Mostrando entradas con la etiqueta Steelfreeze. Mostrar todas las entradas
Mostrando entradas con la etiqueta Steelfreeze. Mostrar todas las entradas
viernes, 31 de octubre de 2025
sábado, 22 de marzo de 2025
THE MARVELS, POR STEELFREEZE
Los históricos Gaijin Studios es otro de esos fenómenos que parecen haber pasado a la historia. 
sábado, 21 de enero de 2023
JASON PEARSON: EL PRECIOSO PANEGÍRICO DE SU COMPAÑERO BRIAN STELFREEZE
“It’s not the time, but it’s the moments that count.
I grew up on an incredibly fertile island with Jason Pearson, along with a few other siblings, called Gaijin Studios.
It was a magical place where, as Karl Story once said, “we were all shamed into doing our best work.” True, but it was a joyful and exhilarating shame. 
Watching Jason work was like sightseeing on Mount Kilauea.
My best moments with Jay were after midnight and on till dawn, when ego had gone to bed and delirium gave rise to truth.
That was an interesting thing about Gaijin. Everyone had a couch in their office and it was most often for visitors. You would lay on the couch and learn or sit at the desk and teach. 
Pearson’s office was a night class and it was a treat when it was in session. Those were all great times but even better moments.
My friend, brother, studio mate, son, rival, partner in crime, teacher, and student. I hope to see you again in the smoke of the midnight oil.” 
Watching Jason work was like sightseeing on Mount Kilauea.
I’ve watched him use graphite like a philosopher’s stone to conjure beautiful pages from equal measures of genius and madness.
He could explain the how and why behind every decision he made, but it didn’t make the experience any less religious.
My best moments with Jay were after midnight and on till dawn, when ego had gone to bed and delirium gave rise to truth.
Criticism and praise carried the same weight and acceptance. He taught me things that still affect my work today and I am better for it.
That was an interesting thing about Gaijin. Everyone had a couch in their office and it was most often for visitors. You would lay on the couch and learn or sit at the desk and teach.
Pearson’s office was a night class and it was a treat when it was in session. Those were all great times but even better moments.
I will miss you Jay.
My friend, brother, studio mate, son, rival, partner in crime, teacher, and student. I hope to see you again in the smoke of the midnight oil.”
miércoles, 17 de diciembre de 2014
jueves, 10 de julio de 2014
domingo, 29 de junio de 2014
RA'S AL GHUL, TALIA AND "THE DETECTIVE", BY STEELFREEZE
En esta interpretación, el artista ha optado por mostrar las impepinables raíces árabes del personaje, que lleva implícitas en su nombre y que O'Neil especificó en su origen.
martes, 25 de marzo de 2014
JUSTICE SOCIETY: NOT FORGOTTEN (24)
Esta serie de entradas no son, por desgracia, las más populares del blog. Ni de lejos.
Pero este es el tipo de cosas que a mi me gusta hacer. Así que voy a continuar con ellas, hasta que os gusten a TODOS.
Hawkgirl, por el genial Steelfreeze.
Pero este es el tipo de cosas que a mi me gusta hacer. Así que voy a continuar con ellas, hasta que os gusten a TODOS.
Hawkgirl, por el genial Steelfreeze.
miércoles, 12 de marzo de 2014
BRIAN STEELFREEZE: "LOS DIBUJANTES ACTUALES SON TAN CREATIVOS COMO REPONEDORES DE SUPERMERCADOS"
El dibujante, que ha regresado a hacer interiores con sus Day Men en Boom, no se muerde la lengua al señalar lo que está mal en los cómics actuales.
La industria, centrada hoy en día en los guionistas, ha relevado a los dibujantes a fieles reproductores de un guión donde no hay margen alguno para creatividad.
"I hate making broad proclamations, but I think that, to a certain extent, the separation of art and writing has hurt comics, because a lot of times the artists are in the position of -- they're grocery clerks. They have to get the stuff that the writers are asking for, and that's it. They're not participating. When I first got into comics, there were two writing styles. There was DC, which was full plot with full dialogue, and then there was Marvel style, where you get a loose plot and then you'd do the art and then the writer would come back and do a dialogue pass after the art was done. I think when everyone went to doing full plot, that really hurt comics because now the artists are not participating in the process that much. Like with Stan [Lee] and Jack [Kirby] or Stan and [Steve] Ditko, where Stan would write, "Over the next five pages, this happens," and the artists really had to visualize how to make it happen and discover creative ways of making that event happen."
"At [Gaijin Studios], we used to say there are artists who are actors, and there are artists who are stars. Those guys are like Jack Nicholson. It doesn't matter what role you put him in, he's going to be Jack Nicholson, and he's going to be awesome for it. But there are other actors, like Gary Oldman or Matt Damon, they change who they are to fit the role. We consider those folks actors. As a comic book artist, I consider myself more of an actor in that every project I do, I try to think of, what does the project need? Does the project need to be more cartoony? Does it to be more naturalistic? Does the art need to move fast or move slow? What needs to happen to make it the best the project can be rather than how to make the project in my style?"
"When [DC Comics] asked me to do the design for Nightwing, it was really a fun time, and they gave me pretty much no instruction. Just go with whatever you think is cool. It was fun to sit down and go, okay, this is Batman's apprentice. Now he's off on his own, so he wants to have his own thing. As a comic book fanboy, what's running through my head is all the Robin stuff and all the Teen Titans stuff. It was really cool to sit back and design a character that's very practical, that isn't so crazy. No giant cape and all of that stuff."
"Batman has stood the test of time. There are certain characters that I think you know when the design is just right, because we all wait for them to go back to the original. With Batman, every once in a while people will make a decision to change the character and the fans are like, okay, do what you have to do -- because we know you're eventually going to go back. Wonder Woman -- you know they're going to go back to the star-spangled tights. Just don't even worry about it. I think Batman is one of those characters that, in his inception, he was so simply designed and so clean -- which is not like a lot of the characters that were designed around that time. Batman has not really been improved over the years. It's been tweaked, but there hasn't been a massive sweep to Batman that's irrevocably changed the character. If it was put to just about any artist, okay, redesign Batman and come up with something cooler -- they couldn't do it. Every time they make a big change to Black Canary, we're like, okay, go ahead. We all know what's eventually going to happen so just get it out of your system."
La industria, centrada hoy en día en los guionistas, ha relevado a los dibujantes a fieles reproductores de un guión donde no hay margen alguno para creatividad.
"I hate making broad proclamations, but I think that, to a certain extent, the separation of art and writing has hurt comics, because a lot of times the artists are in the position of -- they're grocery clerks. They have to get the stuff that the writers are asking for, and that's it. They're not participating. When I first got into comics, there were two writing styles. There was DC, which was full plot with full dialogue, and then there was Marvel style, where you get a loose plot and then you'd do the art and then the writer would come back and do a dialogue pass after the art was done. I think when everyone went to doing full plot, that really hurt comics because now the artists are not participating in the process that much. Like with Stan [Lee] and Jack [Kirby] or Stan and [Steve] Ditko, where Stan would write, "Over the next five pages, this happens," and the artists really had to visualize how to make it happen and discover creative ways of making that event happen."
"At [Gaijin Studios], we used to say there are artists who are actors, and there are artists who are stars. Those guys are like Jack Nicholson. It doesn't matter what role you put him in, he's going to be Jack Nicholson, and he's going to be awesome for it. But there are other actors, like Gary Oldman or Matt Damon, they change who they are to fit the role. We consider those folks actors. As a comic book artist, I consider myself more of an actor in that every project I do, I try to think of, what does the project need? Does the project need to be more cartoony? Does it to be more naturalistic? Does the art need to move fast or move slow? What needs to happen to make it the best the project can be rather than how to make the project in my style?"
"When [DC Comics] asked me to do the design for Nightwing, it was really a fun time, and they gave me pretty much no instruction. Just go with whatever you think is cool. It was fun to sit down and go, okay, this is Batman's apprentice. Now he's off on his own, so he wants to have his own thing. As a comic book fanboy, what's running through my head is all the Robin stuff and all the Teen Titans stuff. It was really cool to sit back and design a character that's very practical, that isn't so crazy. No giant cape and all of that stuff."
"Batman has stood the test of time. There are certain characters that I think you know when the design is just right, because we all wait for them to go back to the original. With Batman, every once in a while people will make a decision to change the character and the fans are like, okay, do what you have to do -- because we know you're eventually going to go back. Wonder Woman -- you know they're going to go back to the star-spangled tights. Just don't even worry about it. I think Batman is one of those characters that, in his inception, he was so simply designed and so clean -- which is not like a lot of the characters that were designed around that time. Batman has not really been improved over the years. It's been tweaked, but there hasn't been a massive sweep to Batman that's irrevocably changed the character. If it was put to just about any artist, okay, redesign Batman and come up with something cooler -- they couldn't do it. Every time they make a big change to Black Canary, we're like, okay, go ahead. We all know what's eventually going to happen so just get it out of your system."
domingo, 8 de diciembre de 2013
PREVIEW DAYMEN # 3
El aplaudido cómic de Boom que ha traído a Brian Steelfreeze de nuevo a la actualidad. ¡Bien!
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