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By Chris Sparks (ed.)
The paintings of Richard Thompson
Known for being the author of the sketch Cul de Sac, Richard Thompsons artwork prowess extends to many different degrees.
Richard Thompson is well known between cartoonists as an «artists» cartoonist. Little recognized to all yet these as regards to him is the level of his artwork expertise.
This is the booklet that would enlighten the remainder of us and enjoyment us with the sheer great thing about his work.
Divided into six sections, each one starting with an introductory dialog among Thompson and 6 recognized friends, together with invoice Watterson, the publication will current Thompsons representation paintings, caricatures, and his production, Richards terrible Almanack.
Each part is extremely illustrated, many works in colour, so much of them huge and revealed one-to-a-page. the variety of labor may help forged a much wider web, way past Cul de Sac fanatics.
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Sample text
Most strips, when I worked, even right up to deadline, sometimes I wouldn’t quite know. I’d try to make each panel as funny as it could be, to kind of stand on its own, or that would be the punchline. There’s no 1-2-3-4 now punchline. It’s like a random happening . . it’s hard to describe. It was kind of defined by what I could not do. I could never tell a joke, or write a joke, which is both good and bad. Instead I think, “OK, what happens now? ” and each step had to be funnier than the last somehow.
PdS: Returning to an earlier point, my definition of personal work is uncommissioned work. Or work that one might think I would do to counter the restraints of having an assignment, but I’ve always found I needed an assignment in order to get anything done. RT: Me too. Without a deadline I’m hopeless. PdS: But you enjoyed creating work in between assignments? RT: Sometimes. PdS: Is that when you chose to experiment with technique, while you were off the clock? Or did you experiment on assignments?
Cows have long been a signature drawing for Richard. This ink version is one of many. Early in his career, if Richard didn’t like a part of a drawing, he might redraw that section on another piece of paper and then glue it on top of the original drawing. As this picture aged, this collage approach becomes apparent. Eventually, Richard abandoned this approach by simply throwing the displeasing drawing away and starting a whole new one . . often many times. ’ The concept tickles me no end. It’s from an ancient creation myth; something about a half-earth riding around on elephants staked on a giant turtle (this was before Terry Pratchett popularized it in his Discworld series).