March 2012
16 posts
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Question TWENTY Alex, any closing words?
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Question NINETEEN Your use of black areas are a great power and strength … when is this important in a story? How is this decision reached?
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Question EIGHTEEN What artists do you feel are carrying the artform forward today?
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Question SEVENTEEN When you began in the comics feild you had a group of peers. Talk breifly about them (Infantino, Sekowski, Kubert, etc…)?
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Question SIXTEEN As an artist, it seems to me that you have always attempted to simplify your drawing to support your storytelling. Can this lead to an unwanted sophistication?
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Question FIFTEEN Do you consider yourself a teacher?
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Question FOURTEEN I believe everyone has been entertained by your animation work for Hanna Barbera. Would you give s a brief history of your jobs and programs at Hanna Barbera?
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Question THIRTEEN
What was the story behind ‘Hot Wheels’ number 5, “The Case of the Curious Classic”? What caused you to expand the original script?
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Question TWELVE
Alex, you did a lot of beautiful work for Warren Publications, both early and late. Any favorites? And what was the attraction to work for Warren?
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Question ELEVEN
Define design working with storytelling.
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Question TEN You have been given the title “Artist’s Artist.” How do you define storytelling?
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Question NINE Did you find any problems with Dell as far as scripts or actors accepting your stories?
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Question EIGHT
Your work for Dell Comics was fabulous storytelling with a static 6-panel breakdown. Did you find this confining?
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Question SEVEN “Jon Fury” was done for a military paper - tell us about this strip, the background and maybe the future?
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Question SIX One thing that is surprising about your career is the number of stories you did for Standard Comics in the 1950’s. Why the interest in poorly scripted love stories?
