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'''Rob Liefeld''' (born ], ]) is an ] ] writer, illustrator and publisher, who is one of the ]’s most popular and controversial figures. Although briefly but undeniably a superstar artist in the ], the backlash against his bombastic art style and widely derided writing, his repeated failures to maintain publishing schedules, his contentious ouster from the ] partnership and allegations of ] have eclipsed his early successes. Liefeld and his partisans now flaunt his image as "The Most Hated Man in Comics," a particularly ironic form of self-aggrandizing in light of the frequent accusations of plagiarism: The label is lifted from ] self-promotional materials. Rob Liefeld (born October 3, 1968) is an American comic book writer, illustrator and publisher, who is one of the Modern Age’s most popular and controversial figures. Although a major superstar artist in the 1990s, he became the subject and focus of great controversy due to his departure from Image comics and his participation in Marvel comics Heroes Reborn re-launch in the mid-90's. Heroes Reborn gave unprecendented control over characters previously managed by Marvel comics, Captain America, Fantastic Four, Iron Man, Avengers to Liefeld and collaborator, Jim Lee. He was born in Anahiem, California.


In the early 1990s, Liefeld became a superstar due to his work on Marvel Comics’ The New Mutants, and later X-Force. In 1992 he led the exodus from Marvel comics, teaming with Jim Lee and Todd McFarlane to create Image comics. Liefeld named the company, designed the logo and launched their flagship title, Youngblood. They rode the peak of their popularity to greater fame and fortune than anyone before them, resulting in millions of adoring fans as well as a growing number of detractors. The Image comic books were owned by their creators rather than their publishers. Liefeld’s high-profile line of Extreme comics from Image were among the most popular, along with Jim Lee's Wildstorm line.
He was born in ], ].


Fans originally praised Liefeld’s artwork as energetic and action-packed, but his later work was regularly criticized by vocal detractors for excessive flamboyance, limited versatility, arbitrary use of cross-hatching, and anatomy ranging from the improbable to the impossible. Despite Liefeld's polarizing presence in the industry his success continued as he launched a new line of comics, Maximum Press, featuring new best selling titles such as Avengelyne and Warchild as well as an all new critically acclaimed continuation of the long dormant BATTLESTAR GALACTICA saga.
In the early 1990s, Liefeld became a superstar due to his work on Marvel Comics’ '']'', and later ''].'' In ] he and other popular Marvel illustrators left the company to found ], which rode the peak of a wave of comic books owned by their creators rather than their publishers. Liefeld’s high-profile line of comics failed to gain much critical approval.


Contents
Fans originally praised Liefeld’s artwork as energetic and action-packed, but his later work was regularly criticized for excessive flamboyance, limited versatility, arbitrary use of cross-hatching, and ] ranging from the improbable to the impossible. Liefeld's original creations, like many Image properties, have been panned as two-dimensional and generic. Many of his characters bear specific similarities to previously existing ones, leading some to deem Liefeld a plagiarist. He was also known to turn in his art pages on '']'' out of order in order to disguise the fact that he was changing the story without notifying the writer or editor, but he is not the only artist known to have done this, and writer Louise Simonson, with whom he was paired on '']'', has even good-naturedly asserted that the stories were improved by him in some cases.
1 Biography
2 Artistic Criticism
⚫ 3 Trivia
⚫ 4 Reference
⚫ 5 External Links


]), by Liefeld.]]
Most observers agree that wildly and unrealistically exaggerated artwork and decreased focus on character development were widespread trends in mainstream comic books in the early 1990s. For this reason, some consider Liefeld merely the most vilified representative of an industry-wide fad. But few deny that Liefeld's lines of comics were marked at that time by rather simplistic writing, that his characters and conceptions were often painfully derivative, and that his undependable and unpredictable publishing schedules quickly alienated both retailers and consumers.


==Biography== Biography
⚫ In ], at the age of 20, Liefeld completed his first significant published work, ] for a ] featuring the superhero pair ] for ]. After disputes with his collaborators at DC, he soon moved to Marvel, where in late ] he became the regular illustrator of '']'' (starting with issue #86), starring a junior team of ]. The popularity of Liefeld's art soon allowed him to increasingly take control of the series' story. He is often credited with creating a new leader for the team, the heavily-muscled, heavily-armed, glowing-eyed ] ], who instantly became a popular ]; however, the prototype for Cable, tentatively named "Commander X," was initially devised by Marvel editorial staff, with Liefeld developing character designs from the assigned script.


⚫ In 1988, at the age of 21, Liefeld completed his first significant published work, pencils for a mini-series featuring the superhero pair Hawk and Dove for DC Comics. After the success at DC, he was soon pursued by Marvel, who sought to add his popular talents to their struggling X-Men line of comics. In late 1989 he became the regular illustrator of The New Mutants (starting with issue #86), starring a junior team of X-Men. The popularity of Liefeld's art soon allowed him to increasingly take control of the series' story. He is often credited with creating a new leader for the team, the heavily-muscled, heavily-armed, glowing-eyed cyborg Cable, who instantly became a popular anti-hero; Cable would go on to star in his own long running series as well as several mini-series and spin off's.
⚫ ]
⚫ Liefeld also created the wise-cracking ] ] and a group of immortal mutants called the Externals. Both were popular, but prompted Liefeld's first charges of plagiarism, as fans debated similarities between Deadpool and DC's ] and between the Externals and the immortals from '']''.


⚫ The issue that broke Rob Liefeld worldwide. X-Force #1 (August 1991), featuring story and art by Liefeld.
⚫ With ''The New Mutants'' #98, Liefeld assumed full creative control over the book, pencilling, inking, and plotting, with ] writing dialogue. He then transformed The New Mutants into the platoon-like ]. The ] debut issue of ''X-Force'' sold four million copies, an industry-wide record soon broken by ''X-Men'' #1, illustrated by ]. In both cases, variant editions were used to sell multiple issues to single collectors; but where ''X-Men'' used multiple variant covers, ''X-Force'' relied on multiple variant trading cards polybagged with the comic itself.


⚫ Liefeld also created the wise-cracking assassin Deadpool and a group of immortal mutants called the Externals. Both were popular. Deadpool went on to star in several popular series for Marvel and is currently in development as a movie for Marvel productions and Lion's Gate Films.
Liefeld's relationship with Marvel began to break down in 1991, when he annouced plans to publish an original title, dubbed "The X-Ternals," with competitor ]. Faced with the loss of his Marvel work, and with the threat of trademark litigation blocking his new project, Liefeld scrapped the title and incorporated the "Externals" into his ''X-Force'' continuity.


⚫ With The New Mutants #98, Liefeld assumed full creative control over the book, pencilling, inking, and plotting, with Fabian Nicieza writing dialogue. He then transformed The New Mutants into the platoon-like X-Force. The 1991 debut issue of X-Force sold four million copies, an industry-wide record soon broken by X-Men #1, illustrated by Jim Lee. In both cases, variant editions were used to sell multiple issues to single collectors; but where X-Men used multiple variant covers, X-Force relied on multiple variant trading cards polybagged with the comic itself.
⚫ Liefeld, along with other young, popular artists, (including Lee) left Marvel in 1992 to form ], in a migration dubbed by some as "the X-Odus", since many of these artists had worked on X-Men related titles for Marvel). Liefeld's superhero team series '']'' was the first Image comic to hit the shelves and contained many elements that became Image ]s: huge muscles, huge breasts, huge guns, huge explosions, and plentiful violence. The characters in the series were often considered derivative of characters from Marvel's stable.


⚫ Liefeld, along with other young, popular artists, (including Lee) left Marvel in 1992 to form Image Comics, in a migration dubbed by some as "the X-Odus", since many of these artists had worked on X-Men related titles for Marvel). Liefeld's superhero team series Youngblood was the first Image comic to hit the shelves and contained many elements that became Image stereotypes: huge muscles, huge breasts, huge guns, huge explosions, and plentiful violence.
⚫ ] art from the "]" event. Liefeld obviously started drawing in one perspective, and ended up in another, evidenced in this characteristically distorted image of Captain America.]]


⚫ Captain America art from the "Heroes Reborn" event. Liefeld obviously started drawing in one perspective, and ended up in another, evidenced in this characteristically distorted image of Captain America.
⚫ Liefeld established two imprints: ], which was part of the Image business structure, and the later ], independent of Image. Once Extreme began publishing its titles, Liefeld's artwork appeared much less frequently. Liefeld claimed the delays sprang from his management responsibilities; less charitable observers atrributed them to the consequences of Liefeld's sudden acquisition of substantial wealth and lack of adequate supervision. He continued to plot and create properties, however, including Youngblood and its various spin-offs, the ]-like ] and the ] ]. Critical approval of these characters was scarce; and while Liefeld's wholesale sales to dealers appeared strong, actual sales to consumers, especially of Liefeld's secondary titles, were surprisingly weak.
Later that year, Liefeld and Lee returned to Marvel to ] some of the company's classic series, an event dubbed "]". Liefeld was contracted to write 12 issues of '']'' and write (with ]) and illustrate 12 of ''],'' but he failed to meet the agreed-on publishing schedule and his output met with an unenthusiastic response, failing to reach the sales targets required in his agreements with Marvel. Marvel terminated the agreement, and the balance of the two series were assigned to Lee's studio.


⚫ Liefeld established two imprints: Extreme Studios, which was part of the Image business structure, and the later Maximum Press, independent of Image. Once Extreme began publishing its titles, Liefeld's artwork appeared much less frequently. Liefeld claimed the delays sprang from his management responsibilities; less charitable observers atrributed them to the consequences of Liefeld's sudden acquisition of substantial wealth and lack of adequate supervision. He continued to plot and create properties, however, including Youngblood and its various spin-offs, the Superman-like Supreme and the femme fatale Glory. Critical approval of these characters was scarce; but Liefeld's wholesale sales to dealers continued to be strong.
⚫ In ], Liefeld left Image Comics, after disputes with his partners led ] to temporarily break away from Image. The comics press variously reported underlying issues: the effect of Liefeld's erratic lines on the company's reputation; Liefeld's supposed misuse of his position as Image ] to unfairly benefit his publishing efforts; and the poaching of artists employed by his Image partners, a violation of their informal agreements. Later reports, in the wake of formal legal disputes, included allegations that Liefeld had used Image assets to improperly promote and support his outside businesses, particularly Maximum Press. As further financial reverses followed, Liefeld moved all of his publishing ventures into a new company ]. This new enterprise concentrated its efforts on newer properties.


Later that year, Liefeld and Lee returned to Marvel to reboot some of the company's classic series, an event dubbed "Heroes Reborn". Liefeld was contracted to write 12 issues of The Avengers and write (with Jeph Loeb) and illustrate 12 of Captain America, but after the management that hired Lee and Liefeld were removed during Marvel's difficult bankruptcy period in the mid-90's, Liefeld's contract was renegotiated. Liefeld left after completing his first Captain America story arc. Marvel gave the balance of the two series to Jim Lee who sought an extension for a second year. Following the completion of Heroes Reborn Year one, Jim Lee's contract was terminated and Heroes Reborn, despite achieving tremendous sales benchmarks under Lee and Liefeld was canceled.
Liefeld and Loeb soon attempted to resurrect their unused ''Captain America'' plots for a "new" Awesome character, ]. This character was nearly identical in appearance and background to Captain America, perhaps so Liefeld could then re-use his art with only minor alterations. Under legal pressure from Marvel, Liefeld acquired the rights to the ], a long-dormant, patriotic superhero invented in the ] by Captain America's creators, ] and ]. Liefeld's Fighting American was also nearly identical to Captain America (his shield no longer contained a star in the center, for example: the shield logo had moved to his chest). Marvel and Liefeld settled their dispute with limits placed on Liefeld's use of the property: for example, their agreement reportedly stipulated that Fighting American was prohibited from throwing his shield.


⚫ In 1996, Liefeld left Image Comics, after disputes with his partners led Marc Silvestri to temporarily break away from Image. The comics press variously reported underlying issues: the effect of Liefeld's erratic lines on the company's reputation; Liefeld's supposed misuse of his position as Image CEO to unfairly benefit his publishing efforts; and the poaching of artists employed by his Image partners, a violation of their informal agreements.
⚫ Meanwhile, Liefeld hired acclaimed comic book writer ] to revive many of his creations, which had sharply declined in popularity. Moore wrote a few issues of ''Youngblood'' and ''Glory,'' but his most lauded work for Liefeld was on ''Supreme,'' which played on the character's more generic traits in a clear tribute to the ]-era Superman. Awesome, like Liefeld's previous imprints, soon collapsed under the burdens of its unpredictable publishing schedule, its erratic content, and Liefeld's ever-growing unpopularity with comics consumers.


⚫ Meanwhile, Liefeld hired acclaimed comic book writer Alan Moore to revive many of his creations, which had sharply declined in popularity. Moore wrote a few issues of Youngblood and Glory, but his most lauded work for Liefeld was on Supreme, which played on the character's more generic traits in a clear tribute to the Mort Weisinger-era Superman.
While Liefeld's own failings, both as a creator and an entrepreneur, were the root cause of many of his imprints' problems, a more fundamental flaw was a disastrous business model: his projects began with bursts of revenue from speculative comics buyers and the optioning of movie/TV rights, but could never be expected to generate the consistent revenue stream required to run the ongoing businesses and return investment and profits to their backers (including the profits required to support Liefeld's reportedly extravagant lifestyle).


In recent years, Liefeld has returned to his former characters in the X-Men franchise, providing pencils for the occasional cover and/or interior of ''Cable'' and ''X-Force.'' These books had continued to be somewhat popular properties until the early ], when both were cancelled. In recent years, Liefeld has returned to his former characters in the X-Men franchise, providing pencils for the occasional cover and/or interior of Cable and X-Force. These books had continued to be somewhat popular properties until the early 2000s, when both were cancelled.


In ], he reunited with Fabian Nicieza for an ''X-Force'' miniseries and illustrated the early covers for Nicieza's ''Cable and Deadpool.'' In that same year, Liefeld formed ] and once again announced plans to revive ''Youngblood''. In 2004, he reunited with Fabian Nicieza for an X-Force miniseries and illustrated the early covers for Nicieza's Cable and Deadpool. In that same year, Liefeld formed Arcade Comics and once again announced plans to revive Youngblood.


Liefeld's new website was launched in May ] at . At about the same time, new work for ] was reported. Liefeld's new website was launched in May 2005 at Rob Liefeld.net. At about the same time, new work for DC Comics was reported.


==Artistic Criticism== Artistic Criticism
⚫ ]/]'' #1 (1995). Note especially the posture of the woman on the left.]]
⚫ Below are common characteristics of Liefeld's artwork. Some are idiosyncratic, while others were fairly widespread trends in mainstream comics of the ]. Although all these criticisms have been made of Liefeld's art, he was still a huge draw as an artist in the early 1990s, and retains some degree of popularity today.
⚫ *Limited facial expressions, generally ranging from barely-restrained anger to sheer "constipated" look (see ''X-Force'' covers above)
⚫ *Bizarre proportions such as tiny heads, wrists, and ankles and oversized breasts and muscles (see Captain America above, who appears to be several feet thick), as well as the occasional swipe with female face and breasts layered onto an obviously male figure
⚫ *Obvious panel-to-panel inconsistencies in costumes, backgrounds, and even the number of fingers on characters' hands
⚫ *Poses that appear to be both illogical (in the context of the plot) and anatomically impossible, or at least uncomfortable
⚫ *Skewed perspective: often a picture will be began in one perspective then be finished in another. (See Captain America again, clearly started in profile view then switched to three-fourths perspective, which would make him look like from above)
*Plagiarism. Rob Liefeld created several super-heroes heavily inspired by already existing ones, such as Captain America and Avengers look-alikes. He is also accused of copying panels from other comics (see some ).
*Disproportional facial features. Eyes are never symmetrical, often drawn on a skewed axis on the face; noses are often misplaced; and grimacing characters regularly display impossible numbers of uniformly-shaped teeth.


⚫ Liefeld's cover to Glory/Avengelyne #1 (1995). Note especially the posture of the woman on the left.
⚫ While Liefeld's artwork, particularly in his earlier efforts, manifested a striking design sense, his shortcomings were initially covered up by strong, experienced inkers. As Liefeld was able to exercise greater control over the form in which his work appeared, those shortcomings became conspicuous, and defined the public perception of his work.


⚫ Below are common characteristics of Liefeld's artwork. Some are idiosyncratic, while others were fairly widespread trends in mainstream comics of the 1990s. Although all these criticisms have been made of Liefeld's art, he was still a huge draw as an artist in the early 1990s, and retains some degree of popularity today.
⚫ ==Trivia==
⚫ ▪ Limited facial expressions, generally ranging from barely-restrained anger to sheer "constipated" look (see X-Force covers above)
⚫ *Liefeld was featured in a ] for ] "501" ], directed by ].
⚫ ▪ Bizarre proportions such as tiny heads, wrists, and ankles and oversized breasts and muscles (see Captain America above, who appears to be several feet thick), as well as the occasional swipe with female face and breasts layered onto an obviously male figure
⚫ *Liefeld marketed the ] of Youngblood's ] character, ], as "Rob Liefeld's Shaft: 7 Inches, fully poseable," an unintentional ].
⚫ ▪ Obvious panel-to-panel inconsistencies in costumes, backgrounds, and even the number of fingers on characters' hands
⚫ ▪ Poses that appear to be both illogical (in the context of the plot) and anatomically impossible, or at least uncomfortable
⚫ ▪ Skewed perspective: often a picture will be began in one perspective then be finished in another. (See Captain America again, clearly started in profile view then switched to three-fourths perspective, which would make him look like this from above)
⚫ While Liefeld's artwork, particularly in his earlier efforts, manifested a striking design sense, his shortcomings were initially covered up by strong, experienced inkers. As Liefeld was able to exercise greater control over the form in which his work appeared, those shortcomings became conspicuous, and defined the public perception of his work.


Trivia
⚫ ==Reference==
⚫ ▪ Liefeld was featured in a television commercial for Levi's "501" jeans, directed by Spike Lee.
Fiore, R. (Aug. 1992) "Funnybook Roulette". ''The Comics Journal #152''
⚫ ▪ Liefeld marketed the action figure of Youngblood's archer character, Shaft, as "Rob Liefeld's Shaft: 7 Inches, fully poseable," an unintentional double entendre.
⚫ ==External Links==
*
* - a Rob Liefeld fan site with many samples of his artwork
* - a list of Liefeld's work while at Marvel Comics
*

]
]
]
]
]
]

Revision as of 05:28, 11 July 2005

File:Liefeld01.jpg
Rob Liefeld

Rob Liefeld (born October 3, 1968) is an American comic book writer, illustrator and publisher, who is one of the Modern Age’s most popular and controversial figures. Although a major superstar artist in the 1990s, he became the subject and focus of great controversy due to his departure from Image comics and his participation in Marvel comics Heroes Reborn re-launch in the mid-90's. Heroes Reborn gave unprecendented control over characters previously managed by Marvel comics, Captain America, Fantastic Four, Iron Man, Avengers to Liefeld and collaborator, Jim Lee. He was born in Anahiem, California.

In the early 1990s, Liefeld became a superstar due to his work on Marvel Comics’ The New Mutants, and later X-Force. In 1992 he led the exodus from Marvel comics, teaming with Jim Lee and Todd McFarlane to create Image comics. Liefeld named the company, designed the logo and launched their flagship title, Youngblood. They rode the peak of their popularity to greater fame and fortune than anyone before them, resulting in millions of adoring fans as well as a growing number of detractors. The Image comic books were owned by their creators rather than their publishers. Liefeld’s high-profile line of Extreme comics from Image were among the most popular, along with Jim Lee's Wildstorm line.

Fans originally praised Liefeld’s artwork as energetic and action-packed, but his later work was regularly criticized by vocal detractors for excessive flamboyance, limited versatility, arbitrary use of cross-hatching, and anatomy ranging from the improbable to the impossible. Despite Liefeld's polarizing presence in the industry his success continued as he launched a new line of comics, Maximum Press, featuring new best selling titles such as Avengelyne and Warchild as well as an all new critically acclaimed continuation of the long dormant BATTLESTAR GALACTICA saga.

Contents

1 Biography 2 Artistic Criticism 3 Trivia 4 Reference 5 External Links

Biography

In 1988, at the age of 21, Liefeld completed his first significant published work, pencils for a mini-series featuring the superhero pair Hawk and Dove for DC Comics. After the success at DC, he was soon pursued by Marvel, who sought to add his popular talents to their struggling X-Men line of comics. In late 1989 he became the regular illustrator of The New Mutants (starting with issue #86), starring a junior team of X-Men. The popularity of Liefeld's art soon allowed him to increasingly take control of the series' story. He is often credited with creating a new leader for the team, the heavily-muscled, heavily-armed, glowing-eyed cyborg Cable, who instantly became a popular anti-hero; Cable would go on to star in his own long running series as well as several mini-series and spin off's. 

The issue that broke Rob Liefeld worldwide. X-Force #1 (August 1991), featuring story and art by Liefeld.

Liefeld also created the wise-cracking assassin Deadpool and a group of immortal mutants called the Externals. Both were popular. Deadpool went on to star in several popular series for Marvel and is currently in development as a movie for Marvel productions and Lion's Gate Films.

With The New Mutants #98, Liefeld assumed full creative control over the book, pencilling, inking, and plotting, with Fabian Nicieza writing dialogue. He then transformed The New Mutants into the platoon-like X-Force. The 1991 debut issue of X-Force sold four million copies, an industry-wide record soon broken by X-Men #1, illustrated by Jim Lee. In both cases, variant editions were used to sell multiple issues to single collectors; but where X-Men used multiple variant covers, X-Force relied on multiple variant trading cards polybagged with the comic itself.

Liefeld, along with other young, popular artists, (including Lee) left Marvel in 1992 to form Image Comics, in a migration dubbed by some as "the X-Odus", since many of these artists had worked on X-Men related titles for Marvel). Liefeld's superhero team series Youngblood was the first Image comic to hit the shelves and contained many elements that became Image stereotypes: huge muscles, huge breasts, huge guns, huge explosions, and plentiful violence.

Captain America art from the "Heroes Reborn" event. Liefeld obviously started drawing in one perspective, and ended up in another, evidenced in this characteristically distorted image of Captain America.

Liefeld established two imprints: Extreme Studios, which was part of the Image business structure, and the later Maximum Press, independent of Image. Once Extreme began publishing its titles, Liefeld's artwork appeared much less frequently. Liefeld claimed the delays sprang from his management responsibilities; less charitable observers atrributed them to the consequences of Liefeld's sudden acquisition of substantial wealth and lack of adequate supervision. He continued to plot and create properties, however, including Youngblood and its various spin-offs, the Superman-like Supreme and the femme fatale Glory. Critical approval of these characters was scarce; but Liefeld's wholesale sales to dealers continued to be strong.

Later that year, Liefeld and Lee returned to Marvel to reboot some of the company's classic series, an event dubbed "Heroes Reborn". Liefeld was contracted to write 12 issues of The Avengers and write (with Jeph Loeb) and illustrate 12 of Captain America, but after the management that hired Lee and Liefeld were removed during Marvel's difficult bankruptcy period in the mid-90's, Liefeld's contract was renegotiated. Liefeld left after completing his first Captain America story arc. Marvel gave the balance of the two series to Jim Lee who sought an extension for a second year. Following the completion of Heroes Reborn Year one, Jim Lee's contract was terminated and Heroes Reborn, despite achieving tremendous sales benchmarks under Lee and Liefeld was canceled.

In 1996, Liefeld left Image Comics, after disputes with his partners led Marc Silvestri to temporarily break away from Image. The comics press variously reported underlying issues: the effect of Liefeld's erratic lines on the company's reputation; Liefeld's supposed misuse of his position as Image CEO to unfairly benefit his publishing efforts; and the poaching of artists employed by his Image partners, a violation of their informal agreements.

Meanwhile, Liefeld hired acclaimed comic book writer Alan Moore to revive many of his creations, which had sharply declined in popularity. Moore wrote a few issues of Youngblood and Glory, but his most lauded work for Liefeld was on Supreme, which played on the character's more generic traits in a clear tribute to the Mort Weisinger-era Superman.

In recent years, Liefeld has returned to his former characters in the X-Men franchise, providing pencils for the occasional cover and/or interior of Cable and X-Force. These books had continued to be somewhat popular properties until the early 2000s, when both were cancelled.

In 2004, he reunited with Fabian Nicieza for an X-Force miniseries and illustrated the early covers for Nicieza's Cable and Deadpool. In that same year, Liefeld formed Arcade Comics and once again announced plans to revive Youngblood.

Liefeld's new website was launched in May 2005 at Rob Liefeld.net. At about the same time, new work for DC Comics was reported.

Artistic Criticism 

Liefeld's cover to Glory/Avengelyne #1 (1995). Note especially the posture of the woman on the left.

Below are common characteristics of Liefeld's artwork. Some are idiosyncratic, while others were fairly widespread trends in mainstream comics of the 1990s. Although all these criticisms have been made of Liefeld's art, he was still a huge draw as an artist in the early 1990s, and retains some degree of popularity today. ▪ Limited facial expressions, generally ranging from barely-restrained anger to sheer "constipated" look (see X-Force covers above) ▪ Bizarre proportions such as tiny heads, wrists, and ankles and oversized breasts and muscles (see Captain America above, who appears to be several feet thick), as well as the occasional swipe with female face and breasts layered onto an obviously male figure ▪ Obvious panel-to-panel inconsistencies in costumes, backgrounds, and even the number of fingers on characters' hands ▪ Poses that appear to be both illogical (in the context of the plot) and anatomically impossible, or at least uncomfortable ▪ Skewed perspective: often a picture will be began in one perspective then be finished in another. (See Captain America again, clearly started in profile view then switched to three-fourths perspective, which would make him look like this from above)

While Liefeld's artwork, particularly in his earlier efforts, manifested a striking design sense, his shortcomings were initially covered up by strong, experienced inkers. As Liefeld was able to exercise greater control over the form in which his work appeared, those shortcomings became conspicuous, and defined the public perception of his work.

Trivia ▪ Liefeld was featured in a television commercial for Levi's "501" jeans, directed by Spike Lee. ▪ Liefeld marketed the action figure of Youngblood's archer character, Shaft, as "Rob Liefeld's Shaft: 7 Inches, fully poseable," an unintentional double entendre.