There might be something more important than figure drawing in comicbook artwork, but we sure don’t know what it is! Everything is based on how you draw the characters: the heroes, villains, and the never-ending hordes of supporting stars. Superhero comicbooks are the stories of people, period!
Stan Lee, John Buscema, “How To Draw Comics The Marvel Way”
And The Never-Ending Hordes Of Supporting Stars
If an artist paints a picture
that looks just like, say, a fern,
the artist, typically,
will step back and shrug and say something
like, “imitation world”
or “trivial illustration” and
move on to other pictures
more closely approximating
creations and image constructs
artists, typically, call art.
If a scientist
works out a recursive algorithm
outputs something that looks like a fern
the scientist, typically,
will lean forward, gasp and whisper
something like, “transcendence!”
or “I’ve peered into the formative
the intimate structures of space
and time and permeating
even existence itself” and
move on to redefine
academia and politics
and business and culture
and everything else the eye can see.
Okay. An artist
and a scientist walk into a bar.
The artist gets a drink
from the bartender and finds a chair.
The scientist stands by the door
and delivers a loud, long
speech, saying Crichton’s ‘Jurassic Park’
was the first mass-market
about chaos theory and its impact
on real life and all those sad people
who believe Brautigan’s
was really the first are unqualified
and misinformed and extremists
and dangerous hate-mongers
who shouldn’t be allowed
to take advantage of hard working
who get home from a tough day on the job
and just want to watch TV
and buy lots of expensive stuff.
The scientist eventually leaves,
shaking his head and
saying to himself
that the great mass of humanity lives
immersed in a demon-haunted
nightmare world and thank heavens
politicians and businessmen
get their guidance these dark days
from scientists who can face
and deal with life’s complexities.
The artist eventually goes home
with the bartender.
After making love
in the bartender’s quiet apartment
the artist sketches
her sleeping with her head on a pillow.
When the bartender wakes up
and looks at the sketch of herself
sleeping, she says, “But I don’t
look like that. Sleeping or awake
I’m never that peaceful.
And I’m sure as hell not that pretty.”
The artist kisses her
and explains that he draws what he sees.