This ghostly image, which appeared in the U.K.’s Mirror last December, reportedly shows a man’s ghost at a christening in Canterbury, England. According to Heather Sewell, grandmother of the christened child, the spirit bears a striking resemblance to her late husband Terry.
1) Don’t draw with cheap felt-tip pens. The ink in drawings made with felt tip pens will fade in a few years, and all you’ll be left with is a bunch of ghostly images, then nothing at all. And these drawings fade even faster when exposed to sunlight. So wise up and use pens with permanent ink, and try to draw on paper that’s not going to get yellow and fall apart. (I learned this the hard way.)
2) Finish your work! Drawing complete stories is really hard, especially when you’re a kid, but there’s nothing like having a finished story-with beginning, middle, and end-to amuse yourself and your friends. Unfinished work just doesn’t cut it.
3) Save your stuff! Often, as your drawing and writing skills develop, or you get older and start having other more “mature” interests, your earlier cartoon work starts looking lame and clumsy. The usual urge is to toss it-but resist that urge! I guarantee that later in life you’ll be glad you held on to your cartoons, no matter how stupid they look now.
4) Don’t let your mom throw your cartoons out! Moms have a tendency to do this. You go off for a weekend visit to Aunt Gladys, or you get shipped off to summer camp, or you turn your back for a second, and poof! There go your toys, your comic books, and your brilliant artwork. And no amount of squealing is going to bring that stuff back. So take care of your treasures-keep ‘em out of the way of anyone who has some weird hatred of “clutter”- and make sure that everyone in your family knows you’re insanely possessive of your stupid, worthless junk. If you make your stand early, before permanent damage is done to your goodies, they may learn not to mess with your mess.
5) It’s okay to copy other cartoons, but it’s easy to get obsessed with a particular style that you can never master. I spent a solid year trying to draw Batman when I was eleven, and have nothing to show for it but a bunch of crummy-looking, vaguely Batmannish ghosts (see Item #1). So my advice is to copy from a whole bunch of different sources-eventually you’ll figure out a style that fits you.
6) Get a sketchbook. Do lots and lots of drawings. Fill up the sketchbook. Repeat.
7) Most how-to-cartoon books are terrible, so don’t get discouraged by their lousy advice. Remember, if the people who put together how-to-cartoon books knew what they were doing, they probably wouldn’t be doing how-to-cartoon books.
8) Check out the original artwork of cartoonists you admire. You may be in for a surprise. It doesn’t look as slick as the printed stuff, does it? It’s full of smudges, pencil marks, erased lines, and covered up mistakes. Most young, would-be cartoonists end up getting totally bummed out because their stuff doesn’t look as slick and perfect as the stuff they see in print. But the original work by the pros themselves usually doesn’t look that good, either. So it’s okay for your original artwork to look a little smudgy too.
9) It’s not horrible to be a crummy drawer. There’s room for all sorts of styles in the world. All I can draw are people with big eyeballs and no chins, and I can’t even do that too well-but look at me. I get to blab about how to cartoon, and you get to listen to me.
10) And finally: Be original. It’s okay to copy the cartoons you love, if you must. But please: Eventually edge toward your own ideas and stories. That way I won’t have to track you down and sue you.
A ‘music film’ by Kristof Brandl and shot by Christophe Collette that questions our perception of reality and memory, with vfx by Shed. Ghostly and compelling images draw the viewer into a conflict that repeats itself. After losing everything, material possessions, love, and perhaps even sanity, a robot injects the male character with a futuristic drug that lets him re-live precious moments that once made him feel alive. Traveling back to memories frozen in time, our character wishes to make the past his future.
Director - Kristof Brandl
Starring - Jasmina Parent and Ryon Everett
Cinematographer - Christophe Collette
Camera Assistant - Jacques Bernier
Electro - Hugo Roy
Gripping - Cody Larocque and Dustan Mcbain
Stunt Coordination - Alex Cadieux and Martin Williams
Production Assistant - Stephane Petrisor
Custom 2010 Chevrolet Camaro SS 2 Door Coupe “Fallen Angels Camaro” The custom-airbrushed paint including bold tribal graphics and ghostly images was applied by renowned airbrush artist Charles The Kid Armstrong.
ILLUSTRATIONS by Kawano Junko Unpublished illustrations (2006-2007 work)
Kika, flanked by the backs of the ghostly images of Edgar and Brandeau sits on her throne as the Pirate Queen. As the above mentioned, this piece was unpublished until its inclusion in the Genso Suikoden Kiwami Encyclopedia (幻想水滸伝 極 大事典) in 2010.
While working on the WWI record of serviceman Hugh Edmiston, Jr., a staff member in the St. Louis Paper Lab came across this “ghostly” image of the serviceman, which is the result of a chemical reaction between the original photograph, called a platinotype, and the neighboring document. The original image has been enhanced and darkened to show greater detail from the original image.
True platinotypes, popular from 1880 to 1930, are made from metallic platinum particles that hold up well under consistent environmental conditions. If these platinotypes are housed in an unstable environment in direct contact with another paper form, platinotypes do have a tendency to transfer their image to the next document in contact with them, forming a “ghostly” image. In addition to maintaining a stable environment, interweaving acid-free paper between these photographs will prevent transfer images to other documents in the file from occurring.
It’s extremely fortunate that this photo’s image transferred to the adjacent document. The file the photo was housed in was damaged by water in the 1973 fire at the National Personnel Records Center. The photograph itself was an entire loss, with a complete and total removal of the emulsion. Without this ghostly image transfer, we would have no image at all and only a blank photographic mount. Now with the help of digital technology used by our Reformatting Lab, we can capture and preserve the image even though the original photograph was lost.