http://www.comicsreporter.com/index.php/happy_86th_birthday_john_romita_sr/
http://www.libraryofamericancomics.c.../article/2953/
http://www.jimkeefe.com/archives/6619
Last edited by 616MarvelYear is LeapYear; 01-24-2016 at 03:38 PM.
I kinda doubt anyone has forgotten Romita.
Sincerely,
Thomas Mets
http://comicsalliance.com/tribute-sal-buscema/ http://goodcomics.comicbookresources...-artists-10-7/
Peter Parker, The Spectacular Spider-man v2 #27, 1979 - Blinded in the previous issue, Spider-man copes with his disability with Daredevil's help.
Frank Miller draws the man without fear for the first time, preceding his run on DD's own title.
Marvel Team-Up #v1 99, 1980 - Fighting across two different planes, Spider-man and Machine Man are attacked by Baron Brimstone and the Sandman.
Bisecting the cover into positive and negative images is an arresting technique, but perhaps makes it busier than necessary. That aside, Miller's drawing shows a keen sense of design.
Marvel Team-Up v1 #106, 1981 - Interestingly, the Scorpion is merely suggested on this cover by his trademark metal appendage. High above the city, Spider-Man and Captain America are in freefall.
Frank Miller employs multitudes of lit windows to form a downward perspective. However, the overall layout and figure drawings suggest a mostly hurried effort.
Peter Parker, The Spectacular Spider-man v2 #51, 1981 - One of Frank Miller's more dynamic layouts, Spider-man battles Mysterio against an illusory background of outer space.
A large planet conveniently frames the masthead and arcs down toward the title character. Note how the villain's cape radiates out toward the reader, adding some limited perspective.
Last edited by 616MarvelYear is LeapYear; 01-27-2016 at 03:42 PM.
Amazing Spider-man v1 #218, 1981 - Roughened up and angry, an imprisoned Peter Parker glares at us from the inside.
Frank Miller spaces the bars a little too widely, but enough to convey the idea. Parker's alter ego is prominent but faded to suggest an internal anguish. There is a beauty to Miller's simplicity, which also intensifies the scene.
Spectacular Spider-man v2 #54, 1981 - Traditional Japanese warriors slice through empty air as Spider-man evades them in mid-tumble.
Frank Miller uses their samurai swords to divide the composition and add tension. It is among his most dynamic layouts of the period, made more so by Walt Simonson's outstanding inking.
Peter Parker, The Spectacular Spider-man v2 #55, 1981 - Spider-man reels from the explosive power of Nitro.
Rather than using the more common radiating lines to simulate an explosion, Frank Miller opts to show the transformation from villain to detonation. While not entirely convincing, the impressionistic background makes this one of Miller's most artfully drawn covers.
Peter Parker, The Spectacular Spider-man v2 #56, 1981 - Jack O' Lantern and Spider-man seem as if they were drawn separately then placed together. Regardless, Frank Miller does an admirable effort on this cover.
The black background with its chalk-like web nicely contrasts against the more tightly rendered figures.
Amazing Spider-man v1 #218, 1981 - Frank Miller never seems to tire from drawing block-shaped creatures, as on this eye-catching cover.
The creature's rough textures nicely contrast against the more tightly rendered buildings below. The bright colors seems a tad optimistic for the scene, but it is appealing nonetheless.
Peter Parker, The Spectacular Spider-man v2 #60, 1981 - The web-slinger appears to float above the city, illuminated by the glare of a thousand city lights.
Frank Miller draws Manhattan rooftops better than anyone, with special attention paid to water towers, skylights and architectural motifs. Despite the top-heavy promotional banner, this cover remains one of Miller's finest from the 1980s.