THE GRAVEYARD BOOK T.1 (P. Craig Russel, Collectif)

[Jack]

Le dessinateur P. Craig Russel travaille actuellement sur un diptyque adaptant le livre « The Graveyard Book » (L’Étrange Vie de Nobody Owens) de son ami et collaborateur Neil Gaiman. Il s’agit de la quatrième adaptation d’une œuvre de Gaiman, après Murder Mysteries, Coraline et Sandman: Dream Hunter, de la part de l’artiste.

The Graveyard Book raconte l’histoire de Nobody Owens qui, poursuivi par le mystérieux assassin de ses parents, finit dans un cimetière où il est adopté par les fantômes.

Pour l’occasion, l’artiste fait appel à quelques grands noms du milieu tels Jill Thompson, Michael Golden, David LaFuente, Kevin Nowlan, Tony Harris, Galen Showman et Scott Hampton. Les deux volumes de 130 pages seront publiés par l’éditeur HarperCollins mais aucune date de sortie n’a été annoncée pour le moment.

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Liens
Le site de l’éditeur: harpercollins.com
Le site de P. Craig Russel: artofpcraigrussell.com

[silverfab]

Même si les récits « enfantins » de Gaiman me barbent un brin, j’en suis. Je suis un inconditionnel de P Craig Russell!

[silverfab]

Même si les récits « enfantins » de Gaiman me barbent un brin, j’en suis. Je suis un inconditionnel de P Craig Russell!

[mathieuA]

J’ai beaucoup aimé The Graveyard Book et alors avec les dessinateurs annoncés, ça va être beau.

[Jack]

Voici quelques pages supplémentaires de The Graveyard Book t.1 et la couverture du deuxième tome:

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[Jack]

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Part of that was because it’s such a large book. The visual adaptation turned out to be 352 pages and if I did all the artwork myself, it would have taken me a good four years to do. They wanted the book out sooner than that, so to maintain a visual consistency from one chapter to another, the idea was to have one artist layout the entire book. Even if you’re not drawing the pictures, you’re designing the page so the layout and design of the page remains the same. If you had eight or nine different artists laying out their own stories, you would have a widely varying approaches to layout, so I did the architectural blueprint of the book, you might say. I designed where all the lettering would go and then had it hand lettered by Rick Parker and inked in the panel borders so that consistency is there. Then we picked one colorist to color the entire book, so you would have that consistency. Because of deadlines, Scott Hampton ended up coloring his chapter, but it remained fairly consistent with Lovern’s coloring. The last thing was I made sure we had artists that had some similar approaches to a drawing, a certain illustrative technique. You don’t have one person who’s extremely cartoony and another that’s photorealistic. In those ways you have a consistency to the book.

[size=200]INTERVIEW DE P. CRAIG RUSSEL[/size]