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Originally posted by Jozzinelli


Dobro, nije tu ništa drastično menjano po pitanju kadriranja, samo što je crtež znatno kvalitetniji u kasnijoj verziji u Tik-Taku.

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Originally posted by alexts

Jozzinelli, baš se ne razumeš u neke stvari?
Crtež u drugoj verziji je još lošiji, sa dodatnim greškama.

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Originally posted by Jozzinelli



Uostalom, navedi koje su to sve greške u drugoj verziji, da otvoriš oči i nama laicima, i šta tačno podrazumevaš pod "lošiji"?
Hoćeš da kažeš da je ovaj kadar gde je Mirko prišao Švabi iza leđa dobro nacrtan? Nema šanse.

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Originally posted by Jozzinelli


U ovom slučaju, ta promena kamere je nedovoljan razlog da bih rekao da je crtež u drugoj verziji lošiji.

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Originally posted by alexts

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Originally posted by Jozzinelli


U ovom slučaju, ta promena kamere je nedovoljan razlog da bih rekao da je crtež u drugoj verziji lošiji.

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To je dovoljan razlog da niko ne bi trebalo danas (ni onda) da objavi takav strip, jer na malo prostora sadrži više primera - kako ne treba crtati strip.

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Originally posted by alexts

Grujica Milovanović - pravo ime Aleksandar Milovanović. Da li ima neke veze sa pisanim romanima Buč Kasidi i Kid - nejasno (pisac naveden: Teks Gordon).

Jedna verzija je bukvalno precrtavana od druge - moguće je da je reč o istom autoru, koji je prerađivao svoj strip.

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Originally posted by Vlaadisha

prvi put cenzurisano, drugi put nije

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Originally posted by izivko

Uh, ovaj Mitrovićev Tarzan je moćan, opak, misteriozan, njegovi pokreti, pogled, urlik - grom gromova.
Iskreno, više mi se svidio od Kerčevog.

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Originally posted by Vlaadisha

drugačiji kolor (levo) daje novo čitanje starom stripu

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From a colorist’s perspective:

Jean Giraud should need no introduction: he was one of the true genius of comics and fantasy illustration and his work continues to inspire generations. Being French, he was used to very good reproduction for his work, both as Gir (Blueberry) and Moebius (Metal Hurlant). In 1988, when he agreed to draw an American comic book mini-series for the first and only time, his main incentive was to have his work reproduced in newsprint and with the old-fashioned coloring system that was still used. Giraud himself with John Wellington colored this version and it was beautiful. Not long after, it was reprinted in slick white paper and recolored. My friend Mark Chiarello with John Wellinton again did a great, sensitive reinterpretation

And then a few years ago Claire Champebal recolored it again, I do not know if under Giraud’ supervision or not. These new colors have been featured in new large format European editions. They are shocking to say the least. Whereas the two previous versions took into consideration the narrative rhythm and poetic quality of the line art, this new edition pumps up the volume to the nth degree. See the example bellow: value hierarchy goes out the window, color temperature is arbitrary, and to make matters worse, gutters (space around the panels) and word balloons are colored in bright colors that blend with the images. I am sorry but it is an eyesore. I am holding on to the previous editions.

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A long time ago when Jean interviewed me to work for him he showed me the Silver Surfer comics and asked me what I thought of the colour. I told him that I knew that he coloured it and had the comics in my collection. He smiled and asked me what I thought of the colour. I told him that I thought that it didn't work. He asked me why and I told him that I thought there was problems with tonality and value. I liked the essential colours but they were off. I could feel the cold sweat running down my ribs. Not only had I criticized his colour but I had done it in front of Harvey Kurtzman and Terry Gilliam. I was ready for a dressing down. Jean smiled and told me that I was absolutely correct. He was not happy with the reproduction of his guides. He had attached PMS number tags to his guides and was hot happy that they weren't followed. I explained to him the old colour separation method employed then and he was surprised that his book had not been allowed the full range of the old system and better follow his guides. I had not talked to him after the book that Mark worked on, but I always felt that he would have been much happier to see the full painted range of colour and the much more successful palette.

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Jean told me he liked the painted (blue line color) that John Wellington and I did for the hardcover quite a bit, and gave me a drawing to thank me for it.

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