GA BEST ARTIST SURVIVOR SERIES POLL: RD.4

[Duffman_Comics]

Thanks a bunch for scanning the Crandall pages, Scrooge (thumbs u . I, too, am a big fan of his work.

 

The narrative just flows through his pages, even though the -script was terrible. Typical wartime anti-graft and corruption stuff.

 

Looking at the underwater scenes, I can see why Crandall's editors never assigned him a regular gig on a Sub-Mariner/Namora type book (did Quality have a wet hero?)

 

I always thought his strong points were his ability to (and this is going to sound odd) illustrate leather. I don't know anyone who could quite make a comic book leather coat look like a real leather coat. That and his attention to detail on the planes.

 

Should he survive this round, I still won't be booting him next. There are other, worthier, candidates .

 

Again, my10c

[adamstrange]

More refined Crandall work where's he definitely doing his own inking.

 

[adamstrange]

Schomburg

 

 

 

[adamstrange]

Kurtzman (I like the war story samples posted, very intense--and I remembered who he was, from Mad magazine--but he seems more of niche stylist than a well rounded master).

 

This niche stylist was so good that, during the halycon days of EC, he drew the layouts for Wood, Heath, Crandall, Davis, Severin -- all of whom were eager to work with him. I asked Heath once if it constrained him to work from Kurtzman's layouts and he said "not at all". He wanted to do more work with him because Kurtzman was so focused on the essentials of the art and story.

[rjpb]

Kurtzman (I like the war story samples posted, very intense--and I remembered who he was, from Mad magazine--but he seems more of niche stylist than a well rounded master).

 

This niche stylist was so good that, during the halycon days of EC, he drew the layouts for Wood, Heath, Crandall, Davis, Severin -- all of whom were eager to work with him. I asked Heath once if it constrained him to work from Kurtzman's layouts and he said "not at all". He wanted to do more work with him because Kurtzman was so focused on the essentials of the art and story.

 

I seem to recall reading about someone complaining about it, Davis?

[Scrooge]

Thanks a bunch for scanning the Crandall pages, Scrooge (thumbs u . I, too, am a big fan of his work.

 

I always thought his strong points were his ability to (and this is going to sound odd) illustrate leather. I don't know anyone who could quite make a comic book leather coat look like a real leather coat. That and his attention to detail on the planes.

 

You like his leather (and I know what you mean) and I really like his horses.

 

First up a Crandall cover with a horse and then a Ray story as promised with lotsa horses. Quite simply top notch work - Also, imagine the amount of details that dropped off because I had to compress the scans to keep the file size low to let the boards host the scans

[Scrooge]

Going back to Jack Cole, this is as straight a story as I've ever seen him draw and he can handle anatomy and action very well. Cole might have pushed the envelope in his Plastic Man strip but he could afford to do so because he was solid all around. A lesser artist effort would have been in vain, IMO -

 

[SignatureSelect]

I picked Frazetta, Schomburg, and Walt Kelly, these 3 artist were revolutionary.

Uh, you do realize that if you voted FOR these 3 artists, it means you voted to kick them out, right?

 

I didn't understand that. If I would have known that I would have picked differently.

[adamstrange]

Kurtzman (I like the war story samples posted, very intense--and I remembered who he was, from Mad magazine--but he seems more of niche stylist than a well rounded master).

 

This niche stylist was so good that, during the halycon days of EC, he drew the layouts for Wood, Heath, Crandall, Davis, Severin -- all of whom were eager to work with him. I asked Heath once if it constrained him to work from Kurtzman's layouts and he said "not at all". He wanted to do more work with him because Kurtzman was so focused on the essentials of the art and story.

 

I seem to recall reading about someone complaining about it, Davis?

 

Krigstein didn't like it, which is understandable given his ability to break down a story in a way that fit his individual style.

[tth2]

I picked Frazetta, Schomburg, and Walt Kelly, these 3 artist were revolutionary.

Uh, you do realize that if you voted FOR these 3 artists, it means you voted to kick them out, right?

 

I didn't understand that. If I would have known that I would have picked differently.

Well, keep voting for Schomburg.

[rza808]

More refined Crandall work where's he definitely doing his own inking.

 

Wow maybe he should have always done his own inks. Nice! (thumbs u

[rza808]

Quick question, but does a guy that was known for his dynamic cover art as opposed to his interiors get the same recognition as say someone who could pump out the pages with great storytelling?

[JohnT]

The Crandall pages are fantastic! The guy can convey movement!

 

I really respect artists who don't pump out page after page of stock poses, facial expressions, and backgrounds. Every panel in Crandall's work is different, depending on the action in the story. Incredibly creative storytelling.

 

And that Piracy cover is stunning.

[Duffman_Comics]

Quick question, but does a guy that was known for his dynamic cover art as opposed to his interiors get the same recognition as say someone who could pump out the pages with great storytelling?

 

For mine, no. There is a marked difference between great covers and great storytelling - look at Schomburg and Baker.

 

One of the other underappreciated things about Crandall's Blackhawks was his deft ability to make every one of them easily individually identifiable despite the fact that they all wore the same outfit. It's not the JSA/JLA/Avengers/X-Men, the Blackhawks all wear the same gear (Chop Chop doesn't count) so the differences have to come with faces and body types.

 

Oh, all right, I'll concede dialogue does come into play, but when there is a "silent" group shot each character is easily identifiable. No mean feat in a non-superhero team book.

[JohnT]

Yeah, compare them to the Challengers of the Unknown by Kirby, where the only difference is the hair color and I can never remember who's who.

[Scrooge]

More refined Crandall work where's he definitely doing his own inking.

 

 

AS, I hope you won't mind my pointing out to those who don't know that this is the Howard Pyle painting that inspired Crandall for that particular Piracy cover -

[rjpb]

Kurtzman (I like the war story samples posted, very intense--and I remembered who he was, from Mad magazine--but he seems more of niche stylist than a well rounded master).

 

This niche stylist was so good that, during the halycon days of EC, he drew the layouts for Wood, Heath, Crandall, Davis, Severin -- all of whom were eager to work with him. I asked Heath once if it constrained him to work from Kurtzman's layouts and he said "not at all". He wanted to do more work with him because Kurtzman was so focused on the essentials of the art and story.

 

I seem to recall reading about someone complaining about it, Davis?

 

Krigstein didn't like it, which is understandable given his ability to break down a story in a way that fit his individual style.

 

Thank you!

[MrBedrock]

I picked Frazetta, Schomburg, and Walt Kelly, these 3 artist were revolutionary.

Uh, you do realize that if you voted FOR these 3 artists, it means you voted to kick them out, right?

 

I didn't understand that. If I would have known that I would have picked differently.

Well, keep voting for Schomburg.

 

I'm voting for Barks next round. That old duck guy was soooo one dimensional.

Did he even know what a superhero or a hot babe looked like? He certainly never drew either one (without a duck bill and tail feathers). Probably couldn't.....

[Norrin_Radd]

[MrBedrock]