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Carl
Barks was one of the mightiest of all of the 20th century
American comic artists, which is saying a lot. His books
have been reprinted in most every country that has comics
available. Many collections of his stories have appeared in
print, and many articles written about his great skills at
storytelling using pictures and words. Probably, he is among the
top ten or twenty comic artists in comic books and strips.
Later in life, Carl turned to painting his ducky-subjects on
canvas and board in elaborate oils. While a fair amount of books
and articles have appeared on Carl's work in comics, there is an
absence of technical looks into his working methods, his
reference materials and techniques for his paintings...until
now.
John Garvin is a painter as
well as a writer and director of video games. He was in a
position to have been able to spend time with Carl and his wife
Gare' while Carl was in the midst of his painting work. As a
creative person himself, John has brought to us an intimate,
extraordinarily detailed look into the methods and technical
details of the creation of the oil paintings the "Good Artist"
created after his retirement from comic book stories.
It's a beautiful book, worthy
of the legacy of Carl Barks. It was obviously a labor of love
every step of the way for Mr. Garvin. In each and every detail,
this fabulous book presents itself with extremely well thought
out standards. It is meticulously researched covering every
intimate aspect of Carl's painting work. We get to peek into his
studio in a way rarely possible for a reader interested in an
artist's world.
We get to see Mr. Bark's studio
floorplan. We visit his reference shelf, and there is much here
also about the work of Carl's talented wife Gare', who is much
more responsible for shaping her artist husband's later art than
is commonly known.
John Garvin has done a
beautiful job selecting examples for the volume, and his layout
of the pages is much superior in quality to what I'm used to
encountering in books like this.
I've always considered The Carl
Bark's Library, published by Bruce Hamilton, Russ Cochran under
Another Rainbow to the be the ultimate collection of the comic
stories by Carl Barks. Now there is a work on Unca Carl's
paintings to match it in focus and high quality.
If you are interested in Carl
Bark's paintings as collectibles, get this book. If you are an
artist yourself, interested in how a professional sets up a
studio and works, get this book.
Not only is this the very best book
on the technique behind the duck-oils of one artist, it is also
one of the better written oil painting primers that sit in my
library.
This is a must have work for
all lovers of Carl Barks!
I must say I’m impressed, and I think Carl would have been,
especially with your coverage of media, and his take on his own
craft.
- Patrick Block (Disney creator and fine artist)
“I thought you did a very good job of bringing Barks to
life for those of us who know so little about him...
It’s nice to see a well-researched and lucidly explained
discipline unfold in front of your eyes.
It’s a remarkable, remarkable book
and you should feel very proud. I’m proud to have it in the 'How
To' section of the Cerebus Archive.”
-
Dave Sim
(Author / artist of Cerebus and Glamourpuss)
“I must say I’m impressed, and I think Carl would have been,
especially with your coverage of media, and his take on his own
craft.”
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Geoffrey Blum
(Associate Editor of the
Carl Barks Library)
"Your book is one of the most amazing studies of Barks
I've ever read. The care and detail and the exposure of
previously unknown material and your brilliant analysis of
composition, layout, design, sources, and on and on have
revealed to me things I had intuitively grasped but had no
explicit means of articulating in the specific techniques you
have developed. Your study of perspective, for example, confirms
and extends much of what I've been teaching and writing about
recently in terms of Carl's use of vectors of motion, eye gazes,
etc., in the composition of his comics pages and the centrality
of such techniques to the fundamental innards of his narratives
and indeed to the ontology (the very being) of Carl's greatness.
Thank you for doing this massive amount of work and opening my
eyes to facets of Carl's later work in painting that had eluded
me. The book is, for me at least, an inspiration that I will be
returning to time after time as I grope toward trying to get
hold of explanations of Carl's achievements that will forever
elude total elucidation in verbal, analytical exposition."
- Professor Donald Ault, author of
Carl Barks: Conversations |
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