Michael Zulli
Mirage Publishing
Okay, where do I start? I guess I just start at… wow… just… wow… no way around it, really. You look at Zulli’s artwork, and your breath is just taken away. I apologize for the size of these images, but I didn’t want to lose the detail that’s in them. Zulli’s artwork conveys a myriad of feelings and impressions, to the point of almost overwhelming the reader. It’s very, very intense, and no, I’m not on drugs.
His turtles and Splinter are very, very animalistic. They convey a sense of animal much more than a sense of humanity. Even the turtles’ skin is textured like that of a real turtle, with individual scales drawn in in the close-up scenes. The “beak” is very clearly defined. Unlike the turtles of other artists, Zulli’s turtles have shells that are segmented, thus allowing for maximum movement, and an excellent adaptation to their situation. I’ve mentioned before that versitality of face and expression is often attained at the sacrifice of the “turtle-ness” of the characters, but Zulli is one of the few who avoids this.
His layout and paneling is very affective and directly reflects the action that’s going on: fight scenes are done with a more chaotic layout with unorthodox shapes, while more serene scenes are done with the traditional, rectangle-upon-rectangle look.
Zulli’s work is truly the embodiment of comic book illustration as a fine art and even a fine science. I salute you, Zulli! May the rest of us aspire to follow in your greatness! *throws self on ground and bows*
Back to Engineering
Mirage Publishing
Okay, where do I start? I guess I just start at… wow… just… wow… no way around it, really. You look at Zulli’s artwork, and your breath is just taken away. I apologize for the size of these images, but I didn’t want to lose the detail that’s in them. Zulli’s artwork conveys a myriad of feelings and impressions, to the point of almost overwhelming the reader. It’s very, very intense, and no, I’m not on drugs.
His turtles and Splinter are very, very animalistic. They convey a sense of animal much more than a sense of humanity. Even the turtles’ skin is textured like that of a real turtle, with individual scales drawn in in the close-up scenes. The “beak” is very clearly defined. Unlike the turtles of other artists, Zulli’s turtles have shells that are segmented, thus allowing for maximum movement, and an excellent adaptation to their situation. I’ve mentioned before that versitality of face and expression is often attained at the sacrifice of the “turtle-ness” of the characters, but Zulli is one of the few who avoids this.
His layout and paneling is very affective and directly reflects the action that’s going on: fight scenes are done with a more chaotic layout with unorthodox shapes, while more serene scenes are done with the traditional, rectangle-upon-rectangle look.
Zulli’s work is truly the embodiment of comic book illustration as a fine art and even a fine science. I salute you, Zulli! May the rest of us aspire to follow in your greatness! *throws self on ground and bows*
Back to Engineering