See You in Stockton!

August 18th, 2017

I look forward to seeing my family, fans and friends at the Stockton Comic Con tomorrow and Sunday. Woo hoo!

Be sure to bring stuff for me to sign!

Contdown to Comic Con #4

July 16th, 2017

Here’s a Barsoomian princess and her pet banth that I whipped up the other day.

BTW, nice opening reception last night at Copro Nason Gallery‘s Tribute to Heavy Metal show in Santa Monica. A lot of good stuff on display and for sale. I’ve got two pieces in the show. One is the splash page for my Arzak collaboration with Moebius, which ran in the 20th anniversary Heavy Metal special issue. The other is an Arzak illustration I drew and finished from a quick sketch drawn by Jean during our last time together — our final collaboration. I thought you might like to see them both:

The exhibition is up for about three weeks. The pieces are available to view and purchase online.

Countdown to Comic Con #3

July 15th, 2017

Here’s an Art Nouveau-ish piece I call “Blue Angel”. On my computer screen, though, it looks more green than blue. Maybe it was the RGB to CMYK conversion…

Come see it in person!

Countdown to Comic Con #2

July 14th, 2017

Here’s an Arthur Rackham influenced piece I’ll have at Comic Con.

Countdown to Comic Con

July 13th, 2017

I’ve been working like a little beaver in preparing for Comic Con. Let me know what you think of these; I’ll be posting one a day.

This one features Bud Abbott and Lou Costello with the monsters they met in Abbott and Costello Meet Frankenstein, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde, Abbott and Costello Meet The Mummy, Abbott and Costello Meet the Invisible Man and Abbott and Costello Meet the Killer, Boris Karloff. That’s the castle from Abbott and Costello Meet Frankenstein looming in the background. “Oh, Chick!”


Stoutzilla For Sale

June 25th, 2017

Here’s a new piece that I intend to bring to Comic Con International. I know, though, that a lot of my fans can’t make it, so I’m offering this piece (titled “Rising Sun” — or “Rising Son”) in advance to them (or you).

The board size is 15″ x 17″; the image size is 10″ x 13.5″. It’s pen & ink on extra heavy cold press illustration board.

The price is $1250, unframed. There’s sales tax if you’re in California. I’ll pay domestic shipping; international purchases pay for the shipping to their country. I can personalize it if you like (unique birthday gift?).

If interested, contact me at

Jonathan Demme 1944 – 2017

April 27th, 2017

Jonathan Demme has passed away. He was one of the few directors I wanted to work with but unfortunately (for me) I never got that chance. We met when he was one of my instructors in a directing class I took many years ago. I strongly think that if I had taken the film director path in my career, I would have patterned it after Jonathan’s. I love (and share in my own way) his broad mix of genres. I completely understand his deep passion for music and its effective use in films.

Here is a list of the films he has directed. Most are fiction (or fictionalized) — but he was a fine documentary film director as well.
Caged Heat
Crazy Mama
Fighting Mad
Handle With Care
Last Embrace
Melvin and Howard
Swing Shift
Stop Making Sense
Something Wild
Swimming to Cambodia
Haiti: Dreams of Democracy
Married to the Mob
The Silence of the Lambs
Cousin Bobby
The Complex Sessions
Storefront Hitchcock
The Truth About Charlie
The Agronomist
The Manchurian Candidate
Neil Young: Heart of Gold
Man From Plains
Right to Return: New Home Movies From the Lower 9th Ward
Rachel Getting Married
Neil Young Trunk Show
I’m Carolyn Parker
Neil Young Journeys
Enzo Avitabile Music Life
A Master Builder
Ricki and the Flash
What’s Motivating Hayes
Justin Timberlake + The Tennessee Kids

I’ve seen most of these films but not all of them. Of the ones that I have seen, each was terrific. I look forward to viewing the rest of Demme’s oeuvre with great anticipation.

Like me, Demme received a big break and entry into the world of film making from Roger Corman. Jonathan’s first three films as a director were made for Roger. Prior to that, Jonathan had written the screenplays Angels Hard As They Come and The Hot Box for Corman.

As a documentary filmmaker, Jonathan knew when to get out of the way and let his subject tell its story. His concert documentaries like Stop Making Sense and Neil Young: Heart of Gold, as well as his filming of Spalding Gray’s fascinating monologue Swimming to Cambodia are fine examples of this.

Something Wild and The Silence of the Lambs are my two favorite Jonathan Demme movies. Something Wild really took me by surprise. Demme was fantastic with actors and had a real sense of their possibilities. Jeff Daniels and Melanie Griffith are both amazing in this film, yet the biggest scene stealing in this movie resulted from the terrifying screen debut of Ray Liotta (Liotta’s only screen appearance prior to Something Wild was a part in The Lonely Lady). Something Wild is one of a small genre of films I love in which the lead character who seems at first to be the story’s victim refuses to take that role and instead, through wit and intelligence, is constantly one-upping the story’s monstrous villain (another superb example of this genre is the 1978 Canadian film The Silent Partner with Elliott Gould, Christopher Plummer and Susannah York).

It’s no secret that I love horror films. Jonathan Demme directed the only horror film to win the Best Picture Academy Award: The Silence of the Lambs. The Silence of the Lambs, in fact, won what are considered in Hollywood to be “The Big Five” Oscars: Best Picture, Best Actor, Best Actress, Best (Adapted) Screenplay and Best Director. I’ve seen nearly every horror film that’s ever been released, so I’m subject to a numbing effect (plus, I work in The Biz; when I watch a film I’m constantly analyzing what’s working and what’s not, and how certain effects were achieved). Sadly, it takes a very special film to really scare me and lose me in its story. The Silence of the Lambs is one of those films that made me forget I was watching a movie. It sucked me right in; and when Buffalo Bill turns of the lights near the end of the film, I was terrified.

Shame on me for not seeing all of Jonathan Demme’s movies. But Lucky Me! — for I’ve got plenty of wonderful films to look forward to viewing.

Rest In Peace to a great storytelling talent and a fellow music aficionado: Jonathan Demme.

Happy (Hoppy?) Easter!

April 16th, 2017

Mmmmmm…chocolate brains!

Have a wonderful celebration this weekend!

Too Soon?

March 27th, 2017

I recently received a letter from a fan (let’s call him “Tom”) who was disturbed and offended by a painting I had created. I’d like to share my response and open this subject up for some (hopefully) civilized discussion.

Here’s the e-mail:

Hello Mr. Stout,

I am a great admirer and long time fan of your incredible artwork.

However, in perusing your website recently I came across your “Happy Easter” print. I found this image disturbing and out of turn with the rest of your body of work. This depiction of Jesus Christ is, in my opinion, in poor taste and disgusting on a multitude of levels, not the “fun” kind of disgusting.

I’m all for artistic expression but I have to ask, what is the motivation behind this image? I’m truly curious what set of beliefs, feelings and experiences leads one to be compelled to create such an image?

Here’s my response:

Hi “Tom”,

Thank you for your interest in my work. I’m happy to explain one of my favorite pieces, as a few people have had your same reaction. Most of my friends, upon seeing it for the first time, laughed out loud and then told me I was going to burn in Hell. It is one of my most popular prints, by the way. Of course, explaining humor is the quickest way to make something funny become unfunny — but I’ll try, nevertheless.

First off, if you haven’t noticed over time, I can have a very dark and subversive sense of humor. For the most part, this has been expressed in my underground comix work, where no subject is off limits (Thank you, Robert Crumb). I have loved the dark humor of cartoonists Gahan Wilson, Charles Addams, Rodrigues and Sam Gross for all of my life.

I am also known for designing zombies (I was the production designer for the cult classic Return of the Living Dead). Years ago, I was commissioned to create a one-man show of zombie paintings for a prestigious gallery here in Los Angeles. For this show I decided to come up with a number of fresh takes on zombies and use them to parody popular culture. I created a zombie version of Grant Wood’s famous painting “American Gothic”, for example:

While ruminating on possible subjects for this show it occurred to me that, technically, Jesus was the first zombie, i. e., he was the first person we know of to die and then be brought back to life. Since parody was on my mind, I also included the Easter Bunny, a religious icon that actually pre-dates Christ (Christianity absorbed a lot of other religious cultures to make Christianity more appealing to the folks they were converting. The rabbit — and eggs — symbolized Spring fertility to the pagans. Since the pagans’ celebration took place roughly the same time as Christ’s resurrection, rabbits and eggs became part of the Easter celebration. The Christmas yule log and Christmas tree are other examples. Many fundamentalist Christians have strictly banned the Easter Bunny, Easter eggs, Christmas trees and all other forms of paganism from their Easter celebrations).

One of the trademarks of the zombies that I design is that they’re all happy. My zombie Jesus is no exception; by that big smile on his face it seems that he’s glad to be back.

There is currently an ongoing public debate about “crossing the line”, humor-wise. I agree with nearly all of the professional comedians who feel that there is no line, that every subject is up for grabs and nothing should be taboo. That flies in the face of devout Muslims, for example, who hold that any depiction of the prophet Mohammad is disrespectful and forbidden. Many feel that such disrespect should be punished with death. My friends at Charlie Hebdo paid that terrible price, even though they were expressing themselves in what most Europeans consider a free society.

Many of the comedians agreed that the Holocaust is off limits for humor — right before telling some very funny Holocaust jokes (A German officer is trying to sell Jews on boarding the train to Auschwitz by singing the praises of how wonderful it is: “Auschwitz? They should have named it ‘WOWshwitz!”).

One of my favorite Hitler jokes was told to me by one of my closest Jewish friends:

Hitler was famously a vegetarian and a tee-totaler (this is true).

Q: Why did Adolph Hitler never drink?

A: It made him mean.

I got into the most trouble for an album cover I created back in 1981 for Rhino Records. The LP was entitled BeatleSongs. It did not contain any songs written by the Beatles; it was a collection of songs about the Beatles. I decided the cover should be a cross section of Beatles fans at a Beatlemania convention. I felt it would be incomplete if I didn’t include the fan who actually “collected” one of the Beatles, so standing far left is Mark David Chapman, John Lennon’s assassin.

You might have missed this other visual Christmas/crucifixion joke of mine. Here it is. You can be choose to be offended or you can laugh.

I hope you laugh.


Friends, fans — What do you think?

Bernie Wrightson 1948–2017

March 19th, 2017

It is with great sorrow I report the death of my friend, colleague and hero, Bernie Wrightson. Without going into Wrightson’s entire biography, please allow me to express some random bits about our relationship and why he and his work meant so much to me.

Bernie was one year older than me — which doesn’t seem like much now. A one-year difference seemed enormous in my youth, however. I followed his early fan and fanzine work (which included an formative piece of his that ran in the Creepy magazine letters section one issue), then celebrated when he finally trail-blazed into the Big League of DC comics. Bernie showed me it was possible to have that dream of being a young man and making a living drawing comics to be a distinct possibility.

Bernie will forever be linked with his impressive and groundbreaking DC Comics run of Swamp Thing (a character he co-created with writer Len Wein) and his celebrated Franklin Booth-ish Frankenstein illustrations, that brought him even more acclaim, as well as great notice from some heavy-hitting art collectors. I loved what Wrightson brought to Batman and Spiderman as well. Bernie just seemed to “get” things on every level — he recognized the “essence”. He understood that certain key elements of genres that inspired him just might inspire others, too — and he was right.

Bernie was a co-founder of The Studio, an east coast phenomenon that included Michael Kaluta, Jeffrey Jones and Barry Windsor Smith. This powerhouse of talent inspired me to help form a west coast version at my own spacious studio on La Brea Avenue that at times included Richard Hescox, Dave Stevens and Paul Chadwick.

Bernie picked up the brush-inking torch from Frank Frazetta. I looked at both of these great artists for inspiration and analyzed their remarkable technique with their weapon of choice, a Winsor-Newton brush. Frank and Bernie inspired other brush-men, including Dave Stevens, Mark Schultz and Frank Cho. I dubbed our loose group “The Last Brush-men of the Kalahari” (an artistic take on the Lost Bushmen of the Kalahari). I’m happy to report that a few up-and-coming young lads (and a couple of older guys) have since taken up the torch of brush inking, seemingly inspired by our endeavors.

If I had to describe Wrightson’s basic style at its very essence, I’d call it Frank Frazetta’s solid drawing and ability with a brush combined with the truly disturbing and demented visions of EC’s Graham Ingels. I looked at Bernie’s inking when I wanted to figure out how to depict veins on well-muscled arms. His take on dinosaurs — while not the last word in scientific accuracy — nevertheless seeded my imagination with his dramatic portrayals of these great beasts, helping me to see them anew with fresh, unblinking eyes.

I was the go-to creature designer for the movie biz until Wrightson came to town. My offers immediately shriveled and shifted (rightfully so) to Bernie. Bernie was THE master monster artist. His imagination in that arena seemed breathtakingly endless. I didn’t mind losing the work because it meant that I got to see more of Bernie’s amazing creations up on the movie screen — and I’d much rather gaze upon his fascinating creatures than my own.

Through moving in the same comic book convention circles I finally got to meet Bernie. He was as gracious in person as his art was solid and we became fast friends, especially connecting with our shared love of monsters, dinosaurs and EC comics.

I initially passed on seeing the movie The Texas Chainsaw Massacre until I read in an interview that Chainsaw was so scary it had made Bernie pee his pants. On that high recommendation I dashed to the World Theater to catch a three-movies-for-99¢ screening of this grindhouse wonder. I was not disappointed.

In 1984 the job of production designer for Return of the Living Dead came down to being between Bernie and me — with Bernie the director’s first choice. The producer gave me the gig because I had more experience in film than Bernie at the time — but I did manage to slip some Bernie-isms into some of my designs so that he might be there in spirit.

I tried to work with my pal whenever I could, but our work paths seldom crossed. When possible, we’d send each other jobs in The Biz. We mostly saw each other and hung out at conventions, though. I was delighted when he finally met the love of his life, Liz — a real sweetheart, as Al Williamson would say. Bernie’s other friends agreed with me that Liz was one of the best things that ever happened to Wrightson. I’ve watched Bernie’s talented sons grow and mature into fine young men. I feel very much like an uncle to them and share the pain of their dad’s passing.

I’ve lost a dear, dear friend — but the world at large has lost a truly great artist. Though his mortal form has passed into the land beyond beyond, his magnificent body of work will live on forever.