While going through the huge pile of old folders of my art I came across there two copies from my work back on Darkhawk for Marvel, these are circa 1991. DH was still a fresh experience for me and I was still pretty stoked to be doing my own book at Marvel from the start where I was the main creative artistic force. That feeling waned as I worked on the book as at that time the book didn't get much love from fans or even at Marvel. Those were the X-men days and anything NOT X-men was basically not cool. But I the decades following my run I constantly get people telling me how much they loved what I did, so maybe people just didn't write a lot, and this was the pre-internet days.
I was inking with a combo of radiograph, Hunt 108 pen nib and # 3 or 4 Langnickle brushes, man, this were the BEST brushes.
2 comments:
Darkhawk was the first comic I recognized a difference in art. I think I picked up #26-27 and then stopped picking up the title. I LOVED the first 25 though! Oddly enough, and without specifically looking for you, I found you on Punisher and Batman shortly after that. I'm so happy Marvel has collected 1-9 in a trade recently!
I’m preparing a lengthy examination of the so-called Spider-Man / ‘Clone Saga’ twenty years on for my Comics Decoder site. In doing so, I re-encountered your work on Spider-Man #55. It convinced me of something I had been suspecting for the past two decades: that guest artists like yourself did the best work on the Spider-Man titles in the post-McFarlane/Larsen era. As I put it in my analyses, “[Your] images of the Scarlet Spider seeking out the Parkers’ apartment in the blizzard and peeking in the window serve as a pleasant trip back to the early days of John Romita”. Hindsight being 20/20 and all, it’s truly too bad you couldn’t have been assigned a stand-alone Spider-Man title fulltime.
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