Lots of great artists mentioned above, and I don't have anything to add about them. My "other" vote was for Mico Suayan, a modern artist. Here's a page from his work on Harley/Joker: Criminal Insanity which I liked enough to purchase recently.

For me, Nestor Redonda. Both in draftsmanship and stylistically, I loved his stuff.




I am also a fan of Jesse Santos and the work he did at Gold Key, especially Dagar. And he did wonderful painted covers too.

I voted for...

Alfredo Alcala - who is probably my favorite artist after Don Newton.  Everything Alcala touched was gold, whether it was as a penciler or an inker.  I love him so much and for so long that I bought his Voltar portfolio back when they were a thing.  I'd kill for his Filipino work to be translated and published.

Tony DeZuniga - Big fan.  Loved Jonah Hex.  I know that he has a reputation as an inker that everything he touched became DeZuniga art...but I was fine with that.  

Ernie Chan/Chua - Yeah, yeah...let the hate begin.  Don't care.  I can go through mid to late 70s DC and find a ton of books I bought for the sole reason they had Ernie Chua covers.  That was the purpose of the cover...to part me with my money.  So the dude got the job done.  

Close calls would be Nestor Redondo whose work on Swamp Thing was seminal and Alex Nino, who I liked more for the fact that what he did was different than for the actual aesthetics of it.  

There's a lot of hate for Chan's DC covers from the late 70s.  And a bit of tongue-in-cheek dispute between myself and a few other posters about its merits.  My point of view has always been that he made this kid part with my coins and that was absolutely doing his job.  

He is my selection: in addition to his work with Buscema, his long association with Curtis/Marvel magazine's Planet of the Apes line was stunning. Although he never tried to go for strong likenesses to the film series' actors (something that bothered me on occasion), his rich brush work and full understanding of anatomy (enough to plut his own stylish spin on it--unlike too many comic artists) gave the adaptations a sort of high-class, important look that was very uncommon for movie adaptations of that--or any period. He was assigned POTA starting with the second film--Beneath the Planet of the Apes--beginning with issue #7 from April, 1975:





...running until the completion of the final film in the series, Battle for the Planet of the Apes (#28 - January, 1977):



Few artists ever made such a strong mark on film adaptations--largely because in case of a series of films, artists were rarely assigned every movie, leading to a lack of consistency (obviously) and wild contrasts in artistic ability. Alcala was the steady hand on POTA, and is inarguably the most significant name associated with the property in comic form.

Again, he was never going for character (or even location) likeness accuracy (which is why I preferred Alberto Giolittii's excellent adaptation of Beneath published by Gold Key in 1970), but Alcala added a rich look / innovative way of expressing the plots which made the POTA magazine one of the best black and white comics ever published in the 1970s...perhaps ever.

Selected pages:

I think Ernie Chan was a good, professional journeyman artist. His art and inking did not soar for me like Redondo or Alcala, he was obviously very reliable and always did competent work. I thought his inking fit with some artist and not with others. Never liked his inking on John B in Conan, the thick scratchy lines seemed to fight Johns feathery pencils. But he was good on Sal in the Hulk and did some nice inks on Gil Kane in places.