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The Happy Undertaker presents ‘Friday’s Fables’ #7
The Happy Undertaker presents Friday’s Fables is a weekly column based on The Happy Undertaker series of comics by artist Drazen Kozjan who has illustrated several children’s books including Diary of a Fairy Godmother and the Julia Gillian series. Strips will premiere every Friday at noon.
ABOUT THE HAPPY UNDERTAKER
The Happy Undertaker is a “surrealistic melting pot of anything that might pop into my head and onto the page and does not necessarily need to be explained,” says Kozjan. “I try to keep this sense of adventure, surprise and a good (if mysterious) story, with the best drawings I can muster in all my work from children’s book illustration to single image.”
For more information on The Happy Undertaker or its creator, Drazen Kozjan, be sure to check out the official Happy Undertaker Blog in addition to his his personal blog, Hypnotik Eye.
Artwork © Drazen Kozjan
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About Author
Drazen Kozjan
Drazen Kozjan, appreciates the finer things in life such as comics, rock ‘n’ roll, horror movies and phantasmagoric fiction from his home in Toronto where he resides with his wife Alison, Igor the cat and Lucky the bunny. He has illustrated several children's books including Diary of a Fairy Godmother for Hyperion, The Julia Gillian Series for Scholastic and Oh How Sylvester Can Pester! for Simon and Schuster coming out this spring. Doing The Happy Undertaker Mysteries make him happy, he hopes they make you happy too.
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IN THIS ISSUE: Strange Kid runs amok in 80s/90s TV series! Jason Edmiston, Matthew Allison, Drew Rausch, David DeGrand, Brent Engstrom...Tee of the Week
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This is why I come to the strange kids club for wonderful dark pop culture like this! Reminds me a little of Edward Gorie's delightfully macrabre ghastly crumb tinies.
Remo, When producing his book, Brackett may have been ttngeairg beginners or lower level wannabes that are still learning the basics. One lesson in his book that I know of, had intelligent information that even seasoned veterans can and have overlooked or strayed from. I know a lot of illustrators that were striving for the cutting edge for years and even decades, and then later in their careers, would rewind and focus on high-end traditional picture making, that some might consider predictable or lacked originality. Even Fuchs returned to a more realistic, traditional, even photographic technique, but employed his strong personal use of design and an eye for simplifying less important areas. His later work was much less avant-garde or experimental. In the late 70s’, he developed that oil on canvas technique that he would stick with the rest of his life. Over time, I learned to appreciate most techniques that are done in good taste and mature skills, but not because they were or were not cutting edge.Tom Watson