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Radvic

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  1. I love this Quesada image from the early 90s from those comic catalogs (ETM and American Entertainment/Pre Diamond days) and was looking to see if anyone has any info on this image. Was it simply a promotional piece and was it manipulated like collaged together or was there an original artwork that looked like this? I've seen it used I think on a comic, but it looked different and not like this. I'd love to see what the black and white art looks like if it exists. I imagine it's in a Marvel basement somewhere.
  2. I've read what everyone has commented about and frankly I came to this topic way after the fact, but I googled that question because Bisley's art has changed over the years. I've thought about what are some things that may have been the factors as to why his work looks the way it does and I think many have pointed out many of the things I think are happening, but I'd like to comment on what I think from a fan and an artist particular that loves that middle ground that Bisley (Fabry and a few others) carved for themselves. First I came into comics through Marvel X-men, particularly the "Inferno" crossovers. It was all hellish monsters with Halloweeny vibes. I was hooked on comics from that point on even then everything went back to normal a few months later. A couple of years or so later I was a freshman in high school and I must have got into a comic book store and spotted "Judgement On Gotham" the Batman and Dredd Crossover. That started me on a path of being an artist. A painter and figure out what the hell Bisley did to make that book. I collected anything Bisley and his work more than anyone else consumed me. I found out about all the other greats and contemporary artists from that point on. Being a huge fan to each an everyone. Frazetta, Corben, Sienkiewicz, Jeffrey Jones, Kent Williams, Dave McKean and many others. My friends would bring in some of these artists or I would run into their work in the comic stores. Epic Comics and later Vertigo. Bisley was in the middle of a lot of that excitement of the 90s. He worked before Judgement on Slaine and Lobo each being such an incredible experience and like some of you commented his work today looks so awesome and still has that excitement today. I still feel that. Although I can pick out some pieces that aren't so hot generally all the artwork from the 90's until 2000 or so are all pretty amazing and of course "intense." High octane, grimey, dark contrast and that rich saturation that made his characters feel solid. His Heavy Metal work had some great pieces. The Fakk2 movie images were beautiful of Julie Strain and that world. He had weakness and things throughout because everyone has, but he just fiddled around them and made us focus on the parts that seemed to matter, but if you look at some of those older awesome pieces some of the hands and legs sometimes were just these sort of after thoughts. We can see the things he cared about particularly in the anatomy of these characters. The arms, chest and faces were number one while the hands, legs and feet are drawn and painted with less attention and understanding I think. Sometimes he'd get it and other times he didn't, but generally it wasn't a problem. He covered everything with the Bisley "juice." I think the juice was a few things. I can't talk about anything I don't know. His lifestyle of a rockstar comic artist and all that I don't know. That stuff you have to get maybe one day from a biography or something, but I think that may have influenced his productivity and his personal life. As the artist I think that first period in the early 90's where he was establishing himself he had those influences close at hand and he pulled from those often while moving forward carving his own niche. I think most of you know and suspect and have read from interviews that Corben, Sienkiewicz and Frazetta are key influences in his work. I am not sure of anything other one that may have been as instrumental. Maybe Kirby, but he's a given to nearly all artists because he's the core of what super hero comics are about. One thing that hasn't been discussed and is pretty obvious is his love for comedy. A key element of his work. His work is hilarious. Always fun and making fun of stuff when it isn't completely dark and ferocious. There are so many elements of humor in Slaine, Lobo and Judgment on Gotham. Making for a great variety of things to enjoy from his comic work and paintings. The innocent guys in the background that get their poor face bashed in or kicked so hard his spine blew out of his back and don't forget the eyeballs flying in the air. So many of them. Those were all key parts of his work. Corben's Den I'm sure made such an impact on the young Bisley growing up. I imagine Bisley seeing Frazetta for the first time must have been like any one of us seeing Bisley for the first time and his contemporary Sienkiewicz with his wild sense of angularity and color use probably blew Bisley's mind as well. Artists are heavily influenced by the work that others before and during their time have made. Every single one. Self taught or academically trained. It doesn't matter. It's that hunger that fuels your own creation. His Darkhorse covers (Aliens, Terminator, Grendel) are some of his best and absent from his art book that came out from Heavy Metal in the 2000's. Those were so rich. Deviously beautiful that sent needles of excitement down through your veins. He had a way of doing that that no other artist could do. Not in that wicked sort of way. Fabry came close, but you can marvel at his work in a different sort of way even though I think they needed to exist together around the same time for this perfect unauthorized table tennis match. So going to what his work in the 2000's where his work started to get more misses than hits. Like a juiced up baseball player from that time. I think time changed. Bisley changed and the world changed. Lobo wasn't the 90's rocker anymore who could get away with everything. The big breasted women started covering up and that male fuel that was so prevalent in the 90s is now being questioned. The wicked fun has come to an end and I think that messes with everyone. That is where we are at. There are beautifully drawn women and the quality of books today are out of this world and Alex Ross still does amazing work, but Bisley isn't doing his best work anymore. I think maybe he's doing his most fun work. I think he went back to a place where all these things that would mold his work and his life aren't there. I think he's accepted the things he's not good at. Those hands and legs and tells everyone today, "Here they are! Here are my faults! Take it or leave it, but I'm having fun!" All the pressure and buildup he put on himself are gone. All this stuff of trying to be "the main man" and all that. A more humble Bisley is what we are seeing and not the young cocky guy that may have been. I think we all can think of times we felt that or were those guys. I think his work today shows us something that we all strive for or are changed into by life. I think we get a bigger picture of ourselves through his work today and we should be happy Bisley is still painting away. So I hope he paints away until he can't hold up a marker and brush in his hands. We will always have those memories of our youth and we can always feel that excitement from his earlier work. Just dust off a trade paperback from the shelf or reach into those comic boxes and pull those comics with beautiful sick Bisley covers next to Fabry, Sienkiewicz and the many others from that time.