Born in 1939, Ranson's childhood and formative years included access to the influences of art and artists in a mixture of British and American comics, including "[The] Beano, Knockout, [The] Dandy, Film Fun, Wizard, Hotspur..., The Eagle with Frank Hampson setting new standards. Wayne Boring's Superman, C.C. Beck's Captain Marvel," and others (including, "[l]ater, John Buscema's Silver Surfer and his Conan, Jack Kirby's Thor"). He says that Hampson in particular was an early influence, but that
Ranson first brought the precise techniques he had evolved through his apprenticeship to the UK TV comic Look-in, working first on portrait covers, and later alongside other major comics talents such as John M. Burns, Martin Asbury, Harry North, Colin Wyatt, John Bolton, Jim Baikie, Phil Gascoine, Barry Mitchell, and Bill Titcombe.
After some time drawing "funnies," Ranson drew on his skill in translating pictures across mediums (generally using a Grant Projector, which "projects an image up onto a glass plate, on which one places tracing paper"), and brought his talents to bear for Look-in by creating strips based on such popular TV series as Sapphire and Steel and Dangermouse, all written by Angus Allan. Since these works were based on specific TV shows, he says that "it seemed important that the characters looked as much like the actors as possible", and thus "used the methods I knew" to achieve the accurate likenesses that typify his work.
Ranson also produced a series of comic-strip biographies of well-known music stars and bands, including ABBA (1977), Elvis Presley (1981), The Beatles (1981-2), Haircut One Hundred (1983) and The Sex Pistols (1983). Most biographical articles on Ranson date his Beatles work to "the 1960s," but Ranson himself dispels this myth by stating that the "first auto-biographical [sic] strip I did was ABBA." In fact that work was done in 1981
Ranson recalls that Look-in editor Colin Shelbourne was convinced to allow Allan and Ranson to "retain... the copyright" to their Elvis and Beatles strips, which had the unfortunate side-effect of delaying complete publication, since such deals were largely unheard of. Ranson says:
Ranson describes Shelbourne as "an adventurous editor," who went the extra mile and even allowed the writer and artist to "go to Liverpool for research" for the Beatles strip.
Ranson's best-known work for Look-in consisted largely of adaptations of two strips based upon totally different British television programmes. The first of these was a strip based on P. J. Hammond's Sapphire & Steel, which Ranson was "the first and only one to draw" between 1979 and 1981. Scripted by Angus Allan (almost Look-ins sole writer, according to Ranson), Ranson barely recalls drawing the strip, but does remember that Ranson was denied the chance to meet Sapphire & Steel star Joanna Lumley by being absent when she visited the offices. He recalls that, unfortunately, while "[s]he was kind enough to offer to meet me and pose for more photo-reference," "[s]omeone told her that no, that would not be necessary. Stupid sods." In 2007, Prion Books reprinted a selection of material from Look-in, and included a three-part Sapphire & Steel story on pages 132-133, 136-137 and 140-141.
Ranson first brought the precise techniques he had evolved through his apprenticeship to the UK TV comic Look-in, working first on portrait covers, and later alongside other major comics talents such as John M. Burns, Martin Asbury, Harry North, Colin Wyatt, John Bolton, Jim Baikie, Phil Gascoine, Barry Mitchell, and Bill Titcombe.
After some time drawing "funnies," Ranson drew on his skill in translating pictures across mediums (generally using a Grant Projector, which "projects an image up onto a glass plate, on which one places tracing paper"), and brought his talents to bear for Look-in by creating strips based on such popular TV series as Sapphire and Steel and Dangermouse, all written by Angus Allan. Since these works were based on specific TV shows, he says that "it seemed important that the characters looked as much like the actors as possible", and thus "used the methods I knew" to achieve the accurate likenesses that typify his work.
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Ranson describes Shelbourne as "an adventurous editor," who went the extra mile and even allowed the writer and artist to "go to Liverpool for research" for the Beatles strip.
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