In the latest book on comic book legends to be revealed, learn about the history of the art team Carlos Pacheco/Jesus Merino
Welcome to Comic Book Legends Revealed! This is the eight hundred and seventy-first installment where we examine three myths about comic books and determine whether they are true or false. As usual, there will be three jobs, one for each of the three legends. This time, all the legends will be related to the late great Carlos Pacheco. Click here for the first legend in this release.
Carlos Pacheco and Jesus Merino split as a technical team because Pacheco signed an exclusive contract with Marvel
Comic book history is filled with iconic pairs of pencils and ballpoint pens, and in a lot of examples of the greatest pencil/ink pairs, a lot of these pairs have something in common. Perhaps the most famous pencil/ink pair of all time is Jack Kirby and Joe Cenote. Sinnott exited the school of inking that is now often referred to in the “Joe Sinnott” style, but by the time Sinnott became the Kirby’s Inker, he was a leading ink illustrator of comics using the respective style of George Klein and Murphy Anderson. Klein was Kurt Swann’s guard in Superman titles and Anderson was primarily Carmine Infantino and Jill Kane Enker during the 1960s and then took over from Klein as Swan’s chief inkman in the late 1960s throughout the 1970s.
What all these ink tools had in common was that they were all great pencils in their own right. It was a mixture of premium pencils that inked with other premium pencils that gave the final artist literally the best of both worlds, giving the eyes of great artists a chance to create a piece of art better (and more delicate) than any artist could ever produce. (Note that I don’t mean to belittle the excellent inking done by artists who use other styles, of course, noting only that this is the benefit of Sinnott’s style.)
This was the case of the great technical team Carlos Pacheco / Jesus Merino.
How did Jesus Merino come to be Carlos Pacheco’s ink?
The Spanish comic book scene in the ’90s was great, because it was full of very passionate creators, but the market wasn’t big enough to sustain much of the indie scene. People tried, of course, and when Marvel UK got a big boost in the early ’90s, a number of artists from other parts of Europe targeted those comics. That’s how Carlos Pacheco got his big break. Meanwhile, Jesus Merino was doing an excellent job in the Spanish comic book business in the mid-’90s…
Meanwhile, when Pacheco found success in the American comic book industry after his stint at Marvel UK, he wasn’t happy with Marvel’s ink fingers after losing his legendary American Marvel inker lover Cam Smith. on me X-Menthe book that made Pacheco a star in the United States, was paired with a powerful artist, Art Thibert, but Pacheco did not find their style appropriate.
Thus, when Marvel wanted him to sign a new contract in 1998, Pacheco had some demands. First, he wanted to work with writer Kurt Bosik on a project, and second, he wanted to choose a new ink. The interesting thing, though, is that Pacheco initially tried to persuade Marvel to give Merino the job of the pencils, as Marvel opened up to other Spanish artists contemporary of Pacheco, such as the great Salvador Laroca. But he couldn’t get Merino’s pencil party, so he instead asked him to be his inkpot, and the brilliant art team started working together at Marvel on Avengers ForeverAnd their patterns match beautifully…
Then they worked together The Fantastic FourAnd when Pacheco moved to the capital, Merino was with him arrows with Busiek, JLA/JSA: Virtue and Vice With Jeff Jones and David S. Gower, Superman / Batman with Jeff Loeb, green lantern With Jones and then Superman with Busiek.
The Superman Running, though, has had an interesting change in Merino’s career.
How did Carlos Pacheco and Jesus Merino join the separation as a technical team?
After initially continuing the pairing as a pencil/denier, in the end, Pacheco and Merino began to share pencil duties in the book, and Merino began making covers himself on some issues…
Finally, with Superman #673 Merino inked and painted on a case himself…
Well, that was pretty much it, you know? Pacheco tried to get Merino into American comics as a pencil, and it didn’t work, but now, after about a decade of being a regular expert on a number of major projects, people were now seeing Merino pens themselves and were saying, “Hey, that guy is a pencil.” Good”, and soon Merino got a job as a regular pencil in American Justice Association With writers Bill Willingham and Lila Sturgess, well, the rest was history, Merino is now a pencil case…
In an interview with Abel Ippolito, Pacheco put things very well, saying: “Digo esto porque mucha gente ha Interpretado que Merino no ha sido dibujante antes porque me entintaba a mí, pero period justo al revés, Merino me entintaba porque dibujante en ser , el entintado age la consecuencia de que, por un motivo inexplicable, no encontrara su hueco dentro del mercado americano. se haya empeñado en crear leyendas urbanas acerca del tema,” which roughly translates to Merino acts only as an ink because, for some reason inexplicable, His pencils weren’t on the American market. Once that happened, that was the end point of the creative team, and they broke up, but remained good friends, and there was no other secret reason for the split (like the reason I read Pacheco left for a Marvel Exclusive deal, leaving Merino behind. It happened, but he’ left him) Behind him” because Merino had his own comic book series he was planning! Eventually, Merino got his own exclusive deal with DC, and obviously, being exclusive to the various comic book companies prevented them from working with each other, but that wouldn’t happen on Anyway, because Merino has been pretty busy now writing comics.
So the “breakup” of this famous artistic team happened for the best reasons.
Thanks to Apple Ippolito and the late great Pacheco for this information.
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Part three soon!
Check back soon for Part 3 of this release’s Legends!
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