Visual "Solidity" -- Who are the all time best artists at portraying this?

Current Champion.

I'd actually forgotten this submission before now ... perhaps because it doesn't feature immediate and direct grappling?

It's an awesome and visceral thing in its own class just the same.

If it doesn't take overall prize, I might have to give it its own category just to give the max number of people the chance to see it.

Kudos to the member or members of the creative team responsible for simulating "lighting" effects here.
Fairly certain this is what Mindship has been trying to relate to me in terms of "negative space" usage AND Kirby dots.
Either that or someone invented something all their own here.

I'm not sure; I've only heard the effect described once, but I think the art team may have been using a technique called a "color hold"?

Whatever they used, I think most will agree ... it's impressive!

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Source: Incredible Hulk #607, Volume 1
Writer: Greg Pak
Penciller: Paul Pelletier
Date: February 17, 2010
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http://marvel.wikia.com/Incredible_Hulk_Vol_1_607

Originally posted by Mindship

Funny thing is, if you look at [Jack Kirby's] pics carefully, you find that his depiction of muscle anatomy was terrible!

If you want to talk bad anatomy, re-examine the current Kingpin submission.

Give attention to Spider-Man's hand on the wall.

Keep in mind it is his RIGHT hand that is being drawn contacting the wall.

You can draw a left hand like that.
Spread your own left hand down on a desk to confirm.

I'll give a bonus e-link to anyone who can show me how you get your opposite hand in that configuration, though.

As with Kirby, however, Romita, Sr. was interested most in conveying a sense of action, energy, and perspective, and THAT I'd say he succeeded at, whether he did, in truth, draw people correctly or not.

Came across the following the other day.

Almost certain it is Kirby, though I haven't really had much chance to look up any ref info for it yet ...

Paul Pelletier.

KMC changed its format, for whatever reason, so that its own image host service now only serves the smallest fraction of people.

It's both amazing and disconcerting to see how time flies in here, and what realities are affected by time's passage ...

Previous artist, at least the one responsible for the pencils, is Jack Abel.
The submission is from Superman Family #190, a magazine printed in the late 1970s. Seems to be something about that era ...

I happened upon the following while searching for art information credits.
Seems like a good resource; supplies a chronological list that expands to give a synopsis and ref info wherever the reader clicks:

http://www.superwomenmania.com/supergirltl/list.html

/thread. My back knots up just looking at this scan.

Source: Superman #6 (Nu52)
Writer: George Perez
Penciller: Nicola Scott

Nicola Scott (unmentioned before now?) is apparently part of a husband and wife team that produces comics. In the above shot, Nicola, taking the role of illustrator, presents a Supergirl who conveys a remarkable quality of physical power. The most obvious contributing feature is probably the extraordinary development Kara's calves are given here, to say little of the sculpted appearance of the rest of her. It is striking despite the convention of superheroes overall being fit because Kara is only 16 and rarely drawn like that. If artists in the past used aerialists and circus performers for models, Nicola seems to have Crossfit athletes or gymnasts as hers.
She doesn't seem to be thinking "ordinary" suitable in any sense of the word.

At least for Kara. The other element that makes Kara stand out, besides the dynamic pose, is the contrasting figure of the man she is carrying, whose rounded features lack for any real sense of athleticism.
The untucked shirt magnifies the impression of this being a rather hapless slob, utterly powerless to save himself in the situation he finds himself in.

This second submission? Unfortunately, I don't recall exactly where this is from.
Maybe I'll get lucky and Galan will see this post. I know it's recent, and from a storyline where someone is able to get near-complete control of Darth Vader either telekinetically or electrically, hence the dialogue. I posted this because the artist for this has done a remarkable job with the play of lighting. I'm not actually sure if the penciller alone can take credit for this; the effect probably depends on the colorist here more than with any other submission. Effectively, he, she, or they has/have captured a "photo" of something inherently communicative of "feel". To see this is to be holding a vinyl/plastic replica of the Darth Vader helmet in your hands. The finger, drawn ever -so -slightly distorting the material as its owner presses down, cements the deal.

Kudos to the art team.

Eduardo Risso did a fantastic job in 100 Bullets.

This one by Starlin....oops, I meant Astner... has some good solid work , particularly in its use of a motif.