Comments for Moeller Illustrations http://www.moellerillustrations.com Comic and Game Art Illustrator; Writer; Painted Graphic Novelist Wed, 21 Dec 2011 22:15:59 +0000 hourly 1 http://wordpress.org/?v=3.3 Comment on Holy Song of the Prophet by chris http://www.moellerillustrations.com/iron-empires/holy-song-of-the-propher/551#comment-162 chris Wed, 21 Dec 2011 22:15:59 +0000 http://www.moellerillustrations.com/?p=551#comment-162 Hello Tonio, Thanks for your kind words! My current project is NOT what I was planning to do with Archaia, it's completely different. I'll have more details as it gets closer to completion, stay tuned! Outlaw Kid was a one-time story, but I loved doing it. I was a huge fan of the Marvel cowboys as a boy: Two-Gun Kid, Kid Colt and Outlaw Kid (what a lot of Kids there were!). I didn't know that Outlaw Kid was a complete Doug Wildey creation. I do have a soft spot in my heart for all of those one-man-band creations :) -Chris Hello Tonio,

Thanks for your kind words! My current project is NOT what I was planning to do with Archaia, it’s completely different. I’ll have more details as it gets closer to completion, stay tuned!

Outlaw Kid was a one-time story, but I loved doing it. I was a huge fan of the Marvel cowboys as a boy: Two-Gun Kid, Kid Colt and Outlaw Kid (what a lot of Kids there were!). I didn’t know that Outlaw Kid was a complete Doug Wildey creation. I do have a soft spot in my heart for all of those one-man-band creations :)

-Chris

]]> Comment on Holy Song of the Prophet by Tonio F. http://www.moellerillustrations.com/iron-empires/holy-song-of-the-propher/551#comment-160 Tonio F. Wed, 21 Dec 2011 02:46:46 +0000 http://www.moellerillustrations.com/?p=551#comment-160 Hello, Mr. Moeller I’m a huge fan of your comics since I bought the Spanish edition of the then called “SHADOW EMPIRES” first book and I was totally blown away: http://www.tebeosfera.com/obras/publicaciones/shadow_empires_el_triunfo_de_faith_planeta-deagostini_1995.html Years later, I bought the 2 trade paperbacks released by Dark Horse (the binding of one of them collapsed with the first reading, but I still keep both as treasured items in my comics collection). I also bought the 2 amazing JLA books you did. Later on, I can’t tell you how dismayed I was by the announcement that the 3rd instalment of IRON EMPIRES would be only written and not drawn by you. No offense to Peter Bergting, but I swore to boycott such travesty and I’m glad it never came to fruition. Now I just discovered this blog and the greatest comic-related news I’ve seen in ages: your full return as writer and artist to Iron Empires. I just want to ask you a couple of questions: Is this new project the same “Blood und Iron“ that was announced by Archaia, with the only difference of you drawing the book? Is there any chance of a high-end reprint of the first 2 books, preferably as oversized hardcovers, that do justice to your work? Finally, 4 years ago you drew a short OUTLAW KID story for Marvel Comics Presents. I suspect it could have been a trial run, and maybe there were plans for more stories or even a separate mini-series, am I wrong? Also, do you realise the original Marvel OUTLAW KID series from the 50s was drawn entirely by Doug Wildey? Thanks for everything, especially your comeback to Iron Empires! Hello, Mr. Moeller

I’m a huge fan of your comics since I bought the Spanish edition of the then called “SHADOW EMPIRES” first book and I was totally blown away:

http://www.tebeosfera.com/obras/publicaciones/shadow_empires_el_triunfo_de_faith_planeta-deagostini_1995.html

Years later, I bought the 2 trade paperbacks released by Dark Horse (the binding of one of them collapsed with the first reading, but I still keep both as treasured items in my comics collection). I also bought the 2 amazing JLA books you did.

Later on, I can’t tell you how dismayed I was by the announcement that the 3rd instalment of IRON EMPIRES would be only written and not drawn by you. No offense to Peter Bergting, but I swore to boycott such travesty and I’m glad it never came to fruition.

Now I just discovered this blog and the greatest comic-related news I’ve seen in ages: your full return as writer and artist to Iron Empires.

I just want to ask you a couple of questions:

Is this new project the same “Blood und Iron“ that was announced by Archaia, with the only difference of you drawing the book?

Is there any chance of a high-end reprint of the first 2 books, preferably as oversized hardcovers, that do justice to your work?

Finally, 4 years ago you drew a short OUTLAW KID story for Marvel Comics Presents. I suspect it could have been a trial run, and maybe there were plans for more stories or even a separate mini-series, am I wrong? Also, do you realise the original Marvel OUTLAW KID series from the 50s was drawn entirely by Doug Wildey?

Thanks for everything, especially your comeback to Iron Empires!

]]> Comment on Scale in the Iron Empires by Kairam Hamdan http://www.moellerillustrations.com/iron-empires/scale-in-the-iron-empires/526#comment-120 Kairam Hamdan Wed, 16 Nov 2011 17:45:30 +0000 http://www.moellerillustrations.com/?p=526#comment-120 I believe a better estimative for the distance to the galactic center is 8.5 kpc. I believe a better estimative for the distance to the galactic center is 8.5 kpc.

]]> Comment on The Power of the Unconscious by chris http://www.moellerillustrations.com/how-to/511/511#comment-106 chris Tue, 11 Oct 2011 18:59:53 +0000 http://www.moellerillustrations.com/?p=511#comment-106 I totally agree, Randy, the medium's just the vehicle. For example, I've found the same principals hold true for writing. I have no intention of giving up on oils, I've seen what you and others can do with them and it makes me salivate! There's certainly a tough hump to get over before you can really sing with a new medium. I'm so in awe of guys like George Pratt who can pick up literally anything (tar, chalk, ink, wood, whatever), and make it work for them. I wonder what it is that lets them move among mediums with ease like that? I totally agree, Randy, the medium’s just the vehicle. For example, I’ve found the same principals hold true for writing. I have no intention of giving up on oils, I’ve seen what you and others can do with them and it makes me salivate! There’s certainly a tough hump to get over before you can really sing with a new medium. I’m so in awe of guys like George Pratt who can pick up literally anything (tar, chalk, ink, wood, whatever), and make it work for them. I wonder what it is that lets them move among mediums with ease like that?

]]> Comment on The Power of the Unconscious by randy http://www.moellerillustrations.com/how-to/511/511#comment-105 randy Tue, 11 Oct 2011 18:44:32 +0000 http://www.moellerillustrations.com/?p=511#comment-105 Neat explanation. One interesting thing is how we can form our subsconscious like a mold by the limitations of a medium. You can be instinctual with Acrylics, because your subconscious has taken the shape of Acrylics, so to speak. Coming home, I spent today and yesterday in Acrylics and wondering whether I could take my piece to finish. While fun and productive at first, I was having the same headaches as you by lunch today. Like you, I took a nap, too and am switching back. By the last few hours I kept thinking how much more intuitively I'd be doing the same things in oils vs. fighting Acrylics--despite having spent my first 9 years painting exclusively in Acrylics. It'd be fun to see you go to town on a big stream-of-consciousness canvas in oils still. Let's both keep pushing! Neat explanation. One interesting thing is how we can form our subsconscious like a mold by the limitations of a medium. You can be instinctual with Acrylics, because your subconscious has taken the shape of Acrylics, so to speak. Coming home, I spent today and yesterday in Acrylics and wondering whether I could take my piece to finish. While fun and productive at first, I was having the same headaches as you by lunch today. Like you, I took a nap, too and am switching back. By the last few hours I kept thinking how much more intuitively I’d be doing the same things in oils vs. fighting Acrylics–despite having spent my first 9 years painting exclusively in Acrylics.

It’d be fun to see you go to town on a big stream-of-consciousness canvas in oils still. Let’s both keep pushing!

]]> Comment on Where Images Come From by chris http://www.moellerillustrations.com/how-to/where-images-come-from/482#comment-73 chris Sat, 24 Sep 2011 00:07:51 +0000 http://www.moellerillustrations.com/?p=482#comment-73 "I sometimes will grab a large drawing pad and draw on it in the dark and not worry about it. Just draw with my minds eye and by morning I’ll see if it resonates." What a great idea, Shane! Whatever it takes, I think, to move past the language barrier and start thinking visually. We do it all the time when we're solving visual puzzles for our clients, so it should come naturally if we can learn to switch that part of our brains on in the service of our own explorations. I was reading a book about Waterhouse today, and was struck by how deeply emotional his pieces are. I would be curious to know what his process was. “I sometimes will grab a large drawing pad and draw on it in the dark and not worry about it. Just draw with my minds eye and by morning I’ll see if it resonates.”

What a great idea, Shane! Whatever it takes, I think, to move past the language barrier and start thinking visually. We do it all the time when we’re solving visual puzzles for our clients, so it should come naturally if we can learn to switch that part of our brains on in the service of our own explorations. I was reading a book about Waterhouse today, and was struck by how deeply emotional his pieces are. I would be curious to know what his process was.

]]> Comment on Where Images Come From by =shanewhite= http://www.moellerillustrations.com/how-to/where-images-come-from/482#comment-72 =shanewhite= Fri, 23 Sep 2011 23:37:11 +0000 http://www.moellerillustrations.com/?p=482#comment-72 Great article, Chris. The way you describe it makes me believe the work we do for money is done to connect an idea or message to an audiences' feelings and the work we do for ourselves is to connect to our own. I totally support this. That in-between state of sleep and wake I sometimes will grab a large drawing pad and draw on it in the dark and not worry about it. Just draw with my minds eye and by morning I'll see if it resonates. =s= Great article, Chris.

The way you describe it makes me believe the work we do for money is done to connect an idea or message to an audiences’ feelings and the work we do for ourselves is to connect to our own.
I totally support this.

That in-between state of sleep and wake I sometimes will grab a large drawing pad and draw on it in the dark and not worry about it. Just draw with my minds eye and by morning I’ll see if it resonates.

=s=

]]> Comment on Where Images Come From by Kairam Hamdan http://www.moellerillustrations.com/how-to/where-images-come-from/482#comment-70 Kairam Hamdan Fri, 23 Sep 2011 07:34:22 +0000 http://www.moellerillustrations.com/?p=482#comment-70 These are great advices. Thanks! These are great advices.

Thanks!

]]> Comment on Where Images Come From by chris http://www.moellerillustrations.com/how-to/where-images-come-from/482#comment-66 chris Thu, 22 Sep 2011 16:59:39 +0000 http://www.moellerillustrations.com/?p=482#comment-66 Thanks for your thoughts, Jeff. There really are a lot of barriers to creating work for yourself, when you also do it to make a living. How do you justify painting something without an obvious audience when there are bills to pay? What I find equally daunting are the internal barriers that prevent us from generating subject matter on our own. We usually have some sort of jumping-off point, even if it's only the Pope telling us that the ceiling of the Cistine Chapel needs some religious illustrations on it. Thanks for your thoughts, Jeff. There really are a lot of barriers to creating work for yourself, when you also do it to make a living. How do you justify painting something without an obvious audience when there are bills to pay? What I find equally daunting are the internal barriers that prevent us from generating subject matter on our own. We usually have some sort of jumping-off point, even if it’s only the Pope telling us that the ceiling of the Cistine Chapel needs some religious illustrations on it.

]]> Comment on Where Images Come From by chris http://www.moellerillustrations.com/how-to/where-images-come-from/482#comment-65 chris Thu, 22 Sep 2011 16:53:29 +0000 http://www.moellerillustrations.com/?p=482#comment-65 A similar story: I was working on a graphic novel script a year or so ago, and was making no headway. It had all of the "cool" stuff I thought would excite me to paint, but I felt totally disconnected from it. A friend suggested " Write about what you're interested in, right now. What you're going through." I threw out the script and started from that point, forgetting about trying to create what I thought SHOULD interest me, and thought seriously about what DID interest me. Right that minute, without worrying too much about an audience, or my preconceptions about what had interested me in the past. It helped. Good luck, Steve! Your instincts are pointing you in a healthy direction, I think. A similar story: I was working on a graphic novel script a year or so ago, and was making no headway. It had all of the “cool” stuff I thought would excite me to paint, but I felt totally disconnected from it. A friend suggested ” Write about what you’re interested in, right now. What you’re going through.” I threw out the script and started from that point, forgetting about trying to create what I thought SHOULD interest me, and thought seriously about what DID interest me. Right that minute, without worrying too much about an audience, or my preconceptions about what had interested me in the past. It helped. Good luck, Steve! Your instincts are pointing you in a healthy direction, I think.

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