Another Denver Comic Con has come and gone, this time, over the Memorial Day weekend. In only its fourth year, DCC had 101,500 attendees, up from 86,500 last year. To help make this possible, they rented some 500,000 square feet of the Convention Center — an increase of 20,000 square feet over last year, and just shy of the entire building. Even with an increase of size and numbers, the flow of traffic was handled well and congestion was kept to a minimum in comparison to other comparable conventions I’ve been to. The staff is still some of the friendliest I’ve dealt with and never seemed to get frustrated dealing with all the attendees.
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Hey Comic Impact! Sorry for the delay this week but mother nature got in the way of me picking up comics when I wanted to so I got them a bit late and didn’t get to finish them in time to put together this list. So let’s just get on with the list.
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Pixar Animation Studios has always had a keen eye for finding truly unique and individualistic artistic talents to create visually stunning ways to drive their stories forward. In the highly stylized opening title sequence for their fourth film, Monsters Inc., the notable influence of 1950’s animation began to appear. Of the many talented artists working at the studio, four names are most commonly associated with pushing this distinctive look forward: Lou Romano, Don Shank, Nate Wragg and, last but certainly not least, Scott Morse. This mid-century style (dubbed in recent years “Cartoon Modern“) is now a signature Pixar artistic stamp.
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