>>28377 >Alex Toth He has a very clean and tight artstyle. He can convey a lot with relatively few lines. He did rather little work for superhero comic. Most of his work in romance, western, racing, and horror comics. He did some animation too - space ghost is probably most famous. Among other things, Toth was famous, or infamous, for not mincing words when critiquing others' art. That critique was well worth it for any artists actually interested in getting better. My favorite work of his is Black Canary, Zorro comic based on Disney's show, and horror anthologies like Creepy.

>>28378 >Wally Wood He was a contemporary of Toth, Kirby and other greats. He is unfortunately overlooked compared to them. Wood contributed a lot to the way 50s scifi design looked like. He did comics of all kinds, illustrative work, concept art, and more. His work spanned lots of genres but his favorite seem to be comedy, war, crime, and scifi all with a good helping of cheesecake. His most controversial work is Disney Memorial Orgy. Wood is best know for his rework of Dare Devil, Power Girl's iconic design, work on Creepy, Wird Tales, and other Scifi Anthologies. Canon is another one of his well know works, and Sally Forth is a rare example of an American "ecchi" comic. He is also the creator of famous "22 Panels That Always Work."

>>28378 >>28384 Sorry for not replying earlier, Saw some work from both and I really enjoyed what I saw. Definitely what I was searching for. Too bad people obsess too much over Japanese comic illustrators not remembering their roots in American comics.

>>28377 >Western-style artists Frank Cho is good. Nice clean lines and a sense of humor. He's autistic as fuck but he's slightly less woke than Larry Flynt after drinking the Hyde Formula, so... I recommend his stuff.

>>28697 He is very competent at making comic strips, gag comics, and short one-shots. I wish he did more of these instead of going for typical six issue stories. They are not his strong suit. That, or he should spend more time on his long-form storytelling.

>>28773 I just want him to make R34 all day, every day. That's it. That's all he should do.

>>28377 >Massimo Carnevale God tier art, nuff said. Known for covers mostly

>Bernie Wrightson Wrightson is best known as a co-creator of a Swamp Thing. He did a lot of other comic work, especially in horror but lighter stuff too. Outside of comics, his most well-known work are his Frankenstein illustrations. Wrightson's art is heavy on deep, black shadows and hatching. He was very good at using "long take" panels - he made them all distinct and gave them rhythm. Most modern artists who attempt something similar, copy and paste panels with zero thought. Other than that, he was great at pacing and always manages to conjure perfect atmosphere for the story. Horror comics have a Gothic edge, Captain Sternn is goofy, and his Batman is somewhere in between. Wrightson's work is all around great. He was self-taught, initially inspired by work people like Wood did for Eerie and other horror comic anthologies. He is probably the closest thing to an American equivalent to Junji Ito, although Wrightson's style of horror is different.

>Frank Frazetta You probably heard of him. If not by name, you definitely saw his work or tributes to it somewhere. Frazetta is mainly know for his fantasy paintings featuring muscly men and voluptous women barely wearing any clothes. Frazeta is the one who defined how Conan and Dejah Thoris look like to several generations. His great work exploded out of comics and book publishing into mainstream. Many artists from American, Japan, and Europe are still influenced by him. There is even a cottage industry of Frazetta copycats. I think that his machismo filled work paved the way for other artists that followed, like George Perez and his Starfire design. However, Frazetta did some comic work too. Losts of it was covers, but he also worked on interiors for Ghost Rider back when it was a western title. At DC he worked on Adventure COmics for a while. Frazetta's best comic art is from his time at EC comics (notice the pattern?) where he illustrated horror and scifi anthologies.

>>29113 >Frazetta Fire & Ice was fun, especially since it stars Barbarian Batman for some reason.

>>29115 >villain the most clothed person in the movie What did they mean by this?

Look up the youtube series "Unsung heroes of illustration" by pete beard. Essentially each episode he goes for 4 illustrators that lived through the 20th century and gives a little resume of their work, it's really great if you are looking for more unknown masters.

>>29121 That real heroes go commando.

>>29213 Thanks, that yt series has a lot of great info.

>>28655 >Too bad people obsess too much over Japanese comic illustrators not remembering their roots in American comics. The Japanese idolatry makes some sense if you think of it as an expression of what most creators want: exposure and stability. Manga now is in the same place where comic strips were at in their heyday. Even comic book artists coveted the autonomy the strips had. Sound familiar? The last time comic book artists were looked upon in that sense was in the early 90's, and we all know how that went

>>29929 >the last time comic book artists were looked upon in that sense was in the early 90's, and we all know how that went. I'm not knowledgeable about comics history, so can you elaborate on that if you are still around?

>>34101 Not that anon but to my knowledge alot of famous comic artists in the 90s started doing the business side of stuff and were absolutely shitty at it. Image for example was founded by these superstar artists, and was originally heavily mismanaged.

>>34101 In the late '80s and early '90s a lot of comic book artists started to get very popular. People were buying books because they were drawn by Todd McFarlane or Rob Liefeld, rather than because they were drawing Spider-Man or X-Men. Many of these artists realized they were getting fucked by working for the big companies instead of working for themselves, so they quit and formed their own company, Image Comics, where the creators of each individual work would actually own that work, but they would still work together for the business side of stuff, and also for crossover autism. It was big for a while. Spawn would be their biggest property, but you might have heard of others like Savage Dragon, and for a few years there they sold very well. But the comic book investment bubble burst and the whole industry crashed and never recovered. Image Comics is still around, and there were some other smaller but still significant (in terms of the tiny comic book industry) companies that popped up and are still around, but most of the original creators who started Image Comics gave up and went back to DC and Marvel. Jim Lee, whose work on X-Men got him to be big enough to become one of the Image Founders, is now one of the top guys at DC Comics, having sold his own creator owned stuff to DC years ago, and the stuff he quit Marvel to make independently is now part of the DCU. Rob Liefeld's reputation went down the drain as his extremely stylized influence got too popular and then backlash made it extremely unpopular, but he now gets regular work for DC. Todd McFarlane is too busy with toys and cards to still write Spawn on a regular basis, as far as I know, but Spawn does still come out every month, and McFarlane is still in charge, but he delegates to other writers and artists a lot. Savage Dragon still comes out every month too, but absolutely nobody reads it, even compared to other comic books. Its creator is a major SJW who just uses his comic that nobody reads to rant about Trump and insert his weird fetishes, then he gets mad about the fact that people think Dragon is a cop, and tries to tell people he was only a cop for like the first year of the series, and hasn't been for like 30 years, but nobody has read it in 30 years, so nobody knows that. But the thing that's probably most relevant to this conversation that I should make more clear is that a lot of these artists got huge egos and stopped working at the same rate as before. Rob Liefeld was extremely popular, but not only did his style become unpopular, but his professional reputation was hurt badly by a bad habit of working slowly and not meeting deadlines. He's been open about how he had to realize that and get used to actually having to work properly and not rely on his inflated reputation. And of course, as mentioned, none of these nerds who drew musclemen for a living really knew how to manage the business side of things terribly well.

>>34103 Manga isn't in that place 90s stuff sold over inflated and self propped rarity, Mangs is just selling well internationally because the other options don't have mass appeal or in the American alternative, are downright shit that subsidize on movie income that's dwindling everyday as capeshit movies die out and Disney gets fucked up the ass with bad decisions. People pretend like physical media is dying due to the internet completely ignoring that physical media has been stagnant for fucking years and nobody makes an effort to produce quality or induce change. If it truly was that dead, why does Manga keep selling millions? Not only that but nobody really makes an effort to sell stuff over the internet, to the point webcomics start selling more nowadays via ads and centralization.