His interiors feel half finished…since it seems like so much of his “actual” illustration comes out in the painting-coloring of his pencils…I wish he could have at least laid down gray-tones, then had a colorist render over the top of them (I don’t like the colorist they picked for him either, it really dumbs down his style).

But lookit me all full of complaints, I still think his pencils look great, and will be picking up the issue. I think theres stuff that both Marvel and Marko will realize from this trial, and do better on his second sequential attempt.

Didn’t this guy say previously that he held American comics in low regard, but was doing Daredevil covers because it paid well?

ejlup,

What is this google you speak of? Do they have an entry for “rhetorical question”? : )

Sign me,
Just being catty

ejulp,

thanks for having a sense of humor!

Um, and I liked Mr. Maleev’s Daredevil covers better than Mr. Djurdjevic’s - Mr. Maleev just seemed like a more suitable artist. And I especially enjoyed the several later issues where he varied the type on the cover.

re: Pj

“Marko Djurdjevic is an example of what’s wrong with the mainstream comic industry today. Not his fault — and he is an amazing illustrator — but this emphasis on “cover artists,’ on style over substance — ugh. A comic book artist should be an excellent storyteller to start, not a fine artist trying his or her hand at “sequential art” after the fact. Your interior artists should be good enough to do their own covers. Period.”

No man, I have to disagree…its like the difference between graphic designers and fine artists. There are artists in the world whose talent AND training lend themselves well to book jacket design, poster work, murals, or billboards, etc.

I think the storyteller aspect of comic artists, is a special talent that many artists do not have. But that does not mean that someone who specializes in the more Graphic Design-End of illustration (like Tara Mcpherson), isn’t better equipped to produce a more appealing cover design than say, JR JR, or Mark Bagley, to name two. JR JR are great story tellers, but someone trained to make cover design has a different level of thought going into the concept. Look at how Marko put together last months DD cover with the film strip, its not a sequential work, but tells a story, markets the comic in a much different way, than say, Tom Grummet might.

What I think you mean, or that i argee with is, that making awesome covers, does not qualify you for sequential work.

but

Your statement fulls like a gut reaction to the pin-up artists of 90s, and current comics who have amazing covers, with horrible pencils underneath (covers should never carry the comic, Countdown has tried to do that, for example).

And I guarantee Marko’s being humble, and isn’t just discovering this as he goes along…you know how artists can be, he’s pry busted his a** in the past at practicing sequence work , but doesn’t want to be like “yeah I’m doing two issues and I will knock your sh*t off.”

I mean he did a bang up job on his couple of pages in the Mighty Avengers intro with Doom last month, and I think he’s contributed small pieces prior to that (DD 100, and seem to remember something else). This has been advertised as his first non-painted sequential work for Marvel.

But I do agree, a comic book artist needs to be an amazing storyteller, but that does not mean that they have to be an equally great cover artist…a cover is more a commercial design, the interiors are more for entertainment…but covers, that really SHOULD be created with more of a graphic design aesthetic, anyways. The cover of a comic is really a different medium than its interiors.