Andy Kubert

Practitioners 36: Adam Kubert

Adam Kubert is probably best-known for his work at Marvel Comics, in particular for a sporadic run on the solo Wolverine title with writer Larry Hama, a short run with writer Peter David on the Incredible Hulk and numerous stints on various X-Men titles. Adam Kubert is noted for his raw, dynamic art style, combined with fluid storytelling and noteworthy pacing. He’s also known for his experimentation in art style and storytelling, being one of the first mainstream (i.e. Marvel or DC employed) comic book artist to experiment with the pencils-straight-to-colour approach with Steve Bucellato on The Incredible Hulk.

On his X-Men run, Kubert was teamed up with European colorist Richard Isanove, who subsequently followed Adam to the Ultimate X-Men project, perfecting the pencils-to-color approach seen on most of Ultimate X-Men covers. Kubert has been criticized not meeting monthly deadlines on certain issues, which often required hiring fill-in artists, a penchant that Kubert himself has admitted to having. In a 1998 Wizard interview with Jim McClaughlin, Kubert apologized to fans for the slow output, explaining that readers and fans now expect more of illustrators, and that the onus rests on the artist to spend time creating more detailed and well-drafted illustrations. This he has always achieved but the maintenance of his beautifully crafted, characteristic and dynamic work justifies almost any timescale.

If anyone had any doubt: Pencils (right) to inks (left) on Hulk: 2099 (Marvel)

Although Kubert remains a talented penciller, the choice of inker for his work greatly influences the quality of the final printed page. While searching for artwork to use as examples I had to dismiss several (one in particular from DC) that didn’t showcase his work well enough. It has been argued by fans and critics alike through various mediums such as the internet and comic publications, that some of Kubert’s finest work has been embellished by the British inker Mark Farmer, especially his runs on Wolverine and The Incredible Hulk for Marvel Comics. While talented inkers, notably Danny Miki and John Dell, lent their talents to Kubert’s pencils during his runs on Ultimate X-Men and Ultimate Fantastic Four respectively, reaction to the final artwork was mixed due to the stylistic nature of the inkers which did not lend itself well to Kubert’s normally lush drawings, leading to increasing calls that Adam Kubert should once again be paired up with Mark Farmer, even more so now that Kubert has moved to DC Comics as of 2006.

When Marvel Comics launched the industry-changing Ultimate Universe series in 2001, Kubert was chosen as the penciller for the second launch book Ultimate X-Men. His storytelling and distinct style coupled with writer Mark Millar’s well crafted tales, made the book an instant success. Kubert was also chosen as the penciller to launch the ultimate universe version of Marvel’s first family, the Ultimate Fantastic Four, once again with writers Mark Millar and Brian Michael Bendis. Both series launched to commercial and critical acclaim, firmly establishing Kubert as an industry heavyweight and one of Marvel’s “go-to guys” for their major projects.

An accomplished inker, he received an Eisner Award for his inking duties on the Dark Horse-DC Comics Batman vs. Predator crossover in the early 1990s. In addition to this, Kubert is well renowned for his lettering ability, being the youngest professional comic book letterer at the age of only 11 years old. His very own handwriting was used as the template for the font used in the Ultimate X-Men comics, additionally Kubert’s early lettering work in Heavy Metal magazine was used by DC Comics as the basis for most of the fonts used in their comics and magazines.

Both Adam and his brother Andy signed exclusive contracts to work for DC Comics in 2005. Kubert illustrated Superman: Last Son, co-written by Geoff Johns and Richard Donner (director of the 1978 film Superman) – his first project for DC Comics. He was to begin contributing to the story arc with Action Comics #841 (July 2006). However, he was not involved until issue #844, published in October 2006.

Issue #845 was released on December 3, 2006 to similar acclaim and again DC had to go back to press for a second printing on the February 23, 2007. Issue #846, part 3 of the “Superman: Last Son” storyline, was originally scheduled to be released December 30, 2006 was released on February 28, 2007. The next part of the story was scheduled to be a 3D issue released in April 2007. Further delay forced DC Comics to bring in substitute creative teams and delay the fourth part of the “Last Son” storyline and 3D issue to #851, which was released in early July 2007.
According to a April 2007 post on the Internet forum Newsarama, Johns stated that the delay was made to accommodate Kubert’s schedule and that the final part of the “Last Son” storyline would be in Action Comics Annual #11.The annual went on sale on May 7, 2008.

Following his work on Superman he penciled the Final Crisis tie in, DC Universe: Last Will and Testament, written by Brad Meltzer.

Last Will and Testament by Brad Meltzer and Adam Kubert (DC)

His last work for his latest tenure at DC was the Batman and The Outsiders Special, released in February 2009. This issue, written by Peter Tomasi, highlighted Alfred Pennyworth’s efforts to recruit a new team of Outsiders in the wake of Batman’s apparent death. After the release of the book, Kubert said he was pleased with his work at DC and had done, “what set out to do,” which was to draw Superman.

May 2009 marked Adam Kubert’s return to Marvel, his first interior work being published as one of two stories in Wolverine #73 and 74. Following this he contributed several covers to New Mutants and Wolverine: Weapon X, and penciled the “Dark Reign” tie in, The List: Amazing Spider-Man.

While he has returned to penciling for Marvel, he will continue to work for DC, contributing the stories for the upcoming Wednesday Comics Sgt. Rock feature, drawn by his father. He has since stated that he is Marvel-exclusive, but they are allowing him to work on the Sgt. Rock feature as he had signed on to do it before his contract at DC was up.
Following these Kubert will be doing pencils on the upcoming Astonishing Spider-Man & Wolverine.

Practitioners 35: Andy Kubert

Andy Kubert was born on February 27, 1962, the third member (after father Joe and elder brother Adam) of one of the most famous comics artist families.

While Kubert started at DC Comics, drawing Adam Strange and the Batman Vs Predator crossover, he is probably best known for his work at Marvel Comics, specifically the company’s X-Men titles. With the move of Jim Lee to Image in the early nineties, Kubert (who had already been providing cover art – including Gambit’s introduction on Uncanny X-Men and a brief stint as that titles penciller) became penciller for what was the No.1 title in the world. Starting at Issue 19, Kubert caught the potential disaster of Lee’s departure and maintained the quality. Not dissimilar to Lee’s style, Kubert maintained the lightly lined, crosshatched, clear and concise style readers had enjoyed and actually clarified the panels more so than Lee himself.

Andy Kubert’s run on X-Men was a game changer as it maintained the quality of the X-Men line through the all important X-over event that captured the work of Peter David, Joe Quesada, Adam Kubert and Greg Capullo – all legends in the field. Andy Kubert was penciller on the flagship title of not just the X-line but Marvel itself and continued to push out exceptionally engaging compositions throughout the run. While his work was perhaps less accurate and realistic than his brothers (working on Wolverine at the time), Andy’s work had a subtlety and finesse that his brother didn’t. Relying on light line work and fine detail to augment the story, Kubert’s style was more illustrative and naturally drew the onlooker into the page. Kubert’s grasp of emotive splash pages and unique angles and physicality gave new life to characters such as Gambit and Beast, their natural gymnastics perhaps less impactful under another, less confident artist. His work continued to develop and found itself increasingly enhanced by new colouring techniques as the pencil and ink linework could be more easily brought out of the page; the background and foreground becoming more distinct; a minor detail that his early X-Men work suffered from at times. Far from being a Jim Lee imitator, Kubert was his own artist, developing the characters away from Lee’s original designs however slightly.

Offering it a lighter touch, the emotional impact of the events in the story found greater scope. The romance between Gambit and Rogue that encapsulated the intelligent writing that was taking place in X-Men developed naturally under Kubert’s artistry.

In 2003, Kubert worked on Neil Gaiman’s Marvel 1602, a beautifully rendered story dropping the most central Marvel characters into the centre of the Elizabethan England at the end of Monarch’s reign. Kubert’s linework matched perfectly the lighter ink work of the period. His representations of the characters timeless and at the same time recognisably the characters of modern day. In it enhanced pencil was used, with the image painted from Kubert’s pencil line work. The effect was staggering and made clear Kubert’s natural illustrative style. Although always precise and meticulous, Kubert’s focus is not always on the central character and he enjoys playing with compositions, not necessarily filling any panel with the characters but allowing the surroundings to impose on the action. This is undoubtedly the work of an assured artist. To be able to jump from X-Men to a project like 1602 successfully shows the range of work Kubert is capable of handling.

Both Andy and his brother signed exclusive contracts to work for DC comics in 2005. While his brother Adam has returned to Marvel comics following his 3 year deal with DC; Dan Didio has confirmed that Andy still has projects with DC. Fundamentally Bat related. Kubert provided covers for Blackest Night issues of Green Lantern and Blackest Night: Batman miniseries. Andy worked with his father Joe on the first two issues of DC Universe Legacies, a 10 issue miniseries chronicling the history of the DC Universe. On top of this Andy contributed to Batman 700, teaming up with Grant Morrison to tell more tales of Damian Wayne as Batman in the future of the over-sized anniversary issue. ‘Flashpoint’ – a Flash centric event is due to start this year (2011).

Kubert is an artist who alters the projects he touches. He has handled two of the most well known franchises for the two largest comic book companies in the world and left all concerned wanting more. The youngest Kubert, Andy had something to prove and it can certainly be argued that his work is considerably more popular and well received than his brother or father. Having also handled Millar’s Ultimate X-Men – a challenge as he effectively anchored the original designs in the mid to late 90s – it’s clear that Andy Kubert is a quietly famous and exceptional talent among equally talented artists. This cannot be ascribed to genes alone, as Kubert has handled the most well known projects in the world and made them more memorable.