View Guido Crepax’s artworks on artnet. Learn about the artist and find an in- depth biography, exhibitions, original artworks, the latest news, and sold auction . Area(s), Artist, writer. Notable works. Valentina Anita Histoire d’O Belinda Bianca. Guido Crepas (15 July in Milan – 31 July in Milan), better known by his nom de. Anita Crepax is on Facebook. Join Facebook to connect with Anita Crepax and others you may know. Facebook gives people the power to share and makes the.

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My universe is truly my own. People ran so hardcore away from Liefeld—but characters popping out of and through panels is something you SHOULD be doing in an action comic.

This probably speaks a lot to my adoration of the Bianca stories—because they are the aanita of the image and the sequence.

This is a two page spread that you have to turn the book sideways to actually read, and Stryfe is actually perching his foot on one of the panels from which he is speaking. Poirot77 added it Jul 11, I created her to give myself a little more freedom[…] The structure of the Bianca stories is not homogenous, there is no real beginning and no real end.

But I just sort of lock that Velvet Underground song in my head, and roll. Anita 2 by Guido Crepax. The fact is, Guido is a voyeur by nature. Open Preview See a Problem?

Only that magical feeling you get as you move through that wooden house and see that house on fire, as if in a dream. Now that is not always the case.

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Ulrik Nielsen rated it really liked it May 28, Marcos Pereira marked it as to-read Dec 16, abita Bekir added it Feb 18, The first and second panel are amaaaazing.

To ask other readers questions about Hello, Anita!

Tag Archives: Guido Crepax

Stella marked it as to-read Jul 15, I think you crepx see the advantage of it in the next to last panel on this page—where you can sort of feel a stretching of the figure, which is I think a kind of erotic tension also present in Schiele. I am not interested whatsoever in plot points, character growth, or any of the other million things that so many critics and creators crspax decided is important in this day and age.

I have no desire to serve as a model.

There is no reason to be overly tethered to them, beyond as an aesthetic choice. One of the most effective things Liefeld does, and he does it a lot in these early X-Force issues is this sort of power vertical panel on the left side of the page, and then smaller vertical panels sort of falling up or down in parrallel. The other great thing on this page is the two heads in the middle of the page, and how they bubble up and mesh with the third panel right above them—you sort of ooze down the hair to the one head—and then back to the left.

Guido Crepax Anita | Guido Crepax Valentina /Erotica | Pinterest | Art, Artist and Art forms

Alexandre Loth added it Jan 21, And that hard square line holding in a set pattern that the characters pose over is a whole other kind of dynamic comic making shit that I will get into in the next part of this series. I mean this kind of image is just crpax. Plus the way the phones Z across the page they make the eye sort of drag across the erotic portions anitw the page at a kind of corner of the eye glance.

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No trivia or quizzes yet. Books by Guido Crepax.

Hello Anita (Crepax)

I feel that Crepax, particularly in Bianca creates rhythms that are important in this direction. The above page uses this vertical panel to play into those smaller vertical pink rectangles in the background the second panel—which combined with the coloring produces this fade out effect for this last page. And it plays with the flatness of the page and the panels.

The composition is actually very much an exclamation mark in shape. Without ever intending it, it eventually became a big book. Zeke Viegas rated it really liked it Jun 01, The Anita Live series is one of my favorites.

Karl Hickey rated it it was ok Jan 09, And then sometimes I just jack my page compositions from Basquiat paintings because Cgepax think the way those use space and words are super useful in terms of keeping myself from getting to micro on a page—he forces me to look at the page as a whole, as a singular entity. Which I just find intensely modern. I love that sort of stuttered lurching interior rhythm of the page.