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Post by BigPapaJoe on May 4, 2014 4:30:52 GMT -5
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Post by Ozymandias on May 4, 2014 6:43:42 GMT -5
I think highly of him as well, but my appreciation for his work is more inker-dependent than that of the artists I listed. Assuming you mean John, though as it happens that's true of Sal as well. Which has nothing to do with the immense talent involved, of course. Only one point of disagreement with that statement. I don't see a lot of talent in neither of the brothers. John Buscema reminded me of those artists, whose work you could see in drawing courses; very academic, but all you need to achieve that level is hard work. Now, if you told me he learnt all of his craft in a short period of time, that would imply talent. As for Sal, much as I liked his comics, I don't even consider him a good artist.
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Post by Icctrombone on May 4, 2014 6:55:29 GMT -5
Someone else I like George Tuska. He isn't the most recognizable name, and I've heard some mixed opinions on his career as a whole. He definitely had a lot of repeating poses to his figures and they weren't as dynamic even for the times I believe. However, I he had a little bit of the trait that I said Buscema had. Which was he was able to still communicate what he wanted to convey with his simplicity. His work isn't overly rendered or detailed. It still has a positive energy to it though and overall, in my opinion, is memorable. Perhaps not the best pinup artist, but pretty solid interiors. Especially with his newspaper work. I really loved how he did capes. He really utilized the big shapes on them and brought the top of the cape above the shoulders and almost close to the figures' cheek with how bunched the capes appeared. Really cool. You just brought up a name that i really liked. George Tuska always delivered a first rate page with great storytelling. The figures were all full and and fluid motion and he drew some very pretty women too. His Ironman was top notch. I would only rate John romita Jr and Gene Colan above him in rendering the Shellhead.
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Post by Icctrombone on May 4, 2014 7:04:45 GMT -5
More George Tuska from Avengers # 137
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Post by Phil Maurice on May 4, 2014 8:48:50 GMT -5
Mad was a standard comic for the first 23 issues. Gaines switched to magazine format to avoid the Comic Code. I think this has been pretty thoroughly debunked. MAD became a magazine in an effort to pacify and retain creator Harvey Kurtzman, who had been in talks with Hugh Hefner about heading up a humor magazine. It didn't work. Kurtzman struggled with deadlines and finally gave William Gaines an ultimatum: Give Kurtzman a controlling share of the company or he would walk. Gaines demurred, to put it mildly, and Harvey left, taking most of the MAD staffers with him. At this point, Al Feldstein was called in to helm the fledgling MAD Magazine, a position he held until his retirement in 1984. Under Feldstein, MAD achieved its highest circulation and became a fixture in the popular culture.
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Post by kirby101 on May 4, 2014 9:15:34 GMT -5
I would like to acknowledge the sizable and unique talent of Gentleman Gene Colan.
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Post by Icctrombone on May 4, 2014 9:23:31 GMT -5
Good to see you in CCF , edhopper.
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Post by kirby101 on May 4, 2014 11:05:14 GMT -5
Here and still "there".
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Post by Icctrombone on May 4, 2014 11:19:01 GMT -5
I am too. I go different places for conversation.
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Post by Action Ace on May 4, 2014 20:56:16 GMT -5
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Post by BigPapaJoe on Jul 19, 2014 4:45:56 GMT -5
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Post by travishedgecoke on Jul 19, 2014 6:11:15 GMT -5
Wood's work is immense, but also his influence directly and through the work is immeasurable in the best ways. From Tatjana Wood (natch), Neal Adams, and Larry Hama, to Lee Garbett and Jim Lee, his techniques and theories and his passion for authorship attribution have thrived and become often pervasive in the industry.
I never got - and probably never will - why Gene Colan is so easily dismissed by too many comics fans. Colan was a monster of drawing, for his entire life. He wasn't at his best when he started, or when he left off, but even then I think he was heads over most of his contemporaries. There were two Heroes & Legends oneshots put out in the 90s wherein classic Marvel artists jammed together, drawing different characters or different portions of the same story, and Colan's pages rock harder than probably anything else Marvel put out during that time.
I kind of want to be Gladys Parker. She draws how I want to draw, she's a hilarious, sharp writer, had a nice side career in fashion design, and she successfully got Mopsy into paperback collections in the 1950s. Wonderful rounded articulation in her line work, and - as the saying goes - nothing is wasted. Ever. I understand how her star faded, particularly since we're supposed to pretend women only ever touched a comic for the first time about two years ago, but it's ridiculously unjust and I wish her stuff would come back into print, at the least.
Steve Ditko had some pages in the first H&L, too, that go a long way, along with his 2000s work, to showing he's lost nothing. I don't agree with Ditko's politics in almost any fashion, but he is the finest editorial cartoonist we've ever had barring, arguably, Sue Coe, and his aggressiveness might put him over her for me, his willingness to get a little stupid.
Speaking of Sue Coe, I know she's never drawn Spider-Man, but hot damn, she's amazing and has been astonishingly consistent her entire comics career, while we see a lot of her generation of comics artists either fall to the side or become parodies of their earlier work. Her greatest drawback may be the infrequency of her work, not that this comes up much if you're reading a collection, naturally, but it does help the standard comics fan to forget she's out there.
And, last but not least, I have to say that Moto Hagio has a total hold on my soul with her comics, and I think her favored techniques and ideas about comics and comics art are abstractly intriguing as well as affecting in practice. Basically any extended not-in-scene floating bodies or objects, or vaguely outlined symbolic images embedded in clouds or backgrounds in manga trace back to Moto Hagio's earliest works, when she looked at the worldwide tendency to do sidebar fashion shows in comics for girls and wondered how they could be made part of the story without stopping them from also feeling distinctly separate from the narrative. Now, that's everywhere. Sailor Moon, One Piece, Gunsmith Cats (where Kenichi Sonoda melded it with Neal Adams' melded-images technique).
(Also: George Herriman, Jack Kirby, Carl Barks, Nell Brinkley, Spain, Rumiko Takahashi, and virtually the entire Wimmen's Comix collective. And everyone else!)
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Post by Icctrombone on Jul 19, 2014 11:11:02 GMT -5
Steve Epting is also someone who I guess branches from the bronze age into the more modern age. I include him though because he did get his start in the early 90's. He brings that classic feel to his artwork. He's started that artists such as Alex Raymond, Stan Drake, Jim Holdaway, Joe Kubert, John Buscema, Al Williamson and José Luis García-López are his influences and it shows. And he's gotten better over the years. I wish I saw more of his pencils now and days instead of his mixed media, but regardless his ability to really push consistency is what impresses me the most. Especially from different angles with his faces. Epting really doesn't get enough credit. Definitely one of my favorites for sure. I always found Eptings work to be an imitation of John Buscemas work. He was one of the better imitators.
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Post by Icctrombone on Jul 19, 2014 11:29:52 GMT -5
Jose Garcia Lopez is a marvelous artist. I wonder if he ever did any work for Marvel other than this crossover?
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Post by Jesse on Jul 19, 2014 18:41:12 GMT -5
I would like to acknowledge the sizable and unique talent of Gentleman Gene Colan. It does indeed but I'm seeing the second link as broken. Had to bump this thread. Can't let it die. I just discovered Jean-Claude Mezieres work as I plan to watch The Fifth Element for the first time. I wasn't aware of him previously. His environments are quite breathtaking. Along with his other work. Really beautiful. Wow that's some incredible work.
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