Cool covers 8 – Moon Knight #36 1983

Mike Kaluta creates amazing covers. This is a good example of how solid his design can be. One can see multiple elements that stand out but are still tied together. Kaluta is a master of leading the eye where he wants.

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Inspiration 3 – Henri Marie Raymonde de Toulouse-Lautrec Monfa

Henri de Toulouse-Lautrec. 1864-1901. Artist

T-L was a cursory artist before I went to college. Once there, I fully embraced his art and obsessed over him for years. His use of line and color steep still in my art brain. I continue to find new things in his work.

Dance at the moulin rouge

I was in IUP’s first computer art class. I made a study of the above painting, breaking down every component and describing the why it exists and what it means. This is a prime example of T-L’s creating rhythm and motion in the composition.

The Portrait of Vincent Van Gogh is an example of line work and color that soaked into my style.

Salon in the rue Des moulins
At the moulin rouge

The woman on the right is eerily colored. Something that has been speculated on for decades. This is the allure of T-L to me.

The cartwheel
Moulin rouge, the goulue

T-L reused figure much like a graphic artist. This litho advertisement pulls from The Dance at the Moulin Rouge.

Chocolat dancing in bar darchille

This is a delightful drawing full of expression and emotion.

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God Emperor of Dune

God Emperor Of Dune. Published 1981

A little more than 3,500 years have passed, and in God Emperor of Dune, Leto is now almost fully transformed into a sandworm. He is almost invulnerable to physical damage; only his face is susceptible to injury, and his single greatest weakness that he shares with the sandworms, an intense vulnerability to water, is a secret. “Leto’s peace” has kept the universe quiet for that time, and the entirety of human society has become an audience for him. He is their emperor; he is their god.


I wanted to create my contribution to all the various god emperors. I love the character and love how people envision him.

Mike Gallagher’s version

The last time I read GEOD was around 1996. I don’t remember details well and chose not to research it first. So this is what came out of my memory and imagination. I am wondering where the arms came from. I know he doesn’t have them. The cover above is a favorite and burned into my brain.

I wanted the room to look Islamic. I placed a figure in the foreground to add scale. I didn’t want anything else distracting from Leto II. I wanted dramatic light and eventual chose these unusual variations of typical colors that would be used. I chose a pose that would intimidate like a Roman Caesar. I tried to create some interesting lighting in the background without distracting for the worm dude.

Gallery of other god emperors

Please comment with your opinion of my work and the character in general.

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Cool covers 7 – Aliens volume 2 #2

I love the Aliens franchise. Of course their are Aliens comics. Many, many mini series. Most of them actually good.

This cover is from the second series. It is pre-photoshop. It is beautiful.

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History of Cinema 3 – Aspect Ratios

Aspect ratio is a common misunderstood and under appreciated part of film. It is the relationship between the width and height of the image. Most people are aware of it as flat and scope, or pan and scan.

Aspect ratios change with technological advancement. Sometimes from a new lens or photographic process, sometimes because of the room a film is being projected, sometimes as a gimmick.

I’m going to briefly go through the main historic changes with a brief explanation, enough to understand the change in context. I encourage you to research each era if any of these pique your interest. I will eventually do more on the interesting formats.

  • 1895 ORIGINAL 4:3 1.85:1 This is the first official film. It became known as the Edison Standard.
  • 1932 ACADEMY 1.375:1 The size of the film had to be altered when sound was added. This format was adapted by the Academy of Motion Picture Arts and Sciences. This became the standard for every 35mm film produced from 1932-1952.
  • 1952 CINERAMA 2.59:1 A stunning gimmick to directly fight television drawing away the crowds. This format was so big that special technology was created to film and project a picture. Most films were documentaries or entertainment. Few films were made for this format. The format worked and drew millions of people back to the cinema. It was projected on multiple screens to accommodate the image size.
  • 1953 CINEMASCOPE 2.35:1 The creation of an anamorphic lens brought a fiscally responsible version of Cinerama to filmmakers. This is what is commonly known as widescreen. It is used to this day.
  • 1954 VISTA VISION 1.85:1 This is the companion to widescreen known as flat. The two most common formats from the 50s to the 2010s were flat and scope.
  • 1955 TODD AO 2.2:1 70mm film was another attack on television. The image is projected very long, simulating cinerama on one screen. it became the deluxe way to show a film. Some large budget pictures would be filmed in 70mm and converted to 35mm so it could be shown in specialty houses and traditional houses simultaneously.
  • 1957 MGM65 2.76:1 A super wide format used for a very limited amount of movies. The most significant example is Ben Hur. This is a short lived event format.
  • 1959 SUPER PANAVISION 70 2.2:1 A variant similar to MGM65 and Todd AO.
  • 1970 IMAX 1.43:1 An innovation in large format, the film is printed sideways on a stock similar to 70mm. Like Cinerama, this was developed with a new camera, projector, and screen that was only suitable for documentaries. It became a tool used to get people away from home video and back to the theatres. In the 2000s, filmmakers began experimenting shooting isolated sequences in IMAX format. There are a variety of copycat large formats now.
  • 1996 HDTV 16:9 1.78:1 This format was created to be a median between 4:3 television screens and 2.35:1 cinema widescreen.
  • 2005 DCI 4K 19:10 1.9:1 This is the native resolution of digital cameras. It is being used by fully digital film digitally projected.

Vittorio Storaro has suggested a universal aspect of 2:1 which is, essentially, the dead center between full screen and widescreen. Netflix prefers 16:9, which is almost the proposed aspect.

Instagram, Facebook, Twitter, and YouTube have a variety of aspect ratios that are utilized. 1:1, 16:9, 4:5, and 2:1 are the most common across them.

The future holds more changes. As the world goes back to cinemas post-pandemic, cinemas will adapt to offer a projected image to compete with home cinemas current dominance.

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Faces 5

In college I had a pair of shorts that had these colors, depicting some sort of beach theme. They were cheap and obnoxious and I loved them. No one else did. That in mind, I consider this work risky as they are not ‘good’ colors.

This piece is more in the graphic vein. I tried something different with chunky hatching. I think it is fun. In 87 I made a series of prints that were heavily influenced by Nagel. Over the years, Nagel sunk slowly into my DNA, especially with graphic designs. The pose, the hard edges, flat color fields, and expressive highlights stem from studying that school of poster and advertising design.

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Featured Movie Illustration 4 – Queen Of The Rocket Man

Old 50s space ships, scientists as astronauts, strange women living alone on nearby worlds. This is a version of science fiction that can only lead to disastrous joy and sparks the imagination for a good movie illustration.

I love drawing in this stark black and white style. I played with zip-a-tone and layers of textures. I’m happy with the pose. I think I captured that style of movie well.

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Cool comic covers 6 – New Mutants #20

Comics were predictable. A constant source of a particular style of art. Sure, there were different styles, a multitude of panels combinations, a standard pallet of colors.

The Bill Sienkeweiz happened in my life.

He joined the team of creators on New Mutants and experimented. All over the pages. It was out of control. My young mind was blown. I had a visceral reaction to it. I was outraged. Angry. A mess. What was happening?

Still, I was intrigued. I kept reading, issue after issue. Then I started to get it. This was art!

It was better than all the other stuff. I craved more. Eventually I got to art school and everything was fine.

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