Art of moebius pdf

George Lucas. Get A Copy. Hardcover , 96 pages. More Details Original Title. Other Editions 2. Friend Reviews. To see what your friends thought of this book, please sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Jun 25, Koushik Tamilmaran rated it really liked it Shelves: digital-book. A perfect introduction to the universe of Moebius. A pictorial book.

Nov 17, Parka rated it it was amazing Shelves: art-books. More pictures at parkablogs. There's even an introduction by George Lucas, though short. In his typical style, many of the illustrations here feature strange characters in even stranger worlds.

Dream-like, sci-fi, fantasy. That's the style he's popular for. He's incredibly creative and imaginative. All the pieces here are accompanied by his own caption More pictures at parkablogs. All the pieces here are accompanied by his own captions.

As Newsweek has put it: For pure visual delight, there's Jean Giraud. His nearly wordless narratives unfold the logic of M. Just like optical illusions of Escher, his art evokes the same feeling of enchantment. It's a very cool art book whether or not you're a fan of Moebius. A page is not just a succession of insignificant panels. There are panels that are full. Some that are empty. Others are vertical. Some horizontal. Vertical panels excite the reader.

Horizontals calm him. For us in the Western world, motion in a panel that goes from left to right represents action heading toward the future. Moving from right to left directs action toward the past.

The directions we indicate represent a dispersion of energy. An object or character placed in the center of a panel focuses and concentrates energy and attention.

These are basic reading symbols and forms that evoke in the reader a fascination, a kind of hypnosis. You must be conscious of rhythm and set traps for the reader to fall into so that, when he falls, he gets lost, allowing you to manipulate and move him inside your world with greater ease and pleasure. You must study the great painters, especially those who speak with their paintings. Their individual painting schools or genres or time periods should not matter.

Their preoccupation with physical as well as emotional composition must be studied so that you learn how their combination of lines works to touch us directly within our hearts. There must be a visual rhythm created by the placement of your text. The rhythm of your plot should be reflected in your visual cadence and the way you compress or expand time. Like a filmmaker, you must be very careful in how you cast your characters and in how you direct them.

The artists in Mexico seem to only study their surface effects: a little bit of anatomy mixed with dynamic compositions, monsters, fights, screaming and teeth. I like some of that stuff too, but there are many other possibilities and expressions that are also worthy of exploration. Drawing at times is a search for discoveries. A precise, beautifully executed line is like an orgasm! There is objective and subjective color. The emotional states of the characters can change or influence the color from one panel to the next, as can place and time of day.

Special study and attention must be paid to the language of color. He has a better chance than with long format stories of successfully completing them, while maintaining a high standard of quality. It will also be easier to place them in a book or sell them to a publisher. If this happens, you must not complain later. By studying the reasons for our failure, only then can we begin to learn. It is not about struggle with our limitations, with the public or with the publishers.

One should treat it with more of an aikido approach. It is the very strength and power of our adversary that is used as the key to his defeat.

We must always keep aware of this. To begin with, drawing is a form of personal communication — but this does not mean that the artist should close himself off inside a bubble. His communication should be for those aesthetically, philosophically and geographically close to him, as well as for himself — but also for complete strangers. Drawing is a medium of communication for the great family we have not met, for the public and for the world. Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!

You can follow him at jonccrow. And check out his blog Veeptopus , featuring lots of pictures of badgers and even more pictures of vice presidents with octopuses on their heads.

The Veeptopus store is here. Please find all options here. We thank you! Someone with a lot of mojo mentioned our post on their Facebook page. Does anyone happen to know who that was? Its a great interview! By picturing him doing that, I picture him as a very accesible person, kind, truly able to help anyone with wise advice….

Twas Ben Mauro for me as well : Thank you for the informative post, interesting perspective to another ones process. Most are great tips, but I do find it funny how he talks about consciousness and being aware of the world and its troubles, yet he misses some of his own slightly misogynistic notions — for example, guys can be flawed but for a female to be imperfect makes her annoying or off-putting.

That statement almost made me want to stop reading halfway. Dan, I dont know if you talking about this group.. Moebius worked on Alien. Do your research. I think you missed the finer point. Thanks for reading! Jean Giraud was a great artist. But I guess you have to take it in context.

Way to hyperfocus on one ill-phrased outdated notion and completely miss all the wisdom elsewhere. We must remember that Mobius was a product of his times. When you look at 20th century movies and comics, you will instantly notice that they have a very specific idea on what a beautiful woman looks like. In other words, conventional standards for beauty were very, very narrow, which means it was very easy to make an artistic mistake. In the case of a section with odd number of sides, each side is divided into halves, alternately colored as in Figure 7c.

When translated into an architectural entity, the color would materialize into opaque, translucent or transparent surfaces alternately to highlight the twisting motion. Here, the horizontal axis in case of a square, the horizontal diagonal of the frame with maximum vertical height is considered to be the floor level.

The height of the floor remains constant as it travels through the desired circular or elliptical path as in Figure 8a. Another variation of this concept would be to change the floor level at regular intervals. The biggest and the smallest frames determine the start and end of each ramp, which could be more than one in each case. An example of this concept is demonstrated in Figure 8b and 8c where the section is a square and ramps go up and down alternatively.

In this case, the floor surface width is constant. A series of buildings that vary in scale are considered as apt models of experimentation. Playgrounds and Elements of Landscape.

The scale at which the Band or Enclosure used is the smallest here. It can also be used in landscaped gardens as a piece of sculpture or a seating area that would transform from a seat to a canopy and vice versa. The Nursery School. The inner open space would act as a courtyard for the kids to play.

Materials used on the outer skin would be mainly steel and glass. The interior strip could be of smooth plastic material. The scale would be that of a single story building. The program would include classrooms, staff rooms, administrative and service areas apart from play areas. A crude example of this is shown in Figure The Museum. Visitors would traverse the Band that would split up at a certain point to continue as a wall and then a ceiling and eventually the floor again.

The scale would be that of a two-story building with a mezzanine that would house the administrative services of the museum. Other spaces would include the museum shop, coffee shop and service areas such as parking spaces for the museum.