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Creepy Archives - Volume 1 (reprints v1 1-5) by Archie Goodwin, Joe Orlando, Otto Binder, Russ Jones

By Archie Goodwin, Joe Orlando, Otto Binder, Russ Jones

Assemble up your wood stakes, your blood-covered hatchets, and the entire skeletons within the darkest depths of your closet, and get ready for a scary experience into the darkest corners of comics heritage. darkish Horse Comics extra corners the marketplace on top of the range horror storytelling with the most expected releases of the last decade, a hardcover archive number of mythical Creepy Magazine.

This groundbreaking fabric grew to become the realm of photograph storytelling on its head within the early Nineteen Sixties, as exceptional younger artists like Bernie Wrightson and Neal Adams reached new inventive heights with their attention-grabbing explorations of vintage and glossy horror stories.

*Brilliant, vintage Creepy tales from 1964-1966 raised from the lifeless after twenty-five years.

*Featuring paintings by way of such comics luminaries as Joe Orlando, Al Williamson, Alex Toth, and Frank Frazetta.

* Archive variants of Creepy stands out as the cornerstone of any comic-book library.

*Volume One reprints the 1st 5 terrifying problems with the magazine's unique run!

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Extra resources for Creepy Archives - Volume 1 (reprints v1 1-5)

Sample text

Junior doesn't dare complain to his parents, because snitches are dealt with extra harshly in prison, er, I mean home. If she shoots her little brother a bold I'll-get-you-for-this glare across the dinner table, their parents will never notice it. To them, she is always their little angel. 47 When two characters make eye contact, its imperative that the line of vision between them matches up. You should be able to draw a line from one characters eyes to the other’s. The younger the character, the deeper the curve of the forehead Yes, it's sisterly love at its finest.

For the flat, retro look, slice off the ends of the ponytails with a crisp, clean—and unnatural—line. This adds more style. Drawing a mature female figure in a side view requires a different approach to the leg treatment. Create the front of the legs with a single smooth line, while using a bumpy line for the back of the legs to indicate the upper thigh and calf muscles. 31 Thigh muscle curve Smooth line Calf muscle Leave space for the high heels when roughing out the character. Like people, hands have personalities, and you've got to draw them to reflect their owners!

One shape for upper body Ears stick out substantially and droop slightly for a sassy look 50 Its always good practice to draw the upper body as one shape first. belineate the blouse from the skirt later. In a 3/4 view, sneakers need arches! Make sure to add them, even if the character has flat feet. Sneaker arches This one's a tightly wrapped piece of work. She's got hair braided in tight, unlovely pigtails that are knotted so tight they're in danger of cutting off the blood supply to her scalp; oversized glasses; and teeth so big that at any moment she might mistakenly swallow her own chin.

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