An artist and their artwork of my interest
An artist and their artwork that I have true interest in would be Frank Miller, a graphic novel artist and writer, he is also well known in the film making industry with titles like Robocop 2, Sin City,300,the Spirit and others, throw the years his art style has evolved, from a realistic style to a more blocky and stylized looking type, both are exhalent other wise, I find his work to be quite meaningful and so very interesting. He mixes a lot of poetical satire and pulp which is vary recognisant of the old 9030s comics. Every work he has ever charmed out is of extraordinarily high standard, any other current artist can hold up any of his works and proclaim it his/hers best work. His that good.

My MDP is a narrative work in which the story is conveyed to the reader using a visual comic format. using the same materials and methods as other printed comic books or Graphic novels throw the decades, but still showing my own art style,

graphic novels are typically bound in longer and more durable formats than familiar comic magazines, esthetically I'm going for a more classic 1940s Pulp fiction feel,

So to put it in the most simplest format for the viewing audience,
I'm creating a graphic novel for my MDP, I will draw inspiration for my visual story telling from the techniques and methods of inspirational artists like
Frank Miller,
James Kochalka,
Jack Kirby,
Milton Caniff,
Will Eisner,
Mike mignola,
Jerry Robinson,
Jim Lee, and Neal Adams.

Miller’s Still evolving art style began as standard comic art for the time but has evolved to a more Pulp meets ukiyo-e Japanese art type highbred, than it became more blocky and selowet baste.

James Kochalka art style is almost child like in its simplicity, not that that’s a bad thing regarding the context, but the ideas his trying to convey about the love he feels for his family is Masterfully done,

Jack Kirby is a comic book god, his work just leaps of the page, its so dynamic and field with a godly self awareness, his just that good.

When I was a lad back in Russia I was extraordinary imaginative and observant for my age, especially of my esthetical environment, which was the somberly magical streets of Moscow, the blues weights, grays, blacks, reds and purples, plus an assortments of other coalers, gave a whimsical charm to a stereotypical “EVIL COMUNIST CITY” the idea of comic book coulter was fist presented to me in American cartoons format this new rush of colure and imagination inspired me to research the medium further when I came to Australia, the environment was deferent but my love for the medium survived the global transition, and in time I came to love Australia as much as I have Russia

Definition of Pulp,
Pulp magazines (or pulp fiction; often referred to as "the pulps") were inexpensive fiction magazines. They were widely published from 1896 through the 1950s. The standard format was a 7" x 10" magazine with a spine, printed on cheap paper with ragged untrimmed edges. Pulps were typically seven inches wide by ten inches high, about half an inch thick, having around 128 pages. In their first decades, they were most often priced at ten cents, while competing slicks were 25 cents.
The name "pulp" comes from the cheap wood pulp paper on which such magazines were printed. Magazines printed on better paper and usually offering family-oriented content were often called "glossies" or "slicks". Pulps were the successor to the "penny dreadfuls", "dime novels", and short fiction magazines of the nineteenth century. Although many respected writers wrote for pulps, the magazines are perhaps best remembered for their lurid and exploitative stories, and for their similarly sensational cover art. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters such as The Shadow, Doc Savage, and the Phantom Detective.

Definition of a graphic novel
The evolving term graphic novel is not strictly defined, and is sometimes used, controversially, to imply subjective distinctions in artistic quality between graphic novels and other kinds of comics. It suggests a complete story that has a beginning, middle and end, as opposed to an ongoing series. It can also imply a story that is outside the genres commonly associated with comic books, or that deals with more mature themes. It is sometimes applied to works that fit this description even though they are serialized in traditional comic book format. The term is sometimes used to disassociate works from the juvenile or humorous connotations of the terms comics and comic book, implying that the work is more serious, mature, or literary than traditional comics. Following this reasoning, the French term Bande Dessinée is occasionally applied, by art historians and others schooled in fine arts, to dissociate comic books in the fine-art tradition from those of popular entertainment, even though in the French language the term has no such connotation and applies equally to all kinds of comic strips and books.
In the publishing trade, the term is sometimes extended to material that would not be considered a novel if produced in another medium. Collections of comic books that do not form a continuous story, anthologies or collections of loosely related pieces, and even non-fiction are stocked by libraries and bookstores as "graphic novels" (similar to the manner in which dramatic stories are included in "comic" books). It is also sometimes used to create a distinction between works created as stand-alone stories, in contrast to collections or compilations of a story arc from a comic book series published in book form.