Come and meet Warren Chang at his book signing and exhibition this weekend. Join us to celebrate the release of Warren Chang: Narrative Paintings. The event will be held at the Winfield Gallery in lovely Carmel, California on Saturday, February 4th from 1-4 p.m. You can visit the Winfield Gallery website for directions and further details.
See you there.
John
John Fleskes
Flesk Publications
Links:
Winfield Gallery website
“Warren Chang: Narrative Paintings” book details
I printed what I thought would be plenty of the new Bruce Timm book to last through the year. Well, I was way off. In just its first full month since we released the book we are almost sold out. As of this writing I am down to 42 copies of the deluxe edition. How long will these last? Eight copies sold today, so you can do the math. I held back on some cases of the paperback to save for WonderCon and direct orders from us. These should be around for a little while longer. If you are looking to eventually get the deluxe edition, or even the paperback, I wouldn’t wait too long. You’ve been warned!
Also, our few remaining copies of the Naughty and Nice Bruce Timm Teaser are gone. This is officially sold out!
John
John Fleskes
Flesk Publications
Links:
Naughty and Nice: The Good Girl Art of Bruce Timm book details
Order Naughty and Nice: The Good Girl Art of Bruce Timm at the Flesk Store
The Spectrum 19 “Call for Entries” deadline is coming up fast. You have until January 27 to get your package postmarked and shipped. Follow the link below for full details.
John
John Fleskes
Flesk Publications
Link:
Spectrum 19 “Call For Entries” details and submission forms
Arnie and Cathy Fenner have asked me to produce the commemorative art book for their upcoming “Spectrum Fantastic Art Live!” event happening this May 18-20, 2012 in Kansas City, Missouri. I am thrilled to have been trusted with this project. The Fenners’ have high expectations for anything that carries the Spectrum name; and for good reason. Spectrum is the world-wide phenomenon dedicated to promoting the best in contemporary fantastic art that is the result of their hard work, diligence and smart decision making. I find this pressure inviting as I edit and design this collection.
This 64-page, 9 x 12 inch hardbound keepsake collection will begin with an introduction by Arnie and Cathy Fenner. The focus of this art book will be on the five guests of the show. Each will be showcased with a gallery and accompanied with an introduction by a prestigious member of our fantastic art-loving community.
Brom, with an appreciation by Christopher Paolini.
Mike Mignola, with an appreciation by Christopher Golden.
Iain McCaig, introduction by William Stout.
Phil Hale, with a short interview excerpt from his upcoming art book coming this summer
Android Jones, with a feature by Lorne Lanning.
I’ll have individual biographies for each artist and writer posted on my blog in the near future. It’s an amazing experience to work with this esteemed and respected group. The book will premiere at Spectrum Fantastic Art Live! and be available direct from our website.
Enjoy,
John
John Fleskes
Flesk Publications
Links to official websites:
Spectrum Fantastic Art Live!
Brom
Mike Mignola
Iain McCaig
Phil Hale
Android Jones
Christopher Paolini
Christopher Golden
William Stout
Lorne Lanning
Warren Chang in his studio.
With our new book, Warren Chang: Narrative Paintings, available, I thought it a good time to sit down with Warren Chang and ask him some questions. The time spent with him in producing this book has been one of pleasure. I’ve found Warren to have a deep knowledge of himself and his paintings. We talk about sincerity, balance, choice of subjects, family and more to find how all of these ingredients make Warren the painter that he is.
Sample spreads from the book are interwoven throughout. They can be clicked on for larger views.
Warren Chang: Narrative Paintings Book Interview
Copyright 2012 John Fleskes and Warren Chang. All Rights Reserved.
John Fleskes: Why select the title “Narrative Paintings” for your new book collecting your fine art paintings?
Warren Chang: I addressed this subject to some extent in the preface of my book. I think it describes the kind of painting I do well. Frankly the word “narrative” implies to the contemporary art world that the art is “illustrative,” not to be taken seriously. I wanted to embrace my roots and take ownership of the narrative and illustrative nature of my artwork. My work is narrative in nature but not obvious. I think a work of art is more powerful when there is an air of mystery. It’s more open to interpretation and the story is not too spelled out.
Fleskes: When people view your paintings what do you hope they get out of them?
Chang: I hope they “get it.” Now what exactly that is, I’m a little reluctant to talk about, but certainly there is a certain mood; a feeling that I’m trying to convey. If I have to spell that out, then it’s probably not working. The art should speak for itself.
I do feel it’s open to interpretation and the viewer, as participant, is also part of the creative process in that the viewer also must be an artist in how they view any work of art.
Fleskes: As a painter, do you intentionally attempt to project feelings through the use of color and imagery into people when they view your art?
Chang: Yes, absolutely, nothings an accident.
Fleskes: I hear you speak of “honesty” and “sincerity” with your paintings often. What do you mean by this and why is it important to you?
Chang: If a piece of art is honest and sincere then it will connect with some part of your audience because we all share a common humanity. I can only paint or communicate what I feel or believe and only hope that others will relate. In that way, an artist bares his soul, it can be a little unsettling observing the reactions to one’s work.
Fleskes: With “Narrative Paintings,” besides this being a gallery of your fine art spanning the last decade, you incorporate your own text with each work. What is your goal with this collection? Who do you envision this book is for?
Chang: The accompanying text is simply there to help shed more light on the thinking and process of each painting. If we look back historically, we can only wish we knew what motivated the great artists’ of our past. So with a contemporary painter, like me, it’s nice to have the opportunity to convey these thoughts in a book.
The one word I can think of for the goal of this book is to “inspire.” I hope this is not asking too much but I hope this book will inspire artists and would-be-artists around the world.
Fleskes: How does family and a balance in your life relate to your paintings? What do you need in your life to paint to the best of your abilities?
Chang: I think these two questions can be addressed at the same time. A good friend and fellow artist once remarked to me that perhaps my family was a bit distracting to my art. In fact he was correct, but honestly, without them I’d be lost and even less productive. I owe everything to my family. They give me the stability and purpose to focus on the work at hand. In fact, much of my work is really about “family.” The interiors are pretty much biographical and my family seeps into the subjects and focus of many of my paintings.
So if my family gets in the way of my work at times, I wouldn’t have it any other way.
Fleskes: Do you have a favorite piece that is reproduced in “Narrative Paintings” and what makes it successful to you?
Chang: That is a hard question. There are many I’m fond of and for so many different reasons. Right now, I would have to say its “Entrance to Highway One,” The painting depicts a homeless drifter on the edge of a highway. It was painted specifically for a traveling exhibition titled “Hard Times: An Artist’s View” in 2010. We were asked to paint are reactions to the current economic times which seemed to mirror, to a lesser extent, the Great Depression of the 1930′s which inspired so many great paintings from that era.
The model and painting seemed to epitomize the theme of the exhibition. I was greatly inspired by the theme of the exhibition; a theme of what seemed to me of much substance and in the company of so many artists I had admired, such as Burt Silverman, Harvey Dinnerstein, Max Ginsburg and Steven Assael.
A friend upon observing my two painting of homeless men for this exhibition, one being “Entrance” and the other “Portrait of Bill,” which depicted an old homeless man, remarked that in “Portrait of Bill” you see this kind of a homeless man in all times, while in “Entrance” the man is able bodied and capable of work, yet drifting and homeless. “That’s me if I lose my job,” he remarked. “I would be right there alongside him along with my family and dog.” It dawned on me that the character I had portrayed was “every-man” and that the common man could relate to the plight of this man. So in that way, it succeeded.
I can’t tell you how much I searched for just the right homeless man for these two paintings; the extents I would go to find the right subject. More often than not finding the right subject, or in this case, the right model, can contribute so much to the success of a painting.
Fleskes: You often portray the every-man and every-women, field-workers, and sometimes the disenfranchised. What is it about them that are attractive to you? Why is it important that you document them?
Chang: Good question. I don’t have a background of hardship, of having worked in the fields, or anything like that. I grew up relatively comfortable, although as a minority in America. I grew up in and continue to live a normal middle class life, so my attraction to the struggling class of people comes from something. But, I’m not exactly sure. I somehow do relate to their plight as I feel it’s the plight of all man throughout history.
Philosophically, I feel in great art, the struggle for life, even tragedy, as demonstrated by the plight of the field-worker for example, goes deeper, has more substance in terms of the sense of humanity that we all share.
Fleskes: Why do you think people find your choice of subjects so appealing? Is the connection formed between them and your paintings intentional, or are you being purely true to yourself and people connect to that instead? (The honesty?)
Chang: I don’t know that people do find my choice of subject appealing. If they do, that’s great.
I paint what I paint regardless of the reaction or whether or not it “sells.” I have found that some people connect with my paintings of the fieldworkers and usually for different and varying reasons. And it’s these reactions that actually inform and educate me on the subject, so it’s an ongoing process.
Fleskes: Your compositions vary from painting to painting making each truly unique. There appears to be a lack of redundancy. Each one is a singular statement. Can you talk about this and why is this important to you?
Chang: Yes. I once was told by a gallery director that, “I don’t need to reinvent the wheel every time I paint a picture.” For me, almost every painting is an entirely new project and undertaking. It’s like I’m writing a new novel or making a new movie.
It often takes me months, if not years, to formalize an idea for a painting. I envy those painters who seem to repeat the same theme over and over again, varying little from one painting to the next. It’s this direction the commercial galleries prefer once they discover a product that sells, and perhaps that may be why I’ve had little success there.
Fleskes: I’ve heard you say that you value the “thinking” behind your work more than anything else, such as the skills behind a painting. Can you explain?
Chang: What I was just elaborating on, kind of explains that. There is an old Chinese proverb, “Read 100 books and paint one picture.” I find a lot of truth in this statement. You have to think before you can create anything of substance and meaning.
I’m alarmed with the over preoccupation with style, and technique and skills in art today. We forget that these are only the tools to creating great art, not an end in itself.
Warren Chang.
Fleskes: What have you discovered about yourself through painting?
Chang: I’ve discovered that art is life. Searching for the meaning of art is the same as searching for the meaning of life. There are no answers but that does not mean we don’t keep searching and trying to figure things out.
Fleskes: Thank you for your time, Warren.
Enjoy,
John
John Fleskes
Flesk Publications
Links:
Warren Chang Narrative Paintings at Flesk Publications
Warren Chang official website
With the release of The Art of Craig Elliott, I thought it a good time to ask Craig Elliott a few questions regarding his new book and his philosophies regarding his art and life. I would like to extend a special thank you to Craig for taking the time to respond.
Craig Elliott “The Art of Craig Elliott” Interview
Copyright 2012 John Fleskes and Craig Elliott. All Rights Reserved.
John Fleskes: You obviously have your own creative and artistic style. Do people sometimes make references to other artists that share your same sensibilities when viewing your work? How do you feel about this?
Craig Elliott: People occasionally mention other artists they “see” in my artwork when they meet me at shows or gallery openings. I find it fascinating that people choose other artists that have the same interests as I do. Our interests and motivations are the things that really create our art. People will point out artists that have, or had a strong interest in Japanese art, a deep love of nature, and of women, especially women in their “natural” state, without much influence of modern society’s specific demands upon their looks. These interests that I have combine to create my art, and combine in other artists to create their art. I think people respond to a feeling that is transmitted by those interests. We almost all will have had different teachers, teaching different drawing methods, ways of applying paint, preparing canvases, etcetera, so the specific techniques and details are different, but these interests that flow beneath the art are shining through.
Fleskes: What is it about women and nature that inspires your fine art that is featured in The Art of Craig Elliott? Why not men and nature?
Elliott: I think women are just about the most beautiful thing in the universe for a human male. Evolution and time have made it so there is no equal to them in all the world for us. Nature also is built on many of the same principles of beauty and design that women are, but can never quite overcome women in a man’s mind. It is a very strong second though!
Fleskes: You stay very busy with visual development work, character designs and conceptual art for the film industry. How do you find the time and energy to work on your personal fine art? And why is it important for you to create work that reflects your own inner vision, rather than purely the film and commercial assignment work that you do?
Elliott: I don’t really have an opportunity on a daily basis with my concept design work to put my own ideas to paper. I work to realize and flesh out the ideas of writer’s story artists and directors, and I consider their ideas the paramount consideration when I am doing a job. Only if they ask me to fill in a gap in their own minds do I step in and offer my own ideas. I can remember a time on Treasure Planet when the directors, John Musker and Ron Clements had a problem they had not yet solved in the story. This problem was how the main characters were going to escape from the stockade with the pirates sitting outside the door all night. I had an idea inspired by a type of plumbing valve, when it was mentioned that they had no solution for this problem! I adapted the valve to create these mysterious half spheres in the floor of the stockades interior. Our characters could, with a little initiative, fool around with them and discover that they would rotate, and eventually align an opening in the floor to let them escape. I drew up some simple plans and pitched the idea to the directors, and they used it!
Aside from these little ideas I don’t have an outlet at work to express the other ideas that come to me. Ideas for my art come to me while I am sketching compositions for work, taking a walk, driving, watering the plants, looking at books, all sorts of times. These ideas reflect my own story, the things that strike a chord for me. I don’t know what it would be like to not express my own vision in some way. It is hard to say why it is important, when it is just something that I do, or am. It really is like magma in a volcano, bubbling up from below, if not released it can explode. I have had stretches of time where I have not been able to do much art of my own. I remember once I had to go a month or two without doing anything because I was buying and moving into a new house. I had no furniture, dirty carpet and torn up linoleum. I had no art supplies either. I bought food and some sculpting supplies and sculpted for days, sleeping on the floor! I had to get it out or I would blow up! After that I could move in my stuff and get more settled. As for having the time or energy to do my own work as well, I guess the compulsion makes the energy and time for me. I have no choice!
Never the Twain by Craig Elliott.
Fleskes: Is your fine art created to satisfy and bring pleasure to you, or others? Maybe both, and if so, who comes first?
Elliott: I am really making things I want to see, or places I want to be in when I am creating my fine art. I have heard a few times that Disneyland was the place Walt wanted to live in, or play in. It is that same sort of idea. There is a hope that others will like what you do, and you can somehow support the continuation of your art with their interest and support.
"Jade" by Craig Elliott
Fleskes: Which is the painting you are the most proud of in The Art of Craig Elliott? What stands out about it?
Elliott: I think Jade is the painting I would chose as an answer to this question. It was a real breakthrough for me, and was the first time I did something that came close to the style I had in my head… It is also my late grandmother’s favorite painting. I also thought of this painting as representative of why I would be satisfied with the life I had led if I were to die. This may seem morbid, but I was faced with two weeks to live when I was 26, and actually thought of this painting when I was alone in the hospital, and said to myself “well, if this doesn’t work out I can look at Jade, and be satisfied that I had done something I can leave behind that really means something to me.”
Fleskes: Do you think your art is the result of a talent, or hard work?”
Elliott: I don’t really think there is such a thing as talent. If I compare how much time I have spent honing my skills, and thinking about art, I feel like if I have any ability as an artist, it had better be as a result of all of that! I have never done much else besides art, I don’t know if that makes me obsessed or something, I don’t know. For me it comes down to there being very little else that is nearly as interesting. Movies, bars, parties, clubs, sports, etc. are so boring to me, though most people really enjoy them. I wish I could understand, or get some enjoyment out of more things, but we are all different. At least there is something I enjoy!
Fleskes: We’ve spoken about labels and how people like to put artists into categories. This is something you don’t like to do. Why is that? And how do your respond when people label you?
Elliott: Though it is frustrating, I have enough understanding of the way the brain works to forgive that sort of knee jerk categorization. Our minds work by association, categorizing things in terms of other things the brain has already seen or experienced. This behavior makes perfect sense and is a very efficient way of dealing with the world. It has some side effects like stereotyping. Stereotyping is applying what you have experienced about “X” to other things that are, or seem, similar to “X.” The negatives of stereotyping are obvious, but it also helps our brain not have to spend hours assessing every individual situation or thing it encounters, and be able to make reasonably accurate decisions in very short time. If someone pulls into your lane on the freeway, you can use previous instances of that event to help you quickly decide what do to and what might happen next. If you wait and analyze the situation like it is a completely new one, you will end up in a crumpled mess by the side of the road!
Fleskes: How well does The Art of Craig Elliott represent you as an artist and as a person?
Elliott: I hope the overall impression of the art in the book gives people the sense of how I feel about the world, and an understanding of the beauty I see in it. I have had some feedback from the few people who have seen the book already, that they get a feeling of the flow and rhythm of nature from my work. That is much more the subject of my art than the physical things like people, grasses, branches, etcetera, that you see in the art. I am trying to capture something that I feel from nature. It really may not matter much what subjects I am painting in the end. That feeling is what actually matters.
Fleskes: What do you want people to know about you in relation to your art?
Craig: I am not sure if I have thought about that much. I try and stay out of the way of my art I think. I think I am afraid of influencing, or “messing up” their experience of the art with “me stuff.” I am always willing to answer questions that are asked of me, of course. Although, I think many of the most important things about me as a person are right there in the art. If I am doing a good job, the experience of my art should be similar to knowing who I am as a person.
Fleskes: The Art of Craig Elliott was designed by you. This is something I am happy about since a goal of mine is always to get a deeper connection between artist and book for a true representation of the pair. During the design stages, what are your thoughts behind your decision with the flow and pacing? What do you feel is most important when grouping your art into a collection?
Elliott: I really tried to approach the layout of the book the same way I do my art. To include and adapt things I already love into the design the whole way through: Natural textures, mysterious layers and unusual proportions and divisions in the layouts. I think the way the book flows as you move from page to page and move through groups of related subjects is important too. I apply the same ideas to my portfolio. I do so many different things that if I am not careful about how I group things and make them flow into one another, it would seem like I was a total scatterbrain. When things move gracefully from one subject to another instead of jumping all over the place one doesn’t even notice the transitions or the number of subjects.
Fleskes: When you work on one of your sketches or paintings, what do you think is more important, the idea or the technique?
Elliott: The technique should always be secondary, but that isn’t always possible. The ideal is to practice technique until it becomes second nature, so that one can concentrate on the idea! It is a very Jedi like thing to play baseball, ride a horse or paint! They all require that “let go” moment…
Fleskes: You are one of those artists I consider a triple threat. You are an excellent artist, successful at running yourself as a business and independent free-lance artist, and a great self-promoter by making appearances at shows and running your own booths at events. I suppose I could add that you do occasional workshops and teach as well. My question is, was this all planned, or part of a natural progression of who you are? How important is being well-versed in different areas to you?
Elliott: I don’t see it as important per se, but maybe more “helpful.” Maybe that is the same thing! I realize the value of all these elements, and strive to do what is best for me and my art.
Craig Elliott jewelry collection.
Fleskes: Your artistry extends beyond drawing and painting. If you look beyond the many forms of art you have your fingers in, in addition, you are a sculptor, make your own fine art prints and create lovely jewelry, as well as having much interest in landscape design, among other things. Do you look at all of your interests as strengths, or a lack of focus? Is it boredom, or an honest love for life in enjoying so many different things?
Elliott: I really do enjoy doing these different things, and I think it is driven by a stream of ideas that I get excited about. Having so many ideas is tough, as I never have enough time to execute them all. It is frustrating, and I always feel behind! I guess we do the best we can in the circumstances.
Aristata sculpture in progress by Craig Elliott.
Fleskes: Where do you see yourself going in the future? Any achievements you would like to conquer that you haven’t focused on yet?
Elliott: I do want to find a way to bring my three-dimensional work to the public. Dimensional work was the very first art form I practiced, and it is still a big love of mine. I think it is much harder to bring to people though; there are many impracticalities that make it clumsy, costly and ungainly to do. I feel like I am much closer to a solution, and my jewelry is a good first step!
Fleskes: Thanks for your time, Craig!
Links:
The Art of Craig Elliott at Flesk Publications with video tour.
Craig Elliott Gallery official website
Flesk Publications
Realizing I had not updated my company profile for a while, I took a few minutes to write up a much needed revision. I feel the following description better reflects my mission statement, feelings about where the company is today, and my goals for the future.
About Flesk Publications
This year marks Flesk Publications’ tenth anniversary of promoting the arts through quality collections. “The company was founded as a direct result of my desire to publish the art books I wanted to buy myself,” states publisher John Fleskes. Flesk Publications pride’s itself on being different. A creative approach is pursued by exploring the aesthetics of each artist in order to design a package that serves as an extension of him or herself. The result is a unique and individual collection produced with passion. Flesk produces a full line of art books featuring the best of comics and graphic novels, fantasy, illustration, pinup and fine arts. “Animation and fine art are two areas I take great interest in expanding into,” shares Fleskes. “Our new Bruce Timm, Craig Elliott and Warren Chang collections are a testament to this goal.”
“One thing that separates us from other publishers is our absolute commitment to the quality of our books and the relationships formed with the artists we showcase,” continues Fleskes. “It’s not just about the books, but also about the positive future of the artists and making sure they are represented well and that their trust, in allowing us to collect their work, is not abused.” Fleskes shares a passion for the arts and feels a responsibility in making sure he represents his artists with the best books possible while also raising the art form. “We hope to educate the public to expect a higher standard from publishers,” continues Fleskes. “We take our work very seriously yet enjoy the process. Whether it’s a 16-page chapbook or a 300-page oversized art book, we give each collection our full attention to meet our standards first. I have a self-drive that makes this approach a natural part of what Flesk Publications is all about. It isn’t a policy, it’s who we are.”
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2012 John Fleskes
Our new title, Warren Chang: Narrative Paintings has arrived ahead of schedule. I had the opportunity to spend the afternoon with Warren at his studio where he signed and numbered 50 copies of the book. These special copies are available to all who have pre-ordered the book and while supplies last. I expect us to go through them quickly. If you have already placed your order, you can expect your copy shipped by this Friday.
It’s always a great feeling when a new book arrives. Here, Warren and I enjoy the moment as we crack open the first cases of books.
I’ll have the back story about how this book came to be, a video tour of the book and a Warren Chang interview posted in the coming weeks.
Enjoy,
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2012 John Fleskes
Photos and art © 2012 Warren Chang
Links:
Warren Chang: Narrative Paintings book details and ordering information
Warren Chang website
Craig Elliott put together a video preview of his new book The Art of Craig Elliott. The narration and flip through tour is by Craig. This will give you a great feel for the book as well as some extra details about the art pieces direct from the artist!
You can visit The Art of Craig Elliott book information page on our website for a larger screening. You can also visit the Craig Elliott Gallery channel on YouTube and his website for more videos by Craig.
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2012 John Fleskes
Video and art © 2012 Craig Elliott
Links:
The Art of Craig Elliott book details and ordering information
Craig Elliott Gallery website
Craig Elliott Gallery channel on YouTube
We’ve almost shipped out all of The Art of Craig Elliott book pre-orders. We should be caught up within the next two days. As a reminder, we have signed copies that come with an exclusive signed bookplate. The bookplate has an original sketch on the back. And it comes with your order at no extra charge. It’s a great deal and a special thank you for ordering direct through Flesk.
Enjoy,
John
John Fleskes
Flesk Publications
Text and photos © 2012 John Fleskes
Link:
The Art of Craig Elliott book details and ordering information
If you were wondering what we’ve been up to over the holidays and New Year, here is the answer; Processing orders and packing books has been a full time job around here. And believe me when I say that none of us is complaining about it.
This six foot tall wall of 120 packages containing the new Bruce Timm book was built over the course of a day and a half. Before they were shipped I couldn’t help but get a picture next to them. Making books is a blast and shipping them off is just as much fun, especially knowing that they will arrive into the hands of their owners shortly.
Enjoy,
John
John Fleskes
Flesk Publications
Text and photos © 2012 John Fleskes
Link:
Flesk online store
Let me start the year off by expressing my most sincere thanks to everyone who has supported Flesk Publications. For every book purchased, for each recommendation to a friend or store, for all individuals who have written a book review or mentioned us on a blog or social media site; all of these combined methods of assistance has gone a long way to helping us continue with our passion of making art books that reflect the spirit of each artist we publish. You have my gratitude and heartfelt appreciation.
This year marks the 10th anniversary of Flesk Publications. It was in April 2002 that I received my first book, Franklin Booth: Painter with a Pen, from the printer. In mid-2001 I had the urge to make a book on an artist whose work I loved and set out to do it. At that time I had no thoughts of establishing a business, approaching other artists and turning my passion into a livelihood. I was solely committed to the one book. Holding the Franklin Booth book in my hands for the first time was like being injected with printer ink. From that moment on publishing was in my blood.
I think ten years of publishing is worth celebrating. I would like to do this by making some fun and exciting goodies (some will be free and others very exclusive) throughout the year to say thanks to all of our supporters. Be on the lookout for these items at shows and online.
At the moment we are processing all of our orders and pre-orders for the new Bruce Timm, Craig Elliott and Warren Chang books. The Bruce Timm deluxe is flying out the door. We’re down to 200 out of the 1000 copies. I think it is safe to say that this edition will sell out.
The event I am most looking forward to this year is the inaugural Spectrum Fantastic Art Live in Kansas City, Missouri running from May 18-20. I have reserved four booths for the show and will have William Stout, Gary Gianni, Mark Schultz and Petar Meseldzija with me. Craig Elliott will have his own booth, too. I’m delighted to have all of us together again. (Our first trip together was for the Strip Festival in The Netherlands last September.)
I am currently working on the keepsake art book that will celebrate the five guests at Spectrum Fantastic Art Live. Brom, Mike Mignola, Iain McCaig, Phil Hale and Andrew Jones will each have a gallery showcasing their amazing works. I consider each to be an icon. I am embracing the challenge, pressure and high expectations of my working with these five superb individuals to make something fresh that I hope will properly pay tribute to each and to the show.
There are plenty of new books in the works. I’ve been talking to a few artists about collections of their work. Some may seem like a natural fit with other artists I’ve published, while others might surprise you. If anything, I don’t want to follow any set of rules or conventions. As I enter 2012 I am energetic and eager to continue publishing.
To wrap this up I would like share how thankful I am for the opportunity to publish the works of the following outstanding gentlemen, and for the friendships that have been created as a result. To James Bama, Warren Chang, Terry Dodson, Craig Elliott, Gary Gianni, Petar Meseldzija, Steve Rude, Mark Schultz, Jim Silke and Mr. Bruce Timm. I would also like to recognize the great and sorely missed Al Williamson, and my thanks to his wife Cori who has allowed us to continue with future publications featuring his legacy.
Happy New Year!
John
John Fleskes
Flesk Publications
Text © 2011 John Fleskes
Flesk Exclusive Bookplate Sample (unsigned).
The Art of Craig Elliott has arrived! We are packing all of the pre-orders and will begin shipping the books on January 3 (after the New Year holiday). As I mentioned in a previous blog, Craig Elliott has generously offered to sign an exclusive 4 x 6 inch bookplate. He is drawing an original pencil head sketch of a lovely woman on the reverse side. Each drawing will be unique. Sorry, no requests please. All copies of Craig’s book ordered direct from Flesk Publications will come with one of these special bookplates at no charge. We will continue this special arrangement with Craig as long as he is willing. It won’t last forever. Now is the time to take advantage of this gift!
Also, Craig was in the area a few days ago and signed a few cases of books for us. The books will also come signed in the actual book while supplies last.
Reverse side of bookplate with original pencil sketch by Craig Elliott.
Front side of bookplate signed by Craig Elliott.
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2011 John Fleskes
Links:
Order The Art of Craig Elliott
The Art of Craig Elliott book details
One of my favorite art publications, Spectrum 18, came out earlier this month. This is the first volume to break the 300 page count. It’s big, yet still lean, without any unwanted fat. All of the pieces within are strong representations of the artists and field. There are lots of familiar faces and better yet, many are unfamiliar to me. Spectrum continues its mission of collecting the best in contemporary fantastic art for the year. A big thank you goes out to editors Arnie and Cathy Fenner for what is a massive undertaking each year to make Spectrum happen.
I am pleased to see that the two pieces I submitted on behalf of Mark Schultz and Jim Silke were both selected by the judges and included. The Schultz piece is his cover artwork used on our Xenozoic book collection and the Silke art is for his Jungle Girls book cover. I also enjoyed seeing pieces by William Stout, Petar Meseldzija and Bill Carman make it in. Stout’s “Pumpkin Brains” painting from his Zombies calendar was selected for the back cover of the paperback edition.
Each section is a joy to peruse. I find the unpublished section to be especially exceptional. It’s filled with gems. I’m guessing some of the pieces in this area are rejections from clients that may not otherwise have the opportunity to see the light of day. Or they may be personal works, but it doesn’t matter what they were intended for, I’m just glad to see them in a collection. Check out the Kinuko Craft art on page 283, wow! Other personal favorites include Dave McKean (page 261), Shelly Wan (page 297) and Donato Giancola (page 278).
Spectrum is available just about everywhere books are sold.
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2011 John Fleskes
A friend of mine, Jonathan Leveck, has taken on the herculean task of writing a review for each of DC Comics The New 52 #1 titles at his J’s Comic Book Review on Facebook. Jonathan has evaluated each comic with honest, genuine, snarky and critical observations for nine of the titles so far. I’ve been enjoying his approach that is backed up with a deep knowledge of comics and a fluid writing style.
His most recent review concerns Justice League International #1 by Dan Jurgens with art by an artist I admire, Aaron Lopresti.
I buy the occasional comic if the art grabs me. Personally, unless I like the art I won’t pick up a comic–no matter how good the story is. To me, comics are art driven and without good art (subjective, I know), I won’t even give the story a chance.
I have been a fan of comics since the mid-eighties and regularly visit my local comic book shop, Hijinx Comics. (Owned by a good friend of mine, Neil Farris.) This New 52 line feels nostalgic to me in relation to the revamp DC did on a host of their titles in the mid to late eighties. (Superman, Justice League and Justice League Europe are among my favorites.) This time period was during my introduction to comics as a kid. I’m guessing there will be a whole new generation of fans who will feel this New 52 line will be something they own and can feel a part of, much like I enjoyed and have an attachment to the DC revamp in the eighties.
I think every generation can benefit when a character is reintroduced with a fresh approach now and again. By keeping the status quo and not revamping titles or characters it only panders to old fans and does not make the field open and welcome for new fans. I’m a big proponent of change and growth. Given this, The New 52 has been a welcome sight for me.
To get an idea of which title(s) you may want to peruse, take a peek at J’s Comic Book Review.
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2011 John Fleskes
The upcoming Flesk books Naughty and Nice: The Good Girl Art of Bruce Timm and The Art of Craig Elliott are getting closer to arriving in our hands and at the stores. The shipper has let us know the books will be arriving with us on December 29, and with Diamond Comic Distributors by January 10. All of our pre-orders will start shipping immediately. I estimate we will have them all out the door by the end of the first week of January. The books should appear in the book trade and comic stores in mid-January.
The Art of Craig Elliott "red" cover. Only available direct from Flesk and Craig Elliott.
While we are waiting for them to arrive, Craig Elliott and I have been discussing ideas about how we can make his book even more special. Besides the three covers to choose from, you will receive an exclusive bookplate when ordering direct from Flesk. Craig has offered to sign and provide a quick sketch on 4 x 6 inch bonus bookplates. This plate will have a design printed on the front with a space left for his signature. Then the backside will have a head sketch in pencil. Sorry, but no requests. You will receive this special bonus gift at no extra charge. This is a way of saying thank you for buying direct from Flesk.
The Art of Craig Elliott topless cover.
Craig and I have also been discussing an exclusive 100 copy ultra-deluxe edition. These will come with a slipcase. Just wait until you see what we’ve come up with! The slipcase will be non-standard and very unique. And even more exciting is that the book will come with an 8.5 x 11 inch tip-in of a giclee print of a pencil drawing on archival 100% cotton watercolor paper that has been hand painted in watercolors by Craig. No two will be alike. These 100 copies will have a personal touch that will be beautiful in every regard. The pricing will be announced in the next few weeks. Be sure to email Flesk Publications at info@fleskpublications.com if you would like to be placed on the waiting list.
Craig’s first sample. The pencil sketch is printed on archival 100% cotton watercolor paper and then the watercolor is painted on by Craig.
Enjoy,
John
John Fleskes
Flesk Publications
Text © 2011 John Fleskes. Artwork © 2011 Craig Elliott
Links:
The Art of Craig Elliott book details
Order The Art of Craig Elliott
Craig Elliott Gallery official Craig Elliott website
The Art of Craig Elliott bra cover.
We are now taking pre-orders for our upcoming book Warren Chang: Narrative Paintings. All pre-orders placed by January 15, 2012 will come signed by Chang. Over the next few weeks I will begin posting new blogs about Warren, with a new interview and the story behind the making of the book. I also just received preview copies of Narrative Paintings. I’m absolutely delighted with how the book came out. I’ll get some pictures up soon.
For now, here are the book details and the official biography on Warren. Follow the links at the end of this post to learn more, to pre-order and to visit Warren Chang’s website.
Warren Chang: Narrative Paintings is the first individual collection of Warren Chang’s fine art. A gifted storyteller, Chang portrays the human condition in his paintings, often depicting the downtrodden and disenfranchised while at the same time celebrating the human spirit. He is perhaps best known for interiors and genre scenes depicting the fieldworkers of Monterey County in California, where he grew up. Additional paintings in this collection offer scenes from life, landscapes, interiors and an engaging series of self-portraits. Chang’s written commentary accompanies many pieces, providing a personal approach that complements his skill at painting and utilizes the techniques he developed during fourteen years of teaching drawing and painting. His talent as a teacher is further demonstrated through sketches and step-by-step procedures.
About Warren Chang
Warren Chang was born in Monterey, California, in 1957 and graduated from the Art Center College of Design in Pasadena in 1981. After 20 years as an award-winning illustrator, he embarked on a career in fine art in 2000. He has been honored as a Signature Artist member of the California Art Club and a Master Signature member of the Oil Painters of America.
Chang’s work has been recognized nationally and been profiled in many art publications, including the covers of American Artist and International Artist magazines, accompanying a series of eight articles on instructional painting that he authored. He has been an instructor of drawing and painting for fourteen years, including three years at the Pratt Institute in New York City and currently at the Academy of Art University in San Francisco, and he conducts painting workshops nationally.
Perhaps best-known for his genre scenes depicting the field-workers of Monterey County, Chang portrays the human condition in his paintings and often depicts the downtrodden and disenfranchised while at the same time celebrating the human spirit. Additional highly regarded paintings include his scenes from life, interior scenes of artists, models and students, landscapes and an engaging series of self-portraits. All of Chang’s paintings represent a personal truth through his reflections of real life. Technique is subordinate to his ideas, as he channels an honest expression from within. This allows him to paint sincerely. A unique form of thinking prevails in his works, and each new painting represents a new discovery of himself.
His awards include “Best of Show” at the Salon International in 2003 in San Antonio, Texas; the Southwest Art Award of Excellence in 2008 and the Fine Art Connoisseur award for painting in 2009, both at the California Art Club’s Gold Medal Exhibition, held at the Pasadena Museum of California Art; and first place in RayMar Art’s Fine Art Competition in 2010. Chang is participating with the America China Oil Painting Artists League’s exhibition of contemporary American and Chinese realism at The World Art Museum in Beijing (2012), which is the first stop of a yearlong tour of major provinces in China. Furthermore, The Butler Institute of American Art will celebrate the art of Warren Chang with a solo exhibition in May of 2014.
Enjoy,
John
John Fleskes
Flesk Publications
Links:
Warren Chang: Narrative Paintings at Flesk Publications
Pre-order Warren Chang: Narrative Paintings
Warren Chang’s website
Dean Yeagle brought to our attention a fake original drawing of his art for sale on Ebay. Here’s the link:
It’s an obvious crude copy of his art and not done by Dean. Looking at the other auctions this same seller has for sale, the pieces on offer look highly suspect to me. Whether this dealer is knowingly selling fake original art or has no clue what he is actually offering is not for me to say. This is a good example of why it is important to be careful when purchasing originals and to familiarize yourself with the artist before buying artwork so you don’t get duped.
Dean Yeagle has already filed a complaint with Ebay about this fake representation of himself being available. As of this writing it looks to have been pulled down, but as possibly sold to someone who unknowingly thought it to be genuine, unfortunately.
If you notice more fake artwork by this dealer or at any other time, I encourage you to notify Ebay.
John
John Fleskes
Flesk Publications
If you are in the market for Mark Schultz original art, Mark urges you to check out these two items he has posted on eBay. The auctions are for a worthy cause: all proceeds go to the Benefit for Carrie Smurkowski. Carrie is a good friend of Mark and Denise’s who is battling cancer and facing horrendous medical bills.
You can access the auctions by going to eBay and “Mark Schultz benefit art,” or go directly to:
and:
http://www.ebay.com:80/itm/ws/eBayISAPI.dll?ViewItem&item=290642021281
The auctions conclude Sunday, December 11.
12/12/2011 Update: Thanks to all those who placed a bid. These auctions raised over $3000.00 to help Carrie with her medical bills.
John
John Fleskes
Flesk Publications
Artwork © 2011 Mark Schultz
Naughty and Nice hardbound deluxe and slipcase. (Click on all pictures for larger views.)
I received the Naughty and Nice: The Good Girl Art of Bruce Timm book printer samples last Friday. One of the most important things to me is hearing the artist’s blunt feedback concerning a new book. I sent a few copies to Bruce and had the chance to get his reaction. We are both very pleased and love how it turned out. Now I’m anxious for the book to hit the stores and to hear what all of you think. While we wait for the books to arrive at the end of this month I thought I would share some pictures, and also include some stories over the course of the production of the book.
“Can you watch the booth for a little while? I’m going to go see if Bruce Timm wants to do a book together.” This was my asking my right hand man, James Walker, at Comic-Con in 2009 to watch the Flesk Publications booth while I tried to track down Mr. Timm. I didn’t know Bruce beyond meeting him as a fan a few times to get his signature. As far as I knew he had no idea who I was. (I never assume anyone knows who I am, or should for that matter.) I walked over to the Naked Fat Rave booth where my pal John Fanucchi runs the stand. I knew Bruce does signings there off and on throughout the show. Bruce happened to be there, along with a line of about 50 people all wanting his attention. I asked John if he could introduce me to Bruce and he was glad to help by bringing me behind the booth. I feel when you present yourself to someone you only have two minutes to introduce yourself, make your proposal and impress someone. If they continue to talk to you beyond those two minutes and ask you questions then you are in good shape. If you keep talking after two minutes and they aren’t asking questions, well, then you aren’t doing so well. Realizing there was a long line of people waiting for autographs and that he was busy, I made my introduction and inquiry in one minute, and then asked if he would be willing to talk about the possibility at his convenience. I was flattered to discover he knew of my company and he agreed to talk in the future. All in all I took about three to four minutes of his time and he was back to signing books in short order. It happened quick enough where the fans weren’t giving me the evil eye for extending their wait time.
The hardbound edition is the copy opened in the back and the paperbound in front.
One thing I was plainly aware of from the start is how busy Bruce is, along with his status in the animation and comics fields. I wanted Bruce to know I was serious, yet also give him his space and not be aggressive. I have a massive amount of respect for who he is and what he has accomplished and just basically stayed true to who I am and followed my gut on how I should present the book proposal to him. Originally my idea was for a 64 page collection of his personal female art that could possibly be a series of volumes that would come out a year or two apart from one another dependent on how much art Bruce could produce, or was interested in drawing. My goal from the start was a book that was on Bruce Timm, not a book that revolved around the characters that he works on. I wanted to see “The Art of Bruce Timm,” not “The Art of Batman” by Bruce Timm.
By spring of 2010 Bruce started sending me art, and sending me extra art, and then additional art, and the pieces just kept coming. I was flabbergasted to see so much amazing art. The book kept growing, morphing and expanding. I found myself rethinking the book with designer Randy Dahlk several times and sending updates to Bruce for his thoughts. By Comic-Con 2011 I had a 304 page preliminary designed book to show Bruce at San Diego. On the Sunday of the show Bruce found some time to flip through the pages. I could tell by a few of his comments that we didn’t nail it. There were issues with the pacing of the book. I sent the dummy book to Bruce after the show to give him time to absorb the design and offer suggestions. Shortly after, I received an email from Bruce that basically put into words what I was expecting to hear. He expressed that book needed an extensive overhaul. Let me state how exceptionally well Bruce phrased his email and gave clear explanations regarding how the book could benefit from a redesign. He offered many examples and suggestions. Sure, I wish we impressed him more, but I was in no way disappointed. I was energized about the possibility of improvement.
Bruce Timm notes on book preliminary pages printouts. The designs and some art in the lower right hand corner were ultimately dropped.
These pictures (above and below) represent a small sample of the pages I had printed out for Bruce to look over. All of the red pencil notes are his giving me his preferences for which pages were working and others that could benefit from adjustments, with explanations why. When compared to the final book, you will see in both of these examples that there are many pieces and page designs that were ultimately cut from the book.
Some of the BT art along the right side didn't make the final cut.
It’s easy for someone to be sensitive about putting work and time into a book, then having to make a significant amount of changes. I’m not one of those people. I don’t take constructive criticism personally and look at them as an opportunity for growth. I got excited about charging into the book and improving it with Bruce’s suggestions. I took over the book from Randy. Randy had other obligations to attend to and I found it easier to just make the changes myself, rather than have Randy serve as an extension of my arm for me. It would probably take me longer to explain the changes than make them myself. Randy did good getting the basic template down. The rest could be wrapped up by me and Bruce. I dived in to redesign the book over the month of August and September. It’s fair to say the book was designed by Randy Dahlk, Bruce Timm and myself. There are pieces of all of us in there, but it really was Bruce who encouraged and pushed me in a positive way that got me stoked about redoing things until they were just right. Bruce really knows how to bring out the best in me and I feel like I gained a deeper sense of design over the course of these three months than the last three years. The things I learned will drastically change how I look at design and my approach for all books in the future. I’ve been publishing books for nearly ten years and I still feel like I am a student. I constantly work harder to improve the books I produce. It was quite the positive experience and an honor for me to have this opportunity to work with and publish a book on Bruce Timm.
These pictures show a grouping of printer proofs (above and below). These are made on the actual paper the book is printed on. I check colors, tones, values, shadows, darks and lights, a final check for typos, and anything else that grabs my attention at the time. This is my last chance to make any changes. Once approved the press specialist’s use them as guides to make sure the pages are printing per my approved specifications. I tell them what I expect in advance, then raise them to my level.
The Frankenstein busting out of the ice art can be found in the horror section.
Here is a copy of the Naughty and Nice hardbound edition out of the slipcase and sans jacket. This front image and the back side artwork are not found inside the book and are exclusive to the deluxe edition.
From left to right, the back of the paperbound edition, the back of the hardbound deluxe edition and the front of the slipcase for the deluxe edition.
Here’s another interior sample showing a few pages and the paperbound edition in front.
One final topic from me is regarding the interior art. The high majority of images are of nude women. One thing that was very apparent to all of us working on this book is our desire for all of the women depicted in the book to be classy, elegant, and in general for the book to be respectful to women and celebrate them in their natural form. You will not find any images in our eyes that would denigrate or be disrespectful to women, or classify them as victims. We gave this quite a bit of thought since we hope this will be a book that women can open and enjoy, not just men. I consulted with a few women when putting together the book. I actually pulled out one piece that a certain individual felt went a little too far, even thought it looked innocent to me. She made a valid point why she felt it inappropriate and I listened. Everyone has different tastes and ideas about what is appropriate or not appropriate. I think we did a great job and if someone disapproves, well, this isn’t the book for you and that is OK with me.
From start to finish this project was a terrific experience. I hope you have enjoyed this post.
John
John Fleskes
Flesk Publications
Links:
Naughty and Nice: The Good Girl Art of Bruce Timm book details
I’ve made some updates to the Flesk Publications Online store.
Our upcoming book, Warren Chang: Narrative Paintings is now available for a special pre-order price. The book ships in mid-January. Click here for book details.
Reveries by Terry Dodson is back in stock. Click here to order.
I’ve made a new section on the Flesk store listing books by publisher friends of mine. To start I have copies of two titles from Dan Zimmer at The Illustrated Press (The same publisher that brings you Illustration Magazine).
H.J. Ward by David Saunders. Click here for full book details and to order.
Masters of American Illustration: 41 Illustrators and How They Work by Fred Taraba. Click here for full book details and to order.
I’ll be adding more titles to this store section in the months to come.
I also put up three original sketches by Adam Hughes up on Ebay. I bought a sketchbook by Hughes back in 2001 and have decided to sell off a few pieces. Here are images of the three pieces. Click on them to be taken to the Ebay auction, which ends on Sunday, December 4. All proceeds go towards future Flesk books. My Ebay user ID is “fleskpublications”
Be on the lookout for a new blog coming soon showing samples from the upcoming Bruce Timm book. I received my sample copies and am anxious to provide a sneak peak. It looks amazing!
Enjoy,
John
John Fleskes
Flesk Publications
The Art of Craig Elliott and its three covers. (Click all pictures for larger views.)
I received the sample copies of The Art of Craig Elliott from the printer yesterday. A stroke of good fortune is that Craig happened to be in my area and stopped by today. We went over the book together and gave it a close inspection, to both of our delight.
It’s not often I get to sit with the artist and view a book fresh from the printer right away like this. There is a tremendous amount of work that goes into the creation of a book. Factor in the years Craig committed towards producing a body of work deserving of a collection, to Craig and me pairing up, then to having the book designed and written and printed. It can take two or three years from the initial idea to completion. When all is said and done it’s a rewarding feeling to be holding the actual book. Even with our working on this book over the course of this year and having viewed the pages and art on the computer screen frequently, seeing the actual book is like seeing Craig’s work in a completely fresh viewing. We’re both very pleased with the book; especially the colors and details that held up in all areas, including the darker shadow regions. Having Craig available to review the proofs and help make adjustments for the printer was a bonus. It was a close collaborative project between artist, publisher and printer.
The Art of Craig Elliott three variant jackets
I got to know Craig in 2008 at Comic-Con in San Diego on the Thursday of the show. Just prior to meeting Craig, I had a steady stream of people stopping by to show me unsolicited book proposals. Thursday is always our busiest day for answering questions and selling books, and not a good time to try and hold a long conversation with me. One person in particular was extremely aggressive about showing me his three ideas, all of which I had no interest in. He did not take “no” very well and was getting angry with me that I would not give him more time. After he left I turned to my friend James and told him I will not be looking at any more book proposals for the remainder of the show and to not direct anyone to me. Right on cue, up walks Craig Elliott. He asks me if he can show me his portfolio and wanted to inquire about the possibility of discussing a book project. Rather bluntly, I told him I was not reviewing portfolios or taking on any book proposals. Undeterred and with a friendly approach and smile he let me know that is no problem and went on to praise the books I have published and said some very flattering things about me that showed that he had an awareness of who I was and what my goals are. Then, he offered his portfolio to me again to view, just to share his work with me. I opened his portfolio and viewed “Caryatid Path” and immediately invited him behind the booth. He came around and we ended up chatting for about 30 minutes. Funny how I went from not wanted to see any portfolios or talk book proposals at all one minute, then the next I am sitting with Craig at length. It shows his professionalism as well as his creative ability to back it up and an honest to goodness friendliness.
The Art of Craig Elliott book boards sans jacket, red cover and back cover
Now that you have the back story about how we met, I’ll share some behind the scenes tales. The reason it took since 2008 for the book to be made is due to my previous commitments and workload. I can only take on so much work at a time and I am extremely grateful to be in a position to pick projects that truly excite and inspire me. I continued to stay in touch with Craig and beginning this year the book went into high gear. This is the first book that I published that was designed by the artist. I love what Craig did. He wove his art from page to page using words and unique background designs to create a truly expressive vision reflecting who he is. I always work closely with the artists when designing a book, but this was extra special in that Craig put so much of himself into the book.
The Art of Craig Elliott red and bra covers and opened gatefold page
The Art of Craig Elliott has four gatefolds that work in an interesting way that I have not quite seen before. It took us some time to figure out the proper sequencing, then making sure the printer could pull it off, so a good pre-communication to map out the book beforehand was imperative. What you will find is the landscape pieces that take advantage of the gatefolds look glorious at the large size, rather than being relegated to being printed small on a single page with a lot of open space at the top and bottom. I told Craig that since he was designing the book, given the time and expense it saves me or Randy designing it, that I would go ahead and put some extra funds into the book production. We have a nice hardbound book at 9 x 12 inches with the four gatefolds and hardbound boards more in the style of a museum book. We selected thick paper that would hold up well, especially when opening the gatefolds. We put a lot of time into the planning, look and feel of this book. It’s all quite exciting. A big part of the books that I publish is that they should reflect the artist. With The Art of Craig Elliott I feel we achieved this goal.
The Art of Craig Elliott topless and bra covers and opened gatefold page
I’ve mentioned the three covers in a previous blog. As a quick recap, there will be the topless cover, the bra cover and then the red cover. The bra cover will be the version available to the book trade. The topless and red covers you can get direct from us or Craig. Craig and I just sorted out what we will be doing for the special signed edition. The details will be shared soon and will involve a personal touch done to a few hundred copies of the red cover.
Craig came up with the idea of contacting Iain McCaig to write the introduction, which I am happy about. Iain’s aptitude in the arts and his writing ability is excellent. Big thanks to Iain for his willingness to be a part of the book. I am also grateful to Brom, Mark Schultz and Peter de Seve for their time in writing blurbs.
Now for the fun part which is to share this book with the public. The books are shipping to our warehouse from Hong Kong. I should have them by the third week of December and will immediately start shipping out the pre-orders. The book should start hitting the stores by the end of December.
Enjoy,
John
John Fleskes
Flesk Publications
text © 2011 John Fleskes
Links:
The Art of Craig Elliott book details
Order The Art of Craig Elliott
Craig Elliott website
Here’s a little special deal for those that read my blog. I thought I would try something new and offer a sale on Flesk books starting on Black Friday. Blog readers can take advantage of this right now.
Order any two books and get a third for free, equal to the value of the lower of the two cover prices. This does not apply to pre-order books and only books currently in stock. For example, order a $39.95 book and a $24.95 book, then you get another $24.95 cover price book for free. Also, you get free shipping! Just enter promotional code “fleskbf” during checkout and make a note in the customer comments specifying the free book you want. Order online here. Sale ends November 30.
Nov. 23 Update: Free shipping only applies to U.S. orders. International orders to pay exact shipping charges. You can email us for an exact quote based on the weight of the books you would like to order. And this offer can’t be combined with other coupon codes.
Enjoy,
John
John Fleskes
Flesk Publications
The Return of the Living Dead production designer, William Stout. Photo by John Fleskes.
Since its release in 1985, The Return of the Living Dead’s cult status among zombie filmgoers and inspiration upon subsequent zombie movies has continued to grow at a sharp rate. 2011 has proven that people can’t get enough of the film. A handful of sold out appearances of the entire cast and crew at horror shows and film events, the success of the book, “The Complete History of The Return of the Living Dead” that was released in early 2011, and with rave reviews for the new documentary, “More Brains! The Definitive Return to the Living Dead Documentary,” have all proven this film is not about to fade into the past anytime soon.
I took the opportunity to contact William Stout, who was the production designer of the film, to ask him some questions about his contributions to the film, and how he feels about the recognition he is receiving for work he did over 25 years ago. Stout opens up in the following interview to give us his insight into the film and even a new never before told story.
Flesk: You were the production designer for The Return of the Living Dead. Can you give me some insight into what a production designer does?
William Stout: The production designer functions as the eyes of the director. He is responsible for everything you see on the screen except for the performances of the actors. As production designer I oversee all of the set designs, creature designs, special effects, props, costumes, set decoration, storyboards, make-up and special make-up effects. I usually have about 1200 people working under my supervision.
Tar-Man production art by William Stout for The Return of the Living Dead. Artwork © Stout.
Flesk: What type of role did you play on the film?
Stout: I directly designed most of the sets, the special effects shots, a lot of the set decoration and all of the zombies. I storyboarded several crucial scenes as well.
I’m a very hands-on production designer. I was under the gurney of the Half Corpse, for example, making her spinal cord flop around and ooze spinal fluid. I was on set every day of the shoot, which was easy when we were shooting interiors. I just had to step out of my office to be on set!
It was my idea to have a butterfly collection come alive at a crucial point in the film. I built it, cutting paper butterflies from butterfly books, then pinning them to a collection board. When it was time to shoot it, I was the guy behind the camera waving a clipboard at them to make their wings appear as if they were fluttering.
I have a cameo in the film as the alcoholic bum the punks step over in the beginning of the movie. I designed my own make-up and wardrobe! I was originally cast by the director to be the shopping cart bum who gets bitten by Trash (Linnea Quigley) but our producer nixed the idea. He figured (quite rightly so, I believe) that I had enough on my plate as production designer. I sculpted Trash’s face for that scene. I rarely sculpt — there are other people who are better and faster than I am — but Dan O’Bannon, the director, insisted.
Flesk: Did you ever expect for The Return of the Living Dead to become a cult favorite and receive the type on ongoing attention that seems to continually grow?
Stout: Not at all! I don’t care who you are in the Film Biz; no one knows if they’ve got a hit or a miss until they have that first screening with a real movie audience — and even then they might not know! It amazes me that The Return of the Living Dead is more popular now than when it was first released and that its popularity shows no signs of letting up. It’s the best movie ever made for a lot of people. That blows my mind, as I think everyone should realize that the 1933 King Kong is the best movie ever!
Flesk: What do you think it is about The Return of the Living Dead when compared to the many other horror and zombie films that have come out that makes this one stand out as such a cult favorite?
Stout: 1) It’s really scary. 2) It’s really funny. Very few films have ever pulled that off. The only other ones that immediately spring to mind are Abbott and Costello Meet Frankenstein, a real favorite of mine, plus that great opening to An American Werewolf in London. Both films play the horror aspects very seriously, which creates a nervous tension that makes the funny stuff even funnier.
Flesk: How rewarding is it for you to have the recent group events with the entire cast of The Return of the Living Dead?
Stout: It’s a total blast! I’ve worked on over forty feature films, yet TROTLD is the only one out of all those films where I have stayed really close to the cast. We’re all such good buds; we love being with each other. To use a show biz cliché, we truly are like family.
Director Dan O’Bannon gave us a tremendous gift when he fought for — and got — two weeks of rehearsal prior to shooting. Since the film hadn’t been totally cast, I stood in for some of the roles during rehearsal. During those two weeks the cast and I all bonded as friends. I think it made the performances much more believable in the movie. These characters really feel like they have a past together.
Flesk: There was a recent book about the making of The Return of the Living Dead and now the new More Brains! documentary. Do you feel they both captured the process well and the stories behind the film?
Stout: Both the book and the DVD are terrific; everyone really did their homework. While not every great story regarding the making of TROTLD was told, between the book and the DVD, most of them were. Making that movie was a wild experience from start to finish, mostly thanks to Dan O’Bannon.
Flesk: When you were hired as the production designer I believe you were the youngest in film history to assume that role. Were you intimidated by the position and responsibility?
Stout: Yes and no.
Yes, because despite having already worked as a designer on several major films (Conan the Barbarian, Raiders of the Lost Ark, First Blood, Conan the Destroyer, Clan of the Cave Bear), I was always working under a top production designer. I paid attention on those films and learned as much as I could. TROTLD, though, was the first movie in which I was the guy who would be completely responsible for what ended up on the screen.
No, because I was young and pretty cocky. I thought I could do anything! I had also spent the two years previous to TROTLD as the production designer on an American Godzilla movie that, unfortunately, never got made. I gained tremendous confidence working on that film. On Godzilla I got to hire the cream of the Movie Biz’s top talent: guys like Rick Baker, Dave Allen, Dave Stevens, Doug Wildey and Stephen Czerkas, for example.
Flesk: How did you approach such a massive undertaking?
Stout: Fortunately, TROTLD’s line producer sensed how green I was. He assigned me Robert Howland as my art director. Robert was such a great, seasoned pro; he saved my designer butt on a number of occasions. I used Robbie again as my art director on Masters of the Universe. I miss him and his great sense of humor enormously. He died from AIDS after Masters.
Flesk: Were you ever concerned that the film would be considered campy due to the comedy infused in the film? Did you feel like you were creating a serious work at the time?
Stout: We took our little film — and its comedy — very seriously. Dan pushed the actors to go a bit broader than I would have but he knew exactly what he was doing. I don’t really consider TROTLD to be “camp” and, actually, I don’t think I’ve ever heard it referred to as being camp. Funny, yes; irreverent, yes; imaginative, yes; outrageous, yes; scary, yes. But camp? No. I think it’s just damn good. It accomplishes what it set out to do.
Flesk: Do you have a memorable story from working on the film that you can share?
Stout: Let me see if I can think of a TROTLD story I’ve never told before…
Because of the nature of the film, it could be pretty creepy on set. We were shooting at the downtown Los Angeles location of the Uneeda Medical Supply warehouse (actually a downtown loft apartment). It was beginning to get dark. While waiting for the lights to be set up, I began poking around our location. Amidst a small pile of rubble, I spotted an anomaly. It looked like there was some blond hair slightly sticking out from the top of a cardboard box. Upon closer inspection, it looked like the beautiful blond hair of a woman. I feared I might have just discovered a decapitated and clumsily discarded severed head. This was downtown L. A., after all, so it was in the distinct realm of possibility.
I sought out the police officer we had employed on set and brought him over to the box. He approached it very cautiously, drawing his weapon. With the barrel of his gun he nudged open the cardboard flaps of the box.
Inside was a very blond, very dead…longhaired cat.
Oh, the things one imagines when making a horror movie!
Flesk: Thanks for your time, Bill!
Enjoy,
John
John Fleskes
Flesk Publications
Interview copyright © 2011 John Fleskes and William Stout
William Stout photograph © 2011 John Fleskes
William Stout Tar-Man artwork © William Stout
Links:
The Complete History of The Return of the Living Dead book
More Brains! The Definitive Return to the Living Dead documentary
William Stout website
William Stout books at Flesk Publications
More Brains! The Definitive Return of the Living Dead Documentary.
The Complete History of The Return of the Living Dead book cover
William Stout and Craig Elliott will be at the CTN Animation Expo in Burbank, California running November 18th to the 20th. Stout will be speaking at the Creature Design panel and will have a table with books, prints and original artwork. Elliott will have a new display of his animation and games design work, as well as books and prints. Sample pages from the upcoming Flesk book release The Art of Craig Elliott will be on hand. He will also be taking a limited number of commissions at the show. Stuart Ng Books will be present with a sampling of Flesk Publications titles for sale.
Enjoy,
John
John Fleskes
Flesk Publications
Links:
William Stout at Flesk Publications
William Stout’s Website
Craig Elliott’s Website
The Art of Craig Elliott
CTN Animation Expo
Stuart Ng Books
