Great Covers – TEEN TITANS #16

The great Nick Cardy using a non-traditional layout on this 1968 TEEN TITANS cover. Editorial Director Carmine Infantino began to experiment with cover layouts during this period, so the layout of this piece may have come from him. In either case, it’s eye-catching, and beautifully rendered by the always-expert Cardy.

Great Covers – ZOT! #33

Another evocative ZOT! cover by Scott McCloud. The composition and the facial expression communicate a feeling of alienation. Good use to texture and pattern as well, and subdued color.

Great Covers – FANTASTIC FOUR #110

Here’s something of a rarity: this John Buscema FANTASTIC FOUR cover was printed with its magenta and cyan plates reverse, resulting in a wildly strange color scheme. Since all of the colors in the image were composed of percentages of magenta, cyan, yellow and black, the result of this change is a bit of a … Continue reading Great Covers – FANTASTIC FOUR #110 →

Great Covers – AVENGERS #22

A striking George Perez AVENGERS cover that I edited. The thing that makes it the most striking, however, is the limited color palate of red, which was the idea of fellow editor Ruben Diaz. It was a great thought, focusing the eye on the triumphant Ultron and setting a mood of intensity. I also liked … Continue reading Great Covers – AVENGERS #22 →

Olshevsky Marvel Indexes

The source of a great deal of my vintage Marvel knowledge comes from the George Olshevsky Marvel Comics Indexes which were produced in the late 1970s and early 1980s. These pre-dated the later Official Marvel Handbooks, and the Marvel-produced indexes, and were really the only source of comprehensive information about a given title in those … Continue reading Olshevsky Marvel Indexes →

Great Covers – PUNCH COMICS #12

What a lurid cover–what kid could resist taking a look through this one? This PUNCH COMICS cover is credited to Paul Gattuso, about whom I know very little.

Great Covers – FALLING IN LOVE #121

The Grand Comics Database credits this FALLING IN LOVE cover to Tony DeZuniga, but they’re not certain of the attribution. Regardless, it’s very much of its era, with good use of design and color.