Redartz: Greetings, art lovers! Today we shall look at some panels of Bronze age goodness as presented in the pages of everyone's favorite Marvel family, the Fantastic Four. There were numerous prominent artists featured on the title during the 70's and 80's, each with stylistic elements all their own. But on this book, a famous inker gave the artwork a consistency in appearance unlike most other books published at the time. Yes, we're talking about Joltin' Joe Sinnott.
Joe inked most of the panels you'll see today, so it sort of becomes an exercise in spotting the fundamental differences in pencilling style showing through Joe's fantastic (of course) inks.
And there are, of course, several examples we'll see of FF art as inked by others as well. So with no further delay, let's see some of what made the FF "The World's Greatest Comic Magazine". In chronological order, more or less...
Jack Kirby pencils, Joe Sinnott inks (Fantastic Four 91)
Where else would we start, but with the King? His reign on the FF ended early in the Bronze age, but here are a couple panels from a late issue with his pencils. Everything just Looks Right. And very few can render the Torch like he does. Also, note the tight influence of Joe Sinnott's inks. He sets a standard early on that he will maintain for a long while.
After a brief stint by John Romita Sr., Big John Buscema took over the pencilling chores on the FF. And they were in very capable hands, indeed. Buscema gave the figures a classic, noble look while plainly exhibiting the power of Kirby. Just check out the Thing's (literally) jarring knockout of Annhilus below. Oh, and this full pager of Gabriel is spectacular. Normally I try to avoid full pagers on these panel posts, but as you'll see, some here were irresistable.
Also, the overall look of the book remains consistent, thanks to Sinnott's flawless inks. We see a pattern emerging here.
(Fantastic Four 141)
John Buscema pencils and inks (Fantastic Four 175)
Here we have a rare example of John inking his own pencils. Different, but very nice.
Rich Buckler pencils, Joe Sinnott inks
Rich Buckler came on late in 1973, and brought a very Kirby-esque look to the book. That said, I always felt Buckler had a fine dramatic sense and could design a killer composition, He was pencilling the book when I started reading it, so he's a personal favorite.
From FF 157
This page from issue 157 is a beaut. Incredible use of the borders; incidentally making it impossible to select a single panel from the page. Buckler's Mephisto is a vision of malevolence.
From FF 150
One of my favorite FF stories. From the pageantry of the wedding to the action against Ultron , Buckler handles it flawlessly (with, of course, the continuing eloquence of Sinnott's inking).
From FF 148
Another fine issue, spectacular battle scenes choreographed effectively . Sandman sure looks potent here. And I always felt Buckler drew a perfect Ben Grimm.
George Perez pencils, Pablo Marcos inks (Fantastic Four Annual 14)
I recall being disappointed upon learning that Rich Buckler was leaving the Fantastic Four. But that disappointment was short-lived. The incomparable George Perez came on and gave the book his famous detail.
In these first panels we see the solid inks of Pablo Marcos. He did some very nice work over Perez on the Avengers, and it works again well here. Love that monochrome panel of Ben and Johnny. And that panel with the possessed FF, with their blanked eyes- creepy. Sort of like Little Orphan Annie...
George Perez pencils, Joe Sinnott inks
From FF 176
Here we get the great Perez teamed with the FF's perennial inker Sinnott. And a wonderful team it is. Perez puts so much into a panel, it's incomprehensible. The Impossible Man as a pair of dangling booties is positively inspired. And, you have to enjoy the fun with the Marvel offices...
From FF 187
Another great issue; Klaw never looked better. And that twin panel of Blue-Eyed Benjy is magnificent. Blue-eyed, indeed.
From FF 175
One more set of examples with the Perez/Sinnott combo. Again, Perez can handle a crowd like nobody else. And that panel of the Brute is monstrous.
Keith Pollard pencils, Joe Sinnott inks
Keith Pollard joined the annals of FF-dom and quickly made a name for himself. He had a great knack for facial expressions and composition.His pleading Doom, shown below, is wonderful. As is that fine panel of a pensive Ben recalling his past encounter with Desmond Pitt, aka Darkoth.
And, as we've seen, Joe Sinnott keeps the book looking like the FF we all know and love.
First two from FF 199, second two from FF 193
Bill Sienkewicz pencils, Joe Sinnott inks (Fantastic Four 230)
Bill Sienkewicz seemed a bit of a departure for the look of the Fantastic Four. It was moodier, perhaps more 'linear'. I was ambivalent at the time, but find it very attractive now. This black hole page was another case where selecting an individual panel was too difficult. Beautifully dramatic, almost abstract. And Sinnott's inks keep it comfortable.
Sienkewicz also had a talent for expressions. That panel with Sue and Ben is excellent; their faces speak volumes.
John Byrne pencils, Joe Sinnott inks (Fantastic Four 218)
Finally, we come to the incomparable John Byrne. Initially we have a panel inked by Joe, from Byrne's first run on the title. It looks good, but personally I found Sinnott's inks somewhat less satisfying over Byrne.
John Byrne, pencils and inks
Here we have Byrne pencils and inks. Aside from the inks of Terry Austin, nobody can ink Byrne as nicely as Byrne himself. This panel of Frankie Raye in space is, shall we say, stellar. Just look at the rings of Saturn. Then there is another full-page treat with Galactus and a bunch of others. It doesn't get much better than that.
From FF 244
From FF 241
Yes, here's another full-pager. I couldn't resist. The lighting effect here is magnificent.
From FF 236
And here's a rare, tender panel that bears presentation. Truly, Byrne could do it all and do it all well.
John Byrne pencils, Al Gordon inks (Fantastic Four 284)
Later in Byrne's run, he enjoyed the inks of Al Gordon. Less appealing than Byrne's own, but still very attractive. Gordon has nice, tight inks and a fine sense of detail. Love the background here.
And with that, we've surveyed the artistic Bronze Age history of Marvel's First Family. Have we shown any of your favorite pages or stories? What do you think of the various pencillers, and was Joe Sinnott successful in keeping the book consistent? Who were your picks for the most pleasing pencils? Your comments are eagerly awaited.
