Drawing the story: Mastering textures
Textures, such as crinkled cloth, hair and rock, have always presented a challenge to the novice artist. Artists of previous generations have come up with effective shorthand techniques to portray tricky textures. So it does no harm to look back at how the elders of the business solved their texture problems, working as they did with black ink on white board, with - often as not - some one at the printers deciding the colours. And if we're going to look at how past artists achieved the effects they were after, then let's look at the best. And they don't come any better than EC and Buck Rogers master Frank Frazetta and his contemporary, Alex Toth
Captain Comet (1950)

This character, Captain Comet, was published by obscure 1950s house Toby Press. In this unpublished character study, inked by another master Al Williamson, look at the extraordinary attention to detail in the way the folds in the characters' clothing is rendered and note how well it indicates what lies beneath ...
  Eerie 3 (1965)

Alex Toth is a master of economy. Not a line is wasted in the superb page from the mid-Sixties horror title. But look how well the stretched fabric of the character's shirt is depicted with just a few lines in the fourth panel.
  Creepy 1 (1965)

Back with Frazetta, and this page depicts almost every kind of texture - rocks, foliage, cloth, fur - and does it brilliantly.
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