Wow. Just... wow. What type of brush is this that you're using? I think it'd be cool to do the 'Una the Barbarian' stuff in this style!
As for the influx of Filipino artists, I understand they came out of a hiring blitz that DC comics undertook in the early 70's to broaden their talent pool. (Alex Nino and Alfredo Alcala were superstars in the Filipino 'Komiks' scene at the time, Alcala especially having his own magazine in the 60's called Alcala Komix Magazine...) A pretty smart move on Joe Orlando's part, really.
My personal fave is Alex Nino, who won me over with an adaptation he and Roy Thomas did of Theodore Stergeon's 'More Than Human' novel. While on the surface he appears to be a Frazetta clone, his fluid, stylized linework and generally more 'down-to-earth' subject matter really blew me away.
I discovered Alcala through the fill-in work he did on Alan Moore's Swamp Thing run. (DC used him when Totlebien, Veitch and Bissette were running behind on their work...)
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Wow. Just... wow. What type of brush is this that you're using? I think it'd be cool to do the 'Una the Barbarian' stuff in this style!
As for the influx of Filipino artists, I understand they came out of a hiring blitz that DC comics undertook in the early 70's to broaden their talent pool. (Alex Nino and Alfredo Alcala were superstars in the Filipino 'Komiks' scene at the time, Alcala especially having his own magazine in the 60's called Alcala Komix Magazine...) A pretty smart move on Joe Orlando's part, really.
My personal fave is Alex Nino, who won me over with an adaptation he and Roy Thomas did of Theodore Stergeon's 'More Than Human' novel. While on the surface he appears to be a Frazetta clone, his fluid, stylized linework and generally more 'down-to-earth' subject matter really blew me away.
I discovered Alcala through the fill-in work he did on Alan Moore's Swamp Thing run. (DC used him when Totlebien, Veitch and Bissette were running behind on their work...)
Well, look at me, rambling on so...
Cheers,
Tom
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