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Jose Zulueta
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Joined: 20 March 2022
Location: United States
Posts: 162
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| Posted: 12 September 2023 at 4:02pm | IP Logged | 1
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Didn’t even know they had a Get Smart! comic. Pretty cool. Ditko captured the likenesses of the actors reasonably well; I knew it was Get Smart! before the image even finished loading.
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Dave Kopperman
Byrne Robotics Member
Joined: 27 December 2004
Location: United States
Posts: 3354
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| Posted: 16 October 2023 at 4:35pm | IP Logged | 2
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This turned up in my feed and I was pretty stunned by it - not sure if I ever would have thought to pair Bob McLeod with John Buscema, as McLeod leans a bit cartoony and has a very definite line, while Buscema has seriously classical touches and an almost sfumato softness in his tonal work - but goddamn, this is a nice one.
Indulging in a little mind reading, I'd say it looks like McLeod was having a lot of fun inking this - the care he put into the naturalistic hatching on the arch (assuming this was him and not an assistant) really goes above and beyond, as he'd no doubt know how much of that would get lost in coloring, reduction, and reproduction. Extremely well-balanced page all-around.
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Dave Kopperman
Byrne Robotics Member
Joined: 27 December 2004
Location: United States
Posts: 3354
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| Posted: 16 October 2023 at 4:50pm | IP Logged | 3
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Don't know how much I'd trust the source but Wikipedia claims this was Buscema doing layouts rather than full pencils. Which... I don't know. That drawing is pure Buscema in composition, tonal placement, anatomical detail, and environment. While I can see some of McLeod's style coming in (mostly on the blonde's face and hair, on the left), it feels very much like final pencils were the source. Anyone have any insight to how Buscema worked at that point?
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Peter Martin
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Joined: 17 March 2008
Location: Canada
Posts: 15955
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| Posted: 16 October 2023 at 9:31pm | IP Logged | 4
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It was from layouts LINK
Edited to add the specific quote:
As an inker who was your favorite penciler to work with, and as a penciler who gave you the best inks?
Bob: I loved inking John Buscema’s extremely loose breakdowns, because he gave me so little to work with, and yet so much, because nothing needed “fixing”. I could take more pride in it because so much of the resulting art was mine.
Edited by Peter Martin on 16 October 2023 at 9:37pm
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Peter Martin
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Joined: 17 March 2008
Location: Canada
Posts: 15955
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| Posted: 16 October 2023 at 9:33pm | IP Logged | 5
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Peter Martin
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Joined: 17 March 2008
Location: Canada
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| Posted: 16 October 2023 at 9:35pm | IP Logged | 6
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Dave Kopperman
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Joined: 27 December 2004
Location: United States
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| Posted: 17 October 2023 at 12:14pm | IP Logged | 7
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Thanks, Peter! Definitely less visual info than I'd suspected in the layouts - the light sources are 100% McLeod, which is the thing that's really driving the black placement on the page. More power to him. Interesting that his enjoyment was readable just by looking at the page.
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Peter Martin
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Location: Canada
Posts: 15955
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| Posted: 17 October 2023 at 3:38pm | IP Logged | 8
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The Buscema layouts are really interesting to look at. They are sparse, but at the same time, contain a lot. The market in the backgrounds of the first panel is well realised even though in layout form.
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Rick Senger
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Joined: 16 April 2004
Location: United States
Posts: 9690
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| Posted: 17 October 2023 at 3:48pm | IP Logged | 9
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Bought that Conan new off the racks in the early 80s. IIRC McLeod did 7 or 8 consecutive Conans with Buscema and I was disappointed when the pairing ceased, though Gil Kane taking over for a while soothed that pain.
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Dave Kopperman
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Location: United States
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| Posted: 17 October 2023 at 4:17pm | IP Logged | 10
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Looking closer on the pencil-to-inks comparison, McLeod seems to have introduced a few perspective glitches that aren't there in the original layouts - most notably the (presumably) parallel beams in the ceiling in the third panel.
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Eric Jansen
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Joined: 27 October 2013
Location: United States
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| Posted: 20 October 2023 at 6:41pm | IP Logged | 11
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Before Don Perlin took over for a long run beginning with issue #26, GHOST RIDER was a revolving door of different artists. Issues #22-25 were penciled by Don Heck, with a new one-shot pairing inker each issue.
GHOST RIDER #22 penciled by Don Heck and inked by Keith Pollard. GHOST RIDER #23 penciled by Don Heck and inked by Don Newton.  GHOST RIDER #24 penciled by Don Heck and inked by Dan Green. GHOST RIDER #25 penciled by Don Heck and inked by Tony DeZuniga.
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Peter Hicks
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Joined: 30 April 2004
Location: Canada
Posts: 1971
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| Posted: 21 October 2023 at 1:20am | IP Logged | 12
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Ah, Don Heck. For an artist whose mid 60s Avengers work was at the same par as most other Marvel artists, by the 70s he was making me regret buying comics without checking who the artist was first.
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