>I assume "stats" is short for "stationary": The camera which is used to
>shoot stats is mounted to a *stationary* plate.
>The exposure time of the photographic material is probably rather long
>(several minutes?) so the camera has to be stationary to get sharp
>pictures.
Yes, indeed. I have worked with such camera. Sized of a small car and placed
in a dark room. It's just like Gary Leach described (Mon Apr 18 20:19:11
CEST 2005). In older days nearly all the pictures newspaper or magazine
(etc.) used were made using this kind of camera. Original picture was
positioned under contact frame, under glass. Image was exposured on
photosensitive paper through lenses. Photographs were processed using dotted
"ben day" screens layed over the photographic paper, to make them printable.
With black and white art, this was not necessary, of course.
I pressume Western shot their stats in smaller size, to save the space. If
they had done them 1:1 there would be no sense at all.
Same camera was used to make printing films too. Negative films which were
used to make printer's plates. Maybe a word "stats" is used to mean these
films also?
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kyl? 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
041 489 77 81--------------- -
timoro at hotmail.com
timoro2 at yahoo.com
eFax 1 214 481 33 30 ----- -
?? Personal:
http://www.geocities.com/timoro2/
?? Ankkalinnan Pamaus:
http://www.perunamaa.net/ankistit/
?? Kvaak-sarjakuvaportaali:
http://www.kvaak.fi
.................................
"Rumble on, buxom bumble bee!
Go sit on a cowslip - far from me!"
_________________________________________________________________
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Author
Topic: 200504
(149 messages)
Timo Ronkainen
Stats
Message 91 -
2005-04-19 at 11:45:01
Kimba1962
DCML Digest, Vol 26, Issue 22 ("Stats")
Message 92 -
2005-04-19 at 14:36:19
I'm surprised that the abbreviation of "stats" for "statistics" is not better known. It's almost universally used amongst my students. Strangely enough, in Britain, "maths" is commonly used as a shorthand for "mathematics," yet this particular abridgement is virtually unknown in the States!
Chris Barat
> To those wondering about the English word "stats": it is short for
> "statistics". (Your guess that it meant "photocopies" is not bad!)
Chris Barat
> To those wondering about the English word "stats": it is short for
> "statistics". (Your guess that it meant "photocopies" is not bad!)
Cord Wiljes
AW: Stats
Message 93 -
2005-04-19 at 15:26:35
Timo wrote:
> Photographs were processed using dotted "ben day" screens
> layed over the photographic paper, to make them printable.
I always wondered how these dot screens were created before the advent
of the computer.
I know in b/w comics there are cels with different pre-printed dot
screens, which can simply be rubbed over the artwork by the artist. They
become part of the linework.
But how did the printer create the colors from just three primary colors
by mixing little dots of varying sizes? Comics were not colored back
then but instead a number was written into the artwork which represented
a color of the (very limited) color spectrum. Was there a special
apparatus involved to translate this into color grids? Or was this done
manually by the printer?
Did Barks write the color codes to his comics himself? Or who else
colored the Barks ducks?
Is there a list of the color codes used back then - with a translation
into current RGB/CMYK?
Did the color codes of the original printing survive? Or could they be
recreated from the printed books?
Were all original Barks comics printed at one printing house? If not: Do
copies of the same run differe slightly? Did different printing houses
use different color codes?
Has there ever been some academic approach to chronicle the history of
(comics) printing? Are there museums where photostat cameras are
preserved?
Cord
> Photographs were processed using dotted "ben day" screens
> layed over the photographic paper, to make them printable.
I always wondered how these dot screens were created before the advent
of the computer.
I know in b/w comics there are cels with different pre-printed dot
screens, which can simply be rubbed over the artwork by the artist. They
become part of the linework.
But how did the printer create the colors from just three primary colors
by mixing little dots of varying sizes? Comics were not colored back
then but instead a number was written into the artwork which represented
a color of the (very limited) color spectrum. Was there a special
apparatus involved to translate this into color grids? Or was this done
manually by the printer?
Did Barks write the color codes to his comics himself? Or who else
colored the Barks ducks?
Is there a list of the color codes used back then - with a translation
into current RGB/CMYK?
Did the color codes of the original printing survive? Or could they be
recreated from the printed books?
Were all original Barks comics printed at one printing house? If not: Do
copies of the same run differe slightly? Did different printing houses
use different color codes?
Has there ever been some academic approach to chronicle the history of
(comics) printing? Are there museums where photostat cameras are
preserved?
Cord
Timo Ronkainen
AW: Stats
Message 94 -
2005-04-19 at 16:45:39
Cord:
>I know in b/w comics there are cels with different pre-printed dot
>screens, which can simply be rubbed over the artwork by the artist. They
>become part of the linework.
Yes that was most common thing with b/w newspaper strips.
>But how did the printer create the colors from just three primary colors
>by mixing little dots of varying sizes? Comics were not colored back
>then but instead a number was written into the artwork which represented
There were young ladies as colorists (true!), who used either half
mechanical method or just by creating different layers of transparent dotted
cels cutting them with exacto knife (very sharp pen like knife). Each color
had own separate layer: cyan ("blue"), magenta ("red"), yellow and black
(line art work). That's where CMYK comes! (K= black Key film). They were
shot under photographic apparatus and made into films, which were then
combined together in printer.
Using different kind of dotted cels, varying density of dots (described as
percentage and quantity of dotted lines within an inch), you could create
different kind of colors.
Usually different colors were identified with codes. You could create 16 to
256 colors at least this way, depending on how many different shades of each
separate colors were used.
>Did Barks write the color codes to his comics himself?
As far as I know, no he didn't.
>Or could they be
>recreated from the printed books?
It's possible, it's hard work but it could be done with modern scanners.
>Has there ever been some academic approach to chronicle the history of
>(comics) printing? Are there museums where photostat cameras are
>preserved?
There was somewhere on the net some articles about this. I wonder where it
was.
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kyl? 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
041 489 77 81--------------- -
timoro at hotmail.com
timoro2 at yahoo.com
eFax 1 214 481 33 30 ----- -
?? Personal:
http://www.geocities.com/timoro2/
?? Ankkalinnan Pamaus:
http://www.perunamaa.net/ankistit/
?? Kvaak-sarjakuvaportaali:
http://www.kvaak.fi
.................................
"Rumble on, buxom bumble bee!
Go sit on a cowslip - far from me!"
_________________________________________________________________
Lataa ilmainen MSN Messenger http://messenger.msn.fi
>I know in b/w comics there are cels with different pre-printed dot
>screens, which can simply be rubbed over the artwork by the artist. They
>become part of the linework.
Yes that was most common thing with b/w newspaper strips.
>But how did the printer create the colors from just three primary colors
>by mixing little dots of varying sizes? Comics were not colored back
>then but instead a number was written into the artwork which represented
There were young ladies as colorists (true!), who used either half
mechanical method or just by creating different layers of transparent dotted
cels cutting them with exacto knife (very sharp pen like knife). Each color
had own separate layer: cyan ("blue"), magenta ("red"), yellow and black
(line art work). That's where CMYK comes! (K= black Key film). They were
shot under photographic apparatus and made into films, which were then
combined together in printer.
Using different kind of dotted cels, varying density of dots (described as
percentage and quantity of dotted lines within an inch), you could create
different kind of colors.
Usually different colors were identified with codes. You could create 16 to
256 colors at least this way, depending on how many different shades of each
separate colors were used.
>Did Barks write the color codes to his comics himself?
As far as I know, no he didn't.
>Or could they be
>recreated from the printed books?
It's possible, it's hard work but it could be done with modern scanners.
>Has there ever been some academic approach to chronicle the history of
>(comics) printing? Are there museums where photostat cameras are
>preserved?
There was somewhere on the net some articles about this. I wonder where it
was.
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kyl? 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
041 489 77 81--------------- -
timoro at hotmail.com
timoro2 at yahoo.com
eFax 1 214 481 33 30 ----- -
?? Personal:
http://www.geocities.com/timoro2/
?? Ankkalinnan Pamaus:
http://www.perunamaa.net/ankistit/
?? Kvaak-sarjakuvaportaali:
http://www.kvaak.fi
.................................
"Rumble on, buxom bumble bee!
Go sit on a cowslip - far from me!"
_________________________________________________________________
Lataa ilmainen MSN Messenger http://messenger.msn.fi
Jeanmarcbano
DCML Digest, Vol 26, Issue 22 ("Stats")
Message 95 -
2005-04-19 at 23:02:11
This is well known in France too, this is the same meaning for the french translation of the word; here too 'stats' means statistics, but the abbreviation is especially used in the everyday language.
Cord Wiljes
AW: AW: Stats
Message 96 -
2005-04-20 at 02:36:19
TIMO: Wow! Thank you for the great intro into the magic of comic book
coloring in the days of yore.
If I understand the process correctly:
There were four different cels for each comic book page: one for cyan,
one for magenta, one for yellow and one for black. 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.
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.
So to color a comic book you needed a photostat of the inked (but
uncolored) artwork, a knife and four types of dot screens. 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?
Since the end result could not be seen before the issue was printed the
results were probably not always as expected.
Cord
coloring in the days of yore.
If I understand the process correctly:
There were four different cels for each comic book page: one for cyan,
one for magenta, one for yellow and one for black. 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.
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.
So to color a comic book you needed a photostat of the inked (but
uncolored) artwork, a knife and four types of dot screens. 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?
Since the end result could not be seen before the issue was printed the
results were probably not always as expected.
Cord
ZeldasTriforce
Upcoming Gemstone Projects
Message 97 -
2005-04-20 at 07:16:37
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=36&t=003676
Mickey and the Gang, a coffee table book that will collect all of the Disney
story pages that were originally featured in Good Housekeeping Magazine in the
1930s and 1940s, along with numerous other art depicting from where those
pages were derived and for what they served as inspiration. It will be available
in November as both a softback and a hardback.
Mickey Mouse Meets Blotman - a one-shot 48-page comic in which > Mickey is
> transported to an alternate dimension in which his arch-foe, The Phantom Blot,
> is a super hero, Blotman. Available in July.
World of the Dragon Lords - a 176-page graphic novel, written by Byron
Erickson
> and illustrated by Cesar Ferioli, in which Uncle Scrooge, Donald, Huey,
> Dewey, and Louie get trapped in feudal world that is overseen by dictatorial
> barbarians who ride dragons as steeds. Available in August.
Donald Duck and Uncle Scrooge - a 64-page one-shot comic that will print, for
> the first time in the US, 'Somewhere in Nowhere,' the last story into which
> Carl Barks had input before his death. Disney writer John Lustig scripted
> the story based on Barks' notes and Patrick Block illustrated it. Also in this
> comic is a reprint of Barks' 'North of the Yukon,' upon which 'Somewhere in
> Nowhere' is based. Available in October.
> And in the planning stages is a book that will collect all of the Rosa
> stories that are ancillary to his Life of Scrooge series. Rosa has written a
> number of tales that fit in-between the segments of Life of Scrooge. They are, to
> date: 'Of Ducks and Dimes and Destinies,' Chapter 0; 'Cowboy Captain of the
> Cutty Sark,' Chapter 3-B; 'The Vigilante of Pizen Bluff,' Chapter 6.5;
> 'Hearts of the Yukon,' Chapter 8-C; and 'The Sharpie of Culebra Cut,' Chapter 10-B.
> Rosa is currently working on a Chapter 8-B and that will be included if
> available at time of publication. Release date to be determined.
------------------------------------------
Thus continues my love/hate relationship with Gemstone. Love from my heart
and hate from my wallet. ;) So much good stuff to get! That "World of Dragon
Lords" graphic novel especially blows my mind. I didn't even know there were
Disney graphic novels! I thought "Life and Times" was as close to a GN as Duck
comics came. When was "Dragon Lords" first released? Anyway, it's great to see
such things come out over here. It really broadens my ideas as to what a Disney
comic can be.
Also, that "Mickey Mouse and The Gang" is an example of the kind of stuff I
hoped Gemstone would do, sort of casting a light on and exploring the history
of Disney comics. I hope other books like this are in the planning for the
future (2006 and beyond).
All in all, a great day to be a fan of Disney/Gemstone!
Derek Smith
Mickey and the Gang, a coffee table book that will collect all of the Disney
story pages that were originally featured in Good Housekeeping Magazine in the
1930s and 1940s, along with numerous other art depicting from where those
pages were derived and for what they served as inspiration. It will be available
in November as both a softback and a hardback.
Mickey Mouse Meets Blotman - a one-shot 48-page comic in which > Mickey is
> transported to an alternate dimension in which his arch-foe, The Phantom Blot,
> is a super hero, Blotman. Available in July.
World of the Dragon Lords - a 176-page graphic novel, written by Byron
Erickson
> and illustrated by Cesar Ferioli, in which Uncle Scrooge, Donald, Huey,
> Dewey, and Louie get trapped in feudal world that is overseen by dictatorial
> barbarians who ride dragons as steeds. Available in August.
Donald Duck and Uncle Scrooge - a 64-page one-shot comic that will print, for
> the first time in the US, 'Somewhere in Nowhere,' the last story into which
> Carl Barks had input before his death. Disney writer John Lustig scripted
> the story based on Barks' notes and Patrick Block illustrated it. Also in this
> comic is a reprint of Barks' 'North of the Yukon,' upon which 'Somewhere in
> Nowhere' is based. Available in October.
> And in the planning stages is a book that will collect all of the Rosa
> stories that are ancillary to his Life of Scrooge series. Rosa has written a
> number of tales that fit in-between the segments of Life of Scrooge. They are, to
> date: 'Of Ducks and Dimes and Destinies,' Chapter 0; 'Cowboy Captain of the
> Cutty Sark,' Chapter 3-B; 'The Vigilante of Pizen Bluff,' Chapter 6.5;
> 'Hearts of the Yukon,' Chapter 8-C; and 'The Sharpie of Culebra Cut,' Chapter 10-B.
> Rosa is currently working on a Chapter 8-B and that will be included if
> available at time of publication. Release date to be determined.
------------------------------------------
Thus continues my love/hate relationship with Gemstone. Love from my heart
and hate from my wallet. ;) So much good stuff to get! That "World of Dragon
Lords" graphic novel especially blows my mind. I didn't even know there were
Disney graphic novels! I thought "Life and Times" was as close to a GN as Duck
comics came. When was "Dragon Lords" first released? Anyway, it's great to see
such things come out over here. It really broadens my ideas as to what a Disney
comic can be.
Also, that "Mickey Mouse and The Gang" is an example of the kind of stuff I
hoped Gemstone would do, sort of casting a light on and exploring the history
of Disney comics. I hope other books like this are in the planning for the
future (2006 and beyond).
All in all, a great day to be a fan of Disney/Gemstone!
Derek Smith
Germund Silvegren
Stats
Message 98 -
2005-04-20 at 13:48:03
> I know in b/w comics there are cels with different pre-printed dot
> screens, which can simply be rubbed over the artwork by the artist.
> They become part of the linework.
Regarding "ben day" screens, I have seen handwritten directions on
1930's Sunday page originals where the artist has indicated areas
supposed to be dotted by "ben day". I assume it worked the same way
for the Disney Sundays when "ben day" was used.
Taliaferro and Gottfredson sometimes used plastic cells sheets, which
were cut into pieces and glued to the art. I guess it was then
painted with some liquid (or rubbed?) to expose the dotted pattern.
At least in 1950's Taliaferro originals, the borders of the plastic
do not always match the dotted areas. Does anybody here know anything
about the chemistry behind these processes or where to find out?
I've also been wondering about the chemistry behind craftint(?), the
procedure where two different solutions were used to expose
perpendicular sets of parallell lines in the paper, making it
possible for the artist to create wonderful patterns of dark and
lighter grays (depending on whether both liquids or only one were
applied to the same area). I believe Gottfredson use this technique
too in some of the 1938/39 daily adventures (Mighty Whale Hunter etc)
but I have to check that again.
/Germund
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
> screens, which can simply be rubbed over the artwork by the artist.
> They become part of the linework.
Regarding "ben day" screens, I have seen handwritten directions on
1930's Sunday page originals where the artist has indicated areas
supposed to be dotted by "ben day". I assume it worked the same way
for the Disney Sundays when "ben day" was used.
Taliaferro and Gottfredson sometimes used plastic cells sheets, which
were cut into pieces and glued to the art. I guess it was then
painted with some liquid (or rubbed?) to expose the dotted pattern.
At least in 1950's Taliaferro originals, the borders of the plastic
do not always match the dotted areas. Does anybody here know anything
about the chemistry behind these processes or where to find out?
I've also been wondering about the chemistry behind craftint(?), the
procedure where two different solutions were used to expose
perpendicular sets of parallell lines in the paper, making it
possible for the artist to create wonderful patterns of dark and
lighter grays (depending on whether both liquids or only one were
applied to the same area). I believe Gottfredson use this technique
too in some of the 1938/39 daily adventures (Mighty Whale Hunter etc)
but I have to check that again.
/Germund
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
Gary Leach
DCML Digest, Vol 26, Issue 23
Message 99 -
2005-04-20 at 21:53:49
Cord, Timo,
> There were young ladies as colorists (true!)
Here in the States, for comics, the job of creating the mechanicals for
color reproduction was seen - and handled - as low-skilled, low-paying
work. And, yes, it was mainly done by women.
> who used either half mechanical method or just by creating different
> layers of transparent dotted cels cutting them with exacto knife (very
> sharp pen like knife).
Right, except for the "dotted" part. Layers, or overlays, were created
using either rubylith or amberlith (clear film coated on one side by
colored gel), that were then put on the camera and screened to create
dots - in their the proper density and angle for the particular printed
colors they were cut for. The trouble with this method is that one
overlay can only account for one value of one color. Another method,
and the one used by the last major traditional-method - that is,
pre-computer - comics color house in this country, Chemical Color, used
gray-toned "fluorgraphic" paints that could represent different values
of cyan, magenta, or yellow on one overlay. The comics, digests and
albums of Gladstone I - and all comics in the U.S. prior to the late
1970s - were done this way, using a very limited palette; in the last
years of that era it was down to 64 colors.
> Using different kind of dotted cels, varying density of dots
> (described as percentage and quantity of dotted lines within an inch),
> you could create different kind of colors.
In "the good ol' days" the color dot density was described as
lines-per-inch (lpi - a measure of vertical resolution that implies the
horizontal resolution), and Gladstone I comics interiors were done at
65 lpi. Very coarse, as most "quality" color printing started at 133
lpi! There was also the more explicit dots-per-inch (dpi), but today
it's all down to pixels-per-inch (ppi - though you still often see this
referred to, quite inaccurately, as dpi).
> Usually different colors were identified with codes. You could create
> 16 to 256 colors at least this way, depending on how many different
> shades of each separate colors were used.
You could call colors out as codes using CMY (reflective primary colors
- all printed matter is reflective), but not RGB (transmissive primary
colors - movie projection, tv and computer screens). Chemical Color,
however, used YRB - yellow, red, blue - designations, corresponding to
yellow, magenta, cyan. Consistency in terminology has never been on of
the publishing biz' strong suits.
Gary
> There were young ladies as colorists (true!)
Here in the States, for comics, the job of creating the mechanicals for
color reproduction was seen - and handled - as low-skilled, low-paying
work. And, yes, it was mainly done by women.
> who used either half mechanical method or just by creating different
> layers of transparent dotted cels cutting them with exacto knife (very
> sharp pen like knife).
Right, except for the "dotted" part. Layers, or overlays, were created
using either rubylith or amberlith (clear film coated on one side by
colored gel), that were then put on the camera and screened to create
dots - in their the proper density and angle for the particular printed
colors they were cut for. The trouble with this method is that one
overlay can only account for one value of one color. Another method,
and the one used by the last major traditional-method - that is,
pre-computer - comics color house in this country, Chemical Color, used
gray-toned "fluorgraphic" paints that could represent different values
of cyan, magenta, or yellow on one overlay. The comics, digests and
albums of Gladstone I - and all comics in the U.S. prior to the late
1970s - were done this way, using a very limited palette; in the last
years of that era it was down to 64 colors.
> Using different kind of dotted cels, varying density of dots
> (described as percentage and quantity of dotted lines within an inch),
> you could create different kind of colors.
In "the good ol' days" the color dot density was described as
lines-per-inch (lpi - a measure of vertical resolution that implies the
horizontal resolution), and Gladstone I comics interiors were done at
65 lpi. Very coarse, as most "quality" color printing started at 133
lpi! There was also the more explicit dots-per-inch (dpi), but today
it's all down to pixels-per-inch (ppi - though you still often see this
referred to, quite inaccurately, as dpi).
> Usually different colors were identified with codes. You could create
> 16 to 256 colors at least this way, depending on how many different
> shades of each separate colors were used.
You could call colors out as codes using CMY (reflective primary colors
- all printed matter is reflective), but not RGB (transmissive primary
colors - movie projection, tv and computer screens). Chemical Color,
however, used YRB - yellow, red, blue - designations, corresponding to
yellow, magenta, cyan. Consistency in terminology has never been on of
the publishing biz' strong suits.
Gary
Deanmary
Numerous questions and comments about Gemstone
Message 100 -
2005-04-20 at 23:09:47
This is going to be full of questions for Gary or anyone else at
Gemstone and some comments.
I must say how thrilled I am about Gemstones upcoming plans! They
sound quite ambitious and contain a lot of great things!
First off, a couple of questions about Donald Duck Adventures and
Mickey Mouse Adventures. I think about a year ago we heard that they
were going to be available in Borders, and Barnes and Noble
bookstores. As far as I can tell though, they are not carrying them
yet. Has there been some snag in these plans or other hold up? If
so, are they eventually going to appear in these stores or is that not
going to happen at all? Also, are we going to be seeing any long
classic stories by such Italian greats such as Scarpa, Cavazzano, etc.
in upcoming issues of DDA and MMA? I have been enjoying the stories
that have been put in DDA and MMA so far, but I am surprised that this
format has not been used to showcase some of these classic long
stories by such greats. Is there a reason such creators have not
appeared in DDA and MMA yet?
It looks like we *will* be seeing some work by Cavazzano soon
according to inducks. 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?
With the Lo$ and the Dragon Lords TPBs, we will be getting two new
TPBs in the space of only a few months! I have been waiting for
Gemstone to get into publishing TPBs since they got the license, and I
am happy to see that they are publishing two so near in the future.
If Lo$ and Dragon Lords sell well, how big an effect will that have
the possibility of printing many more TPBs in the future? As I have
stated many times on this mailing list, I think Gemstone could do very
well with publishing a number of TPBs. It looks like we will find out
in the upcoming months. I hope that they turn out to be a great
success for Gemstone and just the start of numerous upcoming TPB
collections. If that do not sell well :(, Gary can tell me how wrong
I was! I guess it is "put up, or shut up" time for me in that regard!
:)
Since the follow up to the Lo$ TPB with other tales of Scrooge's past
can at most include 6 such stories, are there any thoughts to
including other Rosa stories that would fit well with these stories?
Two that come to my mind are "The Dutchman's Secret" being a sequel to
"The Vigilante of Pizen Bluff", and "The Dream of a Lifetime" since it
deals so much with Scrooge's past. Are there other stories that
people on the list would like to see in a second Lo$ TPB?
I was wondering if you could tell us Gary if there are plans, however
nebulous and far away yet, for not only a Barks TPB library but also a
Rosa and Van Horn TPB library? If there are no such plans, could you
say why? Perhaps Gemstone does not feel they would sell well, or
there is not enough manpower at Gemstone now for such a plan? Of
course there may be many other reasons as well.
I am thrilled to hear the Gemstone is going to publish "Mickey and the
Gang" late this year! According to Amazon, the softcover version will
only cost $39.99. I really appreciate the fact of Gemstone making an
affordable softcover version for people who can not afford the $149
hardcover version. If I am not mistaken, I believe that Applewood
Books was going to publish a similar books about 7 or 8 years ago but
somehow it did not get published. Whatever the case, I am thrilled
that Gemstone is going to be publishing such a great collection of the
Disney pages from Good Housekeeping Magazine!
I must admit I get somewhat confused reading all about the "stats" and
which company has them, which are available, etc. However, does this
issue explain why certain Barks' reprints published by Gemstone look
just great while others look kind of muddy and photocopied badly?
Finally, on an off topic point, I have to second what Cord Wiljes said
about the Little Lulu comics being reprinted by Dark Horse. I too had
never read Little Lulu stories, and they are just fantastic! I
imagine that many people who appreciate Barks' work would love to read
these stories as well.
Dean Rekich
Gemstone and some comments.
I must say how thrilled I am about Gemstones upcoming plans! They
sound quite ambitious and contain a lot of great things!
First off, a couple of questions about Donald Duck Adventures and
Mickey Mouse Adventures. I think about a year ago we heard that they
were going to be available in Borders, and Barnes and Noble
bookstores. As far as I can tell though, they are not carrying them
yet. Has there been some snag in these plans or other hold up? If
so, are they eventually going to appear in these stores or is that not
going to happen at all? Also, are we going to be seeing any long
classic stories by such Italian greats such as Scarpa, Cavazzano, etc.
in upcoming issues of DDA and MMA? I have been enjoying the stories
that have been put in DDA and MMA so far, but I am surprised that this
format has not been used to showcase some of these classic long
stories by such greats. Is there a reason such creators have not
appeared in DDA and MMA yet?
It looks like we *will* be seeing some work by Cavazzano soon
according to inducks. 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?
With the Lo$ and the Dragon Lords TPBs, we will be getting two new
TPBs in the space of only a few months! I have been waiting for
Gemstone to get into publishing TPBs since they got the license, and I
am happy to see that they are publishing two so near in the future.
If Lo$ and Dragon Lords sell well, how big an effect will that have
the possibility of printing many more TPBs in the future? As I have
stated many times on this mailing list, I think Gemstone could do very
well with publishing a number of TPBs. It looks like we will find out
in the upcoming months. I hope that they turn out to be a great
success for Gemstone and just the start of numerous upcoming TPB
collections. If that do not sell well :(, Gary can tell me how wrong
I was! I guess it is "put up, or shut up" time for me in that regard!
:)
Since the follow up to the Lo$ TPB with other tales of Scrooge's past
can at most include 6 such stories, are there any thoughts to
including other Rosa stories that would fit well with these stories?
Two that come to my mind are "The Dutchman's Secret" being a sequel to
"The Vigilante of Pizen Bluff", and "The Dream of a Lifetime" since it
deals so much with Scrooge's past. Are there other stories that
people on the list would like to see in a second Lo$ TPB?
I was wondering if you could tell us Gary if there are plans, however
nebulous and far away yet, for not only a Barks TPB library but also a
Rosa and Van Horn TPB library? If there are no such plans, could you
say why? Perhaps Gemstone does not feel they would sell well, or
there is not enough manpower at Gemstone now for such a plan? Of
course there may be many other reasons as well.
I am thrilled to hear the Gemstone is going to publish "Mickey and the
Gang" late this year! According to Amazon, the softcover version will
only cost $39.99. I really appreciate the fact of Gemstone making an
affordable softcover version for people who can not afford the $149
hardcover version. If I am not mistaken, I believe that Applewood
Books was going to publish a similar books about 7 or 8 years ago but
somehow it did not get published. Whatever the case, I am thrilled
that Gemstone is going to be publishing such a great collection of the
Disney pages from Good Housekeeping Magazine!
I must admit I get somewhat confused reading all about the "stats" and
which company has them, which are available, etc. However, does this
issue explain why certain Barks' reprints published by Gemstone look
just great while others look kind of muddy and photocopied badly?
Finally, on an off topic point, I have to second what Cord Wiljes said
about the Little Lulu comics being reprinted by Dark Horse. I too had
never read Little Lulu stories, and they are just fantastic! I
imagine that many people who appreciate Barks' work would love to read
these stories as well.
Dean Rekich
Anthony Vuono
Other Stories
Message 101 -
2005-04-21 at 00:01:17
>Are there other stories that
>people on the list would like to see in a second Lo$ TPB?
Personally, I do not think the "Dutchman's Secret" should be included in
any "Life of Scrooge" collection since it does not deal with Scrooge's past
but rather his "present." However, the only other story from the 1950s era
that I do believe merits consideration for such a collection is Rosa's "A
Little Something Special," the 50th anniversay masterpiece that pits Scrooge
against all the major villains of his life and contains such a beautiful
ending with Goldie. I view this tale as sort of an epilogue and conclusion
to the whole "Life of Scrooge" saga.
As for future tradebacks, I do hope Gemstone decides to do a special
Barks/Rosa Yukon/Goldie collection one day, especially since Don Rosa is now
working on Chapter 8B. I think that could sell really well, and all those
related stories, both past and present, flow together as they are based off
one another. Anyways, that is just one of my many ideas. In the meantime, I
await with great anticipation the publications that Gemstone has lined up
for us this summer!!!
Sincerely,
Anthony
>people on the list would like to see in a second Lo$ TPB?
Personally, I do not think the "Dutchman's Secret" should be included in
any "Life of Scrooge" collection since it does not deal with Scrooge's past
but rather his "present." However, the only other story from the 1950s era
that I do believe merits consideration for such a collection is Rosa's "A
Little Something Special," the 50th anniversay masterpiece that pits Scrooge
against all the major villains of his life and contains such a beautiful
ending with Goldie. I view this tale as sort of an epilogue and conclusion
to the whole "Life of Scrooge" saga.
As for future tradebacks, I do hope Gemstone decides to do a special
Barks/Rosa Yukon/Goldie collection one day, especially since Don Rosa is now
working on Chapter 8B. I think that could sell really well, and all those
related stories, both past and present, flow together as they are based off
one another. Anyways, that is just one of my many ideas. In the meantime, I
await with great anticipation the publications that Gemstone has lined up
for us this summer!!!
Sincerely,
Anthony
Jano Rohleder
Numerous questions and comments about Gemstone
Message 102 -
2005-04-21 at 00:34:40
>It looks like we *will* be seeing some work by Cavazzano soon
>according to inducks. 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?
It's a story drawn by Giorgio Cavazzano. As far as I know, Ferioli has nothing to do with it.
>Also, are we going to be seeing any long
>classic stories by such Italian greats such as Scarpa, Cavazzano, etc.
>in upcoming issues of DDA and MMA? I have been enjoying the stories
>that have been put in DDA and MMA so far, but I am surprised that this
>format has not been used to showcase some of these classic long
>stories by such greats. Is there a reason such creators have not
>appeared in DDA and MMA yet?
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.
Jano
>according to inducks. 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?
It's a story drawn by Giorgio Cavazzano. As far as I know, Ferioli has nothing to do with it.
>Also, are we going to be seeing any long
>classic stories by such Italian greats such as Scarpa, Cavazzano, etc.
>in upcoming issues of DDA and MMA? I have been enjoying the stories
>that have been put in DDA and MMA so far, but I am surprised that this
>format has not been used to showcase some of these classic long
>stories by such greats. Is there a reason such creators have not
>appeared in DDA and MMA yet?
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.
Jano
Olivier
Numerous questions and comments about Gemstone
Message 103 -
2005-04-21 at 01:01:01
First, thank you, Dean, for the link you provided!
Thanks also to Derek for copying the list!
And naturally, thanks & congratulations to the Gemstone staff for all those
great books!
Dean:
>>>> It looks like we *will* be seeing some work by Cavazzano soon
>>>> according to inducks. 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?
I posted the information on a French ducks board, and a German member kindly
corrected this, with a scan of the Ehapa edition:
http://fr.outducks.org/picsouman/forum/forum.php?f=0&view=672
i vigorously second your propositions, Dean:
- a Rosa Library
- a Van Horn library
- Cavazzano, Scarpa, and I'll add da Vita stories in DDA & MAA
And naturally, I'm still hoping for a Gottfredson Library and a Taliaferro
Library.
>>>> I am thrilled to hear the Gemstone is going to publish "Mickey and the
>>>> Gang" late this year! According to Amazon, the softcover version will
>>>> only cost $39.99. I really appreciate the fact of Gemstone making an
>>>> affordable softcover version for people who can not afford the $149
>>>> hardcover version.
Argh.
Darn, I would gladly have purchased the hardcover, but $149?! not so sure.
>>>>Whatever the case, I am thrilled that Gemstone is going to be
>>>>publishing such a great collection of the Disney pages from
>>>>Good Housekeeping Magazine!
Could someone give more information on these, please?
From what I've read in the Pulse interview and on amazon.com, they seem to
consist in art and prose stories, based on unproduced cartoons. Is that
right, or have I misunderstood?
Is it illustrated text, or are there some strips / comics?
This doesn't lessen my interest, mind you, I'm just curious to know the
story.
>>>>Finally, on an off topic point, I have to second what Cord Wiljes said
>>>> about the Little Lulu comics being reprinted by Dark Horse. I too had
>>>> never read Little Lulu stories, and they are just fantastic!
I have read a very few a long time ago, and not in English.
However, I did catch a few episodes of a cartoon series, and they were
great! Good, wholesome fun, with a lot of charm; very refreshing, like the
early Peanuts stories Fantagraphics is reprinting; simple little moments,
enjoyable little stories.
I'll have to look for these Little Lulu reprints.
They are produced by Dark Horse, aren't they?
How about thos hardcover sets by Bruce Cocrhan? I remember discussing them
on Cord's DCML Talk message board, but I mean: what is the
relation/difference between the hardcovers and the Dark Horse editions,
please?
Olivier
Thanks also to Derek for copying the list!
And naturally, thanks & congratulations to the Gemstone staff for all those
great books!
Dean:
>>>> It looks like we *will* be seeing some work by Cavazzano soon
>>>> according to inducks. 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?
I posted the information on a French ducks board, and a German member kindly
corrected this, with a scan of the Ehapa edition:
http://fr.outducks.org/picsouman/forum/forum.php?f=0&view=672
i vigorously second your propositions, Dean:
- a Rosa Library
- a Van Horn library
- Cavazzano, Scarpa, and I'll add da Vita stories in DDA & MAA
And naturally, I'm still hoping for a Gottfredson Library and a Taliaferro
Library.
>>>> I am thrilled to hear the Gemstone is going to publish "Mickey and the
>>>> Gang" late this year! According to Amazon, the softcover version will
>>>> only cost $39.99. I really appreciate the fact of Gemstone making an
>>>> affordable softcover version for people who can not afford the $149
>>>> hardcover version.
Argh.
Darn, I would gladly have purchased the hardcover, but $149?! not so sure.
>>>>Whatever the case, I am thrilled that Gemstone is going to be
>>>>publishing such a great collection of the Disney pages from
>>>>Good Housekeeping Magazine!
Could someone give more information on these, please?
From what I've read in the Pulse interview and on amazon.com, they seem to
consist in art and prose stories, based on unproduced cartoons. Is that
right, or have I misunderstood?
Is it illustrated text, or are there some strips / comics?
This doesn't lessen my interest, mind you, I'm just curious to know the
story.
>>>>Finally, on an off topic point, I have to second what Cord Wiljes said
>>>> about the Little Lulu comics being reprinted by Dark Horse. I too had
>>>> never read Little Lulu stories, and they are just fantastic!
I have read a very few a long time ago, and not in English.
However, I did catch a few episodes of a cartoon series, and they were
great! Good, wholesome fun, with a lot of charm; very refreshing, like the
early Peanuts stories Fantagraphics is reprinting; simple little moments,
enjoyable little stories.
I'll have to look for these Little Lulu reprints.
They are produced by Dark Horse, aren't they?
How about thos hardcover sets by Bruce Cocrhan? I remember discussing them
on Cord's DCML Talk message board, but I mean: what is the
relation/difference between the hardcovers and the Dark Horse editions,
please?
Olivier
Nils-at-Duke Lid Hjort
Stats / what to do with 55,000 comic books?
Message 104 -
2005-04-21 at 07:54:20
But first, how should one best spend 41,000 dollars?
The answer might depend on various socio-economic
indicators, but one thing you could do is to study for
a year here at Duke University. This is astounding to
innocent Scandinavian souls like myself, coming from
societies where university tuition is as close to zero
as health care.
And what does one get from paying 41,000 dollars?
At least some good coffee shops (some open to midnight)
and an excellent library (open & intensively used even
after midnight). So, after a midnight coffee at Perk
you migh pass by the Perkins library [before going on
to a couple of further hours of glorious work], where
the lobby part is wondrously adorned these months
with ... comic books from the 1940ies and 1950ies.
A very nice exhibition in a very public place. This is from
"the Edwin and Terry Murry collection of pulp culture",
a monumental gift to Duke from two brothers who were students
here, comprising 55,000 or so comic books. So you can flash
your library card at the "Rare Book, Manuscript, and
Special Collections Library" and wade between the Mark Twain
and Walt Whitman originals and Gutenbergs and ask
to see Terror of the River 1946, please.
Nils Lid Hjort
stats professor
The answer might depend on various socio-economic
indicators, but one thing you could do is to study for
a year here at Duke University. This is astounding to
innocent Scandinavian souls like myself, coming from
societies where university tuition is as close to zero
as health care.
And what does one get from paying 41,000 dollars?
At least some good coffee shops (some open to midnight)
and an excellent library (open & intensively used even
after midnight). So, after a midnight coffee at Perk
you migh pass by the Perkins library [before going on
to a couple of further hours of glorious work], where
the lobby part is wondrously adorned these months
with ... comic books from the 1940ies and 1950ies.
A very nice exhibition in a very public place. This is from
"the Edwin and Terry Murry collection of pulp culture",
a monumental gift to Duke from two brothers who were students
here, comprising 55,000 or so comic books. So you can flash
your library card at the "Rare Book, Manuscript, and
Special Collections Library" and wade between the Mark Twain
and Walt Whitman originals and Gutenbergs and ask
to see Terror of the River 1946, please.
Nils Lid Hjort
stats professor
Mickey
Other Stories
Message 105 -
2005-04-21 at 12:25:42
A. Vuono:
> the only other story from the 1950s era that I do believe merits
consideration for such a collection is Rosa's "A
> Little Something Special," [cut] I view this tale as sort of an epilogue
and conclusion to the whole "Life of Scrooge" saga.
It should be a good idea, but I think that, if there is an unofficial
epilogue to the saga, "Letter from home" is it. Because it recaps the saga
and resolve the "relatives affair".
Mickey
> the only other story from the 1950s era that I do believe merits
consideration for such a collection is Rosa's "A
> Little Something Special," [cut] I view this tale as sort of an epilogue
and conclusion to the whole "Life of Scrooge" saga.
It should be a good idea, but I think that, if there is an unofficial
epilogue to the saga, "Letter from home" is it. Because it recaps the saga
and resolve the "relatives affair".
Mickey