Drawing Monsters & Heroes for Film & Comics

by J. David Spurlock and Kerry Gammill

Book Overview

After a noteworthy career with Superman, Indiana Jones and Deadly Foes of Spiderman, the work of well-known comic-book artist Kerry Gammill mysteriously disappeared from the pages of Superman and... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 1887591168
• Release Date: May 2001
• Publisher: Vanguard Productions (dist by Watson-Guptill)
• Length: 112 Pages
• Weight: 0.55 lbs.
• Dimensions: 10.1" x 0.4" x 6.5"

Customer Reviews

EXPERT ADVICE AND FANTASTIC ART

Kerry Gammill has always been one of those artists who I thought was underappreciated. His art was always consistently good without trying to be overpowering the way so many artists are today. "Drawing Monsters and Heroes for Film & Comics" presents a wonderful cross-section of Gamill's work throughout his career, both pre and post-comic book days. Gammill's early life was not unlike my own...except for the being a talented artist part. He was a big fan of classic monsters, horror movie hosts, silver age art, and those great old monster model kits by Aurora. Gammill discusses how he eventually broke into comics with Marvel and gives aspiring artists some great advice on how to do the same. As he points out, back when he broke in there weren't many publishers like there are today and if you wanted to draw superheroes you had to work for Marvel or DC. The playing field has changed and there are many more outlets available to artists today but Gammill still recommends that putting together a great portfolio not only of pinup type pages, but also examples showing how to flow a story and action. He also recommends getting to know the human anatomy. As a long time comic fan I could not agree more. There are many talented artists in comics today but the best are those that can tell a story, not just draw splash pages. Dozens of examples of Kerry's work from his comic days are on display including many pieces that were never used. Gammill again emphasizes the need for artists to study anatomy and facial expressions which are especially critical when drawing characters from a particular perspective. Gammill abruptly left comics and began doing conceptual work in a number of different areas. He provided concept drawings to a toy company who made premium items for fast food meals. A number of these drawings are included in the book and feature things like R2D2 band-aid dispensers, and Darth Maul mouse pads. Lunch boxes, tooth brushes, model kits...Gammill provided the concept art for dozens of different products. And you never would have known that one of our favorite comic book artists was partly responsible for the design of Taco Bell kids meal toy! Gammill would go on to do concept drawings for film and TV and work on projects such as "Virus" starring Jamie Lee Curtis and the new Outer Limits television show. We get to see drawings he did for the shelved "I am Legend" film that was to star Arnold Schwarzenegger was and based on the story by Richard Matheson. Another project that Gammill worked on that has since been scrapped was the "Superman Lives" film that has since been replaced by "Superman Returns". These drawings show off his vision of Superman's adversary `Doomsday' who has a very different look than the comic book version. Gammill's very diversified career is given a bright spotlight by Vanguard Productions and his advice to aspiring artists is invaluable.

What An Artist! What A Helpful Guide To The Industry!

Kerry Gammill is a one superhero of an artist! Boy, I've read his comic book work over the years (SPIDER-MAN to SUPERMAN to POWERMAN/IRON FIST) but never knew the extent of his talent until I read this wonderful book. Gammill not only can draw, he can tell a crackerjack STORY! Please, Hollywood. Use this guy more often! (Your current crop of films are so lame). Looking over the beautiful illustrations it's no small wonder that he was picked to design make-ups for horror movies and TV shows. I learned volumes of helpful tips from the background information concerning his influences. Every kid should use this for their own references on who and what to study if they want to be the best. And Gammill's youthful experiences doing homemade make-ups for his little backyard "movies" got him friendly with STAR WARS make-up artist Rick Baker! Baker who has won six Oscars and probably will again for the new PLANET OF THE APES! How can you beat that for an inkling of how good Kerry's make-up designs are? If you want to learn what it takes to become a professional artist AND how much fun it can all be in the process (with lots of drawing to get there), get this book! Buy it for yourself but you'll probably have to get one for a kindred soul/best buddy that loves comics and movies. This will become a special book among those up and coming "new" comic book artists and special effects make-up designers of tomorrow. Someday, I'm sure one of them will list it as one of THE books of their formulative years.

THE BEST WAY TO DRAW MONSTERS AND SUPER HEROES

Kerry Gammil?s drawing Monsters and Heroes For Film and comics is a great book for beginning drawers and advanced drawers . It is great for learning muscles and for animation . It goes from basic figures to story boards for film and T.V. Learn to make comics and Body suits . I learned a lot from this book ,you will too. I recommend this book to anyone who wants to draw comics .

A portfolio to charm any fanboy

I know Kerry Gammill slightly, so you're free to dismiss this as a Buddy's Puff Piece if you wish. The title of the book is a misnomer; it sounds like a how-to book, when in fact this is a guided tour through the portfolio of a very gifted, very flexible artist. Useful for any adolescent with an interest in monsters or superheroes (or for anyone with an adolescent heart), Kerry's book strongly illustrates the changes in horror/hero art stylistics over the decades. Starting in the Sixties (when Kerry was a schoolboy), we see him recreate the stark imagery of the Universal horror heroes, followed by the "so busy I think my eyes will pop" style of Jack Kirby's Marvel comics, and we close with a detailed view of Special Effects artistry, and see the heavy hand of H.R. Giger (Icky ooky organs! Spooky spiky spines!), which seems to predominate in this unheralded branch of the art world. No, Kerry's not Vermeer (I like to imagine the Dutch minimalist leafing through a copy of X-Men), but he is a very talented artist working in a strange but awfully fun corner of the imaginative world. If you (or your children) love monsters or superheroes, or you're interested in an insider's view of the Special Effects world, this book is an excellent addition to your library. Note: general intensity of imagery and a few nudes and kinda-nudes make this book inappropriate for very young fans.