bahhhhh no se si esto salio o q onda,si alguien lo leyo o lo compro o algo comente a ver q onda.
aca les dejo una entrevista con el artista travis charest.
y un poco de arte tambien
It’s been a long road from Flash Annuals and Darkstars to Alpha/Omega - a little over ten years, as a matter of fact, since Travis Charest’s work first appeared on the American comics scene. Charest quickly became known for his meticulously detailed pencils and design work, and after a healthy run with DC and Wildstorm, has signed on with Alexandro Jodorowsky to produce Metabarons stories for Humanoids.
First off – a touch of biography: Charest was born in Leduc, Canada, and spoke French until age six. Exposed to Heavy Metal and Conan early, Charest developed an interest in art, but was working in a warehouse when opportunity knocked in the form of a co-worker who showed him some issues of Claremont/Lee X-Men during a lunch break. Shortly after, Charest landed work at DC, and was one of the hot finds of the early ‘90s, with many calling him the next Jim Lee, given the similarities of their styles.
Appropriately enough, Charest was lured to Wildstorm by Lee (before the merger with DC), and placed on the studio’s then-flagship, WildC.A.T.S., penciling the bulk of Alan Moore’s run on the title. Charest remained with Wildstorm (and the ‘CATS, for the most part, on covers or the second volume of the series) for six years, leaving in 2000. Throughout his time with the studio, Charest developed his own, distinctive style, with clear influences from European artists, such as Moebius and Juan Gimenez.
But after he left Wildstorm for a time, Charest was gone - his art wasn’t appearing anywhere, and no one knew what he was up to.
Enter Humanoids – the publisher had secured Charest to illustrate a new Metabarons story by Alexandro Jodorowsky in the recently released Alpha/Omega, as well as illustrate a full-on Metabarons graphic novel, The Dreamshifters. Able to follow in the footsteps of Moebius and Gimenez, Charest threw himself into the work, and has been at it for the last two years.
With fans getting a taste of his version of the Metabaron in Alpha/Omega, Humanoids and Charest will give the taste a chance to linger - Dreamshifters hasn’t yet been placed on Humanoids’ schedule, although the publisher is hopeful for a mid 2003 release.
Newsarama caught up with Charest for a brief chat about where he’s been, and what he has going on with Humanoids.
Charest declined to answer questions about his process, or how long it takes to create any given story for this interview. However, a Humanoids spokesman pointed out that Charest does not use computers in any of his art – all his linework and paints are done by hand.
Newsarama: Basically, the most obvious question probably is: where did you go for so long?
Travis Charest: I moved to Paris, lived and worked there for two years with a lovely view of the Tour Eiffel out of my studio window. I left Wildstorm in February of 2000 and went to Paris in March of that year. I met Jodo in Paris a couple of weeks later, and was working on the book by April.
NRAMA: How did you get hooked up with Jodorowsky? Did he seek you out, or did Humanoids hook you up?
TC: I don't know who it was who first suggested me to Jodo or if he became aware of me independently but I was approached by Humanoids at the San Diego Comicon in 1999. They offered me the Metabaron story and I told them I would do it after my commitment to Wildstorm was complete.
NRAMA: What was the script for the Alpha/Omega story like, compared to other scripts you've worked from?
TC: Jodo's scripts are like typical comic scripts in that they have a description of action with dialogue or expository text included, but the flow of the script seems much more like music to me than just a simple numbered list of “shots”.
Each scene has a sort of lyrical flow with highs and lows and precise beginnings and endings that try to suggest a specific mood or theme, they are detailed in their instructions but no thumbnails or layouts are given to me. Now as to whether I do justice to the words with my pictures is for the “Maestro”(Jodo) and the reader to decide.
And finally the script was written before I became involved with the project, but Jodo is a very gracious and collaborative writer and he often sculpts the finished story to my strengths and weaknesses.
NRAMA: Given your influences can be seen to have at least some start in European comics, was the move to Humanoids something of a natural thing for you to do?
TC: I have been a fan of Moebius for over 15 years, The Incal being one of my most favorite stories. Of course I was only able to truly appreciate it years later when my French progressed to the point where I could “really” read the text - I've never seen the English translation. I became aware of Gimenez through the reprinted work that appeared in Heavy Metal and I am a huge admirer of his work as well.
The move to France afforded me the opportunity to discover many other European artists that I count among my favorites now, Enki Bilal and Paul Gillon being two of several.
NRAMA: Given his history and reputation, was there any intimidation in regards to working with Jodo?
TC: Any anxiety I had about meeting Jodo was put to rest after the first five minutes, he is a warm, generous man, and he has always been a huge supporter of both me and the book. I went into the project with the knowledge that I was walking in the large footsteps of two of my favorite artists and I always try to treat the material with the respect that they built into it.
NRAMA: In working with Jodo, do you have much freedom in regards to design, or were things pretty tightly structured by Jodo?
TC: A few changes were made, mainly in color choices and a slightly more traditional panel design, also as this is an attempt at a realistic style, many of the exaggerations and visual language that you see in American comics are not used, such as extreme anatomy or excessive sound effects. As for design, because this is a character with an already defined look and surrounding universe, I have tried to create a mix of the two previous artists as well as grounding this otherworldly type of story in some reality by using textures and methods of lighting that are more cinematic than graphic.
NRAMA: Given that Alpha/Omega is out, and Dreamshifters is coming more sooner than later, have you begun to think about work after Humanoids? Would you consider going back to the more American comics market after your time in Europe?
TC: Humanoids will be keeping me busy - if all goes well with our first album I believe that there are plans to do 3-4 more in the series.
NRAMA: So it’s Humanoids and Metabarons for the foreseeable future?
TC: Right - if we decide to do the other albums, that will fill a few years with work so I doubt I will have the opportunity to do much outside of the universe of the Metabaron. Although I have always had the idea of doing a graphic version of Stephen King's Dark Tower series, but outside of my own imagination, I doubt that will ever happen
17 years, 6 months ago
Hasta donde yo se, al final esto nunca salio al publico (al menos el album) ni siquiera en francia. Pero voy a averiguar
15 years, 12 months ago
Bird Man
Hasta donde yo se, al final esto nunca salio al publico (al menos el album) ni siquiera en francia. Pero voy a averiguar
Dale, en el eMule no hay nada.
15 years, 11 months ago
Conozco gente que lo leyó y la verdad es que es de las sagas mas fumadas que me contaron en mi vida.
Y no, el final nunca salió porque es una saga abierta…, termina con el metabarón actual (el que aparece en el Incal) y la idea es contar las historias de él y de su hijo adoptivo.
15 years, 11 months ago
Kayser Soze
Conozco gente que lo leyó y la verdad es que es de las sagas mas fumadas que me contaron en mi vida.
Si te referis en general a La Casta de los Metabarones, sí, puede ser que sea algo fumada (a mí me parece que no), pero en comparación con Comics de Jodorowsky te puedo asegurar que es lo menos fumado que he leído de él (cosas como Garras de Angel y Los ojos del Gato son mucho mas surrealistas… y por lo tanto mas fumettis), y si nos vamos a sus obras en general es lo menos fumado de todo lo que consumí de él, porque sus Películas me parecen insoportables.
Y no, el final nunca salió porque es una saga abierta…, termina con el metabarón actual (el que aparece en el Incal) y la idea es contar las historias de él y de su hijo adoptivo.

15 years, 11 months ago

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