Help me understand why this artist/creator is so popular?

[jjonahjameson1]

So, we've recently had a 'most underrated' artist thread and I don't want to be a nattering nabob of negativity here so let me state the purpose of this thread is to illuminate...to help others understand what you find so appealling about a certain artist or creator that others don't.

 

Let me get the ball rolling by stating that while i respect their contributions to comics and strip art, the following creators' works do not 'connect' with me and I'm hoping someone can express, constructively, what they see in their work that I don't:

 

1. Charles Shultz

2. Alex Toth

3. Mike Mignola

4. Eric Powell

5. Erik Larsen

6. David Mazzucchelli (spelling?)

7. Michael Golden

8. Jack Davis

9. Mike Sekowsky

10.Don Heck

 

Just for the record, I am capable of change. Initially, I didn't 'get' Ditko or Cooke and I've since come to appreciate their work greatly (thumbs u

[MedicAR]

I can start with #1 on the list. Charles Schulz just has something special about him for me. I think part of it is that when I was very young, my mother would read the comic strips to me and Peanuts was always a favorite for both of us.

 

It appealled to both kids (Snoopy helped there) and adults in that it was a strip about kids written for adults. While not nearly as sophisticated as the Disney/Pixar movies, it has an appeal that works the same way by entertaining kids and adults at the same time.

 

Add to that the Snoopy marketing blitz and the holiday cartoons and you have a strip that is engrained into the collective American psyche. So while it may not be a technical triumph or giant leap forward, Schulz's work has a wide appeal and I imagine poeple who wouldn't normally consider purchasing original art would make an exception for a Peanuts strip. I know it was the first art my wife ever sxpressed an interest in finding.

 

#3, MIke Mignola was a mystery for me for years as well. When I first saw his work, I thought he made all of the heroes look pudgy and strange. When he created Hellboy though, that all changed for me. His style and Hellboy's content were absolutely perfect for each other (surprise). His dark, moody scenes and Lovecratian monsters really struck a chord with me and still do. I wouldn't wan thim for just any book, but if you want to set a dark mood, Mignola is you man!

 

#4, Eric Powell is just damned funny. I think his art has really developed over time on the Goon. The first issue was a "take it or leave it" for me, but I need his new books now. I think hs appeal goes beyond simply the art and includes his writing. It's not just how the Goon and Franky look, it's what they do and say as well, so you get the whole package. I love his wash style and his cartoonish characters. He reminds me of what once great about Todd McFarlane.

 

#6, David Mazzucchelli had an unusual advantage in getting my attention, he worked with Frank Miller on his second run of Daredevil and again on his second run on Batman (after Dark Knight). Frank Miller was a guaranteed good read at the time, so whoever he worked with must be good, right? As it turns out, his simplistic and smooth style just works for me. I really liked for the DD and Bats was a style I had never seen on the character and initially didn't think would work. Now, I can't imagine anyone else having done it. His other work, like rubber Blanket is okay, but I think the writing leaves me a bit cold. When paired with a good writer, I'd read anything he does.

 

I don't know that I did anything to win you over, but I've explained why these artists wok for me. Ultimately, I think the like or dislike of any artist is just a matter of personal taste.

[tilleycs]

Alex Toth was a big name in animation, from what I understand (I don't know much about him, honestly). I do know that he worked on "Challenge of the Super Friends", which is one of my favorite super hero cartoons of all time. I don't know what all he's done in comics, I just know him from that.

 

I'd love to own all the storyboards for "Challenge" (Anthony's Collectibles and other websites have them) to own that piece of history, but I really can't afford them right now.

[comix4fun]

So, we've recently had a 'most underrated' artist thread and I don't want to be a nattering nabob of negativity here so let me state the purpose of this thread is to illuminate...to help others understand what you find so appealling about a certain artist or creator that others don't.

 

Let me get the ball rolling by stating that while i respect their contributions to comics and strip art, the following creators' works do not 'connect' with me and I'm hoping someone can express, constructively, what they see in their work that I don't:

 

1. Charles Shultz

 

 

 

Is he related to this guy..??

 

 

 

or you talking about this guy?

 

Maybe the impact of Peanuts is limited to American fans, but he has been woven into the fabric of American culture in the last 50-some years. His strips are so simple yet speak so deeply to the human condition and things we have all felt that each one is a small slice of life that can be appreciated and treasured by almost everyone from 4 to 104.

 

C

 

See you in NYC Yoram. (thumbs u

[comix4fun]

So, we've recently had a 'most underrated' artist thread and I don't want to be a nattering nabob of negativity here so let me state the purpose of this thread is to illuminate...to help others understand what you find so appealling about a certain artist or creator that others don't.

 

Let me get the ball rolling by stating that while i respect their contributions to comics and strip art, the following creators' works do not 'connect' with me and I'm hoping someone can express, constructively, what they see in their work that I don't:

 

4. Eric Powell

 

 

 

Eric's appeal comes more from the fact that he's the total package. He writes, pencils, inks, ink washes, edits his own book each month. At one point he even colored his own stuff to boot.

 

Throw on top of that the fact that he is an amazing painter, has a wicked sense of humor, and can give his books a feeling that mixes Eisner's Central City with everything we love about 1940's gangster movies, farrelly brother's flicks, and some lush visuals and you have a kind of perfect storm for modern comic times.

 

When most guys can't even be bothered to finish pencilling 20 pages a month..to see a guy write, pencil, ink, ink wash, paint the cover, edit and get it out on time is pretty damn amazing given the level of quality evident when you hold the original art in your hands.

 

Being a talented comic artist is one thing, but he is just as talented as a writer, a cover artist, a sequential storyteller, and colorist (from the pages I have from his self colored books).

 

That might explain his appeal.

 

 

 

 

7. Michael Golden

 

 

 

All you have to do is go back and re-read Dr. Strange #55 to understand why this guy is a touchstone for an entire generation of artists that have followed him. You will find more contemporary artists have "stolen" (lovingly, admiringly, respectfully so) something from Dr. Strange #55 and included it in their repertoire than almost any other book and any other artist in the last 30 years.

 

He is a genius storyteller which, in this medium, is just as important (if not moreso) than technical details of the artwork itself.

 

He has done far more than Dr. S #55, but that book is a perfect example of why Michael Golden is one of those artists that changed the landscape and the ripples of his talent and example have changed much of what has followed.

 

Best,

Chris

[*paull*]

Toth and Mazzuchelli are two examples of the type of artist that uses the minimum amount of illustration to tell a story. Perhaps this isn't to your liking, but for me it shows their mastery of the craft. I think both of them are among the best storytellers ever to work in comics.

[jjonahjameson1]

So, we've recently had a 'most underrated' artist thread and I don't want to be a nattering nabob of negativity here so let me state the purpose of this thread is to illuminate...to help others understand what you find so appealling about a certain artist or creator that others don't.

 

Let me get the ball rolling by stating that while i respect their contributions to comics and strip art, the following creators' works do not 'connect' with me and I'm hoping someone can express, constructively, what they see in their work that I don't:

 

1. Charles Shultz

 

 

 

Is he related to this guy..??

 

 

 

or you talking about this guy?

 

Maybe the impact of Peanuts is limited to American fans, but he has been woven into the fabric of American culture in the last 50-some years. His strips are so simple yet speak so deeply to the human condition and things we have all felt that each one is a small slice of life that can be appreciated and treasured by almost everyone from 4 to 104.

 

C

 

See you in NYC Yoram. (thumbs u

 

Chris, you so funny

 

Shultz Peanuts has been around my household since I was a kid and I never really looked at a comicstrip to provide insight into my childhood/adult psyche. As a result, I just didn't think it was a funny strip.

 

As an adult, when I looked at the strips I got a sense of deja vu. All of the Peanuts strips seemed the same to me as the ones I read as a kid. Perhaps Shultz re-cycled the same themes over and over?

 

Now that they are collected in a nice series of volumes, I'll make the time to read them and see if I can appreciate them more than I have previously.

[jjonahjameson1]

Toth and Mazzuchelli are two examples of the type of artist that uses the minimum amount of illustration to tell a story. Perhaps this isn't to your liking, but for me it shows their mastery of the craft. I think both of them are among the best storytellers ever to work in comics.

 

I can't speak to Mazzuchelli, but I can say this about Toth...I can honestly say that there was never a time that I had difficulty following a Toth-illustrated story. I've read dozens of Toth stories and I was always able to follow his sense of layout/pacing and the ease in following one of his stories and I think that's high praise (thumbs u

[jjonahjameson1]

So, we've recently had a 'most underrated' artist thread and I don't want to be a nattering nabob of negativity here so let me state the purpose of this thread is to illuminate...to help others understand what you find so appealling about a certain artist or creator that others don't.

 

Let me get the ball rolling by stating that while i respect their contributions to comics and strip art, the following creators' works do not 'connect' with me and I'm hoping someone can express, constructively, what they see in their work that I don't:

 

4. Eric Powell

 

 

 

Eric's appeal comes more from the fact that he's the total package. He writes, pencils, inks, ink washes, edits his own book each month. At one point he even colored his own stuff to boot.

 

Throw on top of that the fact that he is an amazing painter, has a wicked sense of humor, and can give his books a feeling that mixes Eisner's Central City with everything we love about 1940's gangster movies, farrelly brother's flicks, and some lush visuals and you have a kind of perfect storm for modern comic times.

 

When most guys can't even be bothered to finish pencilling 20 pages a month..to see a guy write, pencil, ink, ink wash, paint the cover, edit and get it out on time is pretty damn amazing given the level of quality evident when you hold the original art in your hands.

 

Being a talented comic artist is one thing, but he is just as talented as a writer, a cover artist, a sequential storyteller, and colorist (from the pages I have from his self colored books).

 

That might explain his appeal.

 

OK, I'll have to take another look at Powell. Any title/issue you would recommend that stands out in your mind?

 

 

 

 

7. Michael Golden

 

 

 

All you have to do is go back and re-read Dr. Strange #55 to understand why this guy is a touchstone for an entire generation of artists that have followed him. You will find more contemporary artists have "stolen" (lovingly, admiringly, respectfully so) something from Dr. Strange #55 and included it in their repertoire than almost any other book and any other artist in the last 30 years.

 

He is a genius storyteller which, in this medium, is just as important (if not moreso) than technical details of the artwork itself.

 

He has done far more than Dr. S #55, but that book is a perfect example of why Michael Golden is one of those artists that changed the landscape and the ripples of his talent and example have changed much of what has followed.

 

Best,

Chris

 

Chris, I've read Dr. S #55 wayyyyy back in the 80s and again more recently. Yep, pretty pictures, but you're talking about one issue. One. Issue.

[jjonahjameson1]

 

#6, David Mazzucchelli had an unusual advantage in getting my attention, he worked with Frank Miller on his second run of Daredevil and again on his second run on Batman (after Dark Knight). Frank Miller was a guaranteed good read at the time, so whoever he worked with must be good, right? As it turns out, his simplistic and smooth style just works for me. I really liked for the DD and Bats was a style I had never seen on the character and initially didn't think would work. Now, I can't imagine anyone else having done it. His other work, like rubber Blanket is okay, but I think the writing leaves me a bit cold. When paired with a good writer, I'd read anything he does.

 

I don't know that I did anything to win you over, but I've explained why these artists wok for me. Ultimately, I think the like or dislike of any artist is just a matter of personal taste.

 

I've posed this question to Lambert (Hi, Lamb) and I'll re-iterate it here again: Where would Mazz be if it weren't for Frank Miller?

[NelsonAI]

I'm not necessarily fans of everyone on that list but in my opinion their popularity may have a lot to do with distinctive styles that stand out from the crowd. ...

 

1. Charles Shultz

 

Charlie Brown's appeal is very much like Peter Parker. Here's a kid that has everyday problems just like the average person. He was unpopular, bad in sports, bad in school, bad with girls, etc. Anyone with a problem in their own life whether as a kid or adult could relate.

 

Everybody loves Snoopy.

 

 

2. Alex Toth

 

Drawing in a "simple" animated style is deceptively difficult.

 

 

3. Mike Mignola

 

The master of light and dark. He really understands how shadows form.

 

 

4. Eric Powell

 

I really love his inking.

 

 

5. Erik Larsen

 

It's hard to follow Todd McFarlane ...............

 

 

6. David Mazzucchelli (spelling?)

 

When he collaborated with Miller, he grew artistically (it helped that he inked his own work on the second run instead of Danny Bulanadi (sp?)). The art and the storytelling reminded people of Miller and Janson. I think Miller elevated his game.

Does anyone recall if Miller did full scripts with panel breakdowns?

 

 

7. Michael Golden

 

In his prime, his distinctive style broke through the clutter. Seeing his art for the first time was like being hit by a lightening bolt. Great detail along with some amazing line work. Slow as molasses but he can draw if given enough time. Most fans recall Dr. Strange but I still remember a pin-up he did for a Marvel calendar that may be one of the best renditions of the Hulk I've ever seen. Yes, even better than Dale Keown. .

 

 

8. Jack Davis

 

Fluid, animated caricatures are much harder to do than people think. I have a friend who thinks Davis is the best artist in the world. The art just makes him smile and laugh, even if it's advertising storyboards.

 

 

9. Mike Sekowsky

 

Nostalgia for the silver age.

 

 

10.Don Heck

 

Nostalgia. With the right inker, (Mike Esposito?), his work on Ironman wasn't bad.

 

Cheers!

N

 

[comix4fun]

 

 

 

7. Michael Golden

 

 

All you have to do is go back and re-read Dr. Strange #55 to understand why this guy is a touchstone for an entire generation of artists that have followed him. You will find more contemporary artists have "stolen" (lovingly, admiringly, respectfully so) something from Dr. Strange #55 and included it in their repertoire than almost any other book and any other artist in the last 30 years.

 

He is a genius storyteller which, in this medium, is just as important (if not moreso) than technical details of the artwork itself.

 

He has done far more than Dr. S #55, but that book is a perfect example of why Michael Golden is one of those artists that changed the landscape and the ripples of his talent and example have changed much of what has followed.

 

Best,

Chris

 

Chris, I've read Dr. S #55 wayyyyy back in the 80s and again more recently. Yep, pretty pictures, but you're talking about one issue. One. Issue.

 

 

See in bold above....it's pretty damn important one issue...but as I said...He has done far more than Dr. S #55, talking about that issue is a simple bite sized morsel to chew on and get an idea of why he is important.

 

For example of why "One. Issue." or a short run can change comics forever take a look at guys like Steranko.

People don't downplay Steranko's comics career even though it was short because it was spectacular. His influence and technique were groundbreaking and influential. It would have been true if just in a single issue or a run of 100+ like Kirby FF.

 

When one issue changes most artists that follow it for about 25 years it should not be tossed aside because it was not a year run. Quality over quantity and all that jazz.

 

Best,

C

[comix4fun]

Chris, I've read Dr. S #55 wayyyyy back in the 80s and again more recently. Yep, pretty pictures, but you're talking about one issue. One. Issue.

 

Since I know the question is coming..."but what else has he done?"

 

I suggest you take a look at (aside from Dr. Strange #55)...Avengers Annual #10, The Nam 1-13, Micronauts 1-12, Howard the Duck magazine #1 and #5, Star Wars #38, and his Gi Joe, and Savage Sword of Conan covers...for examples of his best stuff.

 

Just saying, the guy does not have the influence over much of today's artist generation for no reason.

 

The art in Avengers annual #10 is so good it makes you wanna cry.

 

 

Best,

Chris

 

PS...I put up the picture of Sgt. Schultz because I can't help but crack wise when people get Charles Schulz name spelled wrong.

 

 

[jjonahjameson1]

Chris, I've read Dr. S #55 wayyyyy back in the 80s and again more recently. Yep, pretty pictures, but you're talking about one issue. One. Issue.

 

Since I know the question is coming..."but what else has he done?"

 

I suggest you take a look at (aside from Dr. Strange #55)...Avengers Annual #10, The Nam 1-13, Micronauts 1-12, Howard the Duck magazine #1 and #5, Star Wars #38, and his Gi Joe, and Savage Sword of Conan covers...for examples of his best stuff.

 

Just saying, the guy does not have the influence over much of today's artist generation for no reason.

 

The art in Avengers annual #10 is so good it makes you wanna cry.

 

 

Best,

Chris

 

PS...I put up the picture of Sgt. Schultz because I can't help but crack wise when people get Charles Schulz name spelled wrong.

 

 

Yeah, I liked his stuff on Avengers Annual and I liked The 'Nam, but I really liked the story moreso than the art. I found subsequent artists also told the story very well (Wayne Vansant, etc). I haven't looked at Micronauts 1-12 or his other stuff, so perhaps there's some more hunting for me to do.

[Nexus]

So, we've recently had a 'most underrated' artist thread and I don't want to be a nattering nabob of negativity here so let me state the purpose of this thread is to illuminate...to help others understand what you find so appealling about a certain artist or creator that others don't.

 

Let me get the ball rolling by stating that while i respect their contributions to comics and strip art, the following creators' works do not 'connect' with me and I'm hoping someone can express, constructively, what they see in their work that I don't:

 

4. Eric Powell

 

If nothing else, I would have thought you'd approve of Powell's Hulk (there are other Hulk artists besides Dale Keown, you know )

 

Eric's appeal comes more from the fact that he's the total package. He writes, pencils, inks, ink washes, edits his own book each month. At one point he even colored his own stuff to boot.

 

Throw on top of that the fact that he is an amazing painter, has a wicked sense of humor, and can give his books a feeling that mixes Eisner's Central City with everything we love about 1940's gangster movies, farrelly brother's flicks, and some lush visuals and you have a kind of perfect storm for modern comic times.

 

When most guys can't even be bothered to finish pencilling 20 pages a month..to see a guy write, pencil, ink, ink wash, paint the cover, edit and get it out on time is pretty damn amazing given the level of quality evident when you hold the original art in your hands.

 

Being a talented comic artist is one thing, but he is just as talented as a writer, a cover artist, a sequential storyteller, and colorist (from the pages I have from his self colored books).

 

That might explain his appeal.

 

(thumbs u

 

Here's a page I just posted that sums up the appeal for me:

 

http://www.comicartfans.com/GalleryPiece.asp?Page=1&Order=Date&Piece=467809&GSub=34809&GCat=0&UCat=0

 

I guess you either get it or you don't I got the first tpb based on rave reviews I was hearing from my comics reading friend. Tried to get into it, put it down, and it sat on my nightstand for a year. Once I picked it up again, it all clicked. Give it a shot!

[jjonahjameson1]

...(there are other Hulk artists besides Dale Keown, you know )

 

Yeah, been hearing a lot of that kinda talk lately.

 

Seriously, I never said I disapproved of Eric's work on Hulk or otherwise. It just doesn't 'speak' to me right now. Perhaps if I listen more closely

 

You make a good point about picking up the TPB after a year. Had the same sort of experience with Darwyn Cooke's stuff.

 

So I'll have to take a look at Powell's stuff again at a later date. Thanks for the advice!

[robert frey]

golden did some marvel fanfares that were very good. he did a pre doctor strange 55 5 page story (issue 46?) with p craig russell that has to be seen to be belieed.........he also did a batman special which i thought was exceptional.

[comicartcom]

Alex Toth was a big name in animation, from what I understand (I don't know much about him, honestly). I do know that he worked on "Challenge of the Super Friends", which is one of my favorite super hero cartoons of all time. I don't know what all he's done in comics, I just know him from that.

 

SAY WHAT???

 

Simply Said, Toth is one of the most important artists in comic history and his contribution to teh field is enormous. He influenced scads of contemporary artists.

 

here is the Wikipedia bio of him

Alex Toth on Wikipedia

 

Now I'll make a presumption that if you don't like Toth's work, then you don't like the artists who influenced him - Milton Caniff, Will Eisner and Joe Shuster

[jjonahjameson1]

 

Now I'll make a presumption that if you don't like Toth's work, then you don't like the artists who influenced him - Milton Caniff, Will Eisner and Joe Shuster

 

Yikes! I never said I don't like Toth's work. All I said was that it doesn't speak to me and that I'm trying to understand, with some help on this board, what it is about theses fellas that you find appealing. And that's a huge distinction from saying that I don't like Toth's work. Okaly doakaly?

[cookie1963]

4 Eric Powell

 

I dont know the artist that good but i did pick up some of his OA back in 1997 for $5 a page. Here is my $15bucks

 

Dead Boys #1 pgs 12 and 13

 

Dead Boys #2 pg17

 

I just like the art no words and intense

 

my 2 cents

 

cookie1963