Keskustelujen arkisto

Great news for collectors that Gemstone will be issuing TPB's. During the Western Printing Co. era the closest thing to TPB's were the Giant Comic books that were not published regularly.
In the 1990's, Gladstone came out with a large number of TPB's which included the Gottfredson/Barks/Rosa stories.
Somewhat surprising, and maybe not aware to many, is that Gladstone is still selling most of these TPB's (see www.brucehamilton.com/gladstone ). The price of these are now mainly higher than the original cover price, but on eBay they can often be found at a good price.
Regarding an album of the Good Housekeeping Disney pages, it is my understanding that these pages were not comics, but were summaries with illustration of the Mickey, Donald, and Silly Symphonies movie cartoons. Hopefully this will be a fore runner of a spectrum of material for Disney enthusiasts that will be provided now under Mr. Geppi.
Marvin Winitz

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Lars Jensen wrote:
> Is there somebody out there who knows Michael Naiman's email address and
> is willing to let me know what it is?

Don't know if it's still valid, but you could always try:

From: Michael Naiman <mn at inet1.inetworld.net>
Date: Thu, 1 Apr 1999 12:02:31 -0800

Stefan

Dean Rekich wrote:

> While the interview on www.comicon.com/pulse says that the upcoming
> World of the Dragon Lords will be by Ferioli, I think this is a
> mistake and the story was done by Cavazzano. Can anyone confirm this?

Ferioli is a member of this list, so it's easy enough to find out.
Cesar, did you have anything to do with the Dragonlord stories?

Jano Rohleder wrote:

> I'm also quite disappointed in DDA and MMA (especially as MMA was once
> announced to feature great Italian stories). They include mostly very
> poor Egmont productions by Bancells & Co with idiotic plots.
>
> Well, I guess it's simply for the reason that it's cheaper to use
> Egmont productions. While those are produced in English (and therefore
> have to be modified only a litte for publication), the Italian stories
> would have to be translated first, as they are entirely Italian. And a
> translator is an additional cost factor which is probably unprofitable
> for Gemstone.

So to sum up: Gemstone are cheapskates, and I and most other Egmont
creators who work on the pocketbook stories are hacks, non-talents
and/or idiots. And you give Bancells an honorary mention.

You know, sometimes I wonder whether certain people have had all traces
of common decency surgically removed. What kind of person would post a
blanket statement like the one quoted above on a message board where
several of said creators and publishers are members? Do you also phone
up TV writers and tell them they suck if you don't like their work?
Somehow I doubt it.

If you are dissatisfied with the quality of stories being produced by
ECN, then why don't you voice those dissatisfactions here where you can
actually interact with some of the relevant creators? Let DCML know what
you like, what you don't like and what you would prefer to see. I can't
guarantee writers and artists (including me) will follow your wishes, or
will even reply to your postings, but at least there's a chance somebody
will think you have a point. I know I'm always interested in
constructive input. (As long as we're not talking about story ideas!!!)
Just telling creators their work sucks won't lead to better stories.

Lars Jensen

From Chet Marshall's daughter:

>I ran across this website, and would love to know what you know, about Chet
Marshall's work.
>For you see, I am his daughter, and only have faint memories of his art
work, as a small child. Any original art pieces my mother had, were sold,
by the time I reached eight or nine.
>I am hoping you may have any pictures of his artwork, that you could share
with me.
>Any information, at all, would be greatly appreciated.

>Many Thanks,
>Kristabelle Skylar Marshall"

I already send Kristabelle the Donald and Mickey Gladstone cover and the
article on it. If someone has more scans, please, send me!

Fernando!

Hi all!

Here are the previews for the Disney comics coming out in July 2005 from
Previews Volume XV, #5.

Donald Duck Adventures #13 --- Three Disney adventure stories that include
Donald Duck in "Masque of the Mardi Gras," by Dave Rawson and Manrique; Mickey
Mouse in "Mouse by Mousewest," by Stefan Petrucha and Miguel; and Uncle Scrooge
in "Scrooge McDuck's Feeling for Ice," by John Blair Moore and Carrion. FC,
7x10, 128 pages $7.95

Donald Duck and Friends #330 --- Features the Carl Barks classic 1944 strip
"Rival Boatmen," as well as Mickey in "The Mouse Who Knew Too Much" by Pat and
Carol McGreal and Noel Van Horn. Plus, Donald Duck in "The Pauper and The
Pauper," by Gail Renard and Manrique. 32 pages, FC $2.95

Mickey Mouse Meets Blotman --- by Pat and Carol McGreal and Joaquin. This
Disney one-shot features Mickey Mouse and a heroic version of the Phantom Blot.
When Mickey Mouse is hurled into an alternate dimension by one of Doc Stat's
inventions, he discovers that everything in this new world is a little
different. 7x10, 48 pages, FC $5.99

Mickey Mouse and Friends #279 --- Features "Time and Time Again," by Pat and
Carol McGreal (defintely a household in which the typewriter/word processor is
the most used appliance) and Cesar Feroli. See Mickey and Doc Static time
travel to ancient Egypt! Plus, a Grandma Duck short, and a vintage Super Goof
tale by Tony Strobl and Steve Steere, in which Goofy encounters Super Bad Wolf!
32 pages, FC $2.95

Walt Disney's Comics and Stories #659 --- Pat and Carol McGreal (Honey? The
typewriter broke! The third one in a month!) and Cesar Feroli's epic Mythos
Island saga continues in this issue with "Drag of the Dragon" and "Menace in the
Mist." Marco Rota provides the lead Donald tale, "Blazing Tongues," along with
an accompanying cover. The book ends with a classic William Van Horn story,
"That Ol' Soft Soap." 7x10, 64 pages, FC $6.95

Uncle Scrooge #344 --- Uncle Scrooge squares off against Magica in Marco
Rota's "Pike Patrol," then Sly K. Switcheroo in Romano Scarpa's "All You Need is
Love." Also there's Beagle Boys and Gyro shorts, and the vintage Carl Barks
tale from 1967 "The Cattle King" rounds things out. 7x10, 64 pages, FC $6.95

----------------------------------------------

And some other stuff:

W.I.T.C.H. Volume 1 --- The first two W.I.T.C.H. stories are shown in their
original comic format. See what happens when the five ordinary girls discover
their extraordinary powers! 6x9, 128 pages, FC $4.99

W.I.T.C.H. Volume 2 --- Two more W.I.T.C.H. stories are bound together! In
bright, four-color illustrations, the Guardians of the Veil learn to control
their new powers and travel to Metamoor for the first time. 6x9, 128 pages, FC
$4.99

That's So Raven Volume 5: It Takes Two --- Raven foresees Eddie receiving an
F on his Spanish test, which means he'll get kicked off the basketball team.
But her vision is also included all of the test answers! Will Raven help Eddie
cheat in order to fulfill his hoop dreams? And when Raven has a vision of her
father getting fired from his job at the restaurant, can she prevent her dad's
career from going up in smoke? 5x7 7/16, 96 pages $7.99

And now for the comic that actually has some quality! (that was sarcasm for
those who initials are DDM ;)

Lizzie McGuire Volume 13: Gordo's Video & Obsession --- Lizzie becomes a
fanatical champion for the enviroment and the homeless. Will all the good deeds
make her friends and family want peace... from Lizzie? Meanwhile, Matt's new
role as hall monitor makes him write too many citations -- to his family members!
Later, when Gordo sets up a hidden video recorder around the school, he
realizes the students aren't exactly smiling that they're on candid camera! 5x7
7/16, 96 pages $7.99

----------------------------------

A really good month. US 344 sounds like it may be one of the best US issues
ever with Rota/Scarpa/lesser known Barks stories. Gemstone is getting better
with almost every month that passes by as far as I'm concerned (except for the
Bucky Bug conspirators that obviously haunts their halls. ;)

Derek Smith

Cord:

Here's some clarification for you:

> There were four different cels for each comic book page: one for cyan,
> one for magenta, one for yellow and one for black.

Essentially correct.

> Probably all four
> looked black and white and the dot screens used to determine the
> colored
> areas also consisted of black dots of varying size and distance.

Again, correct...but only when talking about the film negative stage.
For comics they used conventional dot screens, where the dots were
spaced evenly as measured from their centers, according to their
resolution (lpi, dpi, or whatever other terms for resolution you might
care to dig up). In fact, on screened films, solid areas are actually
dots so large that they meld together.

> Do you know how many different types of dot cels there were?
> With only one type (and three colors) one would get a total of 2^3=8
> different colors in print.
> With two different one would be able to print 3^3=27
> With four different dot screens you could print 5^3=216 different
> colors. Which seems pretty much the number of colors available back
> then.

The size of the dot determined the amount of that color - alone or in
combination with the other two - that appeared at the final printed
stage. It was very expensive, by traditional process camera methods, to
"call out" dots at other than a very limited number of sizes (expressed
as percentages of coverage), which severely limited the "visual"
pallette of colors you saw in comics. And you could not, in ordinary
circumstances, to blends or fades of any kind.

> So to color a comic book you needed a photostat of the inked (but
> uncolored) artwork, a knife and four types of dot screens.

Depends on what stage of coloring your discussing. A colorist was
someone who took photocopies - at Gladstone this was off of a standard
office copier - of the art and painted on them directly with dyes that
would approximate the printed color, and then marked these up to
indicate the color values - that is, the dot sizes of cyan, magenta,
and/or yellow - that should be used for each colored area. (There were
other methods, but this was the most common.)

The color house did need a photostat of the inked, uncolored artwork -
the base art. Over this would be applied three clear film overlays, one
each to represent cyan, magenta, and yellow. These overlays would, in
the case of Chemical Color, then be painted in various gray tones to
represent the prescribed dot sizes of these three colors. These four
elements would then be disassembled and put, one at a time, on the
process camera to create four film negatives - an unscreened one for
the base art, and three screened ones for the cyan, magenta, and
yellow.

> The main task
> probably was to prevent the dots on the three color cels from
> overlapping (or at least from overlapping completely). Maybe the dots
> on
> the screens were not spaced regularly but at individually randomly
> varying distances?

Actually, overlap was not an issue - screen angle was. And in
conventional printing it still is. You have to angle the screens -
mechanically or electronically - so that the CMY creates a proper
"rosette" on the final printed page. A good dot "rosette" is the most
visually effective way of creating all the colors of the rainbow on a
printed page using only the CMY primaries. Computers have greatly eased
the complications of this, but it's still no walk in the park to get it
right.

> Since the end result could not be seen before the issue was printed the
> results were probably not always as expected.

In fact, it could be seen before printing, but only by the costly
method of color keys - base art with three overlays, each showing
actual cyan, magenta, or yellow - which many, if not most, comics
publishers chose to forgo.

What I describe is how things generally worked by the mid-1980s,
definitely the tail-end of the era of traditional production methods.
By then desktop publishing was starting to make itself felt, and it
wouldn't be long before it changed just about everything.

Gary

Here is one example:

http://img53.echo.cx/img53/7145/insert1pz5sl.jpg
http://img53.echo.cx/img53/3662/insert1mm7ay.jpg

http://img53.echo.cx/img53/8889/insert2pz8cw.jpg
http://img53.echo.cx/img53/6618/insert2mm0mx.jpg

http://img53.echo.cx/img53/5929/insert3pz3wp.jpg
http://img53.echo.cx/img53/2650/insert3mm5mr.jpg

from
http://www.donaldisten.dk/comics/forum/forum_posts.asp?TID=252&get=last#3322

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Ok, this is the piece of news I would have never, ever, wanted to write.
But unfortunately I have too.

Romano Scarpa passed away this morning, peacefully during his sleep,
after a long sickness.

This is all I know at the moment... I'd have so many things to say, but
frankly I don't really feel much like writing at the moment.

He was the best, he taught us a lot, we won't forget him.

Francesco