The Influence of Marcos Martin

[Mister Mets]

It seems that it's not a coincidence that after Marcos Martin's work on Amazing Spider-Man, we've seen other Ditkoesque artists on the series, with Javier Pulido, Paolo Rivera (when not painting) and Learning to Crawl's Ramon Perez all working in a similar style.

I'm unaware of any other instance in the last twenty years of an artist getting the attention Martin did, and getting followed so quickly by pencillers with similar styles.

Obviously Martin wasn't the first Ditko inspired artist to work on Spider-Man comics, and it's not that unusual to give titles to artists influenced by a character's creator. Although for some reason Mike Allred's Ultimate Marvel Team-Up two-parter didn't have the impact of Unscheduled Stop.

[jgprime]

Marcos Martín is one of the best (if not the best) talents working in the comic books industry. A lot of his work involves his use of space and how he arranges the space to the panels of a comic book. The story progresses around the world portrayed, not through panels. Since his art is heavily influenced by 60's pop art, more specifically 60's comic books, his characters usually show a lot of emotion through delicate to very defined expressions. Throw in Peter Parker/Spider-Man, a character whose main characteristics involve swinging through New York City and who develops through relationships with his supporting cast, and who was co-created by one of the greatest comic book artists of all time, and you got the perfect material for an artist like Marcos Martin to work in. Amazing Spider-Man 655 is by far, at least art-wise, the most beautiful Spider-Man comic book issue ever.

[oldschool]

It seems that it's not a coincidence that after Marcos Martin's work on Amazing Spider-Man, we've seen other Ditkoesque artists on the series, with Javier Pulido, Paolo Rivera (when not painting) and Learning to Crawl's Ramon Perez all working in a similar style.

I'm unaware of any other instance in the last twenty years of an artist getting the attention Martin did, and getting followed so quickly by pencillers with similar styles.

Obviously Martin wasn't the first Ditko inspired artist to work on Spider-Man comics, and it's not that unusual to give titles to artists influenced by a character's creator. Although for some reason Mike Allred's Ultimate Marvel Team-Up two-parter didn't have the impact of Unscheduled Stop.

Great point; last time we saw this level of influence was Todd McFarlane, closer to 25 years ago. And, as you said, it's not the first instance of a Ditko-esque style being brought back: the first time I can recall was Ron Frenz in the mid-1980's. IIRC, he even brought back the underarm webbing. Frenz was, IMO, a vastly underrated artist for his work on ASM; his work on Spider-Girl, while solid, was just not as impressive.

[Dog]

But the vanishing points, Mets, the vanishing points!

[oldschool]

PS---I think Marcos is the single best artist on the Spidey books in a loooonnnngggggg time. Decades. I get that he works slowly and so seems to be restricted to just covers or short back-up stories these days but I don't get why he was able to do a 3-parter back in the BND era but can't do even a fill-in or 2-parter on ASM now? Maybe a one-shot outside of ASM continuity?

[Mister Mets]

PS---I think Marcos is the single best artist on the Spidey books in a loooonnnngggggg time. Decades. I get that he works slowly and so seems to be restricted to just covers or short back-up stories these days but I don't get why he was able to do a 3-parter back in the BND era but can't do even a fill-in or 2-parter on ASM now? Maybe a one-shot outside of ASM continuity?

I'm reasonably sure Slott would be eager to work with him. He described a Screwball one-shot he wants to do for Martin, where the entire comic would be a continuing cityscape.

It seems to be Martin's choice. Right now he's doing a creator-owned project with BKV.

[Minerboh]

I just can't understand why Marvel is not giving Marcos Martin more oppotunities.
From the BND era, he was the best artist and he had a great feedback from the readers.
In my humble opinion, he should have penned AMS#700 to some extent and SSM!

[Ceebiro]

I just can't understand why Marvel is not giving Marcos Martin more oppotunities.
From the BND era, he was the best artist and he had a great feedback from the readers.
In my humble opinion, he should have penned AMS#700 to some extent and SSM!

I think Martin just doesn't want to take those opportunities right now. It's the same reason why Rivera is only doing covers for the big two. Hugely talented artist, but he wants a to build a future for himself. That they don't have styles that scream cutting edge puts them at a disadvantage for major projects (big events and relaunches). I'd say if anything they're undervalued by the publishers and readers.

[Metamorphosis]

I just can't understand why Marvel is not giving Marcos Martin more oppotunities.
From the BND era, he was the best artist and he had a great feedback from the readers.
In my humble opinion, he should have penned AMS#700 to some extent and SSM!

While I would've loved to have seen Martin do the art on #700, I think he's more into creator-owned work right now, and rightly so. He's doing a pretty awesome series with Brian K Vaughn called the Private Eye. I highly recommend it.

[Mister Mets]

I just can't understand why Marvel is not giving Marcos Martin more oppotunities.
From the BND era, he was the best artist and he had a great feedback from the readers.
In my humble opinion, he should have penned AMS#700 to some extent and SSM!

Marcos Martin is a fairly slow artist. I seem to recall an interview where he said that he draws about ten pages a month.

So ASM 700 would have taken him half an year.

I'm sure Marvel offered him plenty of opportunities. But his current project has been a created owned mini-series with BKV.

[exile001]

Marcos Martin's influence is to bring beauty and wonder into the world of comics. We are all richer for his magnificent work.

[Daniel22]

I didn't like Martin, or that "family" of illustrators (and I'd throw Francavilla in there, as well, though he is admittedly darker and moodier) at first. I found them simplistic and flat, almost boring. They seemed unfinished, as if they were rough layouts that the artist would use as a model to draw his "real" pages. But I kept reading... and was exposed to more of their work... and man, have I changed my tune.

Now I see grace, economy of line, brilliant use of negative space, top notch storytelling, elegance... It is deceptively simple. It is, in fact, as complex as the most cross-hatched, vein-busting, spittle flying "intricate" artwork out there.

Somehow, describing a comic book artist's work as "cartoony" has become an insult. Which is kinda weird, considering that they are drawing... cartoons.

[Mister Mets]

I'm reasonably sure Slott would be eager to work with him. He described a Screwball one-shot he wants to do for Martin, where the entire comic would be a continuing cityscape.

It seems to be Martin's choice. Right now he's doing a creator-owned project with BKV.

Bump because Marcos Martin's drawing Slott's last issue with 801, which will I suspect help cement his reputation as the best Spider-Man artist of the last decade (technically his first issue was just over ten years ago.)

[twenty2]

Great point; last time we saw this level of influence was Todd McFarlane, closer to 25 years ago. And, as you said, it's not the first instance of a Ditko-esque style being brought back: the first time I can recall was Ron Frenz in the mid-1980's. IIRC, he even brought back the underarm webbing. Frenz was, IMO, a vastly underrated artist for his work on ASM; his work on Spider-Girl, while solid, was just not as impressive.

Marcos Martin probably become my favourite Spider-man artist, overranking John Romita Jr.

Good point about about Ron Frenz. The art on the Defalco's run is very inspired by Dikto and I just love it. I agree that his work on Spider-Girl is not as impressive, but I feel that is more related to the matter of taste. He's still the same master storyteller and narrator, but the style he used is not my favourite.

[Nick Miller]

It’s a shame he has chosen to work in obscurity, with Panel Syndicate.

If he were to be back with Marvel, I would pay $10 an issue of whatever he draws.