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Aloysius J. Gleek:

--provisionally!

 :laugh:



http://dc.wikia.com/wiki/Superman's_Pal,_Jimmy_Olsen_Vol_1_48

CellarDweller:

--- Quote from: jmmgallagher on January 30, 2009, 01:11:26 am ---Ok, I haven't found Jimmy with either of the Wonder Twins,
--- End quote ---


Well, here ya go!!  Super Friends issue #28.







In this Halloween issue, a Halloween party is going on, among the guests are Bruce Wayne and Dick Grayson (the secret identities of Batman & Robin) dressed as Batman and Robin.  Jimmy Olsen is there as a werewolf, which he turned into using a magic potion.  Also there as a black cat and abominable snowman are the Wonder Twins, who used their Exxor powers to turn into those creatures.

Villian Felix Faust crashes the party, and casts a spell which traps everyone in their costumes, as well as Jimmy as the werewolf, and the Twins in the forms they took.

The Super Friends defeat Faust, with an assist from Jimmy in his werewolf form.







When Faust is defeated the spell is broken, and the Wonder Twins can assume their human forms.







and once she's human again, Jayna helps Jimmy turn human again with a kiss.

Aloysius J. Gleek:




Jesus, Chuck, what can I say--other than 'sheer genius' (and a lot of work)! Thank you!

(And look at this panel--it looks exactly like a Lichtenstein!)





--- Quote from: CellarDweller on January 30, 2009, 09:45:14 pm ---

--- End quote ---




Roy Lichtenstein, We Rose Up Slowly, 1964

Aloysius J. Gleek:

http://en.wikipedia.org/wiki/Benday_dots

Benday dots
From Wikipedia, the free encyclopedia

The Ben-day Dots printing process, named after illustrator and printer Benjamin Day, is similar to Pointillism. Depending on the effect, color and optical illusion needed, small colored dots are closely-spaced, widely-spaced or overlapping. Magenta dots, for example, are widely-spaced to create pink. 1950s and 1960s pulp comic books used Benday dots in the four process colors (cyan, magenta, yellow and black) to inexpensively create shading and secondary colors such as green, purple, orange and flesh tones.

Ben-day dots differ from halftone dots in that the Ben-day dots are always of equal size and distribution in a specific area. To apply the dots to a drawing the artist would purchase transparent overlay sheets from a stationery supplier. The sheets were available in a wide variety of dot size and distribution, which gave the artist a range of tones to use in the work. The overlay material was cut in the shapes of the tonal areas desired—i.e. shadow or background or surface treatment and rubbed onto the specific areas of the drawing with a burnisher. When photographically reproduced as a line cut for letterpress printing, the areas of Benday overlay provided tonal shading to the printing plate.

Enlarged Ben-day dots as a visual effect in Pop Art, contemporary and graphic design
Ben-day dots were considered the hallmark of American artist Roy Lichtenstein, who enlarged and exaggerated them in many of his paintings and sculptures especially his interpretations of contemporary comicbook and magazine images. Other illustrators and graphic designers have used enlarged Benday dots in print media for a similar effect.


Example of how the Benday Dots work.

Aloysius J. Gleek:



Look: Jimmy goes modern (without Ben-day dots!), and his geekiness is so geeky, his artless cluelessness practically sly, he almost becomes cool!




Zee Zee Zee...
 
And now... Jimmy Olsen and Power Girl. A passion play in 10 panels:



http://comicswantlist.blogspot.com/2007_08_01_archive.html

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