[darkmark]

These may be from the Sheena title, then, or the post-#75 Jumbos for the Sky Girls.  I've run them thru the GCD more than once and not come up with a source.   Thanks, though.

[narfstar]

After looking at the cover, then the book, I think the inside cover story The Corpse in the House and other story The Forest of Death are also by Giordano. To me the cover does not look like typical Giordano from later Charlton war and western but it is signed.

[JVJ]

If Ontology had scanned my index card (hint, hint, Ont!) for this book, narf,
you would have discovered that the artist on these two stories is Bob McCarty.

Peace, Jim (|:{>

[narfstar]

If Ontology had scanned my index card (hint, hint, Ont!) for this book, narf,
you would have discovered that the artist on these two stories is Bob McCarty.

Peace, Jim (|:{>

Soooo since IMHO the cover did not look like typical Dick that he was trying to look like McCarty since the cover came from his story?

[narfstar]

This looks to me like a Myron Fass cover. Maybe not his inks but looks like his style especially the cops. He is not listed as working for Cross. Could it be him?

[narfstar]

This looks to me like a Myron Fass cover. Maybe not his inks but looks like his style especially the cops. He is not listed as working for Cross. Could it be him?
http://www.auctiva.com/hostedimages/showimage.aspx?gid=373545&image=213357844&images=213357844&formats=0&format=0

[JVJ]

If Ontology had scanned my index card (hint, hint, Ont!) for this book, narf,
you would have discovered that the artist on these two stories is Bob McCarty.

Peace, Jim (|:{>

Soooo since IMHO the cover did not look like typical Dick that he was trying to look like McCarty since the cover came from his story?

That could very easily be the case, narf. The only additional comment I'd make is that early Giordano is not nearly as recognizable as he would later become. Like a lot of young artists (he would have been perhaps 20 when this cover was done), he was probably looking for a style. It is extremely likely that he would look to the interior art for "inspiration".

Peace, Jim (|:{>

[JVJ]

This looks to me like a Myron Fass cover. Maybe not his inks but looks like his style especially the cops. He is not listed as working for Cross. Could it be him?
http://www.auctiva.com/hostedimages/showimage.aspx?gid=373545&image=213357844&images=213357844&formats=0&format=0

This artist did most of the early covers for The Perfect Crime. While he superficially resembles Fass, he is a much better artist - Fass is/was derivative and inconsistent, so his style varies from job to job. This guy is both consistent AND more accomplished. I think if you look at the first dozen or so covers (he never did anything inside that I could find), you'll see what I mean.

Peace, Jim (|:{>

[narfstar]

GCD has this as Andru and Esposito I do not think so.
I am usually wrong but going with John Severin if JVJ and other concur

[JonTheScanner]

I agree -- not Andru and Esposito.

[JVJ]

GCD has this as Andru and Esposito I do not think so.
I am usually wrong but going with John Severin if JVJ and other concur

I'd have to see a larger and better scan to answer this question.

(|:{>

[rez]

[JVJ]

Sorry, guys,
This IS Andru and Esposito. Def. NOT JPS.

Peace, Jim (|:{>

[Brainster]

I am nowhere as knowledgeable as JVJ, but I too call that one A&E based on the eyes of the woman and the boy inside the cabin.  That's the easiest A&E "tell".

[narfstar]

I agree B that part looked it but the rest just did not to me. I am usually wrong except Eugene Hughes IDs

[JVJ]

I sincerely wish I were able to explain what I see when ID'ing an artist, narf,
but I've never been able to encapsulate the feelings in words. It all began about 40 years ago. I was operating a little comic store out of my friend Pat Price's garage in Palo Alto. We only opened after school (he was in High School, I in college), but one day we acquired a coverless copy of All-Star Western #99 with a reprint of the Frank Frazetta 3 page Botayale (sp?) story. I was jazzed to find a Frazetta story I hadn't seen and quickly showed it to Pat. He said something to the effect "It's really good. Is it Wally Wood?" At that moment, I simply knew that I saw things differently than my comic friends. And it has proved to be so. I don't know how or why, but somethings are simply more obvious to me for inexplicable reasons. I've learned to accept it, but understand the confusion and doubt it brings to others.

Wish I could be more descriptive of WHY I see who I see, but I simply DO.

Peace, Jim (|:{>

[narfstar]

I do have the few standouts I can recognize (most of the time), Frazetta, Wood, Ditko, Kinstler, Kubert, Gil Kane, Kirby and Eugene Hughes (especially war). Other than that there may be some certain things that will jump out like some Fass covers and cops and some Altman. Even those will have some instances that are discouraging. I created my art ID site to allow for anyone who want to concentrate on a particular artist and perhaps become familiar. Maybe we can have volunteers to become a "someone" specialist. Maybe if I stuck with studying Hughes I could become the "expert" on Hughes and not worry about the others. If everyone picked an artist we could probably get a lot accomplished. I could go through the scans of KEY publications and pick out all the Hughes someone else the Hollingsworth, etc. Most Superior and Ajax are unsigned but mostly the same artist. If we could get some of those identified definetively we might get on a roll for a lot.

[darkmark]

Israel Waldman usually had a short stable of artists for his cover art, at least afaik.  Most of the action-oriented ones seemed to be by Andru / Esposito, John Severin, Joe Simon, and Sol Brodsky.  Vinnie Colletta did a number of the Romance ones, and somebody better than I will have to tell who did the funny ones.

[Brainster]

I do have the few standouts I can recognize (most of the time), Frazetta, Wood, Ditko, Kinstler, Kubert, Gil Kane, Kirby and Eugene Hughes (especially war). Other than that there may be some certain things that will jump out like some Fass covers and cops and some Altman. Even those will have some instances that are discouraging. I created my art ID site to allow for anyone who want to concentrate on a particular artist and perhaps become familiar. Maybe we can have volunteers to become a "someone" specialist. Maybe if I stuck with studying Hughes I could become the "expert" on Hughes and not worry about the others. If everyone picked an artist we could probably get a lot accomplished. I could go through the scans of KEY publications and pick out all the Hughes someone else the Hollingsworth, etc. Most Superior and Ajax are unsigned but mostly the same artist. If we could get some of those identified definetively we might get on a roll for a lot.

I do think that if you study one particular artist carefully you will begin to pick up certain "tells".  When I was a teenager there were no indexes of which Batman stories were by Dick Sprang or not (indeed I didn't even know his name), so I had to be able to flip through an old comic before buying it to make sure it had enough of the "good" Batman artist to make it worth my while, and even there I screwed up a few times with the Golden Age as I mistook some Robinson stories for Sprang just because I liked the art.  Of course they are nothing like each other and today it's much easier for me to see that.

Sprang's easiest tells are the panels where the backdrop is enormous and so characters in the distance are simply rendered as tiny blobs of ink in a generally human shape.  Sprang does this in almost every story.  He also is a master at perspective and oblique aerial camera angles.  When running his characters have a weird, bent-over appearance. It looks more like they're bicycling than running; it's about the only negative tell that I can think of for Sprang.  Well, that and the weird faces of the villains he drew.

Of course Sprang's easy because he mostly did one character, but I think the principle is the same.  Every artist has something that he does uniquely, like Andru & Esposito and those weird eyes, John Forte's facial expressions, Gene Colan's use of shading, Aparo's dots, Kirby's layouts, Kane's flaring nostrils, etc.

[darkmark]

JVJ:  For the heck of it, I'll note that the Shock Gibson story of which I posted a splash page (about the Nazi Lorelei) is either from SPEED #25 or 29.  Any idea which?

[JVJ]

JVJ:  For the heck of it, I'll note that the Shock Gibson story of which I posted a splash page (about the Nazi Lorelei) is either from SPEED #25 or 29.  Any idea which?

You'll have to forgive me, DM, but I've totally forgotten where to get a look at this splash. Got a link? And actually, now that I check my list, I don't have either issue, so I'm really unlikely to be able to help. Sorry.

Peace, Jim (|:{>

[darkmark]

Perfectly all right.  I'm sure we'll figure out where it comes from eventually.

[narfstar]

Maybe I can finally get one right. Especially the blonde boy in the fourth panel looks like he is right out of George's GE Adventure Series

http://tinyurl.com/nszwot

[JVJ]

Maybe I can finally get one right. Especially the blonde boy in the fourth panel looks like he is right out of George's GE Adventure Series

http://tinyurl.com/nszwot

What book/story are we talking about here, narf?
I can't make the link work as I'm not part of the group, I guess. But maybe I have the book and can check for you.

Peace, Jim(?:{>

[Yoc]

Yep, we get -
"You cannot view the group's content or participate in the group because you are not currently a member."