Tag Archives: comic art

Cover Art, Full Story From Robin’s 1988 ‘Death in the Family’ Shine Bat-Signal on Heritage’s June Comic Art Auction

Batman #428

Even before bidding opened for Heritage Auctions’ June 16-19 Comics & Comic Art Signature Auction, one offering made global headlines: Frank Miller and Lynn Varley’s original cover art for 1986’s Batman: The Dark Knight Returns Book One, the iconic cover from one of the most important titles of the past half century. Yet that historic lightning strike is just one centerpiece among many landmark works of original comic art featured in this historic event, which includes some swinging Spider-Man art from Todd McFarlane and the entirety of one of the most influential – and infamous – Batman stories ever told, “A Death in the Family.”

Not only does this auction feature Mike Mignola’s original cover art for 1988’s Batman #438, featuring a battered Robin, but here, too, you will find the entire 22-page story contained in that issue – the one during which the Joker killed Jason Todd’s Robin with an assist from DC Comics readers and a 1-900 number. The story, written by Jim Starlin with art by Jim Aparo and Mike DeCarlo, features one of the most indelible images in Batman’s long history: The Dark Knight carrying the bloodied Boy Wonder from the wreckage.

Miller made mention of Jason Todd’s death in The Dark Knight Returns, two years before the Joker beat him up and blew him up. And though Miller (and many others at DC) loathed the publisher’s decision to put Robin’s fate to a vote – out of more than 10,000 calls, the Boy Wonder lost by a mere 72! –Starlin’s “A Death in the Family” has gone from one of the Batman Family’s most controversial tales to one of its most enduring.

Mignola’s cover art, and Aparo and DeCarlo’s iconic interiors (which feature a cameo from Superman, essentially reprising his The Dark Knight Returns role asgovernment operative), have been in a private collection since the 1990s.

This auction also includes original artwork from another 1980s Batman book that, like Dark Knight Returns and “A Death in the Family,” had profound and long-term ramifications. This event offers two pages from Alan Moore and Brian Bolland’s 1988 Batman: The Killing Joke, in which the Watchman writer and his artist collaborator provided the Joker with a tragic origin story defined by a single bad day (and a red hood, which later became the disguise of a resurrected Jason Todd after his murder at the hands of the Joker). The Killing Joke, of course, is best known as the book in which The Joker shoots and paralyzes Barbara Gordon, who eventually morphed from Batgirl to the Oracle.

Iconic Batman covers abound in this auction, among them one of the earliest ever offered at auction. That would be the cover art for 1942’s Detective Comics #59, featuring Batman and Robin as drawn by their co-creator Bob Kane and his beloved Golden Age Batman collaborator Jerry Robinson. This is the first time Heritage has had the privilege and pleasure of offering a Kane cover.

Also featured is Jim Lee‘s triple gatefold variant cover for Batman #619, which wrapped the 12-part “Hush” epic that resurrected Jason Todd and established Bruce Wayne and Selina Kyle as more than mere Bat and Cat chasing each other on rooftops. This is the Batman Family version of the variant, a roster that includes Batman and Catwoman, Robin and Nightwing, Oracle and her father Commissioner James Gordon, Huntress, Superman, Harvey Dent and Hush himself.

This event also features two Caped Crusader covers by illustration legends gone too soon: Batman #246 by Dave Cockrum and Neal Adams (Frank Miller’s mentor, who died April 28) and Batman #438 by George Pérez, who died only eight days after Adams.

One of the definitive artists of the 1990s was Todd McFarlane, who swung to stardom on Spider-Man’s spaghetti webbing. This auction features one of the more coveted covers McFarlane drew during tenure with the Web-Slinger –the final one, too: 1991’s Spider-Man #16, guest-starring Rob Liefeld’s X-Force. That cover is accompanied in this auction by individual pages, offered separately, from the same issue, McFarlane’s final fling with Spidey before launching Spawn at his Image Comics.

And to really tie this auction together, several Frank Miller pages will be offered – among them a page from The Dark Knight Returns Book Four, featuring Superman off to fight Batman. Now, as then, everyone wins.

Colorists, Inkers, and Wes Craig’s Art

I was a big fan of Deadly Class as soon as I started reading the first issue when it came out. I adored that first issue, actually. The blunt, rough writing and solid storytelling from Rick Remender was fantastic, but Wes Craig’s art is what made the most noticeable first impression. His sharp, frantic and slightly twisted pencils looked fantastic, along with the finely done inks and contrastive coloring. The art really blew me away.

Forgive the blunt transition…

Fresh off of seeing Guardians of the Galaxy in theaters, I was on a Guardians kick, so I hopped on comiXology and splurged on the obligatory sale. I bought an old Rocket Raccoon miniseries along with Abnett and Lanning’s entire 25-issue run. The Rocket Raccoon miniseries was decent, but I have really been loving the Abnett/Lanning stuff. Today, I got to issues #11 and #12, featuring a switch-up in art. Personally, I found the art to be just fine, and a step-down from the series regular art.

And then I saw that Wes Craig did the art.

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Left: “Deadly Class” (Image Comics) #1; Right: “Guardians of the Galaxy” (Marvel Comics) #11

This was a shocking revelation for me.

This most likely speaks predominantly to the importance of colorists and inkers, but perhaps also to what time can do for an artist. Craig’s GotG #11 and #12 work, with coloring from Will Quintana, looks more clean, and much less striking, dynamic, and interesting. The coloring is very standard, unlike the super-stylized look of Deadly Class, which alternatively has coloring from Lee Loughridge. Craig happens to do the inking himself, it seems. The pencils are quite good in the GotG issues, but the coloring makes it look less appealing, at least to me.

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Left: “Deadly Class” (Image Comics) #2; Right: “Guardians of the Galaxy” (Marvel Comics) #11

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Left: “Deadly Class” (Image Comics) #1; Right: “Guardians of the Galaxy” (Marvel Comics) #11

 

 

 

I’ve written about the lack of appreciation for comics colorists in the past. Readers must understand how much of a difference colorists and, even though it’s not relevant in this specific case, inkers, have.

Maybe you disagree with me, and find the coloring/inking of GotG more striking than that of Deadly Class, but surely you notice a difference?

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Scholastic Releases Comic Art Highlighting the Next Generation of Writers and Illustrators

Comic_cover-page-001-193x300This November, Scholastic released Comic Art, a collection of Award-winning comic artwork from the Scholastic Art & Writing Awards. The booklet features a foreword by renowned comic book writer Stan Lee, Q&A with cartoonist Ellen Forney and stunning comics illustrated by students from across the nation.

The Awards, presented by the nonprofit Alliance for Young Writers & Artists, is the nation’s longest-running and most prestigious recognition initiative for creative teens. Thea program encourages and awards young aspiring comic artists.

Comic Art is a great way to connect with the next generation of talented writers and illustrators.  The comic art featured in the booklet explore themes of friendship, finding oneself, exploring the world and bullying, amongst others and is available online at artandwriting.org.

The Scholastic Art & Writing Awards call for submissions is now open for the 2014 edition! You can find the full details about how you can submit material here. Any public, private, parochial or home-school student in grades 7 – 12 in the U.S., Canada or an American school abroad may participate in the Awards.

Cigar Aficionado Covers Comic Art Collecting


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Mixed in with it’s interview of Sylvester Stallone, coverage of cars, motorcycles, poker and well cigars the latest issue of Cigar Aficionado has an article covering the growing collecting of original comic art.

The article gives a general overview and has a similar tone to those in the 90’s that speculated comic books were the next big thing.  Yes, the prices over the years for original art have increased, and expect them too continue to as comics move to digital production (there is a finite amount of original art), but with some exceptions, I wouldn’t sink your life savings into the market.

We’ll see if these types of articles lead to a speculative bubble much like articles have pumped up the industry in the past.  The article is in the print magazine, so you’ll need to head to a store to pick it up and read it in full.