry.
Dr. Archontis Pantsios
KOMIX #132
Message 127 -
1999-05-28 at 12:33:29
Fellow Quackeroos:
Here are the contents of KOMIX #132, June 1999, that just hit the stands:
1) A cover featuring Scrooge from Barks' oil painting "McDuck of Duckburg",
and a backgroung showing busts of various great men (one of them is
Scrooge), taken from the ad of the Italian "I Maestri Disney".
2) "Two pens are better than one when the story is signed by FREDDY MILTON
and DAAN JIPPES", a 2-page editorial on this artistic duo. It includes a
Milton caricature showing the two along with Ben Verhagen, plus a Milton
self-caricature in the middle of a bunch of Disney characters.
3) Barks' "The Status Symbol", from U$ #41, 1963.
4) "Symbols and Values", a 2-page editorial, commenting on Barks' story.
4) "Going to Sea: Golden Opportunities", H-7935, by Milton and Jippes.
5) "Sorry, Sorry, Knight", H-8154, by Volker Reiche.
6) "Duckburg's Super-hero", a one-page editorial on Donald as Paperinik,
that made his debut in Carpi's and Martina's "Il Segreto della Vila Rosa",
back in 1969.
7) Barks' "Gyro Builds a Better House", U$ #19, 1957.
8) "The Monarch of Medioka", Part 6, the last episode of Bill Wright's
adaptation of Walsh's and Gottfredson's original.
9) "From the Archives of KOMIX: Chip and Dale", a one-page editorial.
In that same issue, KOMIX advertises the publication of 6 weekly, 100-page,
large-format "SPECIALS", starting on June 11 and ending on July 16. The
SPECIALS will cover Scrooge, Mickey, Donald, Minnie, Daisy, and a Disney
Collection. I still don't know the exact contents of these, but the ad looks
very inviting!
Cheers,
Archontis
Here are the contents of KOMIX #132, June 1999, that just hit the stands:
1) A cover featuring Scrooge from Barks' oil painting "McDuck of Duckburg",
and a backgroung showing busts of various great men (one of them is
Scrooge), taken from the ad of the Italian "I Maestri Disney".
2) "Two pens are better than one when the story is signed by FREDDY MILTON
and DAAN JIPPES", a 2-page editorial on this artistic duo. It includes a
Milton caricature showing the two along with Ben Verhagen, plus a Milton
self-caricature in the middle of a bunch of Disney characters.
3) Barks' "The Status Symbol", from U$ #41, 1963.
4) "Symbols and Values", a 2-page editorial, commenting on Barks' story.
4) "Going to Sea: Golden Opportunities", H-7935, by Milton and Jippes.
5) "Sorry, Sorry, Knight", H-8154, by Volker Reiche.
6) "Duckburg's Super-hero", a one-page editorial on Donald as Paperinik,
that made his debut in Carpi's and Martina's "Il Segreto della Vila Rosa",
back in 1969.
7) Barks' "Gyro Builds a Better House", U$ #19, 1957.
8) "The Monarch of Medioka", Part 6, the last episode of Bill Wright's
adaptation of Walsh's and Gottfredson's original.
9) "From the Archives of KOMIX: Chip and Dale", a one-page editorial.
In that same issue, KOMIX advertises the publication of 6 weekly, 100-page,
large-format "SPECIALS", starting on June 11 and ending on July 16. The
SPECIALS will cover Scrooge, Mickey, Donald, Minnie, Daisy, and a Disney
Collection. I still don't know the exact contents of these, but the ad looks
very inviting!
Cheers,
Archontis
Frank Stajano
Comics stores in New York & Los Angeles...
Message 128 -
1999-05-28 at 13:35:28
At 1999-05-27 21:19 +0100, Luca Boschi wrote:
>I confirm this. For NEW Disney Comics. But... Do you FUNNY BUSINESS,
>in Harlem, very fine for golden and iron age comics?
>I think it's the best. I found marvelous comics from the 40es in
>there.
Ahem: Harlem? One of the many tips I received was "Harlem: beware; rough
territory, lucky to leave with your wallet if you are white." Is this urban
legend or sound advice I should follow?
Frank (http://i.am/filologo.disneyano/) http://www.uk.research.att.com/~fms/
>I confirm this. For NEW Disney Comics. But... Do you FUNNY BUSINESS,
>in Harlem, very fine for golden and iron age comics?
>I think it's the best. I found marvelous comics from the 40es in
>there.
Ahem: Harlem? One of the many tips I received was "Harlem: beware; rough
territory, lucky to leave with your wallet if you are white." Is this urban
legend or sound advice I should follow?
Frank (http://i.am/filologo.disneyano/) http://www.uk.research.att.com/~fms/
Luca Boschi
Jippes / Rosa
Message 129 -
1999-05-28 at 15:42:12
Hi, Harry!
How are you?
Even if we don't meet, we still read tons of our messages.
And today I read yours about Daan Jippes' new art for Carl Barks'
story "A Day in a Duck's Life" in Dutch Donald Duck #20/1999.
Do you know its code?
It shall be good for "Zio Paperone" (which shall reprint the wonderful
"Officer for a Day", in next months).
Thanks,
luca
How are you?
Even if we don't meet, we still read tons of our messages.
And today I read yours about Daan Jippes' new art for Carl Barks'
story "A Day in a Duck's Life" in Dutch Donald Duck #20/1999.
Do you know its code?
It shall be good for "Zio Paperone" (which shall reprint the wonderful
"Officer for a Day", in next months).
Thanks,
luca
Luca Boschi
Comics stores in New York for Frank
Message 130 -
1999-05-28 at 18:04:58
Hi, Frank!
> Ahem: Harlem? One of the many tips I received was "Harlem: beware; rough
> territory, lucky to leave with your wallet if you are white." Is this urban
> legend or sound advice I should follow?
Plus or minus it's comme Forcella! 8-)
L.
> Ahem: Harlem? One of the many tips I received was "Harlem: beware; rough
> territory, lucky to leave with your wallet if you are white." Is this urban
> legend or sound advice I should follow?
Plus or minus it's comme Forcella! 8-)
L.
Stefan Persson
Jippes / Rosa
Message 131 -
1999-05-28 at 18:53:41
>Do you know its code?
H 98085 ? CB DJi DD [desc-nl:"a day in a duck's life"]
______________________________________________________
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--------------------------------
End of Disney comics Digest V99 Issue #97
*****************************************
H 98085 ? CB DJi DD [desc-nl:"a day in a duck's life"]
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End of Disney comics Digest V99 Issue #97
*****************************************
Asger Brix Jensen
More "Cash Flow" (and other pickings :-)
Message 132 -
1999-05-28 at 22:04:20
I'm really glad someone brought up that inertia thing with the car and the
cannonball. In my respect for Don's accuracy, I've always found myself
convinced that there was a logical explanation to those two different
after-fall actions, but though the answer whas right in front of me the
entire time, I've never been able to figure it out. Glad to have that bit of
info delivered :-)
Now there are a few other things in some of your stories I have been
wondering about from time to time (I don't have my comics here, so I can't
check for every detail; This is just off the top of my head.)
To start with the now-so-popular-to-critisize "Cash Flow":
-You explained/appologised for the BBs ending in a pile after being pushed
as defrictionized objects, but in another panel, things without friction end
in a pile too. I'm reffering to Scrooge's office being defrictionized by the
BB whereafter everything ends in a pile in the office corner. If this is (as
the BBs say) because every room has a tilt, the tilt of the Money Bin would
be of about 50 degrees :-)
-In the same story there's something about that ray I can't figure out: How
much can it go through? I'll explain my question: When the professor blasts
a ray through an apple (or some fruit) it only affects that apple. But when
Scrooge uses it on his Money, it affects a much bigger area and yet manages
to ONLY affect that certain area. If there's some sort of adjust device in
those guns, our heros and villains (nice song BTW) must be VERY good at
using it :o)
-The last thing I can think of in "Cash Flow" right now is the way a Beagle
Boy sinks into the frictionless money. Even though the money is loose as
water, the metal coins have a much bigger mass than a Beagle, so he would
ofcourse NOT sink into them. Just like an air ballon wouldn't in water. Also
the money bills should all flow on top of the coins, shouldn't they?
-The last thing I can recall is from "A Matter of Some Gravity". At a point
Scrooge and Donald are chasing Magica despite their unsual direction of
fall. During this chase, there's a panel where one of them is in the water,
and the other is "water skiing" behind (they're tied together). Judging from
this panel only the guy in the water has a wrong gravity direction. If both
had, the skier would ofcourse fall faster than the swimmer since he doesn't
have water to slow him down.
Now I'm no expert of any sort on this field, so I'm probably just
overlooking the solutions to my thoughts :-) I hope somebody can explain
them to me!
(I'm certain there are other things, I've wondered about, but I just cant
remember them here and now :o)
Asger Brix Jensen
(Email removed)
cannonball. In my respect for Don's accuracy, I've always found myself
convinced that there was a logical explanation to those two different
after-fall actions, but though the answer whas right in front of me the
entire time, I've never been able to figure it out. Glad to have that bit of
info delivered :-)
Now there are a few other things in some of your stories I have been
wondering about from time to time (I don't have my comics here, so I can't
check for every detail; This is just off the top of my head.)
To start with the now-so-popular-to-critisize "Cash Flow":
-You explained/appologised for the BBs ending in a pile after being pushed
as defrictionized objects, but in another panel, things without friction end
in a pile too. I'm reffering to Scrooge's office being defrictionized by the
BB whereafter everything ends in a pile in the office corner. If this is (as
the BBs say) because every room has a tilt, the tilt of the Money Bin would
be of about 50 degrees :-)
-In the same story there's something about that ray I can't figure out: How
much can it go through? I'll explain my question: When the professor blasts
a ray through an apple (or some fruit) it only affects that apple. But when
Scrooge uses it on his Money, it affects a much bigger area and yet manages
to ONLY affect that certain area. If there's some sort of adjust device in
those guns, our heros and villains (nice song BTW) must be VERY good at
using it :o)
-The last thing I can think of in "Cash Flow" right now is the way a Beagle
Boy sinks into the frictionless money. Even though the money is loose as
water, the metal coins have a much bigger mass than a Beagle, so he would
ofcourse NOT sink into them. Just like an air ballon wouldn't in water. Also
the money bills should all flow on top of the coins, shouldn't they?
-The last thing I can recall is from "A Matter of Some Gravity". At a point
Scrooge and Donald are chasing Magica despite their unsual direction of
fall. During this chase, there's a panel where one of them is in the water,
and the other is "water skiing" behind (they're tied together). Judging from
this panel only the guy in the water has a wrong gravity direction. If both
had, the skier would ofcourse fall faster than the swimmer since he doesn't
have water to slow him down.
Now I'm no expert of any sort on this field, so I'm probably just
overlooking the solutions to my thoughts :-) I hope somebody can explain
them to me!
(I'm certain there are other things, I've wondered about, but I just cant
remember them here and now :o)
Asger Brix Jensen
(Email removed)
Kriton Kyrimis
Disney comics Digest V99 #97
Message 133 -
1999-05-28 at 22:07:32
OWEN:
> In any case, it would be extremely unlikely that horseradish could have been
> substituted for a completely different object, since there must be very few
> other objects that could have been there originally for the story to still
> make sense.
It was pepper in the greek edition that I read oh so many years ago,
and the greek title was something like "The Pepper Chest". (An obvious
change, as horseradish is almost unknown over here, even more so when
the story was printed.)
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"You exist, only because your will insists that you exist; but your will is
all that is left of you!"
-----
> In any case, it would be extremely unlikely that horseradish could have been
> substituted for a completely different object, since there must be very few
> other objects that could have been there originally for the story to still
> make sense.
It was pepper in the greek edition that I read oh so many years ago,
and the greek title was something like "The Pepper Chest". (An obvious
change, as horseradish is almost unknown over here, even more so when
the story was printed.)
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"You exist, only because your will insists that you exist; but your will is
all that is left of you!"
-----
Don Rosa
Digest #97
Message 134 -
1999-05-28 at 22:29:28
From: Krarup Olesen
Subject: Don and art
>>>>DON:
>>>As you may remember, I am not one of your most intimate fans,
nevertheless I have always wondered from whom (artist(s) whoever) you
were inspired, though still considering you as one of the greatest
artists of this decade.
You are proud to say you are *not* one of my biggest fans, yet still proclaim me as "one of the greatest artists of this decade"? It's nice to be able to blush from modesty when hearing from even a critic!
Who are my artistic inspirations? I've answered that many times. I never copied anyone's art since I never planned to be a professional and I never sought to make my art appealing to anyone's eyes. It was just a private hobby, just for me... then later on, just for fun in supplying free stories to fanzines who accepted my art the way it was or not at all. I had no reason to change myself to suit anyone.
But I assume my subconcious inspirations are my favorite artists of my early years (age 0 - 12), and they would be Barks, Eisner, Kelly, Kurtzman and Elder... particularly those last two, as my favorite reads were my sister's Duck comics and her MAD magazines and paperbacks. If you see any of those artists' styles visible in my own, that's for you to decide. I conciously tried to imitate none of them.
>>>>In my opinion your duck only holds slight resemblance to what I consider
a traditional D U C K. So my question is; what happened? Why on Earth
did you skip the mice,
Barks didn't do Mouse stories. I have no interest in Disney comics. My interest is/was in Barks stories.
>>>>why did you introduce a duck universe that
art-wise conflicts everything from the "Old Americans" to newer
Americans, including of course any suggestions from Italian artists.
Most artists nowadays try to "fit in" somehow, and make their art a part
of a continous flow of what's already going on (hip). You, Don, did
otherwise. Why?
Most comic artists plan from an early age to do this for a living and always have a plan to study art styles to make their art pleasing to an editor. They want to get a job in a comic by being an artist who draws in that style. They reshape themselves to "fit in", as you say. The exceptions would be the so-called "underground" artists (and that's why people often think I am inspired by underground artists even though I wasn't -- but my basic instincts are very similar to those of an underground artist).
Me, I never planned to do this. I just did that one story "The Son of the Sun" as a lark, just because I had always dreamed of doing an Uncle $crooge adventure. Then I did another. And another. And I stumbled into doing it for a living by accident and happinstance... (and "popular demand", I guess?).
I never had a reason to try to shape myself to fit into any particular style. I draw the only way I know how. I'm not a skilled artist with 37 different styles like a Jippes or Rota. I'm just me. I don't try to appeal to editors... just to myself (and I seldom succeed at that). That appeals to some readers and not others. So far, lots more of one than t'other. I see myself as an entertainer and storyteller... and *fan*. Jippes and Rota and those others are the artists. Not me. I can never measure up to them in that respect... I've never had the training or practice.
Subject: Don and art
>>>>DON:
>>>As you may remember, I am not one of your most intimate fans,
nevertheless I have always wondered from whom (artist(s) whoever) you
were inspired, though still considering you as one of the greatest
artists of this decade.
You are proud to say you are *not* one of my biggest fans, yet still proclaim me as "one of the greatest artists of this decade"? It's nice to be able to blush from modesty when hearing from even a critic!
Who are my artistic inspirations? I've answered that many times. I never copied anyone's art since I never planned to be a professional and I never sought to make my art appealing to anyone's eyes. It was just a private hobby, just for me... then later on, just for fun in supplying free stories to fanzines who accepted my art the way it was or not at all. I had no reason to change myself to suit anyone.
But I assume my subconcious inspirations are my favorite artists of my early years (age 0 - 12), and they would be Barks, Eisner, Kelly, Kurtzman and Elder... particularly those last two, as my favorite reads were my sister's Duck comics and her MAD magazines and paperbacks. If you see any of those artists' styles visible in my own, that's for you to decide. I conciously tried to imitate none of them.
>>>>In my opinion your duck only holds slight resemblance to what I consider
a traditional D U C K. So my question is; what happened? Why on Earth
did you skip the mice,
Barks didn't do Mouse stories. I have no interest in Disney comics. My interest is/was in Barks stories.
>>>>why did you introduce a duck universe that
art-wise conflicts everything from the "Old Americans" to newer
Americans, including of course any suggestions from Italian artists.
Most artists nowadays try to "fit in" somehow, and make their art a part
of a continous flow of what's already going on (hip). You, Don, did
otherwise. Why?
Most comic artists plan from an early age to do this for a living and always have a plan to study art styles to make their art pleasing to an editor. They want to get a job in a comic by being an artist who draws in that style. They reshape themselves to "fit in", as you say. The exceptions would be the so-called "underground" artists (and that's why people often think I am inspired by underground artists even though I wasn't -- but my basic instincts are very similar to those of an underground artist).
Me, I never planned to do this. I just did that one story "The Son of the Sun" as a lark, just because I had always dreamed of doing an Uncle $crooge adventure. Then I did another. And another. And I stumbled into doing it for a living by accident and happinstance... (and "popular demand", I guess?).
I never had a reason to try to shape myself to fit into any particular style. I draw the only way I know how. I'm not a skilled artist with 37 different styles like a Jippes or Rota. I'm just me. I don't try to appeal to editors... just to myself (and I seldom succeed at that). That appeals to some readers and not others. So far, lots more of one than t'other. I see myself as an entertainer and storyteller... and *fan*. Jippes and Rota and those others are the artists. Not me. I can never measure up to them in that respect... I've never had the training or practice.
Oliv
NASA ?
Message 135 -
1999-05-29 at 00:50:16
Dear Don Rosa
I've just finished to read "The Duck Who Fell To Earth" and
I feel angry against NASA that didn't mention your name
when they have advertised they have found a new launch
system for space exploration. They have stolen your idea.
Published in 1991, they have had 8 years to build their
outrageous project.
BTW, it's nice to see that engineers of the NASA read
Scrooge's adventures. But, where did they find a Disney
comics ? That's the question..
:-)
Oliv
I've just finished to read "The Duck Who Fell To Earth" and
I feel angry against NASA that didn't mention your name
when they have advertised they have found a new launch
system for space exploration. They have stolen your idea.
Published in 1991, they have had 8 years to build their
outrageous project.
BTW, it's nice to see that engineers of the NASA read
Scrooge's adventures. But, where did they find a Disney
comics ? That's the question..
:-)
Oliv