Acrylic on cold pressed crescent board.
When Raw finally came to an end and Spiegelman collected his pulitzer prize for Maus, few would deny that, in the right hands, the once lowly comic book rivaled film and the novel as a medium for sophisticated and literate narrative expression. On New York's Upper West Side, comics were now "hip" after all.As far as I'm concerned, unwarranted arrogance strips mediocre art of its charm.
When Death was young and bleaching bones were few,
A moving hill against the risen day
The dinosaur at morning made his way,
And dropped his dung along the blazing dew;
Trees with no name that now are agate grew
Lushly beside him in the steamy clay;
He woke and hungered, rose and stalked his prey,
And slept contented, in a world he knew.
In punctual season, with the race in mind,
His consort held aside her heavy tail,
And took the seed; and heard the seed confined
Roar in her womb; and made a nest to hold
A hatched-out conqueror . . . but to no avail:
The veined and fertile eggs are long since cold.
I look at the computer as just another tool, like a neat new pencil or a really cool brush.The thing that impressed me most about Bossert's position was that computers achieve a result closer to the original intent of the animator. As he lovingly restored Bambi, he came across numerous instances where paint had "crept" or colors had varied from what the original animators wanted, just because of the limits of the medium in an era before digital paint.
Things are terrific today. Animators have enormous new tools at their disposal. Digital technology helps us to make films without the inherent flaws of hand painting, such as dust, scratches and cell shadows. The clarity and consistency are much closer to the original intent of the artist.
But the art has to lead the technology. The technology shouldn't lead the art.