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Arthur's Seat'Climbing to the top of Arthur's Seat in strong wind and freezing cold but I don't care. The views are tremendous and the sky is bright blue.' His drawing from the summit comes over as hugely panoramic, a big glowering landscape, by comparison with his linework life in Wakefield. In Wakefield not only are his characters bound by frames but they're often also looking through frames, like Jack, the ginger cat, on the cover, or into frames or screens, constrained by the obstacles and frustrations the city puts in your way. It's the light touch and keen eye with which he describes familiar frustrations that makes his insights, inspiration and occasional escapes feel so real. Something we all need. As he mentions in this edition, he arranged some of the orignal sketches from issue #1 in a large frame and put on the wall in the living room. He describes it as the closest thing to 'art' he's ever done. When you see a whole frame of his drawings like that you don't initially focus the individual frames; your first impression is of jagged movement within the rhythm of the grid; the whole thing looks like the score for an jazz improvisation (well, an improvisation wouldn't have a score, but you know what I mean). LinksJohn's limited edition handmade journal is now available from OK Comics, Thornton's Arcade, Leeds, or you can contact him via his website: www.johnwelding.comix.org.uk Richard Bell, richard@willowisland.co.uk |