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  1.  (509.1)
    In his interview with The Spurge, Tim Hodler said:

    Will Elder gets plenty of lip service, but I wish more modern-day cartoonists followed his example in terms or how he actually worked...There's so much in every panel, and he utilized the comics medium to its fullest extent, telling stories in a way that could never be told in any other form.

    I went back and read some of the few Will Elder comics I have and I noticed that he had all kinds of things going on in the background, but it never overpowered the foreground storytelling. I was wondering what cartoonists working today put that kind of life into their panels?
  2.  (509.2)
    Juan Jose Ryp?
  3.  (509.3)
    My addled brain suggested Juan's name when I first had the inclination to post this. Was a mistake to leave him out of the original post, sorry, Mr. Ryp.
  4.  (509.4)
    Juan Jose Ryp?

    Oh, fucking definitely. Bryan Hitch does too (the eight-page spread on The Ultimates v2), Darick Robertson on Transmetropolitan (Warren, question: on the panels of Transmet, how much you described and how much was Darick's creation? I dunno, on rough percentage?). Those are the ones that come to mind right now.
    • CommentTimeJan 15th 2008
    no offense to Ryp, but how can you mention him and not Darrow? Geof's the king of loading a panel with information, but keeping the story going.

  5.  (509.6)
    Isn't the opposite true as well? That writers need to learn not to cover the thing in words?

    Why should artists bother in that case. I wonder how much is systematic of the other?
  6.  (509.7)
    Darrow's obvious.

    One of the hardest jobs of my life was working Marvel-style with George Perez. He produces incredibly detailed pages, and doesn't leave obvious dead space for dialogue. So it was my job to, basically, cover up these perfect pencilled panels that had beautifully rendered detail in every corner...
      CommentAuthorRik Sunn
    • CommentTimeJan 15th 2008
    Jurgens is doing remarkably well with "Booster Gold," actually. The norm these days in the mainstream books seems to be to do whatever the hell you want as long as the figures look alright, but both Perez (Brave & The Bold) and Jurgens (Booster Gold) are at the top of their game and still finding time to put real effort into backgrounds. I'd have loved to see Jurgens' art on the upcoming Tangent Project before deadlines made them change the plan.
    • CommentTimeJan 15th 2008
    the artist I'm working with right now (noam) does tend to load up on details while still retaining clean simple principle characters (we want to cross ligne claire with darrowesque/hitch-ian richness.)


    of course here detailing is in environment and texture whereas in Perez it's more like a background hum of life happening through the panels.
    • CommentAuthoredyhdrawde
    • CommentTimeJan 15th 2008
    Juan Jose Ryp reminds me of Tim Vigil
  7.  (509.11)
    I surprised nobody mentioned Raulo Caceres's work on Crecy. That was some of the most stunningly beautiful and complex linework I've seen in comics in a long time.
    • CommentTimeJan 23rd 2008
    yeah, Ryp seriously blindsided me last year.
    • CommentAuthorInexperto
    • CommentTimeJan 24th 2008
    @NeverWanderer - my copy of Crécy arrived in the post three hours ago, and I agree: the artwork is amazing.

    Funny thing is, Ellis' writing is so involving and Caceres' work so dynamic that I found myself being happily carried along by the story. It's only when I went back through it for a closer look that I really started to take in the care and precision that was taken with the textures, background details and expressions.
    • CommentAuthorLiam
    • CommentTimeJan 29th 2008
    A couple more artists worth mentioning are Kev O'Neill and Henry flint both their runs on Nemesis in 2000ad were amazingly detailed. Also Flints black and white ABC Warriors run and his and Robbie Morrison's Shakara are well worth a look
    • CommentTimeJan 29th 2008
    Just curious but how do you see Vigil and Ryp being similar? Juan Jose works in a contour line style with very little black fill while Vigil works in a high contrast, brushy style with lots of feathered rendering. Is it just in the amount of detail? Gore?
    • CommentAuthoredyhdrawde
    • CommentTimeJan 29th 2008
    In the ammount of detail and Gore, plus I can see some similarities in the faces. Or it could just be fond memories of Faust.
  8.  (509.17)
    Kristian Donaldson who did Supermarket with Brian Wood.
    Also, since I mentioned Wood that brings Riccardo Burchielli to mind...
  9.  (509.18)
    Seth Fisher and JH Williams. Also the Gene Ha/Zander Cannon team on Alan Moore's Top 10. You could finish the reading an issue then go back and have fun looking for easter eggs in the backgrounds.
    • CommentTimeFeb 2nd 2008
    I'm seconding this question, because I was always completely fascinated by and sometimes paused by the amount of detail in Transmets pages:

    <blockquote>Warren, question: on the panels of Transmet, how much you described and how much was Darick's creation? </blockquote>

    I've wondered about it myself. If there's an obvious answer to this (like an interview), would someone link me to it?

    - Z