The name Frazetta is nearly synonymous with comics illustration in the realms of fantasy fine art and masculine heroism. Recently, Vanguard Classics published a collection of Frank Frazetta's earliest sequential art beyond his more widely known oil painting renditions of sword and sorcery tales. Spanning 16 issues between 1949 and 1952, Frazetta's White Indian stories constitute the longest ongoing comic series in the artist's life. As a backup feature for the Durango Kid and other Western titles, White Indian focuses upon a non-Indian, Anglo colonist who abandons the life of a Philadelphia socialite for the vast American frontier to hunt down the murderer of his fiancée.

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A 2010 Eisner Award nominated artist for her work on Aaron Williams' North 40 and a 2011 Shuster Award winner for Outstanding Comic Book Cover Artist, the Canadian-born Fiona Staples' brief career as comic illustrator has been one rich in collaborative talent and diverse productivity. From small, independent works onto coloring John Wagner's Button Man for 2000AD in the span of less than two years, Staples has gained notoriety and acclaim for her varied work on The Secret History of The Authority: Hawksmoor and North 40 for Wildstorm, Mystery Society for IDW Publishing, and, most recently, her covers or interior work for properties such as Jonah Hex, Superman, Batman, and T.H.U.N.D.E.R. Agents. The buzz and attention continues, however, as Staples announced her role as illustrator on the forthcoming Saga title with Brian K. Vaughan from Image Comics in 2012. I had the privilege to chat briefly with Staples at San Diego Comic Con about her life and career in comics.

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Born in Connecticut and raised in Pittsburgh, the Chicago-based illustrator Chris Burnham has gained notoriety and increased attention in the past several months for his exclusive contract signed with DC Comics in April 2011 as well as his recent work on Grant Morrison's Batman Incorporated series. Yet, any investigation of his catalog will reveal an intriguing and amazingly diverse portfolio of non-spandex, independent work that is equally praiseworthy. In between drawing demos, panels, signing appearances, and general San Diego Comic-Con debauchery, I had the pleasure of talking with Chris about his career and background, and witnessing first-hand his drawing process on a sketch of Chief Man of Bats.

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