Statement of fact: Nobody, but nobody, can draw debris like George Perez:
Panels from Uncanny X-Men Annual #3 (1979), written by Chris Claremont, pencilled by George Perez, inked by Terry Austin, colored by Glynis Wein, lettered by Tom Orzechowski
Of course, George Perez can draw other things besides kick-ass debris:
i hear if you could cut and paste his debris together you actually get a rob leifield drawing
ReplyDeleteThat Perez/Austin combination is especially fine, probably the best non-Perez inked Perez until Romeo Tanghal hit his stride a few years later. Did Austin ink any other Perez stories?
ReplyDeleteWhat Bob said. Austin ADDED a lot of detail besides what George put in. My husband notes "this was Terry in his detail-adding phase!"
ReplyDeleteYeah, Austin added a lot to Byrne's art, too, especially in the backgrounds.
ReplyDeleteYou said it, Bully. George Perez sure could draw stalactites!
ReplyDeleteBountiful, heaving stalactites.
ReplyDeletePerez was coming into his own in the late 70s and early 80s. His work on Fantastic Four (right before the X-Men samples shown) suffered from some heavy-handed inks from Joe Sinnott, unfortunately. Nothing against Joltin' Joe, but Perez was trying to work with a finer line than the norm for his time...
ReplyDeleteWow, synchronicity. Check out this:
ReplyDeletehttp://geoffklock.blogspot.com/search/label/Jason%20Powell
And scroll down to see what I published on May 13, one day after you made this post.
(Or if you don't feel like clicking, the relevant passage:
"... the artwork in X-Men Annual #3 is jaw-dropping. It’s penciled by George Perez and inked by Terry Austin, arguably the two most detail-minded artists at Marvel in 1979 (or possibly ever). The result is that virtually every panel has dizzying amounts of detailed linework. Every piece of furniture in the X-Men’s mansion (including each book on the bookshelf), the leaf of every plant in Storm’s attic, every individual piece of rubble after an explosion is painstakingly rendered. In a more deliberately paced story, such busy artwork might be somewhat distracting. (Byrne, with his more thoughtful and expansive sense of layout and design, is a much better artistic foil for the render-happy Austin.) But here, the delirious detail of Perez/Austin is the best thing about the comic book. The story might be banal, but it’s incredibly fun just to look at each individual panel and marvel at the sheer number of lines it contains. Honestly, how long did it take them to draw this thing?"