Top comic book artists 42-39

The countdown continues! Here are the next four comic book artists you’ve voted as your all-time favorite (from about 1,023 ballot papers, with 10 points for first place votes, 9 points for second place votes, etc.).


42. Jim Aparo – 247 points (4 votes for first place).

While perhaps not quite up to the level of some of the 1950s comic book artists who painted forever (like Kurt Swan), Jim Aparo was one of the most amazingly consistent artists you’ll ever see. His inks started to lose a bit of focus towards the end of his career and DC stopped letting him ink himself, so he lost a bit of magic, but he was still producing top-notch business well into the ’90s.

To show how persistent he is, check out his first Batman act, since 1971 brave and bold #98 (co-starring The Phantom Stranger, whose continuing series was Aparo’s second assignment in DC Comics – the case concept being that strange things happen at the house of a widow and the son of a Batman friend who just died and Batman investigates)…

This part was from 1971 and yet it could have also come from 1981. Or 1991. Or 2001. That story had all the hallmarks of Jim Aparo’s story – great storytelling, Jim Aparo’s patented facial expressions, And the fluidity of a personal business – just great business. Aparo . took brave and bold A couple of problems later and then plotted for the next ten years to come to an end. brave and bold led to Batman and strangers. After drawing that for about three years, he got some rest. He soon returned to work in painting Batman to Jim Starlin (including the death of Jason Todd) and Marv Wolfman (including an introduction to Tim Drake) and then detective comics to Peter Milligan and then back to Batman For Doug Moench (where Aparo was the artist who drew Bane breaking Batman’s back). After his regular work on Batman It’s over, he still does the occasional fill-in on the series while getting his regular gig green arrow. He was still doing occasional artwork for DC until his death in 2005.

Related: Senior Comic Book Writers 46-43

41- Wallace Wood – 249 points (8 first place votes).

Wallace Wood was an expert in comic books, as there was no genre or art style that Wood could excel in. He was a brilliant cartoonist, but at the same time he could draw the most realistic characters you can see. Wood grew up in a period when comic books performed in a number of different genres, so his skills were well served in that era. He helped convince EC Comics to get into the science fiction comics, and drew some of the era’s most brilliant science fiction covers (later Wood would draw Mars attacks The Topps Trading Card is set, which will become one of the most popular trading card decks of all time – think how big it is Mars attacks is as a concept and note that it all came from a deck of cards that Wood created.)

As noted, Wood can excel in any number of genres, including superhero comics. He gave Marvel Comics a shot at working in the mid-1960s, but he eventually stopped working for the company because he didn’t like the fact that Marvel artists had to create their own comics plot without getting extra pay as conspirators. However, during his short time at Marvel (insanely outnumbered by Stan Lee, as Lee was a huge fan of Wood’s work), Wood recreated Daredevil (giving him a classic red costume) and wrote and painted (with Lee dialogue) one of the superhero fight stories all the time reckless #7…

Wood is also known for his piece “22 Boards Always Working,” which is a guide for comic book artists on how to deconstruct what could be a monotonous series of talking masterpieces. Unfortunately, Wood’s external condition did not propel him to the superstardom his skills deserved, and after suffering from some health problems (including loss of vision in one eye), he committed suicide in 1981 when he was just 54 years old.

40- Mike Reed – 251 points (7 first place votes).

Mike Allred’s artwork blends two distinct visual cues – a kind of Silver Age throwback mixed with real-life people stuck in high positions. The latter gives his work a great deal of pathos, and the former makes his work really stand out visually from the typical indie comic book type you’d expect.

Allred burst onto the scene with his stand-up creation Madman, first introduced in a short story as just a teen dealing with the fact that he’s been brought back from the dead essentially as Frankenstein’s monster (the character’s name was Frank Einstein). Frank just wanted to be accepted, but everyone treated him like an eccentric. However, after this first appearance, Allred gave Frank a costume and he became the superhero known as Madman. The concept worked out beautifully, as Allred is a brilliant serial artist, so the action sequences were excellent while still, you know, definitely offbeat (Madman’s weapon of choice was the yo-yo)…

Allred’s throwback style makes the episodic darkness of his stories more prominent, which became so prominent in his next most popular post-Madman series, The X-Force Renewal with writer Peter Milligan. The case opened with a group of young superheroes who kind of rallied against the machine, as it were…

And then suddenly … everything changed in a flash of automatic fire …

So obviously this wasn’t the comic book anyone thought it was when they first started reading it, as this was a comic where the book’s star (and narrator) dies graphically at the end of the first issue…

Together with almost the rest of the team…

Allred has done a number of work over the years with Madman and X-Force (later renamed X-Statix) characters. Currently, he shares all his Silver Age sensibilities in an excellent Superman series with writer Mark Russell.

Related: Top Comic Book Artists 46-43

39- Mark Silvestri – 258 points (1 vote for first place).

Marc Silvestri first broke into comics running First and DC Comics in the early 1980s. Go to Marvel Comics and work on it spider-man web For a famous tour with writer David Michelini and Enker Kyle Baker.

By the time Mark Silvestri graduated to become a regular artist X-Men superhero, the X books were, well, “X books,” which weren’t when John Byrne or Paul Smith took over. This wasn’t just a comic book, it was a franchise, and Silvestri was given a chance to paint the main book for the franchise.

Silvestri used a different approach at the time than the one he would have developed to work with Image in the early 1990s. on me Uncanny (as it was signed mostly by Dan Green), his art was much more experimental, and seemed almost reminiscent of the work David Mazzucchelli was doing on Daredevil around the same time.

This was the time when the downfall of the mutants happened, and the world thought the X-Men were dead, but instead, they went and lived in Australia for a while. Then Inferno happened, then the X-Men broke up and there was a long story where the group slowly got back together. By this time, Silvestri had left the book to start a popular tour Wolverine With Larry Hama.

He then helped found Image Comics with his series, electronic force. Silvestri first emerged a new art style at this time that has stuck mostly in the decades since. It’s not drastically different from his previous work, of course, but he’s definitely got more sense for his art than the looser things before.

While serving as head of his studio at Image Comics, Top Cow Studios, Silvestri still occasionally did major comic book projects, such as Grant Morrison’s End The new X-Men Run, others X-Men One shot and short run Incredible Hulk With Jason Aaron. I have also returned to electronic force Several times in recent years. He is writing and drawing for a major DC Batman project that will debut soon.

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