Barks's Personal Reference Library
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AFTERCarl Barks painting fine-art cartoons in oils by Copyright 2010 by John Garvin www.johngarvin.com Published by Enchanted Images Inc. www.enchantedimages.com All illustrations in this book are copyrighted by their respective copy- right holders (according to the original copyright or publication date as printed in/on the original work) and are reproduced for historical reference and research purposes. Any omission or incorrect informa- tion should be transmitted to the publisher so it can be rectified in future editions of this book. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission in writing from the publisher. ISBN: 978-0-9785946-4-0 First “Hunger Print” Edition November 2010 Edition size: 250 Printed in the United States of America about the “hunger” print “Hunger” (01-2010), 16” x 20” oil on masonite. “Hunger” was painted in early 2010 as a tribute to the painting genre pioneered by Carl Barks and to his techniques and craft. Throughout this book, I attempt to show how creative decisions – like those Barks himself might have made – helped shape and evolve the painting as I transformed a blank sheet of masonite into a fine-art cartoon painting. Each copy of After Carl Barks: Painting Fine-Art Cartoons in Oils includes a signed print of the final painting. 5 acknowledgements I am indebted to the following, in paintings and for being an important husband’s work. As the owner of alphabetical order: part of my life. Another Rainbow, Bruce Hamilton published The Fine Art of Walt Donald Ault. For permission to quote Jeff Cain. One of the original Disney’s Donald Duck By Carl extensively from his own research collectors of Barks’s cartoon Barks, the Carl Barks Library, and and work. Professor Ault purchased paintings, for sharing his knowledge most of Barks’s fine-art lithographs one of Barks’s first fine-art cartoon of Barks in the 1970s, for Carl Barks from the 1980s and ‘90s. It’s easy paintings and in the 1970s helped Remembered, and for permission to argue that Bruce, along with his manage Barks’s rapidly growing “list” to reprint some of his private partner Russ Cochran, was responsible of commissions. Ault is also one of the correspondence. for the success of much of Barks’s original Barks scholars, publishing cartoon painting career. Without numerous articles in the Carl Barks Daniël van Eijmeren. For Bruce’s work, my own would have been Library as well as editing Carl permission to quote from his extensive impossible. Barks Conversations. website: www.seriesam.com/barks/index.html David House. For being my editor Carl and Garé Barks. For the many and proof-reader and friend. Any hours spent mentoring an aspiring Jennifer, Andrew, Ryan, Ansen mistakes in the book, of course, are my artist from the backwaters of Southern and McKenzie Garvin. For being own. You can read more about House’s Oregon. models in my paintings and for being work online at: such great kids. www.space-worthy.com Patrick Block. For the encouragement and support both he Shiloah Garvin. For being the best Peter Kyling. For permission to and his wife Shelly have expressed for wife a painter of funny animals could reprint material from his extensive my work. And for being a painter! have and for helping to proof-read this website: book. www.cbarks.dk Christopher B. Boyko and Jerry Weist. Boyko and Weist organized Dan Gheno. For permission to reprint Alex Nielsen. For permission to and administrated the Barks estate photos of Barks at his easel taken in reprint his photos of Carl Barks. His sales, which made possible much of the 1970s. website is here: my research, providing behind-the- www.carlbarks.ws scenes material on Barks’s painting Dorothy Gibson. Barks’s daughter, career that would otherwise have been for permission to quote from Barks’s Dave Sim. For purchasing and impossible to obtain. personal correspondence taken from publishing my first page of original art, Peter Kyling’s website. in the 1980s when I was very poor and Stephanie Brown, my eldest needed it more than he could have ever daughter, her husband Shane, Helen Hamilton. I would like to imagined. and my grandchildren Hayley thank Helen for granting permission and Aidan. For being models for my to quote extensively from her late reference notes Barks’s own identification system is used for all paintings: “Title,” (No. - year), i.e. “Snow Fun” (1-74), is the first painting that Barks completed in 1974. Reference citations use the following abbreviations: Animal Quackers (AQ). Carl Barks: Conversations (CBC). Carl Barks and the Art of the Disney Comic Book (CBDCB). Carl Barks and the Disney Comic Book: Unmasking the Myth of Modernity (UMM). Carl Barks Library (CBL followed by set, volume, page) i.e. (CBL, II, 2, 22). The Comic Book Price Guide No. 7 (CBPG). The Fine Art of Walt Disney’s Donald Duck by Carl Barks (FA). Mickey Mouse In Color (MMIC). Page numbers follow the abbreviation, i.e. (CBC, 12). Some material has been reprinted, by permission, from the following websites: www.cbarks.dk www.seriesam.com/barks/index.html Much unpublished material has been gleaned from material collected from the Barks estate auctions and from my own collection and correspondence. This material is noted. 6 contents introduction 9 a short biography of the good artist 15 at the feet of the master 67 what’s the big idea? 113 narrative composition 119 dynamic symmetry 135 in unca carl’s collectery 139 cartoon-ality 145 research and reference 157 the layout drawing 167 painting dimensions: size is money 175 the painting surface 181 transferring the drawing 187 paints, brushes, media 191 underpainting 197 color theory 201 painting surface and texture 213 finishing a painting 227 a good artist’s studio 243 barks’s personal reference library 249 about the author 270 7 preview of “introduction” 8 introduction In some ways this book is as Like almost every other skill phrases. I spent weeks literal as its title suggests, Barks possessed, his writing struggling to come up with a book that chronicles over ability was self-taught: “I got a title because my book isn’t 30 years spent painting into that stuff in the 1920s, just about painting fine-art fine-art cartoon subjects and I realized if I was going cartoons. It’s about who Carl in the style pioneered by to write jokes and things, I Barks was as an artist and Carl Barks – known to needed to be able to write is an attempt to understand his early fans as “the good intelligible sentences. ... his paintings. It’s about my artist.” But that’s not all That was a nice bunch of own journey as an artist. it’s about. One of the things years in which I would take It’s about how I see Barks’s I learned from reading about an hour or two every paintings and how I see my Barks’s correspondence and evening and look at the old own. Yes, the book is also comic-book stories is that he grammar books and see how about craft and technique, could use words the way a they phrased a sentence, and composition and meaning, poet uses them – colorfully, I would do it and take a line but it’s also about joy and deliberately, sparingly out of a newspaper or letter discovery. How was I going – but at the same time, and analyze it” (CBC, 190). to capture all that in just a meaningfully. Nowhere is T.A. Rickard’s Technical few words? This is all a sort this creative use of language Writing emphasizes many of long-winded preamble to more evident than in the of the principles Barks talking about the opening way Barks crafted his titles adhered to throughout his phrase in the title for – not just titles for his comic- career: “Your writing this book: After book stories, but titles for his must be natural, in the early 1970s, Carl Barks. oil paintings and watercolors clear, precise, Carl Barks invented the fine-art cartoon painting by as well. and convincing. turning cartoon subjects into ... A writer that works of art that were flings needless meant to hang on words about him is patrons’ walls. like a swimmer that splashes; neither makes speed.” (TW, 12, 22). Years of writing succinct dialogue had taught Barks how to distill complex ideas into the fewest possible words, a skill he used to create evocative titles that could comment on a work, Barks’s copy of Technical Writing. Barks, add color to it, help who never attended high school, taught himself to write using books like this. An describe it or contribute inscription in the book reads, “Roseville to its narrative. Like Calif. ‘28,” which means Barks would have owned the book in the late 1920s when he the best poetry, layers was working as a laborer in the Roseville of meaning could railroad car shops. exist in the simplest 9 The apparent meaning of Duerrstein does “fine art” reproductions of “after” is chronological. paintings for the Disney Barks’s paintings Barks left behind a rich stores, but they don’t seem Note: After Carl Barks: Painting Fine-Art legacy of comic-book to have the level of craft Cartoonis in Oils assumes the reader has access to reproductions of Barks’s work and fine-art cartoon that Barks brought to his paintings, as none are reproduced in this paintings.