Not that there's anything wrong with that.
Despite my tepid veneration, I wanted to note Mr. Frazetta's passing by talking about one piece of his that knocked my socks off when I first saw it as a kid, established my personal gold standard for how good comic art could be, and is a little different from all the images that'll be illustrating his obit in the next few days (like the one above). This was a black-and-white drawing originally done for the cover of a Buck Rogers comic book in 1954:
This drawing is perfect. Perfect composition; the action is clear, the moment dramatic. Great mix of textures: the shiny smooth ship against the organic veiny hairiness of the alien against the rough rockiness of the Moon against the graceful wisps of nebula floating through distant space. Terrific use of light and shadow. I love the lunar craters and mares, defined not by outlines but by shadows. It's no coincidence that one bright swath of lunar highlands intersects the alien's head, while another points right to Buck's. White against gray against black, all organized to lead the reader's eye to the moment of conflict, where the pure black-on-white starburst on Buck's helmet makes the perfect target for the villain's gun.
In addition, Frazetta perfectly balances the triangular shapes defined by the alien and the spaceship itself against the huge circle of the Moon, the circular dome of Buck's cockpit, and the smaller ovals that mark the back of the ship and the eddies in the nebula. That little point of the right wing that protrudes past the edge of the Moon's disk is important: it firmly establishes our little ship in space and, along with the intersecting nebula below it, "hooks" our eye and keeps it from following the arc of the Moon right off the edge of the page. I could go on.