Egg wrote:Robb_K wrote:with THE DUCKS, ONLY! I have no problem with Hubbard's Scamp, Chip N' Dale, and his other non-Duck and non-Mouse work. It's clear that he's an accomplished artist.
What do you think of Al Hubbard's Fethry then, and Donald's thinking cat Tobber?
I like the look of Al Hubbard's Feathry. But, he and Donald and his "Univers" can't be the same one for me as Barks'. like the Italian Duck stories, it is simply much too different.
Robb_K wrote:It's just a matter of what style people are used to.
How do you mean? I can admire work that's not my taste, just be looking at how it's made.
Robb_K wrote:I grew up reading mostly Barks Duck stories in the late '40s and early '50s. So, that's how I like my Ducks to look. I don't like his Mickey Mouse universe, either.
Al Hubbard drawing Mickey Mouse? Interesting. How does that look? I can't get to my orignal US Mickey Mouse stories now, but I have several. Most were printed, however, in special books (Christmas, Vacation, one-time publications). Look up Hubbard in COA.
Robb_K wrote:I also can't stand Rosa's Duck drawings (although I like his scribbles. I'd rather see comic book stories printed with his unfinished scribbles. His inking stiffens his figures greatly.
That's not only Rosa, but with many artists. Carl Barks's Junior Woodchuck scripts, for example, look very lively compared to his inked work. Also with Mau Heymans, of whom I've seen the script exposed of a funny gag about Daisy knitting socks with a different size each. Is there any artist who can be as lively in ink as with pencils. Only Al Hubbard, I guess.
I am an artist myself, and am loathe to ink my own drawings for that same reason. However, Rosa's final pencils are also much too stiff. There's not much life to his figures. He never had the classical animation or figure drawing training that most of the cartoonists had. He admits, himself, that "he is not a good artist". he has gotten better over the years, but is still very stiff when drawing "formally". His scribbles are nice because he "let's himself be free with sweeping strokes". On his final pencils, his strokes are only very careful and short. He hasn't had the deep study of the physiological structure of the living things he portrays, nor does he have a good sense for layout. He has an apparant agenda: to cram as much information into each panel by using lines. Barks, Jippes and the other artists I like maximise their information delivery by being economical with space (dual uses, implication, etc.).
I have to admit that subconsciouly, I know that I am jealous of Rosa, as he has done in his life, just what i had hoped to do, but have so far been unable to do: Write and draw new Duck stories in The Barks Tradition, including a history of The Duck Family. I am older than Don, and it is less and less likely that i'll even reach the level of consistancy in my drawing to be allowed to draw final pencils for Disney Comics, and have my long adventure stories accepted (although I have had a 27 pager accepted recently, and am currently writing some long adventure stories to submit for pocketbooks. But, I want to write and draw long adventure stories for Donald Duck Extra and Egmont publications (not to be mixed with the Italian work. That is ESPECIALLY TRUE while I'm still not allowed to draw the final pencils for my stories.
Robb_K wrote:Robert Crumb
Who's Robert Crumb?