Alex Fuentes aka Los Fokos is an illustrator and graphic designer from Los Angeles. Fuentes, self-taught, took inspiration from comic books, graffiti, art nouveau, science fiction, and the “metaphysical.” He carefully studied other artists, learning basics and applying them, to developed his own voice.
I was first introduced to Fuentes’s work through his story “One Little Miracle for a Hungry Swarm.” A short comic of his which was published in Flight Anthology Volume 3. That was way back in 2006. Since then Fuentes has been featured in copious publications and galleries. He has created artwork for many well-known global brands, including Nike, Levi’s, Microsoft, Sony, Disney and many more.
In 2012, Coldplay and Mark Osborne announced a comic series that would tie into the Coldplay album Mylo Xyloto. The comic series was published by Bongo Comics; a publisher more commonly associated with the property of Matt Groening. Fuentes created interior and cover artwork for the comic. Working alongside a great line-up, Adventure Time writer, Dylan Haggerty, Bone colourist, Steve Hamaker, and Blambot’s Nate Piekos.
David Jason Latour is an American comic book artist and writer, born in 1977, North Carolina. He obtained a Bachelor’s degree in visual arts at East Carolina University. Whilst studying there, he was the head illustrator for school newspaper and began a comic strip called 4 Seats Left (4SL).
Graduating in 1999, LaTour continued to write, draw, and self-publish his comic, 4SL. His first foray working for a publishers was in 2002, for Funk-O-Tron Comics, where he inked “B-side” stories in Battle Pope. Also around this time, LaTour built an ongoing relationship with Bongo Comics as a Colourist. Later, in 2005, LaTour and writer B. Clay Moore released a short-lived title, The Expatriate, through Image Comics.
LaTour has since worked on Image, Dark Horse, Marvel and DC properties including Noche Roja, Scalped, Daredevil, Wolverine, B.P.R.D., Winter Soldier and Django Unchained. In 2011, LaTour wrote a four-part creator-owned series, Loose Ends. Published by Gauge Comics, it was drawn by Chris Brunner, with colours by Rico Renzi.
Currently, LaTour credits include co-creating and writing Marvel’s Spider-Gwen, along with artist by Robbi Rodriguez. In addition to drawing the Image Comics series, Southern Bastards. Jason Aaron writes the hard-boiled tale of Earl Tubb, an angry old man with a very big stick. The Eisner Award-nominated ongoing series has so far been collected into two trade paperback volumes. This year, LaTour won the National Cartoonists Society’s Reuben Award for Best Comic Book Artist.
Scud was an off-the-wall tale of a disposable vending machine robot whose only objective was to dispose of a target and then self-destruct. After accidently realising the catch-22 of his purpose, rather than killing his target, Jeff, Scud instead incapacitates her. Scud then begins a career as a freelance mercenary to cover Jeff’s medical bills. Not content with unorthodox beginnings, Scud: TDA quickly descends into an Oddball adventure of biblical proportions.
In 1998, Scud: TDA went into an indefinite hiatus after issue #20, due to Schrab growing dissatisfied of the plot. The publisher, Fireman Press, established for the purpose of printing Scud, was dissolved after a falling out with Schrab over rights. Despite this, and to much of the fan’s satisfaction, Scud: TDA was finally revisited in 2008, with a 4-part conclusion published by Image Comics.
At the time of Scud’s heyday, in the mid to late 90s, I was eagerly picking up comics by smaller and independent publishers. Titles including CreeD (Hall of Heroes / Lightning Comics), The Tick (New England Comics Press) and The Sleeze Brothers (Epic Comics), to name a few. These smaller publishers were usually putting out much more unconventional stories, comletely unhindered by the Comics Code Authority and commercial burdens. Looking back, I will admit Scud’s artwork was a little untamed compared to the larger publishers, but the story and energy took you on a ride that was not matched in their titles. However, the artwork did not bother me at the time. The enthusiasm of Schrab and his jam-pack pages, though imperfect, told the story perfectly.
To the dismay of many, Rob Schrab has stated that he has no plans for further issues of Scud or any of its spin-off characters. It looks like, for now at least, he is firmly focused on his film and television commitments. If you happen to be looking for an alternative to the perfectly polished work on the shelves these days, I would strongly suggest picking up some issues of Scud: The Disposable Assassin.
Howard Pyle was born on March 5, 1853 in Wilmington, Delaware. He showed a keen interest in art and literature from a very young age. At school Pyle showed indifference to his studies. His mother, who was a painter, encouraged him to pursue art.
Rather than going to college, Pyle moved to Philadelphia, Pennsylvania and spent three years studying under Francis Van der Wielen at the Art Students’ League. After a visit to the island of Chincoteague off Virginia he submitted an illustrated article to Scribner’s Monthly. Roswell Smith, one of the owners of the magazine, suggested Pyle move to New York to pursue a career in illustration.
In 1876, Pyle heeding Smith’s advice, moved to New York. However, he struggled to get work at first due to his lack of professional experience. He also struggled to suitably translate his ideas for publication. His luck changed when he sold a double-page illustrated article to Harper’s Weekly. It appeared in the issue of March 9, 1878. He was paid the tidy sum of $75, which was five times what he had expected. From there he began illustrating and writing for many popular periodicals including Collier’s, Harper’s Monthly, Cosmopolitan, Scribner’s, and St. Nicholas magazines. He soon became widely known for his editorial illustrations.
By the time Pyle returned home to Wilmington in 1880, he was an established artist. A year later he married a singer, Anne Poole, on April 12, 1881. Around that time he began to work on a book, The Merry Adventures of Robin Hood. It was published in 1883. Pyle careful crafted almost every aspect of the book, from the writing, illustration, and design, down to the type of lettering used. This book, rightfully so, garnered international attention and praise from critics such as William Morris. Pyle put that same level of commitment and care into many more books, notably, Otto of the Silver Hand (1888), Men of Iron (1891), The Story of King Arthur and His Knights (1903), Howard Pyle’s Book Of Pirates (Compiled in 1921).
Between 1894 to 1900 Pyle joined the faculty of Drexel Institute of Art (now called Drexel University) to teach illustration. A natural tutor, Pyle discovered a drive to better teach students about illustration outside of the confines of formal art education. In 1900, Pyle left Drexel to established his own art school. It was attached to his personal art studio and became known as the Brandywine School. Having made a good living through his professional illustration Pyle never accepted money for his teaching. Many of his students were female, making up to fifty percent of his classes. Which was very uncommon in those days. Pyle excelled in many mediums, pen and ink, watercolors, oils, pencil and charcoal. He taught his students technique as well as encouraging them train both spiritually and artistically. To experience many environments so that they could authentically represent them in their work.
In 1910 Pyle along with his family went to Italy, with an intention to study the old masters. However, after just one year, he suffered a kidney infection and died in Florence at the age of 58. The Delaware Museum of Art was founded two years later in his honor. It houses over 100 paintings, drawings, and prints purchased from Pyle’s widow, Anne.
In a career lasting a little over thirty years, Pyle produced nearly 3,500 illustrations across 200 magazine articles and 19 books. His legacy is felt today with many contemporary illustrators still citing Pyle’s work as an important influence. His contribution in illustration, literature and education is still studied and praised today, truly earning Howard Pyle the title of the “Father of American Illustration.”
With tonight being All Hallows’ Eve, it seems only too appropriate to feature an illustrator who is becoming synonymous with modern horror comics, Tyler Crook.
The Oregonian actual started in video games, producing art for sports games MLB: The Show, Gameday, and Gamebreaker. After twelve years as a 3D modeler, Crook decided to go in a different direction. He partnering with writer Philip Gelatt, and in 2011 released the graphic novel Petrograd. Published by Oni Press, the historical thriller marked Crook’s first step into the comic industry, and almost immediately landed a regular spot as the artist for B.P.R.D. Hell on Earth. Thus beginning his foray into fear.
Starting strong, just one year later he picked up the 2012 Russ Manning Most Promising Newcomer Award. He has since worked on titles including Witchfinder, Badblood, and 6th Gun. He also contributed to the Dark Horse relaunch of pioneering horror magazine, Creepy. Keeping the momentum going, his latest work on Harrow County has been absolutely masterful.