Saturday, July 19, 2008



Space artist Robert McCall's comic strip-like sketches portraying the orbital link-up between the US spaceship Apollo and the Russian Soyuz, rendered as McCall watched live footage of the event on TV monitors at the Johnson Space Center Mission Control, July 17th, 1975.


Robert McCall's sequential strip-like sketches showing the moonwalk of Apollo 17 astronauts Eugene Cernan and Jack Schmidt, December 13th, 1972. Drawn while watching the event live on TV monitors at Mission Control.

Thursday, July 17, 2008



The dinner menu from Skylab's 1973 mission, based on space artist Robert MccCall's sketches done at the launchsite.

Monday, July 14, 2008



The artist has always been a special breed. Looking for answers, asking questions, the artist has never been content to let things be. What Picasso calls "the sun in my belly" has always compelled him to invent, to create something out of nothing. To make magic. Wood, stone, clay, metal, charcoal, paint becomes, under his hand, the whole world. The heavens and hell, gods and goddesses, the seven seas, the beasts in the field and the birds in the air, all mankind, the artist creates again and again. He has even made the invisible visible, giving visual form to what he has thought, what he has felt. It is no wonder then that artists for centuries have been the priests, teachers, explorers, experimenters, and magicians.

The artist-priest among primitive peoples was a potent instrument for survival. As doctor who cured ills with his masks and incantation, his fetishes and magic objects, he was charged with averting disasters and attracting good luck. As master of tribal ceremonies, he provided the consolations of community rituals, and the bonds of common belief. He was, in fact, the earliest insurance agent-- one who could protect his people against the uncertainties of life and help them face the finalities of death.

The prehistoric artists who painted the walls of Lascaux and Dordogne were probably such artist-priests. Their brilliantly painted friezes of bison and deer were perhaps created to insure good hunting by identifying the prey. The artist's tasks were to create objects that could readily be identified, which would, at the same time, be symbols that conveyed to man the wonders and mysteries of the universe. Every artist, then, in Africa, Mexico, India, China, and Alaska, had to become familiar with the outward forms of their subjects-- man, trees, animals, birds, fishes. This compelled them to be keen observers, turning them, so to speak, into the first scientists.

--Charlotte Ward, from "The Role Of The Artist", published in Famous Artist Schools Annual vol.1, 1970.

Saturday, July 12, 2008



Comic Con International: I will be there on Saturday afternoon July 26th doing an exclusive signing at the Kid Robot booth, 1pm-4pm (Booth #4529).
We will debut my first Kid Robot toy set featuring characters from the THB universe: The Masked Karimbah. This two-figure action piece (3 pts. articulation) is cast in a vinyl-PVC combination and includes a 16-page "Masked Karimbah" comic as well as a secret vinyl throw-in (and no, it's not the plastic fork Karimbah is holding in his left hand, it's something else). The toy will only be available during the convention, in a limited edition of 300 pieces. $150 a piece.

It also looks like Kid Robot will shortly be making an announcement regarding my future toy projects with them. Hint: The Karimbah isn't the only thing we've had in the works this last year or two.