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To view all of the books and magazines with cover art by Jeffrey Jones that I’ve posted so far, click here.
From my own library:
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To view all of the paperbacks with cover art by Richard Powers that I’ve posted so far, click here.
In May of this year, my wife and I purchased the following page from the graphic novel, Paris, by writer Andi Watson and artist Simon Gane (SLG Publishing, 2007), at a very reasonable price, via Simon Gane’s online art store:
BONUS LINK:
The Comics Reporter > CR Holiday Interview #3: Simon Gane — posted 17 December 2007 by interviewer Tom Spurgeon.
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Coming in November from Dark Horse:
Published by Gold Key in the 1970s, the sword-and-sorcery series, Dagar the Invincible, was the creation of American writer Don Glut and legendary Filipino artist Jesse Santos. Volume 1 of Dark Horse’s archival reprint of the series (ISBN-10: 1595828184; ISBN-13: 978-1595828187) will collect the first nine issues of Dagar the Invincible, and Volume 2, which will conclude the project, seems likely to contain the last eight issues of the series plus the story that appeared in “Gold Key Spotlight.”
Yesterday afternoon, I spent a little time reading at random in Painting Techniques of the Masters: Painting Lessons from the Great Masters (revised and enlarged edition) by Hereward Lester Cooke, and came across a famous portrait by Titian that, to my eye and mind, could easily have been one of the inspirations for Jeffrey Jones’s oddly proportioned but striking portrait of Robert E. Howard’s Solomon Kane, created for the first edition of a collection of Solomon Kane short stories, Red Shadows, published by Donald M. Grant in 1968:
As the night wind said to the little lamb: Do you see what I see?
POSTSCRIPT:
I wonder, does anyone else think that Jones’s portrait of Solomon Kane is basically a self-portrait? Because I sure do.
Corben’s unique method of producing full-colour art by combining a continuous-tone black-and-white grisaille (produced using airbrush, pen and ink, markers, pencil crayons, brushes and paint, etc.) with overlaid, handmade colour separations, gave his finished work a luminosity, intensity, and above all, a texture, that artists who relied on airbrush alone struggled to imitate; it also meant that all of the images produced via Corben’s process — including not only many classic covers but also entire graphic novels such as New Tales of the Arabian Nights, the multi-volume Den saga, and the Heavy Metal reprint of Bloodstar — only exist in colour in the printed versions. The cover of 1984 #1 is a case in point:
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With pencils by Jack Kirby and inks by Frank Giacoia:
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