Due to the thrice-monthly shipping schedule of Amazing Spider-Man during this time he couldn’t rank up the uninterrupted run like other artists on this countdown, but between his ten full issues and his numerous back-up stories in the title he achieved a rare synergy with a character that made it like magic every time an issue of his hit. Partnering with Dan Slott, Martin channeled Steve Ditko in terms of page layouts but an even older, Milt Caniff-like style for rending his figures – and it was just what the title needed. The Spanish artist had done little work for Marvel leading up to his debut on Amazing Spider-Man #559, but when he landed there it was like magic. But as the dust settled, one of the things that won fans over was the art of Marcos Martin.

When Marvel turned the page on Peter Parker and launched into Amazing Spider-Man and “Brand New Day,” people were understandably reluctant about what to expect. For three years, Ramos lived and breathed Spider-Man, working non-stop alongside writer Dan Slott who remains on the series.Īlthough some might denounce Ramos’ work for it’s more dynamic and cartoonish style, it fits the personality and the antics of the Spider-Man concept and gives the character a kinetic energy that is sorely needed. After 13 issues on that title, Ramos took a break from wall-crawling and did stints on various X-Men and Avengers titles, but was once again drafted into Spidey duty joining the “Brand New Day” team with Amazing Spider-Man #648. After that, he and Jenkins were given their own series in 2003 with Spectacular Spider-Man and giving Ramos his first chance at Venom, whom he’d become very well-known for. After 13 covers, was pulled in on a full-time basis when he and Paul Jenkins brought back the Goblin in the “A Death In The Family” arc. Ramos would eventually take a break from the Big Two and superheroes all together, as he was head-hunted by Wildstorm to be a part of their “Cliffhanger” line and went on to create his own books like Crimson and Out There.īut Ramos couldn’t keep away from Spider-Man, and his return to the Big Two in 2001 became official when he was asked to become the cover artist for the series Peter Parker: Spider-Man. Ramos’ first shot on Spider-Man was a unique one, as he was tapped to illustrate a cover for Spider-Man 2099. After debuting for DC/Milestone’s Hardware in 1993, Ramos did an impressive run on Impulse and then Marvel’s X-Nation 2099. Whether you enjoyed SpideyOck or not, you have to give respect for the massive contributions Ramos has made to the wall-crawler’s history.īorn in Mexico in 1970, Ramos studied under the father-son duo of Oscar González Guerrero and González Loyo and rose up the ranks in comic books pretty quick. Mexican artist Humberto Ramos is part of the crew that redefined Spider-Man and killed Peter Parker in Superior Spider-Man (and eventually brought him back).

Spider man drawing