August 2017 • Year 0 • Issue #0 • radonpublishing.com
Design in ACTION Kirby has always wanted to convey a message. He started to draw because it gave him greater control in telling his stories, not because he liked drawing super-heroes fighting. Before a single hair
is penciled, before any shadow is filled in, before the background appears, the Kirby page tells a clear story. The basic structure of the figures and props tells us all we need to know. The rest is secondary
information added as decoration. How the soldier’s boot shines at the top and is caked with mud below is unimportant if the soldier is getting blown up. If the figure has a static pose but beautifully rendered boots then the illustration is a pretty failure. If you’re looking at the textures, you’ve forgotten the story. This has yet to happen in a Kirby comic. In an effort to clarify the soldier in mid-air, Jack clearly silhouettes the shape and makes it move away from the explosion.
The clear silhouette aids the eye in collecting information, and Jack always keeps this in mind. Kirby weapons are always clear silhouettes, too. The rifle is a soldier’s symbol, and if it’s hidden behind or camouflaged in his shape, the reader is distracted from the story while trying to to puzzle it out. Worse, they still miss the symbol altogether. If the story is unclear, the reader usually skips ahead in the comic.
Idea over MATTER And suddenly, Kirby blossomed. Maybe it was getting some recognition after the struggles of the Post-Code years. Maybe it was the zeitgeist, the spirit of the times. Traditional feathering
became antithetical to the Kirby style. It was always those abstract squiggles. His musculature, machinery, rocks, and just about everything became wild textural exercises.
Whether he drew images of outer space, microscopic space, the Negative Zone, sci-fi cities, or futuristic machinery complexes, the result was always a controlled explosion of form and color. No wonder the long-hairs nodded knowingly and snickered The culture of psychedelia in the mid-to-late Sixties might have been the final influence that crystallized the Kirby style. If you’re old enough to remember campus life from that period, you know that Kirby’s adventures into the Negative Zone and Asgard as well as, and especially Ditko’s Dr. Strange were r e g a rded as
psychedelic. Both Kirby and Ditko - and later, following their lead, Steranko and Adams - utilized abstract geometric forms that gave comics a new, artsy, and sophisticated graphic identity. Kirby definitely did not deliberately set out to echo the wild shapes and colors of San Francisco concert posters, and the idea of ideologically reactionary Steve Ditko doing anything to endorse the emerging “counter-culture” is absurd, but the resemblance is striking. The idea was in the air, and everyone was somehow influenced by the psychedelic style of the times.
Villains and HEROES Unlike the secret of a magic trick, knowing how Kirby “does it” doesn’t spoil the fun, it only adds to the awe. Using his own set of mirrors, wires, and trap doors, Kirby entertains the reader, making you
see only what he wants you to see. The show looks spontaneous, but it’s really the culmination of years of practice and experimentation. Drawing a comic book page is like answering a thousand questions.
The artist asks himself, “How shall I break this page into pictures?”, “How big should this eyelash be?” It’s an endless conga-line of problems. To make the job easier and more efficient, Kirby came up with his own set of rules that cover most of these drawing problems. The bulk of his work is based on the variations of these answers. I’ll cover some of the most important concepts later, but first, let’s consider
what drawing comics is all about. People tend to believe that the artist is “blessed” with the ability to be so talented. To the non-artist, the idea of being able to transcribe a picture from “nowhere” borders on magic or witchcraft. Because the casual viewer cannot duplicate the task, they assume it is because there is something missing from their overall mental stock rather than it being an undeveloped ability. Kind of like being a loser in some cosmic talent lottery.
Always in FOCUS People tend to believe that the artist is “blessed” with the ability to be so talented. To the non-artist, the idea of being able to transcribe a picture from “nowhere” borders on magic or witchcraft.
Because the casual viewer cannot duplicate the task, they assume it is because there is something missing from their overall mental stock rather than it being an undeveloped ability. Kind of like
being a loser in some cosmic talent lottery. “Hey, Buddy, where were you when they were passing out the understanding of structure, perspective, and color theory?” You wouldn’t pick up a trumpet cold and expect to play like Harry James. The same applies to drawing. The ability to draw and illustrate are learned skills. Many of today’s artists have learned to draw but have yet to learn how to effectively illustrate a story, the comics’ principal function. Only practice and study will expand the artist’s book of answers. In turn, the questions posed by the comic book pages tumble like dominoes, one answer inevitably affecting the others. If there has to be a “best” comic book formula, it belongs to Kirby. It works well on romance as it does on horror, war, or western stories. As a
formula for super-hero books, it can’t be matched. Men like Wallace Wood, Gil Kane, Joe Kubert, and Steve Ditko not only agree that this approach is a superior one, they’ve all integrated it into their own work. Many of the rules Jack applies to his work are solidly founded in the art of illustration. His principle aim is to tell you a story in a picture. Using symbols and action, he gets his points across quickly and clearly. The amount of line work used never gets in the way of what he is trying to say. Jack knows that if the line is only beautiful, rather than beautiful and functional, the reader will study its beauty rather than use it as a piece of information in the bigger picture. Without a sound structure, no amount of rendering can save a drawing.
Anatomy as a TOOL When the very first art teacher commanded the very first art student to learn anatomy, it began a long, long search for shortcuts. Thousands of years later, art history is still littered with failed
attempts at shortcuts on anatomy. Artists have tried concealing their ignorance by using heavy shadows or excessive random lines or a soft focus. They have tried concealing hands in pockets, or
cropping pictures to exclude difficult parts, but their weakness shows through. Kirby invented his own version of anatomy, and while it is often inaccurate, it seems just as persuasive as the genuine anatomy found in Bridgman, Vesalius or Muybridge. Kirby’s muscles don’t connect properly-- he confuses the deltoids and the pectorals, his elbow wouldn’t function, and his squiggly lines don’t describe any known anatomical purpose. Yet, this remains a powerfully convincing drawing. And that’s the way it is
with Kirby; there is a confidence and virility to his figure drawing that repeatedly powers him through awkward anatomical questions. Of course, bluffing as often as Kirby did, sometimes his bluffs failed spectacularly. I don’t know whether Kirby actually understood human muscles, bones and tendons, but his work reminds us that the right attitude can enable artists to get away with expressive liberties that other artists cannot.
King ex MACHINA All Kirby machines begin with two or three large shapes arranged to simply convey the object’s meaning. A laser cannon starts with a tube and a base. If it’s a transporter, a screen large enough to pass
a human figure is prominent. Any communication device will have an exterior antenna and a pseudo speaker; both being symbols associated with verbal contact.
A modern device might not have either, but the old fashioned symbols convey the message better. I’ve seen Kirby put a “safety” on a six-shooter where none exists simply to put his point across. The uninformed viewer expects to see a safety, and Jack uses the error to his advantage, using a gun symbol where, in reality, there is none. Next, Jack decorates the object with smaller secondary forms and harmonious patterns. The final step is to embellish it with
small shaped patterns that suggest a feeling. For instance, an evil machine may have lots of sharp edges and hard designs. It might also be very dark (with lots of blacks). On the other hand, a benevolent machine is smooth, with rounded edges and light in color. Frequently, human features can be detected in the structure. Every Kirby machine has its own “visual personality,” a limited set of features. Monochromatic design work is one of Kirby’s specialties.
Singes and SCORCHES In the 60’s Jack Kirby began to draw clusters of round black dots to depict enormous but not necessarily directed energy, often of a cosmic nature. This simple graphic technique was so effecti-
ve that it has been picked up by other comic book artists and can still be found in comics of today. The device has been given the name Kirby Krackle. It is an annoying cute name but one that
has become so entrenched that I feel that it must be accepted. While the infrequent use of Kirby Krackle in the earlier publications can be explained by the lack of appropriate stories, its absence from Kirby’s earlier silver age work for Marvel is more difficult to understand. There certainly were a number of stories with subjects seemingly well suited for Kirby Krackle. It would seem that Jack had just forgotten about it. Perhaps there is some truth in the explanations previously used to explain the emergence of Kirby Krackle but not as inspiration for its creation but rather as a reminder to the artist of an almost forgotten technique. Once true Kirby Krackle appeared it was already exhibited the classic clumping of round particles and in this respect it differs from the earlier prototypic versions. Not perfect circles but not the more extended shape of the prototypes. While classic Kirby Krackle was used to portray a simmering energy, the same purpose the prototypic form had been put to, Jack also used it when depicting the cosmos. Kirby Krackle always seem to have a cosmic connection but had
not previously been used when drawing outer space. I suspect Kirby was using this device to suggest that space was more than vast distances of vacuum but a place filled with potent energy. Certainly with the help of Kirby Krackle, Jack’s astronomical visas became more exciting than any other comic book artists had ever achieved.
Fine TUNING The idea is that a black spot placed behind an object will push it forward and silhouette the shape. It is also used to frame items of importance. Small shapes will jump with clarity when a large
black area is behind them. The reverse is true, too; a black object will separate from a white background.The only place a black should not be spotted is behind another black. Many artists scoff
at this technique, claiming that it doesn’t appear in reality, so why would it appear in a comic? Such artists would be better served producing clear images rather than obscured drawings shackled by “reality”. Unfortunately, the “phantom line” has become stigmatized with the reputation of being a comic book device, and, therefore, undesirable in “good art.” Kirby’s first concern is with clarity, and the “phantom line” helps provide it. Another formula used to direct the eye is to treat the focal point of the picture of as the light source. The shadows
thrown by the surrounding objects will point at the focal point, leading your eye to it. While some are solid black, many of the shadows in Kirby’s drawings are made up of a series of thick hatch marks. It’s a kind of “half-shadow” that is a shadow lightened by a second light source. On a figure with heavy shadows, it also helps to break up large areas of black. Chic Stone was very good at catching this and using it to his advantage.
Mixed EMOTIONS Beginning in 1964 with the Fantastic Four, Kirby created collages to convey fanciful scenes of cosmic dimensions. These early comic collages were used to further the storytelling and appear to be
created concurrently. However, according to former assistant and Kirby biographer Mark Evanier, by the 1970s Kirby would often create collages from his collection of photographic magazines such
as National Geographic and Life and make good use of them at a later date. Considering that he was one of the fastest artists in comics, and worked upward of 70 to 80 hours a week at the drawing board during this period, why
would Kirby slow himself down to create a collage, which no doubt was more time consuming? Scissors, exacto knife, and rubber cement were no match for the lightening speed of his hand. It is yet additional evidence of Kirby’s unbridled creativity and imagination, as well as the compulsive need to create at all costs, spending time composing these collages in what little spare time he had.
A life of CREATIONS
1940s/1950s, various publishers Captain America 1941, Timely Comics Young Romance 1947, Prize Comics Challengers of the Unknown 1957, DC Comics
1960s, Marvel Comics Fantastic Four 1961 Hulk 1962 Thor 1962 Iron Man 1963 X-Men 1963 Inhumans 1965 Black Panther 1966
1970s, DC Comics Forever People 1971 Mr. Miracle 1971 New Gods 1971 Kamandi 1972 O.M.A.C. 1974
1970s, Marvel Comics The Eternals 1976 Machine Man 1977 Devil Dinosaur 1978
Mighty READINGS
Young Romance: The Best of Simon & Kirby’s Romance Comics The Romance Comics of Joe Simon and Jack Kirby brings this wonderful work back to light by reprinting 21 stories in full-color, from 13 years of Simon and Kirby’s romance comics: 200 pages of never-before reprinted material painstakingly restored over a five-year period by award-winning artist and animator Michel Gagné (Flight, Star Wars: Clone Wars). 200 pages of full-color comics
The Mighty Thor Omnibus Volume 1 While vacationing along the coast of Norway, Dr. Donald Blake happened upon a secret chamber and inside it found a strange, gnarled cane. Upon striking the cane a shower of lightning rained down and the hobbled doctor found himself transformed into the Mighty Thor, God of Thunder and champion of Asgard! Collecting: Journey Into Mystery #83-120, Annual #1
Fourth World by Jack Kirby Omnibus Legendary writer/artist Jack Kirby came to DC Comics in 1970 to write and illustrate four interlocking series known collectively as “The Fourth World. These comics spanned galaxies, from the streets of Metropolis to the far-flung twin worlds of New Genesis and Apokolips. Collecting: Superman’s Pal Jimmy Olsen #133-139 and 141-148, The New Gods #1-11, The Forever People #1-11, Mister Miracle #1-18, plus later stories from New Gods #4 and DC Graphic Novel #4.
Mighty READINGS
The Fantastic Four Omnibus Volume 2 Their achievements reflect the boundless energy of two creators at the top of their game with each issue, character and creation building upon and exceeding the scope of the last. Includes “This Man, This Monster!” the story widely regarded as the greatest FF tale of all! Collecting the greatest stories from the World’s Greatest Comics Magazine in one, massive collector’s edition that has been painstakingly restored and recolored from the sharpest material in the Marvel Archives. Collecting: Fantastic Four 31-60, Annual 2-4
Mighty READINGS
Jack Kirby’s O.M.A.C.: One Man Army Corps In one of his last major works for DC, Kirby envisions a 1984-inspired dystopia starring corporate nobody Buddy Blank, who is changed by a satellite called Brother Eye into the super-powered O.M.A.C. (One Man Army Corps). Enlisted by the Global Peace Agency, who police the world using pacifistic means, O.M.A.C. battles the forces of conformity in this short-lived but legendary series! Collecting: O.M.A.C. #1-8 (1974-1975) plus artwork from WHO’S WHO Captain America by Jack Kirby, Volume 1: Madbomb In this timeless tale, never before reprinted, Captain America and the Falcon embark on a vast, desperate search for the most malignant conspirators in our history - and their insidious creation: the Madbomb! On the 200th anniversary of the United States, America will die - and only Cap and the Falcon can save it! Plus: Captain America stands alone against an army of underground killers! It’s cataclysmic Kirby action in the mind-boggling Marvel manner! Collecting: Captain America #193-200
Publisher George Nelson Editorial coordinator John Dillinger Editor-in-chief Pietro Pacciani Staff Annamaria Franzoni Sandokan Sarah Scazzi Hunter Thompson Photo editor Albert Fish Copyright Š 2017 Radon Publishing Colon Hotel, Ocean Drive - Vice City, FL shutup@radonpublishing.com radonpublishing.com