Haxtur Award - Best Drawing

Best Drawing

  • 1985: Brian Bolland, for Camelot 3000 (Ed. Zinco)
    • Jan, for Super López (Bruguera), and Viceversa (Caja de Ahorros de Sevilla)
    • Barry Windsor-Smith, for Machine Man (Ed. Fórum)
    • Will Eisner, for "Aventura Amorosa en el metro" (Adventures in Love in the City), in Ilustración+Comix Internacional #45 (Ed. Toutain)
  • 1986: Daniel Torres, for Roco Vargas (Ed. Norma)
    • Víctor de la Fuente, for "Los ángeles de acero" (The Street Angels), in Ilustración+Comix #54-57 (Ed. Toutain)
    • John Byrne, for Fantastic Four, and Alpha Flight (Ed. Fórum)
    • Paul Smith, for Uncanny X-Men (Ed. Fórum)
  • 1987: David Mazzucchelli, for Batman: Year One (Ed. Zinco), and Daredevil: Born Again (Ed. Fórum)
    • Barry Windsor-Smith, for "Muerta viva" (Lifedeath), in Patrulla X (Uncanny X-Men) (Ed. Fórum)
    • John Byrne, for Superman (Ed. Zinco)
    • Beroy, for Ajeno (Ed. Toutain)
  • 1988: Dave Gibbons, for Watchmen (Ed. Zinco)
    • Mique Beltrán, for Macao (Ed. Norma)
    • F. Bourgeon, for Los compañeros del crepúsculo {The Companions of the Twilight} (Ed. Norma)
    • Franco Saudelli, for La Bionda (Ed. Norma)
  • 1989: Brian Bolland, for Batman: The Killing Joke (Ed. Zinco)
    • Jean "Moebius" Giraud, for The Incal (Eurocomic)
    • I. Milazzo, for "Tom's Bar", in Totem-El Comix #31 (Ed. Toutain)
    • David Mazzucchelli, for "Chiaroscuro", in Patrulla X Especial Verano {X-Men Summer Special} (Ed. Fórum)
  • 1990: Walter Simonson, for "La canción de Mjolnir" {The Song of Mjolnir}, in Marvel Two-in-One #62 (Ed. Fórum)
    • José L. García López, for Deadman, and Cinder and Ashe (Ed. Zinco)
    • Steve Rude, for Nexus (Ediciones B)
    • Jerry Ordway, for Batman El Film {Batman: The Movie} (Ed. Zinco)
  • 1991: G. Rosinki, for Loba {She-Wolf} (Ed. Norma)
    • Walter Simonson, for Fantastic Four (Ed. Fórum)
    • Jean "Moebius" Giraud, for La Diosa {The Goddess} (Ed. Norma)
    • Joe Kubert, for Abraham Stone (Ed. Norma)
  • 1992: Kevin Maguire, for The Adventures of Captain America (Ed. Fórum)
    • Jaime Hernandez, for Las mujeres perdidas {The Lost Women} (Ed. La Cúpula)
    • Hermann, for "Sigurd (Las Torres de Bois-Maury)" in Cimoc #136-139 (Ed. Norma)
    • Dan Barry, for Indiana Jones and the Fate of Atlantis (Ed. Norma)
  • 1993: Georges Bess, for {It Licks Target} (Ed. Norma)
    • Ana Miralles, for Eva Medusa (Ed. Glenat)
    • Joe Quesada & Kevin Nowland, for Batman: Sword of Azrael (Ed. Zinco)
    • Alan Davis, for Excalibur (Ed. Fórum)
  • 1994: Philippe Francq, for Largo Winch #3-4 (Ed. Grijalbo)
    • Gaspar Meana, for La cró de Leodegundo {The Chronicle of Leodegundo} (Ed. El Pexe)
    • Dave Mazzucchelli, for Discovering America (Ed. F.M.C. Gijón)
    • Kevin Maguire, for The New Titans (Ed. Zinco)
  • 1995: Jerry Ordway, for The Power of Shazam! (Ed. Zinco)
    • Bruce W. Timm, for Batman: Mad Love (Ed. Zinco)
    • David Mazzucchelli, for Hombre Grande {Big Man} (Ed. El Wendigo)
    • Alex Ross, for Marvels (Ed. Fórum)
  • 1996: José L. García López, for Superman: Kal (Ed. Zinco)
    • Rubén Pellejero, for El silencio de Malka {The Silence of Malka} (Ed. Glénat)
    • Alan Davis, for Clandestine {Clan Destine} (Ed. Fórum)
    • François Boucq, for Los diented del tiburón {The Teeth of the Shark} (Ed. Norma)
  • 1997: Paul Gulacy, for Batman versus Predator II (Ed. Zinco)
    • Steve Dillon, for Preacher #1/2 (Ed. Zinco)
    • Daniel Torres, for El Octavo día II {Eighth Day II} (Ed. Norma)
    • Bruce Timm, for "Two of a Kind", in Batman: Black & White #1 (Ed. Zinco)
  • 1998: Yslaire, for Sambre (Ed. Glénat)
    • Steve Dillon, for Predicador: Cruzados {Preacher: Crusade} (Ed. Norma)
    • John Bolton, for The Black Dragon (Ed. Planeta de Agostini)
    • Alex Ross, for Kingdom Come (Ed. Vid)
  • 1999: Preacher: Dixie Fried, by Steve Dillon (Ed. Norma)
    • The Towers of Bois-Maury #9-10, by Hermann Huppen (Ed. Norma)
    • The Tale of One Bad Rat, by Bryan Talbot (Ed. Planeta)
    • Boy Vampiro: Soy Egipcio {Boy Vampire: I Am Egyptian}, by Eduarto Risso (Ed. Glénat)
  • 2000: Mark Schultz, for Xenozoic Tales (Ed. Planeta DeAgostini)
    • Kevin O'Neil, for The League of Extraordinary Gentlemen (Ed. Planeta DeAgostini)
    • Rubén Pellejero, for Tabú {Taboo} (Ed. Glenat)
    • Igor Kordey, for Batman/Tarzan: The Claws of the Catwoman (Ed. Norma)
  • 2001: Hermann, for Wild Bill ha muerto {Wild Bill Has Died} (Imágica cómics)
    • Tim Sale, for Superman For All Seasons (Ed. Norma)
    • Juanjo Guarnido, for Blacksad (Ed. Norma)
    • Garlos Giménez, for Paracuellos 4 (Ed. Glenat)
  • 2002: Gaspar Meana, for La Infanta, el Pirata y el Niño {The Infant, The Pirate and the Boy} (Ed. VTP)
    • René Pellejero, for Un poco de humo azul {A Little Blue Smoke} (Ed. Glenat)
    • Hermann, for Bois-Maury: Rodrigo (Ed. Norma)
    • John Romita, Jr., for Amazing Spider-Man #36 (Ed. Planeta DeAgostini)
  • 2003: Richard Corben, for Cage (Ed. Planeta DeAgostini)
    • Tim Sale, for Batman: Dark Victory {Ed. Norma}
    • Bryan Hitch, for The Ultimates {Ed. Planeta DeAgostini}
    • George Bess, for Juan Solo (Ed. Planeta DeAgostini)
  • 2004: Joe Kubert, for Tex: The Solitary Rider (Ed. Planeta DeAgostini)
    • Philippe Franq, for Largo Winch: To See Venice… And To Die (Ed. Norma)
    • John Cassaday, for Batman/Planetary and Captain America (Ed. Planeta DeAgostini)
    • Brian Hitch, for The Ultimates (Ed. Planeta DeAgostini)
  • 2005: Igor Kordey, for "Storm: Sand", in Xtreme X-Men (Panini Comics)
    • Lee Weeks, for Captain America #17-20 (Ed. Planeta DeAgostini)
    • Alfonso Font, for {Tex: The Assassins} (Ed. Planeta DeAgostini)
    • Andy Kubert, for Marvel 1602 (Panini Comics)
  • 2006: FRANK CHO, for "Shanna" (Panini Comics)
    • GRZEGORZ ROSINSKI, for "La venganza del conde Skarbek" (Norma Editorial)
    • TIM SALE, for "Una jugada peligrosa/Tim Sale.Solo" (Planeta deAgostini)
    • DAVID LLOYD, for "Kickback" (Planeta deAgostini)

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    Painting dissolves the forms at its command, or tends to; it melts them into color. Drawing, on the other hand, goes about resolving forms, giving edge and essence to things. To see shapes clearly, one outlines them—whether on paper or in the mind. Therefore, Michelangelo, a profoundly cultivated man, called drawing the basis of all knowledge whatsoever.
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    A drawing is always dragged down to the level of its caption.
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