537 Results ( 1 through 50 shown)
I like that someone thoughtfully provided Aquaman with a glass of water.
Before clicking on the piece (and getting more detailed info), I thought it may have been Dan Jurgens inked by Kevin Nowlan. But that that heavy line is all Kev, while the layout is pure Jurgens. Wild contrasts that make for a unique collaboration.
Nobody does a hard outline like Mike Allred!
A lot of the best strip art of the early 80s was done by comic artists. It seems like they rise to the occasion in embracing the three-panel format in interesting and frequently unorthodox ways. And Gray Morrow's throwback style is perfect for instilling an elevated sense of drama. Beautiful.
The gray brush work makes an interstering piece even more so.
Great lettering by Taylor Esposito on this!
Gotta love the positioning of the spades on that Royal Flush Gang costume! Bwaaaaahaaaaaaa!
Having seen some of Blaisdel's other strips, his versatility can't be overstated. Great pick-up!
Yes, someone bought the whole issue of monoprints
I actually picked up four Rogue illustrations, each from a different artist. The other two are three-quarter / full figure drawings from artists better known as inkers at Ed Benes' studio—which are pretty great, too. I picked those up to have a couple of nice, affordable pieces to offer in my Comic Art Live booth in November.
Definitely circle back if you think of the name. I've also got second model in mind who's name is just out of reach.
As perfect a conveyance of motion as any one is likely to see. Congrats!
Such fond memories of Keith and his signature creation!
I'd love to see Daniel Warren Johnson launch Absolute Ambush Bug.
It's issue 87 to which I think you are intending to read. That's the 13 foot single panel comic —but the idea for that started here on this cover, four issues earlier.
Six covers and three splash pages
I love the color choices here and how they've been intermittently applied to allow the white to poke through strategically. Great work as always!
I finally saw this on my laptop (not a phone) and finally noticed the faces in the background. Damn, that's nice!
When Flash Gordon hit theaters in the winter of 1980, my nine-year-old standard for film was mostly shaped by Star Wars, Disney cartoons, and the occasional summer blockbuster. December releases had a low liklihood of catching my radar amid the toy commercials, harsh New England weather and whatever kid money I'd saved going toward Christmas presents for family members. And as I recall, this was completely gone from theaters by New Year's Day where I grew-up. We didn't get cable TV in my house until years later so Flash Gordon didn't click with me until the Arrow 4K remaster was released back in 2020, and 50-year-old me completely fell in love with it.
Roby nailed the movie poster look with this, changing it ever so slightly in his realistic render style to create a killer piece. Great pick-up, Jeff!
I think Grayson is probably a bigger fan of Lupe Fiasco than Yeezy.
For sure —there are so many kinds of monoprints, too. Some are just C-prints, but some (like these) are closer to lithography.
This may be only time in history that Platinum Blonde lyrics have been invoked in a secondary context.
I can see it. Reminiscent of Mage in a way.
This might be the greatest comment I've ever seen - here on CAF or anyplace else!
A see a bit of Mac Raboy in this! Jerry was the standard bearer for the entire comics industry for almost as long as many of us have been alive.
Davis is the gold standard of Illyana/Magik illustrators.
Two very Cinematic images and stacked!
What does this mean? You posted the same thing last week...
Is Val the new Fred Hembeck? The new Skottie Young? Find out in next week's episode!
The sequence of the action is a bit easier to follow in the printed page via the script.
As I wnat back and looked at it a bit deeper it occurred to me that there's a Howard Cahykin influence here —not just in the layout (which has a very Cody Starbuck feel), but also American Flagg in that sequencing.
Looks like she's got an empty holster for a lightsaber on her other hip —and that .makes me want to know what led her here!
I like the almost Medieval Bat/Azrael design
While presenting an interesting persepctive, you need a magnifying glass to see Batman or Robin on the published cover to this issue. It might have been wiser make this title page the cover and make the cover an interior splash. But in the grand scheme of things there are no losers in the appreciation of Frank Quitely.
I think you'll enjoy the Professor Pyg arc.
Quitely really disliked how his pencils were inked on New X meN and thereafter chose to not ink his work at all and just contrast the pencil lines in photoshop to get a darker, more finished look suitable for coloring. I owned some of those Tim Townsend inked pages and thought they looked fine, but I vastly prefer Quitely's uninked work which showcases details and economy of line in a weird marriage that wouldn't work for most other artists but are damn near unbeatable from him.
I love a page with heavy notation. The 'Nam was one of my favorite comics on the newsstand in the late 80s. DC's War comics had all been cancelled at this point and The 'Nam upped the ante on them exponentially. Noboby's longterm survival was ensured — reflecting the elevated mortality per soldier in the Vietnam War compared with WW2. There also seemed to be an editorial edict that these Marvel covers bear no resemblance to the Kubert/Manning/Evans aesthetic that all those DC comics inherently bore. The Polaroid motif was used several times and to great effect as pictured here.
Great page!
Great range of emotion!
The Bisley about which you hinted on Thursday night! I hadn't realized Biz had done a full Punisher story so this is cool to see. There's almost a bit of a DWJ look to this, which makes me wonder if Simon had been an influence on Daniel. Thanks for sharing this!
Incredibly bright for a 1971 DC page! I'm used to seeing more cream than white on the Bronze Age horror stuff.
George is such a consummate professional and draftsman that it's easy to take him for granted. This piece showcases Egon Schiele's influence, but even more-so demonstrates Pratt's great understanding of that bygone era and how he's chosen to represent that time with an age-appropriate style of rendering. There is an element of the "Brussels Style," further filtered through Bavarian modernism, which merged compositionally away from abstract and early surrealism toward Bauhaus. George stops short of the latter and we are gifted with a deeply emotional work —made even more so with his economy of line. And knowing the setting we can all marvel at how intuitive this is to his practice, since this probably only took him a minute or two during the free sketch sessions at OAX. This is absolutely extraordinary.
