Greg Goldstein's Comic Art Gallery

Tag: Topps

Sam Kieth — Hero To Zero

Original Art and The Artists

Zero Girl #3, April 2001

Welcome back to a month long celebration of the “Independents” — Independent creators and projects that continue to impact the comic book medium.

I have some great Sam Kieth anecdotes from projects where we’ve crossed professional paths.

Topps Maxx trading cards. Check.

Cadillacs and Dinosaurs Animated comics adaptions. Check.

Maxx Deluxe collections. Check.

Batman / Maxx. Double check.

Zero Girl? Even though we collected both series at IDW, I have no memory of how this one came to pass. Probably a short phone call between Editor Scott Dunbier and Sam, and that was that.

I do have however, this cool page, the issue’s cover scene, in my collection. Zero Girl is admittedly not one of Sam’s better known efforts, but its surrealism definitely appeals to me, and the art, especially in the first series is classic Kieth.

As for those stories I do have? I’ll have to get back to you.

Sam did three great (and little-seen) covers for the 1994 Topps adaptation of the Cadillacs and Dinosaurs animated series. He sold the original art for them in the last year or two; I guess he forgot he promised one of them to me. Ha!

Joe Jusko — Stan Strikes!

Original Art and The Artists

Trading Card and Litho, October 2013

One year ago today, Stan Lee headed off into the greater cosmos. I like to think he’s bugging the Watchers, endlessly and enthusiastically reviewing his many adventures on Planet Earth with them. Like this:

“Hey fellas, remember that time I saved everyone form the Martian invasion? Remember? Fellas?”

Fortunately for us, in case we forget, Joe Jusko captures the moment perfectly with this premium trading card and litho for Stan’s own Los Angeles comic book convention in 2013. 

Stan Lee and Topps Mars Attacks. It’s perfect reflection of my misspent youth, and well beyond. I knew the moment I saw the painting I had to have it. Hell, Joe probably knew I would need to have it when he took the assignment. (We’ve known each other a long time.)

We miss ya Stan. I hope Jack and Steve are taking you on a wild ride through the multiverse — just like the good old days. 

Mike Mayhew — Inside Job

Original Art and The Artists

Green Arrow #7, February 2011

Green Arrow is back on the air (CW) for its eighth and final season, so before the emerald archer fades into the TV sunset, we’re focusing a few posts on Green Arrow originals.

Here’s a great panel page example by the phenomenal Mike Mayhew. 

Mike’s earliest regular work was at Topps, excelling at dynamic storytelling on Zorro (yes, Zorro) in the traditional pen and ink medium. After the comic book implosion of the mid- 90’s left many talented artists out of a job, Mike tried his hand at painting for a book cover assignment. The result? Mike quickly transformed from talented story artist to a premier cover painter.

These days, Mike’ schedule only occasionally allows for fully illustrated interior stories. Here he demonstrates his tonal skills on Green Arrow — creating a lush, haunting page. (GA is dealing with the apparent ghost of his dead mother, hence the haunting.)

When Mike introduces me to a third party, he often says I was his “first boss.” Technically, that would have been Jim Salicrup, who edited Topps comics during its brief heyday, from 1992-97. But I was the Director of Publishing… so why quibble? Mike’s a great talent and a friend. I’ll take it.

Charlie Adlard — The Truth is…

Original Art and The Artists
X-Files #12, Topps Comics, January 1996

Sometimes, you like a page… just because.

Because of the theme? Because of the composition? Because of the way the artist uses design to contrast light and darkness? Because you have a special fondness for the comic book series? All of that? Something completely different?

I think this X-files page appeals to me for all of the reasons above and more. Obviously not what collectors typically think of when they think of a cool splash page. (Among its many quirks, you can’t see the characters’ faces.) But for me, something about this just works.

I’ve always loved science fiction and unexplained phenomena and the X-Files was a great combination of the two   And I consider myself fortunate to have published the franchise twice: Once at Topps Comics during the show’s first-run heyday, and then 20 years later at IDW Publishing, where I remain convinced that our comics drove the renewed interest in the franchise.

The truth about Charlie Adlard? Charlie helped make the Walking Dead into one of the most important comics of the last 20 years. And Walking Dead, in turn, helped Charlie achieve the star status he deserves as a brilliant artist and storyteller. And I couldn’t be more pleased (and not at all surprised) about his success.