Turn Your Photos Into Lichtenstein-inspired Comic Book Art HOT!
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Cartoon art has been a massive and enduring cultural influence, from the mid-century pop art movement to your favorite comic or graphic novel. Whether you want to posterize your pets, give your profile picture an illustrated look, or turn a portrait into retro art like a Lichtenstein, cartoon effects can give your photos a fun, fresh twist.
His most celebrated image is arguably Whaam! (1963, Tate Modern, London), one of the earliest known examples of pop art, adapted from a comic-book panel drawn by Irv Novick in a 1962 issue of DC Comics' All-American Men of War. The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the fire control ... and ahead of me rockets blazed through the sky ..." This diptych is large in scale, measuring 1.7 x 4.0 m (5 ft 7 in x 13 ft 4 in). Whaam follows the comic strip-based themes of some of his previous paintings and is part of a body of war-themed work created between 1962 and 1964. It is one of his two notable large war-themed paintings. It was purchased by the Tate Gallery in 1966, after being exhibited at the Leo Castelli Gallery in 1963, and (now at the Tate Modern) has remained in their collection ever since. In 1968, the Darmstadt entrepreneur Karl Ströher acquired several major works by Lichtenstein, such as Nurse (1964), Compositions I (1964), We rose up slowly (1964) and Yellow and Green Brushstrokes (1966). After being on loan at the Hessiches Landesmuseum Darmstadt for several years, the founding director of the Museum für Moderne Kunst Frankfurt, Peter Iden, was able to acquire a total of 87 works from the Ströher collection in 1981, primarily American Pop Art and Minimal Art for the museum under construction until 1991.
Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics into his work in different ways in later decades. These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy." However, some have been critical of Lichtenstein's use of comic-book imagery and art pieces, especially insofar as that use has been seen as endorsement of a patronizing view of comics by the art mainstream; cartoonist Art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup."
Lichtenstein's works based on enlarged panels from comic books engendered a widespread debate about their merits as art. Lichtenstein himself admitted, "I am nominally copying, but I am really restating the copied thing in other terms. In doing that, the original acquires a totally different texture. It isn't thick or thin brushstrokes, it's dots and flat colours and unyielding lines." Eddie Campbell blogged that "Lichtenstein took a tiny picture, smaller than the palm of the hand, printed in four color inks on newsprint and blew it up to the conventional size at which 'art' is made and exhibited and finished it in paint on canvas." With regard to Lichtenstein, Bill Griffith once said, "There's high art and there's low art. And then there's high art that can take low art, bring it into a high art context, appropriate it and elevate it into something else."
In the past, halftones were tediously inked in by cartoon artists or created in darkrooms. With Pop Dot Comic you can easily and quickly convert your photo into a comic book drawing that is worthy enough for the Sunday newspaper or your favorite pulp-fiction cover.
One-touch settings will automatically transform photos into a professional looking comic illustration with halftone. An included library of visual sound effects along with editable speech bubbles gives every Pop Dot creation POW!
Inspired by master of pop art, Roy Lichtenstein, our hand illustrated, pop art comic portraits are original, fun gifts and great pieces to decorate your walls. Select from a variety of fun backgrounds for your vintage inspired comic art, or use a custom background from your photo. You can also choose to add text bubbles to your custom Lichtenstein art or leave it without any (We can help you with ideas of clever sayings). The superior quality of our Classic Pop Comic portraits from photos results from the great attention to detail and the long hours our professional artists spend on each one of a kind piece.
After the war Lichtenstein returned to Ohio where he finished his degree and took a teaching position, returning to New York in 1957. Once there, he took a position as Assistant Professor at the State University of New York. He taught industrial design. It was during this period that Lichtenstein is thought to have first used cartoons and comics as inspiration for his work. In 1960 he moved to Douglass College at the State University of New Jersey where he met Allan Kaprow who inspired him to focus on comic books as his source material.
J is very into dots at the moment and when I noticed it was time for Kids Get Arty over on Red Ted Art again this month I instantly thought of the Roy Lichtenstein comic book type pop art art work that he produced. Pop Art art and particular the work of Roy Lichtenstein is a great activity for preschoolers and gave us a great opportunity to talk about techniques as well as look at book and Internet resources.
Roy Lichtenstein was a pioneer in pop art during the sixties. He was one of the first artists to appropriate comic book art and turn it into fine art. In doing so, he presented the American people with familiar heroes, couples, and icons. He did not however leave these images as he found them. He subtly altered them to increase the effect he desired, to improve the visual composition, and to reveal something about the character of the American people through the clichés they all shared in common. In isolating a single image from a comic book, he forced people to re-evaluate both the message that commercial entertainment presents them on a daily basis, and their desire for that message. In this way, he was able to forge a new type of art that reflected popular culture and simultaneously transformed popular culture into art. This social element of his work, however, was not his primary motive, which was to work with form and color both as he found them and as he choose to reflect them in his work. His focus on form is what took him beyond the two-dimensional and into sculpture where he could continue to explore the ambiguity that exists between reality and illusion. It was this space between opposites, whether it was reality and non-reality or art and non-art that Lichtenstein created some of his most stunning works.
Captain Midnight was an extremely popular radio serial whose titular character was a WWI army pilot turned superhero. The characters were adapted into comic book form at first by Dell Comics and later by Fawcett Comics (who originally published the Captain Marvel comics before losing the character to DC.) 2b1af7f3a8