ILYA on Cherish a veritable snapshot of the Emes – cover from Brian Bolland (one of his best), John Smith, Sean Phillips, Garth Ennis and Glenn Fabry, Shaky Kane and Detonator Studio’s own Chris Webster among the contributors. Frank Wynne was the editor, back before he – and I – moved on to the muchMmissed Deadline magazine. The design work is vintage Rian Hughes. Seriously, if you ever happen to luck across a copy, snap it up. PAGE 1 The events recounted in the story occurred some Eme earlier. I would have been about 17 at the Eme, so roughly… 1980. The Venue was a realMlife, uh, venue, immediately across the main road from the exits of London Victoria’s mainline terminal – long since converted into something anonymous. I was always too heavyMhanded for paint and brushes so here, in the framing (opening and closing) sequence, I’m experimenEng with chalky colour pastels laid across a foundaEon of feltMEp marker pens – almost certainly using an industrialM sized can of hairspray as a cheapo artM student alternaEve to fixaEve. The remainder of the art is largely coloured inks and marker pens. It is all relatively primitive, to be sure – my colour sense was always pretty basic, founded on what I could remember from school about complementary colours (yellow and purple, red and blue), yet still to this day my taste runs hot, ersatz South American. The third panel here for instance (with the taxicab) is preGy terrible stuff; sEff, cluGered, perspecEve David Lloyd could – and I think did – shoot me for. But even the most embarrassing excesses have their moments.
CONTINUES ➤
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