The Fantabulous 50s Weekend, Part 3: How to Draw Comics the Marvel Way

Amazing Spider-Man #252 cover!

I was 11 when Amazing Spider-Man #252 debuted his black costume and blew my mind. Art by Ron Frenz and Klaus Janson.

Previously on Midlife Crisis Crossover:

In addition to our annual road trips, my wife Anne and I have a twice-yearly tradition of spending our respective birthdays together traveling to some new place or attraction as a short-term road trip — partly as an excuse to spend time together on those most wondrous days, partly to explore areas we’ve never experienced before. We’re the Goldens. It’s who we are and what we do.

I’ve just now lived to see 50, and after weeks of research and indecision, we planned an overnight journey to the next state over, to the capital city of Columbus, Ohio, which had cool stuff that this now-fiftysomething geek wanted to see. Columbus, then, would be the setting for our first outing together as quintagenarians…

Now we’re to my favorite part of the Marvel exhibit at Columbus’ Center of Science and Industry. The statues were fun and the MCU film props and costumes were quite a sight to behold up close, but original comics art is a rarity for me to see in person. Growing up, buying original art was something rich comics investors did for fun and showiness, nothing a poor kid like me could ever afford. In adulthood I’ve climbed up the ladder high enough that I now own a few modest pages, nothing fancy.

The Marvel exhibit features over six dozen pages drawn by the original artists across 80+ years of the medium’s history — not just reproductions, the real thing, largely loaned by private collectors identified below each frame for provenance and gratitude. Some were autographed by the artists; in a few of the older pieces, you can see where artists (and Stan “The Man” Lee) autographed them years after the fact. The following gallery, less than half the total works on display, is a selection of those that stuck out to me for various reasons and didn’t succumb to blurry photography. One of them even has color. (Painted, at that!) A few have behind-the-scenes Easter eggs, such as our lead photo — if you click on the cover to ASM #252 you can read Klaus Janson’s notes in the margins addressed to George Roussos, the colorist who handled all Marvel covers at the time. For me, the little details add to the thrill of comics art appreciation.

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