Yoo hoo, here is an image i created last night. the usual marker pen on a4 sketchpad. fun relaxed sketching is a must and its what has happened here. clik the image to see its correct size.

please feel free to post a comment or ask a question.


hi not much to say, but please have a look at this sketchpad page from yesterdays sketching session. the image is a bit small here so please click on it to see an enlarged version. feel free to comment or ask any questions,
have a look at this link its one site i love looking at (not art its for vintage gaming enthusiasts)
pong consoles


view this example of a sketchpad page with enthusiasm. behold the marker pen based scrawl


files transfer bits surge and digitise humans activate, proscess assess and deactivate


Image view acceptable. toil image with mouse interface tool. achieve increased image size as direct result. activate procedure. dat transfer code interrupt sequence


Image uploaded to system. file tranfer successful. view via graphical user interface.
experience enjoyment. distribute information about this.


i doodled this on an envelope party on flailin arms


this is another sketchpad page. once again i have used marker pen on the
cartridge paper. accept this information and proscess it accordingly.


This is a character design i did
for inclusion in future comic book projects. it is rhendered in marker pen and drawn on basic cartridge paper.


Robert Crumb

 Robert Crumb was born on August 30, 1943 in Philadelphia, Pennsylvania. He is of English and Scottish ancestry, and is related to former U.S. president Andrew Jackson on his mother's side.[1] His father, Charles, was a career officer in the United States Marine Corps; his mother, Beatrice, a housewife who reportedly abused diet pills and amphetamines. Their marriage was unhappy and the children—Robert, Charles, Maxon, Sandra and Carol—were frequent witnesses to their parents' loud arguments. Crumb's first job as an artist was for the Topps company. He was hired by Woody Gelman and drew illustrations for an internal publication that offered premiums to gum salesman such as toasters and blenders.[2] In the mid 1960s, Crumb left home and moved to Cleveland, Ohio, where he designed greeting cards for the American Greetings corporation, and met a group of young bohemians including Buzzy Linhart, Liz Johnston, and others. Johnston introduced him to his future wife, Dana Morgan. He befriended another Cleveland resident, Harvey Pekar, and eventually contributed artwork to early issues of American Splendor. In 1967, encouraged by the reaction to some drawings he had published in underground newspapers, including Philadelphia's Yarrowstalks, Crumb moved to San Francisco, California, the center of the counterculture movement. Crumb, with the backing of Don Donahue, published the first issue of his Zap Comix on January 18, 1968, printed by Beat poet Charles Plymell.[3] After years in California, and a second marriage to Aline Kominsky-Crumb, Crumb and family moved to a small village near Sauve in southern France, where he now resides. The artist is represented by David Zwirner, New York.[4]


hello there
enjoy these characters i have created. click the image to increase its size a bit.


Da Da

hello there here is 1 page from yesterday. enjoy.
Dada or Dadaism is a cultural movement that began in Zurich, Switzerland, during World War I and peaked from 1916 to 1922.[1] The movement primarily involved visual arts, literaturepoetry, art manifestoes, art theorytheatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. Its purpose was to ridicule what its participants considered to be the meaninglessness of the modern world. In addition to being anti-war, dada was also anti-bourgeois and anarchistic in nature.
Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art, Fluxus and punk rock.
Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.
—Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, And Provocation


Ed Roth

Roth is best known for his grotesque caricatures — typified by Rat Fink — depicting imaginative, out-sized monstrosities driving representations of the hot rods that he and his contemporaries built. Although Detroit native Stanley Mouse (Miller) is credited with creating the so-called "Monster Hot Rod" art form, Roth is certainly the individual who popularized it. Roth is less well known for his innovative work in turning hot rodding from crude backyard engineering, where performance was the bottom line, into a refined art form where aesthetics were equally important, breaking new ground with fiberglass bodywork.
In the 1960s, plastic models of many of Roth's cars, as well as models of Rat Fink and other whimsical creatures created by Roth, were marketed by the Revell model company.
Numerous artists were associated with Roth, including painter Robert Williams, Rat Fink Comix artist R.K. Sloane, Steve Fiorilla (who illustrated some of Roth's catalogs), and Ed Newton who designed several of Roth's cars and many of the t-shirt designs.
Roth was active in the field of counterculture art and hot-rodding his entire adult life. At the time of his death in 2001, he was working on an innovative hot-rod project involving a compact car planned as a radical departure from the dominant "tuner" performance modification style. In his later years, Roth's telephone number was listed in the directory, and he encouraged fans to contact him: he was always generous with his time and enthusiasm.
A Roth custom feared lost for many years was the subject of a number of articles in automotive enthusiast magazines in the summer of 2008. The Orbitron, built in 1964, was discovered in Mexico in late 2007. The car, in dilapidated, inoperative condition, had been parked for quite some time in front of an adult bookstore in Ciudad Juárez. The owners of the shop were also the owners of the car. It was purchased by Michael Lightbourn, an American auto restorer who did extensive business in Mexico and who in turn repatriated the car to the United States. The Orbitron has since been restored to its original condition by Beau Boeckmann[1][2]

[edit] Mr. Gasser & the Weirdos

Mr. Gasser & the Weirdos was a 1960s novelty group led by Roth, who himself was known as Mr. Gasser. Formed in the early 1960s, they released a few bizarre surf rock albums, most notably 1963's Hot Rod Hootenanny. One Way Records released a 2CD-set (S22-18319) which contains the 3 LPs and the original artwork.

here is a second image to be goin on with. clik it for increased size


proper post number 1, an image i doodled (yea)
Juxtapoz Art & Culture Magazine (pronounced Jucks-tah-pose) is a magazine created in 1994 by a group of artists and collectors including Robert Williams[1], Fausto Vitello, C.R. Stecyk III (aka: Craig Stecyk), and Greg Escalante, to both help define and celebrate urban alternative and underground contemporary art. It was edited from 1996 to 2006 by Jamie O'Shea. Juxtapoz is published by High Speed Productions, the same company that publishes Thrasher Skateboard magazine in San Francisco, California.
Unique in the field of publishing, Juxtapoz emerged at a critical moment during the genesis of the late-20th Centuy underground art movement with the mission of connecting seminal modern genres like psychedelic and hot rod art, graffiti, street art, and illustration, to the context of broader more historically recognized genres of art like Pop, assemblage, old master painting, and conceptual art. Although based in San Francisco, Juxtapoz was founded upon the belief in the virtues of Southern California Pop Culture and the freedom from the conventions of the "established" New York art world that governed the industry. Ferus Gallery, run by Walter Hopps and Irving Blum in the 1950s and 1960s was the ultimate cultural touchstone for the magazine.
Juxtapoz originally reflected Williams' own Kustom Kulture sensibility—a combination of California "Big Daddy" Ed Roth-style pop surrealism (identified by some as synonymous with low brow art and others as its own genre, as detailed in low brow art entry)[2] and the serious figurative craftsmanship that is more likely to be found among illustrators than fine artists today.
Despite the graphic origins of the magazine, Juxtapoz evolved greatly in the early 2000s to embrace and chronicle many other nascent styles and sub-genres of underground art, becoming the singular voice for the movement as a whole in the process. Today, Juxtapoz is widely credited with being the unifying force that drew together the various satellite art movements like street art and Pop Surrealism, into one coherent movement of "alternative art" that evolved so rapidly during the late '90s and early '00s.
One of the most notable contemporary artists to rise to prominence in the pages of Juxtapoz is street artist and graphic designer Shepard Fairey whose "Obey Giant" street art campaign revolutionized the movement. In 2008, after a string of sold-out international fine art shows, Fairey gained international renown when he created the signature campaign artwork for Barack Obama's presidential campaign. More than perhaps any other, this single event signified exactly how far the underground art world had come in such a short time. Fairey has since faced a legal battle over the original copyright of the image from which the piece was created.
Many renowned young artists received their first serious recognition in Juxtapoz, including KAWS, Mark Ryden, Barry McGee, Todd Schorr, Camille Rose Garcia, Tim Biskup, and Tom Sachs, among others. One of the most marked virtues of Juxtapoz has always been its egalitarian curating mandate that no degree of fame or success in the art world was required for consideration in the magazine's pages. Good work and great imagery was any artist's ticket to the show.
Currently, Juxtapoz has the largest circulation of any art magazine in the United States.[citation needed] In addition to printed subscriptions which offer alternative cover images to the newsstand version, Juxtapoz is also available as an on-line digital subscription.