{"id":8006,"date":"2012-02-23T08:00:57","date_gmt":"2012-02-23T08:00:57","guid":{"rendered":"http:\/\/www.comicsreview.co.uk\/nowreadthis\/?p=8006"},"modified":"2012-02-23T14:32:47","modified_gmt":"2012-02-23T14:32:47","slug":"al-williamson-archives-volume-2","status":"publish","type":"post","link":"https:\/\/www.comicsreview.co.uk\/nowreadthis\/2012\/02\/23\/al-williamson-archives-volume-2\/","title":{"rendered":"Al Williamson Archives volume 2"},"content":{"rendered":"

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\nBy Al Williamson<\/strong> with an introduction by Victor Williamson (Flesk)
\nISBN: 978-1-933865-34-8<\/p>\n

Al Williamson was one of the greatest draughtsmen ever to grace the pages of comicbooks and newspaper comics sections. He was born in 1931 in New York City, after which his family relocated to Bogot\u00c3\u00a1, Columbia just as the Golden Age of syndicated adventure strips began.<\/p>\n

The lad’s passion for \u00e2\u20ac\u0153the Comics\u00e2\u20ac\u009d – especially Alex Raymond’s Flash Gordon<\/em> and Jungle Jim<\/em> – was broadened as he devoured imported and translated US material as well as the best that Europe and Latin America could provide in such anthology magazines as Paquin<\/em><\/strong> and Pif Paf<\/em><\/strong>. When he was twelve the Williamsons returned to America and, after finishing school, the artistic prodigy found work in the industry that had always obsessed him.<\/p>\n

In the early 1950s he became a star of E.C. Comics’ science fiction titles beside kindred spirits Joe Orlando, Wally Wood, Roy G. Krenkel, Frank Frazetta and Angelo Torres, and drew Westerns Kid Colt<\/em> and Ringo Kid<\/em> for Atlas\/Marvel. During the industry’s darkest days he found new fame and fans producing newspaper strips, first by assisting John Prentice on Rip Kirby <\/em>– another masterpiece originally created by Alex Raymond – and from 1967 with Secret Agent Corrigan<\/em>.<\/p>\n

As comicbooks recovered in the 1960s Williamson drew Flash Gordon<\/strong> for King Comics and worked on mystery tales and westerns for DC whilst drawing Corrigan<\/em>, later becoming the go-to guy for blockbuster sci-fi film adaptations with his stunning interpretations of Blade Runner<\/strong> and Star Wars<\/strong>.<\/p>\n

His stunning poetic realism, sophisticated compositions, classicist design and fantastic naturalism graced many varied tales, but in later years he became almost exclusively a star inker over pencillers as varied as John Romita Jr., Larry Stroman, Rick Leonardi, Mark Bright, Jos\u00c3\u00a9 Delbo and a host of others on everything from Transformers<\/em> to Spider-Man 2099<\/em>, Daredevil<\/em> to Spider-Girl<\/em> and his magical brushes and pens embellished many of Marvel’s Graphic Novel productions such as The Inhumans<\/a><\/strong> or Cloak and Dagger\/Predator and Prey<\/a><\/strong>.<\/p>\n

Al Williamson passed away in June 2010.<\/p>\n

After a memory-soaked celebratory introduction from his son Victor, this second oversized (305x229mm) 64 page collection features more sketches, working drawings, doodles, unlinked pages, model sheets, unused and unfinished pages as well as a few completed but unseen treasures from one of the stellar creators of our art form.<\/p>\n

In assorted media and forms from quick line sketches in ink, broad brush and tonal studies, full pencils and finished illustrations, Williamson displays his mastery in magical pictures ranging from intoxicating fantasy and barbarian women, valiant sword-wielding warriors, wondrous dinosaurs, Cowboys and Indians, rockets and robots, sports heroes, period drama scenes, cosmic adventurers, beasts and monsters, aliens, action sequences, beguiling nudes and glamour studies, his delicious trademark cute lizards, and so much more.<\/p>\n

Standout and extra-inspiration pieces include a fabulous page of the Rocketeer<\/em>, a Reef Ryan pulp page, many 1960s Flash Gordon sketches, more glorious John Carter of Mars<\/em> illustrations and a few hard-boiled crime scenes\u00e2\u20ac\u00a6<\/p>\n

The beautifully intimate glimpses of a master at work, with full colour reproduction capturing every nuance of Williamsons’ gorgeous pencil strokes, make this a book a vital primer for anybody dreaming of drawing for a living and the astounding breadth and scope of work presented here make me itch to pick up my pencil and draw, draw, draw some more myself.<\/p>\n

Enticing, revealing, rewarding and incredibly inspirational, no lover of wonder or art lover can fail to be galvanised by this superb portfolio of excellence.<\/p>\n