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lly as rea the w I So d when10:00 relieve urned t clock .Y.E. a feawd on N ago. I h cweeks bought a se er just and trash 88 h ‘ d n o e from magazidn with pinsk, filleellow color ge and yids with lar ir the and k in holes . I hope thanta jeans 0’s are gon tthe 1 aturally be on be a n continuati st ter e 2000’s ju re of thhe 90’s we ct as ttural produ ed a na ome depress ld of s in the co years 0’s. war 8 an Christy
Thanks to Pernille Sihm, Robert Valley, Emilie Hem, Rikke Skovgaard, Esben Sloth, Johan SteĂŠn, Roland Seer, John Mallett. Edited by Igor Noronha and Chirstyan Lundblad. Supported by the Open Workshop.
Pernille Sihm, CGA 09
Pernille Sihm, CGA 09
Rikke Skovgaard, CGA 07
Johan Steén, CGA 10
Rikke Skovgaard, CGA 07
Roland Seer, KAU 10
John Mallett, CGA 07
What is the difference between artists and draughtsmen?
Draughtsmen behave.
Emilie Hem,
Lyon, France
Fast cars and
An interview with Robert Valley When and where were ily Carr college in Vanyou born? Where did couver, graduated in 93. you grow up? Who were your inI was born in Vancouduring art ver BC, 1969. This is fluences school? also where I grew up. Well, I was in a fine
Where were you edu- art school, I suppose I grew to like Picascated?
I took a 3 year film animation course at Em-
so (although I preferred George Braque),
loose women!
Cezanne, Salvador Dali, bums? Warhol etc. Although I Films: The Good, the secretly liked Mike Mi- Bad, and the Ugly - Planet of the Apes gnola, Frazetta, Neil - Dazed and Confused Adams. Peter Chung was - Up in Smoke also a big influence. Music: - Led Zeppelin 2 Your drawings are - Massive-Attack - Mezso action packed. You zanine must be a big action - Prodigy - The fat of film and/or rock music the land fan. Which are your - Wilco - Sky blue sky favorite films and al- Black Sabbath - Mas-
ters of Reality
wide, never got acceptAny favorite comics? ed. Then it just kind of Damn, not really. blew over like a fart in I am a huge Moebius the wind. Eventually I fan. 40 days in the des- would include a DVD copy ert-whoa. with my Massive Swerve Milo Manara - Click, books, which I print The Invisible Perfume. and distribute myself. Mignola- early Hell- Eventually I posted it boy. up online. R. Crumb-anything Mr Where have you been Natural.
Do you make your compositions from photos or action film stills or do they come from your mind?
I usually come up with compositions in my head first, storyboard or thumbnail etc. I generally collect a lot of reference for drawing details (clothes, hair, buildings, cars). I use YouTube reference quite a bit when drawing likenesses of people.
working and how much time do you spend doing your personal work? Did you quit your day job for some month or how does it work?
I do a lot of work for Passion Pictures in London, more recently I have been working on Tron at Disney. I spent a chunk of time working with Peter Chung last year. If I am not gainfully employed I work on my own Massive Swerve book. I just started working on volume 4. If How did you release I have a good commercial Massive Swerve? year, my book will not The short film: I be so great, and vicedidn’t really, I fin- versa. ished it back in 92, There were two years submitted it to major film festivals world- or so during which your
homepage was What happened?
gone. work (for money), a more
I was in Asia, regrouping I suppose. 2 years.‌ really?
Any new comic or short films of yours in production?
I am currently in the process of trying to bump up production, that means more commercial
regular online presence and as I mentioned earlier, I started the 4th volume of Massive Swerve last week. I am trying to organize more work in print this year as well. Now I just have to sit down and do a bunch of work.
Fu Manchu Return to Earth 9193 (Elastic, 1997) It was in 2004, or around that time. It was probably Spring. I had just been to the dentist. I felt sorry for myself, so I went to a music shop across the street. I went straight to the indy section and picked up what I already knew was there: Return to Earth by Fu Manchu. I had been so into their later album, “The Action is Go”.
From when I was 18 to 21, this and Kyuss’ “... and the Circus Leaves Town” had been my doubtless #1 favorites. “Return to Earth...” is a collection of the first singles and EPs the band had released. It always interesting to me to find a good band and then later discover their back catalogue, where they came
from (musicly and geographicaly). Collect a whole story. I went uphill back to my school while looking through the booklet which contained black and white pictures of the band playing ona black background. So cool, so simple and so early 90s. When I came home, I put it in my stereo and it was simply awesome. So slow and so stoned out! Tot a l l y California Summer dudes with nothing to do, smoking pot, driving around in the van, looking for surf spots, bleaching their hair, wearing a striped t-shirt or something black. That sort of thing. Cruising Summer hang out kind of style. I was so fascinat-
ed. My total fantasy summer heavy rockin’ album number 1. It’s a bit like Nirvana’s “Bleach” recorded if they had been heavy stoner instead of fiercely punk. With songs named “Don’t Bother Rnockin’ (If this Van’s Rockin’)”, “Ojo Rojo” and “Space Sucker”. I was simply sold, and the best part of all this was that they made it sound so easy, to me they made it sound like everybody could start a band. So I did. I was so inpired and I wanted to be like them. As said before, this is one of my favorite records. And it will probably be on my personal Top 20 for the rest of my life. - Christyan
A different way into album art: The Destroyed Room Sonic Youth’s is known for several good things good music, good live performances and good album art. If we look carefully to their album art, we can see clear examples that demonstrate the importance that the New York City band gives to the visual presentation of their albums. The great american illustrator, Raymond Pettibon, known for his punk narrative ilustrations, and for the connection with the band “The Black Flag”, made the cover for “Goo” (1990, Geffen Records). It is from a photography of Maureen Hindley and her husband, David Smith after the trial of the Moors Murders.
Moors Murders were Ian Brady and Myra Hindley the evil couple - that between July 1963 and October 1965, where responsible by the death of 5 children in the North of England. Another example of Sonic Youth good album art is the masterpiece album “Daydream Nation” (1988, Enigma Records). In this album Sonic use a photopainting named “Kerze” (1983), from the German artist Gerhard Ritcher. “Daydream Nation” and “Kerze” match perfectly. But my favorite is for sure the compilation album “The Destroyed Room: B-sides and Rarities” from 2006 / DGC. The album art is a photography of the Canadian artist Jeff Wall, from 1978 by the name of “The Destroyed Room”. Wall is a self-taught photographer with a Master in Art History. In the beginning of his carreer, he was very concerned in staging scenes that refer to the History of Art and philosophical problems of representation. In the “The Destroyed Room” Wall was inspired by the “The Death of Sar-
danapalus” -1827- Eugène Delacroix, which depicts the Assyrian monarch on his deathbed, in a last act of defiance against invading armies. We can see the same palette of blood reds, and the sweeping diagonals, perhaps the main difference is that Wall’s photography doesn’t have any people, but we understand that it’s a woman’s room, because of several details - the most obvious one is a partially nude dancing doll on top of the dresser. The only detail with a strong shadow in the redish wall (Maybe Lynch was inspired in this wall for Blue Velvet?)
The cause of the apparent violence is unexplained. It leaves to the viewer to speculate on the action before, perhaps a crime scene, perhaps an accident... (Lynch again...Oops!) Other interesting detail is that the room door (or the hole where should be the door) leads to a place that doesn’t seem real. Wall describes “The Destroyed Room” as “cinematographic”, meaning that the idea for the shot was previously prepared and shot in a controlled setting. - Maria
Aljoscha Blau Developing the potential
Aljoscha Blau is a Russian illustrator living in Berlin that has done several children books, that are curiously bought more often by grown-ups for themselves. In his works Aljoscha integrates his atmospheric illustration style also in the typography and in the page layout. His art is inspired by folk art, Russian Avantgarde from 20s-30s, Belgic painting from 20th century (Balthus, Magritte, etc), German cinema, Tarkovsky and Fellini. Aljoscha is currently teaching at The Drawing Academy in Viborg, until Xmas 2010. When he is teaching there, he is aware that the students are in different skill levels, so he gives them personal assignments for them to complete. He finds the students at Viborg very interested and motivated, because the whole environment of the school helps a lot. He teaches Classical Drawing, but he is aware that one can get lost in this kind of drawing. You can always go deeper and deeper in Classical Drawing, but there’s a whole world besides that too. “You have to find your own language, your own voice”, he says. He saw The Animation Workshop being developed from
the beginning, and he feels that the school is based on friends helping friends, as opposed to several other art schools he has been to, where there’s a lot of hierarchy, stiff rules and professors who are very tired. “The team that runs the school is very qualified to run a school this size. They’re very curious about new possibilities and developing the potential of young people that come here”.