Chinston Wurchill posted:

From Deadpool Black, White, & Blood #1:



James Stokoe drawing a man/bear hybrid driving a giant tank? Yes please.

Jedit posted:

I don't have time just now to dig out images, but you might want to search for The Heroes Union, which is dropping from Binge Comics this month. Layouts by Ron Frenz, inking and finishing by Sal loving Buscema.

ruddiger posted:

Stokoe’s doing interiors on a marvel book?

BiggerBoat posted:

^^^alcohol^^^

Here's a page by page breakdown of a Sienkiewicz New Mutants book

https://www.youtube.com/watch?v=m6n03LrflT8

I never get tired of looking at this guy's stuff and how creative he is. He breaks a lot of rules but is the textbook example of having to know the rules first. Nothing he does would work without him actually knowing how to draw and the results are just fantastic.

Even when he fails, the stuff is still just so loving fun to look at.

Edit:

Guys like Kirby, Romita, Sr. and even Frank Miller's early stuff are other perfect examples of this too. I'm forgetting a few artists here as well but the difference is as vast as the gap between what some of these guys do and what, say, Liefeld does where "breaking anatomy" doesn't work if you can't draw in the classic traditional sense already. John Buscema, Alex Ross and Neal Adams are fantastic but having everything look like that gets boring. On the opposite end, you get your Liefelds and McFarlanes where everything is just all "action" because you can feel the fact that Rob and Todd REALLY LOVE drawing this poo poo, except it's still not good. Or Jim Lee, who I like, but whose work isn't improved with more lines. Miller's stuff in particular is better with fewer lines. All the skinny pens in the world don't make a bad drawing good.


People rag on Ramos but you can tell he knows how to draw similar to John Buscema if he wanted to do that. He just layered an exaggerated graffiti style on top of it, for better of worse.

It's strange how often comic art critics (like myself) ignore a lot of the lessons of art history, how often rules were broken centuries ago and how reluctant we are to accept new ideas. And I think a measure of it is unique to American audiences too - taste wise anyway - to where everything has to look real and to american Comic Book connoisseurs in particular.

Traditional anatomy, perspective and even lighting and contrast are not everything but you HAVE to know them, like learning chords in music or physics in architecture. The idea being that I can start with a hosed up drawing of Wolverine but I can ink my way out of it or color my way out of it or cross hatch my way out of it just means you can't draw but comics allow it. Everyone look at Bernie Wrightson for How to Add a Million Lines.


It's a rather "I'll fix it in post" sort of thing but the layout has to work FIRST.

It's a LOT like the practical effects vs CGI argument in film and like adding starbursts, drop shadows, Photoshop filters and gradients onto basic magazine, business card, or postcard layouts or on top of a "logo", where noise is only added because one can. Or how musicians will "fix" bad songwriting or recording with Pro Tools.

..

Sorry....I'm an "illustrator/graphic designer" barely making a living as a production artist who fixes graphic designers' art in ways that make it print and who moonlights on evenings and weekends re-doing other illustrators' and cartoonists' stuff to make it look better so I have strong opinions on this stuff.

Just felt like writing and apparently have things on my mind so here, thread. Have some chum.

Brazilianpeanutwar posted:

Brazilianpeanutwar posted:

Rotten Red Rod posted:

Strong Guy always looks like an oversized baby to me. I have to assume that's completely intentional.

Brazilianpeanutwar posted:

Nice flares you goon.

Conrad_Birdie posted:

Yeah don’t know what OP’s feelings on that art is but imo it’s all great-to-serviceable

Lobok posted:

Is this bad art because of period-appropriate pant legs?

theironjef posted:

My favorite thing in that X-Force picture is how there's a dimension issue on Wolverine's claws that makes it look like they don't extend out at all, and in fact he doesn't have claws, just white knuckle fins.

Brazilianpeanutwar posted:

goatface posted:

He is Albert, a Wolverine robot built to kill the original.

Brazilianpeanutwar posted:

Tag yourself i’m the x-boob

Codependent Poster posted:

Why are you comparing Capullo to Liefeld when he's basically McFarlane 2.0?

Brazilianpeanutwar posted:

Zoben posted:

Obviously most artists' styles change a hell of a lot over, like 20-30 years, but modern Silvestri looks so different from back then. I don't know the story behind these covers, they look like they're pencils before inks, but his shading style now reminds me more of Bernie Wrightson's Frankenstein penwork.

ruddiger posted:

One of his kids recently said that was a rumor and Trimpe simply updated his style on his own because marvel literally just stopped calling him for work.

E: if you haven’t read Trimpe’s diary entries written at the time of his marvel firing, it’s loving heartbreaking.

https://archive.nytimes.com/www.nytimes.com/library/national/010900edlife-56-edu.html?hc_location=ufi