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Dessa iniciativa surgiu a revista em quadrinhos de maior popularidade da editora paranaense: Quadrinhos Eróticos, revista da qual encontramos na maioria das vezes, na literatura ligada aos quadrinhos, atribuída ao nome da editora Grafipar. Criada em 1978, sob o título original de Eros, a revista de 32 páginas e circulação quinzenal precisou ter seu nome alterado por volta da sexta edição, devido ao fato de outra editora já possuir os direitos sobre a marca, em uma de suas publicações. O novo título, menos subjetivo ao público e abertamente didático, sobre o conteúdo da revista ajudou a fazer as vendas dispararem para quase 30 mil exemplares quinzenais em 1979 (ROSA, 2000).

Figuras 48 e 49 – LUIZ RETTAMOZO - Próton n°1. Capa. Janeiro, 1979. Grafipar; [ANÔNIMO] - Neuros n°1. Capa. Janeiro, 1979. Grafipar

O sucesso editorial de Quadrinhos Eróticos fez ampliar o repertório de publicações da editora, assim como o número de colaboradores envolvidos com o sistema de “cooperativa de quadrinhos” da editora:

A partir de 79, novos colaboradores chegam à Quadrinhos Eróticos; Flávio Colin, Walmir Amaral, Itamar, Imamura, Rodval Mathias, Mozart Couto, Sakita, Marcio Calesco, Gustavo Machado e Luis Saidemberg. Também em 79, as capas deixaram de ser montagens de cenas do interior da revista, ou ilustrações coloridas de magazines espanhóis, para dar chance a talentos brasileiros como Imamura, Seto e Rodval, que revelou-se logo o melhor capista de sua geração. E no ano seguinte, novos colaboradores somam-se a QE: Paulo Lima, Fisher, Josmar (Octopus), Maurício Veneza, Drumond, Paulo Hamasaki, Oz (textos), Kozo, Jordi, Novaes, Bonini, Zenival, Esteves, Sergio Lima e Watson Portela. Um cast impressionante, sem dúvida – especialmente pela estrela Mozart Couto (ROSA, 2000).

Quadrinhos Eróticos abrira caminho para uma vertente renovada do sexo e do erotismo no quadrinho nacional, influenciando outros lançamentos da editora como Sexo em Quadrinhos e Maria Erótica [1], sendo que “[...] em fevereiro de 81, com a edição 52, a QE passou a ser mensal com o dobro de páginas, 64. (as edições quinzenais, Sexo em Quadrinhos e Maria Erótica, continuaram com 32 páginas) (ROSA, 2000).

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[1] “Maria Erótica, criação de Claudio Seto para a Edrel em 1969, ressurgiu em outubro de 1979, num livro de 98 páginas, Especial de Quadrinhos nº 4, numa história longa e antológica com pivetes cariocas e delinqüentes. O sucesso foi imediato e meses depois Maria ganhava sua própria revista”. DANTON, Gian. Grafipar – a editora que saiu do eixo. Omelete - resenhas e artigos, 2002. Disponível em: <http://www.omelete.com.br/quadrinhos/artigos/base_para_artigos.asp?artigo=403>. Acesso em 05/05/2006. 

Frank Frazetta

 

Early life and career

Born Frank Frazzetta in Brooklyn, New York City, he removed one “z” from his last name early in his career to make his name seem less “clumsy”.^[2] The only boy among four children, he spent much time with his grandmother, who began encouraging him in art when he was two years old. He recalled in 2010, a month before his death,

When I drew something, she would be the one to say it was wonderful and would give me a penny to keep going. Sometimes I had nothing left to draw on but toilet paper. As I got older, I started drawing some pretty wild things for my age. I remember the teachers were always mesmerized by what I was doing, so it was hard to learn anything from them. So I went to art school when I was a little kid, and even there the teachers were flipping out.^[4]

At age eight, Frazetta attended the Brooklyn Academy of Fine Arts,^[5] a small art school run by instructor Michael Falanga. “[H]e didn’t teach me anything, really,” Frazetta said in 1994. “He’d come and see where I was working, and he might say, ‘Very nice, very nice. But perhaps if you did this or that.’ But that’s about it. We never had any great conversations. He spoke very broken English. He kind of left you on your own. I learned more from my friends there.”^[6]

In 1944, at age 15, Frazetta, who had “always had this urge to be doing comic books“,^[6] began working in comics artist Bernard Baily‘s studio doing pencil clean-ups.^[5] His first comic-book work was inking the eight-page story “Snowman”, penciled by John Giunta, in the one-shot Tally-Ho Comics (Dec. 1944), published by Swappers Quarterly and Almanac/Baily Publishing Company.^[7] It was not standard practice in comic books during this period to provide complete credits, so a comprehensive listing of Frazetta’s work is difficult to ascertain. His next confirmed comics works are two signed penciled-and-inked pieces in Prize Comics‘ Treasure Comics #7 (July 1946): the four-page “To William Penn founder of Philadelphia…” and the single page “Ahoy! Enemy Ship!”, featuring his character Capt. Kidd Jr.^[8] In a 1991 interview in The Comics Journal, Frazetta credited Graham Ingels as the first one in the comic book industry to recognize his talent, and to give him jobs at Standard Comics in 1947. These included stints on Louie Lazybones, a series which was a blatant rip-off of the successful newspaper strip Li’l Abner, which Frazetta would be ghosting later in his career. For Dell’s subsidiary company, Famous Funnies, Frazetta did war and human interest stories for Heroic Comics, as well as one pagers extolling the virtues of prayer and the evils of drug abuse.

Frazetta was soon drawing comic books in many genres, including Westerns, fantasy, mystery, and historical drama. Some of his earliest work was in funny animal comics, which he signed as “Fritz”.^{[citation needed]} For Dell’s subsidiary company, Famous Funnies, Frazetta did war and human interest stories for Heroic Comics, as well as one pagers extolling the virtues of prayer and the evils of drug abuse. In comics like Personal Love and Movie Love, he did romance and celebrity stories, including a biography of Burt Lancaster.

In the early 1950s, he worked for EC Comics, National Comics, (including the superhero feature “Shining Knight“), Avon Comics, and several other comic book companies. Much of his work in comic books was done in collaboration with friend Al Williamson and occasionally his mentor^{[citation needed]} Roy G. Krenkel.

Noticed^{[citation needed]} because of his work on the Buck Rogers covers for Famous Funnies, Frazetta started working with Al Capp on Capp’s comic strip Li’l Abner. Frazetta was also producing his own strip, Johnny Comet at this time, as well as assisting Dan Barry on the Flash Gordon daily strip.^{[citation needed]}

Seja bem-vindo ao nosso grupo de estudos

Olá caros alunos

Primeiramente desejo um ótimo retorno a todos e um excelente início de semestre letivo. Sejam muito bem-vindos a disciplina de elementos plásticos bidimensionais – 1º semestre/2012.

A idéia deste blog é ampliar um pouco mais o nosso espaço de comunicação, facilitando nossas atividades na disciplina durante decorrer do semestre. Na medida do possível, estarei postando nossas principais atividades: cronogramas das aulas, resumos de conteúdos, formas e datas de avaliações, exercícios propostos em sala de aula.

 Aproveitem bem. Um grande abraço.

Prof. Luciano