brianmichaelbendis

brianmichaelbendis:

 Paolo Rivera gallery

Paolo Rivera is one of my ABSOLUTE favorites. He can do it all! Amazing painting skills, great visual storytelling, the perfect mix of realism and cartooning, great ideas for illustrations and approaching compositional problems… dude is amazing. His first comics were all painted, and that is quite a feat, but what I find even more interesting are the issues he’s done where he’s just penciled and inked. I haven’t seen many comic artists who are as well-rounded as Paolo Rivera. He also keeps a fucking fantastic blog that gives plenty of little glimpses into his thought processes and techniques. This man would be towards the top of my list of comic book idols even without his beautiful cover illustrations, but things like these just push him even further up on my list. 

kellysue

comicartistevolution:

Bill Sienkiewicz 1990: Big Numbers #1

*sigh*

Big Numbers was to be an ambitious 12-part graphic novel by two of the biggest and revolutionary comic book masters at the top of their games.

It left the world of full-color spectacular fantasy superheroes behind and focused instead on grayscale renderings of a set of everyday lives thrown into chaos when an American-financed super-mall is constructed in their struggling English town.

Originally titled the The Mandelbrot Set, mathematic chaos theory factored heavily into the themes Moore was exploring. The story is expertly multi-faceted, as are the diverse, richly-layered characters that populate the town.

For a story that is built on a progressive development to be unfinished is tragic. That the project itself was thrown into chaos is tragically poetic.

Although Sienkiewicz’s art is largely denied the benefit of color, it is some of the most incredible of his career. He blends his signature expressionism with a level of realism never before seen in his work, and the juxtaposition is all the more powerful because of it. Befitting the mathematical theme of the story, the perfectly square pages are uniformly set on a repeating 4 × 4 grid with perfectly circular word balloons.

It was brilliant. It was revolutionary. And it was not to last…