Finally completing my Spectre covers with a series I never read the Hal Jordan Spectre. For the first 2/3s of the run Ryan Sook did very solid and for the most part very good covers, but nothing made me say wow that's the one.
At issue 19, P Craig Russell takes over on covers. His covers are equally good; what stands out is the incorporation of the title into the art. Issue 20 is a great example; I recommend scrolling through the covers from 19-27 of the 2001 series no two Titles will be the same.
Finally completing my Spectre covers with a series I never read the Hal Jordan Spectre. For the first 2/3s of the run Ryan Sook did very solid and for the most part very good covers, but nothing made me say wow that's the one.
At issue 19, P Craig Russell takes over on covers. His covers are equally good; what stands out is the incorporation of the title into the art. Issue 20 is a great example; I recommend scrolling through the covers from 19-27 of the 2001 series no two Titles will be the same.
I thought it was a pretty interesting series, much better than it had any right to be. But then, I'm a DeMatteis fan, and he really played to his strengths throughout the series.
Don’t forget Dave Johnson’s two covers! Two of the best of the series as far as I’m concerned. I do have to quibble with you though, when you say Craig’s covers were equally as good as Sook’s. No, they were not—they were much better! Sook’s covers were fine, but I think that was his first regular cover work (he’d done a handful of random covers before this), and his design work was not where it is today. Craig’s covers, on the other hand, were so clean and readable. The negative space was perfectly balanced, and drew the eyes exactly where they needed to be. And as you said, he changed the logo to fit the mood of the cover. Good stuff!
Finally completing my Spectre covers with a series I never read the Hal Jordan Spectre. For the first 2/3s of the run Ryan Sook did very solid and for the most part very good covers, but nothing made me say wow that's the one.
At issue 19, P Craig Russell takes over on covers. His covers are equally good; what stands out is the incorporation of the title into the art. Issue 20 is a great example; I recommend scrolling through the covers from 19-27 of the 2001 series no two Titles will be the same.
Don’t forget Dave Johnson’s two covers! Two of the best of the series as far as I’m concerned. I do have to quibble with you though, when you say Craig’s covers were equally as good as Sook’s. No, they were not—they were much better! Sook’s covers were fine, but I think that was his first regular cover work (he’d done a handful of random covers before this), and his design work was not where it is today. Craig’s covers, on the other hand, were so clean and readable. The negative space was perfectly balanced, and drew the eyes exactly where they needed to be. And as you said, he changed the logo to fit the mood of the cover. Good stuff!
I agree with that. I liked the Sook covers more than you (even if his covers are hellboy filtered through 2000s era DC), but P Craig did better covers. The title usage is really something else though, very unique and makes the covers really stand out
Cover Artists:Gil Kane, John Romita Sr. and Danny Crespi
To be specific, it’s pencils by Gil Kane, inks by John Romita, lettering by Danny Crespi.
Crespi started out lettering in 1948, working mostly for Marvel. He left comics in the late ’50s when Marvel was laying people off left and right. He came back on staff at Marvel in 1972 as head letterer, and he became Marvel’s assistant production manager in 1978. When John Verpoorten died, Crespi was promoted to the coordinator for the art and production departments. Crespi died in 1985 from leukemia.
And he holds it all in his brain. I’d love to see a Comics Jeopardy panel at a con — @nweathington versus Mark Waid!
I’ll take Lois Marries Supes for $500, Alex!
I've told you before, Rob, I don't hold all that in my head. :) In this case I knew Crespi was the head letterer thanks to Todd Klein's blog, and that he worked in production for Marvel late in his career. I had to refer to an interview David A. Kraft did with Crespi, and to his obituary in The Comics Journal, to get the dates and official job titles.
Love this cover and the edgy "Bad Santa" look. I also love how most of Peter David's run on Spectacular was made up of edgy and mature stories like this (and the aforementioned Jean DeWolff story). "All new, all daring" is right. This "ANAD Marvel" was definitely far better than the 2015 version. They were different and even edgy, sure, but they were different with substance, not with mere style. I mean, Peter being 'different' back then actually did something meaningful to his character growth rather than sabotage it, not to mention all the social issues David managed to incorporate into his stories (without back-pedaling on or hand-waving such themes the way Dan Slott did with his Inferior Spider-Man title).
Love this cover and the edgy "Bad Santa" look. I also love how most of Peter David's run on Spectacular was made up of edgy and mature stories like this (and the aforementioned Jean DeWolff story). "All new, all daring" is right. This "ANAD Marvel" was definitely far better than the 2015 version. They were different and even edgy, sure, but they were different with substance, not with mere style. I mean, Peter being 'different' back then actually did something meaningful to his character growth rather than sabotage it, not to mention all the social issues David managed to incorporate into his stories (without back-pedaling on or hand-waving such themes the way Dan Slott did with his Inferior Spider-Man title).
Kyle started working for Marvel his senior year of high school (1982, I think), making photocopies of artwork and such. He then became a background inking assistant for Joe Rubinstein (and later Vince Coletta). He kept working for Marvel while attending the School of Visual Arts where he was taught by (among others) the great graphic designer Milt Glaser (he came up with the I[heart]NY logo). He left school after two years to assist Glaser on a series of children’s books. Kyle started to get penciling work from Marvel in late 1985, notably the adaptation of the Howard the Duck movie, along with some covers. This was only his fourth cover (and his second Spidey cover).
I'm at the beach this weekend, so what better excuse do I need to give @mwhitt80 some more Oksner covers? Here’s Leave it to Binky #21 (Jul.-Aug. 1951) by Oksner.
The Amazing Spider-Man Vol. 1 #148 Release Date: September, 1975 Pencils: Gil Kane Inks: John Romita Sr.
Ah yes, the infamous "comic code." Isn't BDSM (even if it's male bondage) a little raw for little kiddies? I smell double standards in their "approval."
The Amazing Spider-Man Vol. 1 #148 Release Date: September, 1975 Cover Artist: Gil Kane
Ah yes, the infamous "comic code." Isn't BDSM (even if it's male bondage) a little raw for little kiddies? I smell double standards in their "approval."
Inks by John Romita. They made an interesting combination. Romita softened Kane's linework, and gave it more weight. But it still had the leaner look of Kane, which I prefer to Romita's stockier Spidey.
I usually don't mind most cover artwork of Spidey, but man, I really hate Stefano's take on this one, especially the buggy eyes. Reminds me of The (loathsome) Superior Spider-Man costume.
Peter Parker #3 Publish Date: July, 2010 Pencils: Doug Braithwaite Inks: Andy Troy
Now that... that is a cover.
I like Braithwaite’s work, and this is a nice illustration, but I prefer covers that tell a story as opposed to simple iconographic imagery.
Oh, and this cover is not inked, per se. It looks like it’s shot directly from Braithwaite’s pencils, though maybe he put down a little ink wash. Andy Troy is the colorist.
Comments
At issue 19, P Craig Russell takes over on covers. His covers are equally good; what stands out is the incorporation of the title into the art. Issue 20 is a great example; I recommend scrolling through the covers from 19-27 of the 2001 series no two Titles will be the same.
Don’t forget Dave Johnson’s two covers! Two of the best of the series as far as I’m concerned. I do have to quibble with you though, when you say Craig’s covers were equally as good as Sook’s. No, they were not—they were much better! Sook’s covers were fine, but I think that was his first regular cover work (he’d done a handful of random covers before this), and his design work was not where it is today. Craig’s covers, on the other hand, were so clean and readable. The negative space was perfectly balanced, and drew the eyes exactly where they needed to be. And as you said, he changed the logo to fit the mood of the cover. Good stuff!
Spider-Man: The Manga #30
Release Date: March, 1999
Pencils: Ryoichi Ikegami
Inks: Dano Ink Studios
Colors: Frank A. Kadar
Marvel Team-Up Vol. 1 #20
Release Date: April, 1974
Pencils:Gil Kane
Inks: John Romita Sr.
Colors: Danny Crespi
I wouldn't mind seeing a team-up like this in the MCU.
Crespi started out lettering in 1948, working mostly for Marvel. He left comics in the late ’50s when Marvel was laying people off left and right. He came back on staff at Marvel in 1972 as head letterer, and he became Marvel’s assistant production manager in 1978. When John Verpoorten died, Crespi was promoted to the coordinator for the art and production departments. Crespi died in 1985 from leukemia.
This comic, Real Fact Comics #6, had the first publication of Ellison. A letter he wrote to the editor in 1947. He was 13.
Art by Virgil Finlay
I’ll take Lois Marries Supes for $500, Alex!
Peter Parker, The Spectacular Spider-Man Vol. 1 #112
Release Date: March, 1986
Cover Artist: Kyle Baker
I'll just let @nweathington do his thing. ;)
Love this cover and the edgy "Bad Santa" look. I also love how most of Peter David's run on Spectacular was made up of edgy and mature stories like this (and the aforementioned Jean DeWolff story). "All new, all daring" is right. This "ANAD Marvel" was definitely far better than the 2015 version. They were different and even edgy, sure, but they were different with substance, not with mere style. I mean, Peter being 'different' back then actually did something meaningful to his character growth rather than sabotage it, not to mention all the social issues David managed to incorporate into his stories (without back-pedaling on or hand-waving such themes the way Dan Slott did with his Inferior Spider-Man title).
The Amazing Spider-Man Vol. 1 #148
Release Date: September, 1975
Pencils: Gil Kane
Inks: John Romita Sr.
Ah yes, the infamous "comic code." Isn't BDSM (even if it's male bondage) a little raw for little kiddies? I smell double standards in their "approval."
The Amazing Spider-Man Vol. 1 #684
Publish Date: June, 2012
Cover Artist: Stefano Caselli
I usually don't mind most cover artwork of Spidey, but man, I really hate Stefano's take on this one, especially the buggy eyes. Reminds me of The (loathsome) Superior Spider-Man costume.
Peter Parker #3
Publish Date: July, 2010
Pencils: Doug Braithwaite
Colors: Andy Troy
Now that... that is a cover.
Oh, and this cover is not inked, per se. It looks like it’s shot directly from Braithwaite’s pencils, though maybe he put down a little ink wash. Andy Troy is the colorist.
My favorite author, and the comic series (a boyhood dream of his) that adapted some of his best short stories.