David FinchMajor

Andy KubertMajor

Comic Artist, Letterer, Penciller

Andy Kubert stages superhero stories like film, with wide establishing shots, clean sightlines and a steady build to the hit. He drew X-Men through the nineties, then Wolverine: Origin, Marvel 1602, Batman and Son and Flashpoint.

Next: L.A. Comic Con, Oct 30 to Nov 1, 2026

Stuart ImmonenMajor

Comic Artist, Penciller

Immonen has changed style repeatedly across his career and been excellent in all of them. Whether on Nextwave's comedy, Ultimate Spider-Man's warmth or Star Wars' scale, the storytelling stays effortlessly clear.

Bill SienkiewiczLegend

Comic Artist, Illustrator, Painter

Sienkiewicz treats a comics page as a surface to attack, with paint, collage, photography, scratched ink and outright abstraction. The New Mutants and Elektra: Assassin showed mainstream readers a superhero book could look like a gallery piece, and that permission runs through decades of cartooning since.

Olivier CoipelMajor

Comic Artist, Cover Artist, Penciller

Coipel gets an enormous amount out of faces and posture, then opens up for spectacle when a story needs it. House of M, Thor and Siege all lean on that mix of close acting and large-scale action.

Greg CapulloMajor

Comic Artist, Cover Artist, Penciller

Capullo builds bodies like a sculptor and faces that carry real dread. A long run on Spawn led into his Batman work with Scott Snyder, from Court of Owls through Dark Nights: Metal, which set how Gotham looked for a decade.

Darick RobertsonMajor

Comic Artist, Cover Artist, Penciller

Robertson draws cities that feel filthy and lived-in, and faces that look like people you would actually meet. Transmetropolitan and The Boys both depend on that grounding to make their satire land.