Middleton’s covers are attention grabbing to be sure, but also subtle in a way that is still unusual, with keen attention to nuanced shifts in color and value, and the use of fine, single-line weight outlines. Not that there isn’t a place for that, but Middleton and some of his contemporaries have been raising the bar. ![]() In pursuit of this, a lot of comics covers over the years have fallen into the least-common-denominator routine of being loud, brash and in-your-face. ![]() In those, flashy, often lurid images were used to grab your attention and get you to plop down your precious dime and pick up the magazine.Ĭomic book covers are basically in service of the same function: grab your attention and make you want to buy the publication. Middleton has also come full circle back to comic book publishing, becoming noted in particular for his striking cover art.Ĭomic book covers owe their lineage to the pulp magazine covers of the 1930s and 1940s. At the time, he was primarily working in comics since then, he has worked in film and television for clinents liks Universal, Lionsgate, Sony, Sony Pictures Animation and Warner Brothers and as a cover artist for book publishers such as Scholastic, Abrams, Bloomsbury, Tor, Viking and Disney. ![]() Joshua Middleton is an illustrator, comics artist, concept artist and art director who I first wrote about in 2006.
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