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Kamandi, the Last Boy on Earth, Issue 4, Page 7

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ken bastard's picture
Posted by: ken bastard | February 12, 2012

Mr. Royer

Always thought it was a cool effect (and deceptively simple) of having key panels with the heavier panel border. I still steal it.

Krackles's picture
Posted by: Krackles | February 12, 2012

Borderlines

Another directly opposite trick is to get rid of the panel borders altogether.
Simple and effective.

patrick ford's picture
Posted by: patrick ford | February 12, 2012

The Great Roy Crane

Roy Crane often used both heavy outlines, and no outlines on the same page.
http://media.oregonlive.com/books_impact/photo/easy7jpeg-f0b8d9246e52b39...

Rand HOPPE's picture
Posted by: Rand HOPPE | February 15, 2012

Royer - ink artist

As both letterer and ink artist, Mike had an unprecedented aesthetic influence on Kirby's published work. The Forever People story "I'll Find You In Yesterday!" is a prime example. I love his decisions regarding the panel borders/negative space.

ken bastard's picture
Posted by: ken bastard | February 15, 2012

Mr. Royer

I totally agree. "I'll Find You In Yesterday" was a seminal influence on me when it came out so long ago. I knew it was Kirby but the look Mike gave it totally divorced it from Jacks previous era.

Krackles's picture
Posted by: Krackles | February 15, 2012

No limits for Kirby

Here's probably one of the most incredible fight sequences drawn by Kirby.
It reads like a choreography and the last panel, with Cap circling his "prey", is breathtaking!

http://2.bp.blogspot.com/-SQWOxyGeba0/TmtDHaWRXSI/AAAAAAAAAXU/xytDrgKsTr...

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