رده:هنرمندان کمیکس اهل ایالات متحده آمریکا
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- ◄ کارتونیستهای داستان مصور اهل ایالات متحده آمریکا (۱ ر، ۱۸ ص)
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1. ویل آیزنر – William Erwin Will Eisner was an American cartoonist, writer, and entrepreneur. He was one of the earliest cartoonists to work in the American comic book industry, in 1978, he popularized the term graphic novel with the publication of his book A Contract with God. He was a contributor to formal comics studies with his book Comics. The Eisner Award was named in his honor, and is given to recognize achievements each year in the comics medium, Eisners father Shmuel Samuel Eisner was born March 6,1886, in Kolomyia, Austria-Hungary, and was one of eleven children. He aspired to be an artist, and as a teenager painted murals for rich patrons, to avoid conscription in the army, he moved to New York before the outbreak of World War I. There he found getting work difficult as his English skills were poor and he made what living he could painting backdrops for vaudeville and the Jewish theater. Eisners mother, Fannie Ingber, was born to Jewish parents from Romania April 25,1891 and her mother died on her tenth birthday, and was quickly followed by her father. Family introduced Shmuel and Fannie, who were distant relatives and they had three children, son Will Erwin, born on his fathers birthday in 1917, son Julian, born February 3,1921, and daughter Rhoda, born November 2,1929. Eisner was born in Brooklyn, New York City and he grew up poor, and the family moved frequently. Young Eisner often got into physical confrontations when subject to antisemitism from his schoolmates, young Eisner was tall and of sturdy build, but lacked athletic skills. He was a consumer of pulp magazines and film, including avant-garde films such as those by Man Ray. To his mothers disappointment, Eisner had his fathers interest in art, Eisners mother frequently berated his father for not providing the family a better income, as he went from one job to another. Without success he also tried his hand at such ventures as a furniture retailer, the family situation was especially dire following the Wall Street Crash of 1929 that marked the beginning of the Great Depression. In 1930, the situation was so desperate that Eisners mother demanded that he, at thirteen and he entered working life selling newspapers on street corners, a competitive job where the toughest boys fought for the best locations. Eisner attended DeWitt Clinton High School, with influences that included the early 20th-century commercial artist J. C. Leyendecker, he drew for the newspaper, the literary magazine and the yearbook. Upon graduation, he studied under Canadian artist George Brandt Bridgman for a year at the Art Students League of New York, contacts made there led to a position as an advertising writer-cartoonist for the New York American newspaper. Eisner also drew illustrations for pulp magazines, including Western Sheriffs
2. جیم استرالین – James P. Jim Starlin is an American comic book writer and artist. In the 1960s, Jim Starlin served as a photographer in the US Navy in Vietnam. During his off duty time, he drew and submitted various comics, after leaving the Navy, he sold two stories to DC Comics. After writing and drawing stories for a number of fan publications, Jim Starlin entered the industry in 1972, working for Roy Thomas. Brought in by fellow artist Rich Buckler, Starlin was part of the generation of artists, at a Steve Ditko-focused panel at the 2008 Comic-Con International, Starlin said, Everything I learned about storytelling was him or Kirby. Starlins first job for Marvel was as a finisher on pages of The Amazing Spider-Man and he then drew three issues of Iron Man, that introduced the characters Thanos and Drax the Destroyer. He was then given the chance to draw an issue of the cosmic title Captain Marvel, Starlin took over as plotter the following issue, and began developing an elaborate story arc centered on the villainous Thanos, and spread across a number of Marvel titles. Starlin left Captain Marvel one issue after concluding his Thanos saga, concurrently in the mid-1970s, Starlin contributed a cache of stories to the independently published science-fiction anthology Star Reach. Here he developed his ideas of God, death, and infinity, free of the restrictions of mainstream comics publishers self-censorship arm, Starlin also drew The Secret of Skull River, inked by frequent collaborator Al Milgrom, for Savage Tales #5. After working on Captain Marvel, Starlin and writer Steve Englehart co-created the character Shang-Chi, Master of Kung Fu, envisioning the character as philosophical and existentially tortured, Starlin wrote and drew a complex space opera with theological and psychological themes. Warlock confronted the militaristic Universal Church of Truth, eventually revealed to be created and led by an evolution of his future–past self. Starlin ultimately incorporated Thanos into this story, in Fall 1978, Starlin, Howard Chaykin, Walt Simonson, and Val Mayerik formed Upstart Associates, a shared studio space on West 29th Street in New York City. The membership of the studio changed over time, Starlin occasionally worked for Marvels chief competitor DC Comics and drew stories for Legion of Super-Heroes and the Batman feature in Detective Comics in the late 1970s. Starlin co-created the supervillain Mongul with writer Len Wein in DC Comics Presents #27, the new decade found Starlin creating an expansive story titled the Metamorphosis Odyssey, which introduced the character of Vanth Dreadstar in Epic Illustrated #3. From its beginning in Epic Illustrated, the story was painted in monochromatic grays, eventually added to with other tones. The storyline was developed in The Price and Marvel Graphic Novel #3 and eventually the long-running Dreadstar comic book, published first by Epic Comics. Starlin was given the opportunity to produce a story in which to kill off a main character. The Death of Captain Marvel became the first graphic novel published by Marvel itself, Starlin and Bernie Wrightson produced Heroes for Hope, a 1985 one-shot designed to raise money for African famine relief and recovery
3. جف اسمیت (نقاش کارتون) – Jeff Smith is an American cartoonist. He is the creator of the comic book series Bone. Jeff Smith was born in McKees Rocks, Pennsylvania to William Earl Smith and he grew up in Columbus, Ohio. Smith learned about cartooning from comic strips, comic books, the strip he found to be the most entertaining was Charles M. Schulzs Peanuts, which he had his father read to him every Sunday, and which inspired him to learn to read. Smith was also inspired by Scrooge McDuck creator Carl Barks, whom Smith calls a natural comic genius for his ability to move characters effectively from panel to panel, and for their expressiveness. Alluding to the influence of Barks influence on Bone, Smith commented, the day after that program aired, a girl brought her fathers Pogo book to school and gave it to Smith, who says it changed comics for him. Smith keeps that book on a next to his drawing board today. Other influences in this include the original Star Wars trilogy. Tolkiens The Lord of the Rings and the fairy tales and mythologies that inspired those works. Elements of that character and its demeanor found their way into the character Phoney Bone and his name is derived from Fonebone, the generic surname that Don Martin gave to many of the characters that appeared in his Mad magazine strips. Smith began to create comics with the Bone characters as early as 1970, Smith graduated in 1978 from Worthington High School in Worthington, Ohio, a suburb of Columbus, where he was a classmate of Jim Kammerud. Later on, in 1986, Smith and Kammerud would co-found Character Builders, after graduating from college, Smith and his two friends, Jim Kammerud and Marty Fuller, started an animation studio called Character Builders Inc. Their first paid job was producing a 60-second animated opening for the TV series Super Safari with Jack Hanna, initial budgets were restrictive for the studio, which required the animators to be resourceful in order to meet their deadlines. Smith sometimes did the work as well as the animation on certain projects. Though Smith found the projects exciting, he realized that it was not the type of cartooning he wanted to do and it was during one of these slow periods that Smith reconsidered his career. In 1991, Smith launched his company, Cartoon Books, in order to publish the series and this made it difficult to focus on writing and drawing the book, and as a result, he fell behind in his production. To remedy this, he asked his wife, Vijaya, to quit her job at a Silicon Valley startup company in order to run the business side of Bone as the President of Cartoon Books. As a result, Smith was able to refocus on drawing, Smith published 55 issues of Bone between 1991 and 2004
4. پائول اسمیث – Paul Smith is an American comic book artist, known for his work on The Uncanny X-Men, X-Factor, American Flagg. Nexus, GrimJack and his book, Leave It to Chance. Smith was born in Kansas City, Missouri, but only lived there three days and his father was a U. S. Naval aviator, and the family moved several times during his childhood. As a young fan, Smith particularly admired the work of Steve Ditko on The Amazing Spider-Man. Smith had no formal art training aside from some courses in airbrushing, Marvel subsequently entered into an agreement with Smith for him to take over the art duties from Dave Cockrum on The Uncanny X-Men, then the biggest selling US comics series, for one year. Smith had emigrated to the East Coast with dreams of drawing Spider-Man and Conan, the change in appearance was inspired by by the decision of colleague Walt Simonson to shave off his beard and mustache while on vacation with his wife, X-Men editor Louise Simonson. Upon their return, Simonsons daughter, Julie, upset at her fathers new appearance, ran from the room, a reaction that would be mirrored in X-Man Kitty Prydes reaction to Storms new appearance. When the books editors decided to change Storms appearance, Smith submitted a number of designs to them, explaining in a 2008 interview, I did a number of portraits, all quite lovely, as a joke, I included a shot of her as Mr. T. You know, the kind of shot where they HAVE to go the other way, they’re going to hang us whichever way we go. I argued it was a joke and a bad idea but, given my departure following 175 was set prior to beginning my run. So I did what I could with what I had left, so we went with the Mohawk. But once you get into the whole leather and stud thing it was a bad joke that got way out of hand. Smiths cover for issue #173 would prove influential and this in turn prompted Bob Budiansky to have Adams produce a Wolverine poster with the same type of pose. The image, inked by Terry Austin, became not only a bestselling poster, a few months after leaving The Uncanny X-Men, Smith returned as the regular artist on Doctor Strange. He worked on series from #65 to #73, drawing seven of those issues. Smiths brief run on X-Men left an impact, and most of it was later reprinted in the From The Ashes trade paperback. Eventually his entire X-Men run was reprinted in Essential X-Men Vol.4 and he bookended the Marvel Fanfare series, pencilling a short Daredevil story in issue #1, and writing, drawing and lettering a sequel to that Daredevil tale in #60, the final issue of the book. Smith would briefly revisit the X-Men, drawing the X-Men / Alpha Flight limited series as well as a stint on the X-Men spin-off X-Factor. Over the subsequent years Smith would return numerous times to work on books of the X-Men franchise
5. جیمز اوبار – James OBarr is an American graphic artist, best known as the creator of the comic book series The Crow. OBarr, an orphan, was raised in the care system. In 1978, OBarrs fiancée, Beverly, was killed by a drunk driver and he was stationed in Germany and illustrated combat manuals for the military. While living in Berlin in 1981, OBarr began work on The Crow as a means of dealing with his personal tragedy, OBarr was further inspired by a Detroit newspaper account of the murder of a young couple over a $20 engagement ring. After his discharge from the Marines, OBarr continued his painting and illustration as well as doing odd jobs. The Crow sat on a shelf for seven years, but at last someone wanted to publish it, in The Crow, the protagonist and his fiancée are murdered by a gang of criminals. He then returns from the dead to hunt their killers, the Crow has sold more than 750,000 copies worldwide. In the 1990s OBarr was affiliated with the metal band Trust Obey. Trust Obey released the album Fear and Bullets, Music to Accompany The Crow in 1993, the album was packaged with a special edition of The Crow graphic novel. The Crow was adapted into a film of the same name in 1994. Brandon Lee, who played the character, was accidentally shot and killed during filming. O’Barr has been named as a consultant on the reboot, in November 2014, OBarr appeared at the Wizard World Tulsa Comic Con and admitted that he is helping write the script for the new reboot of The Crow, along with screenwriter Cliff Dorfman. After the success of the 1994 movie The Crow, OBarr began planning a post-apocalyptic graphic novel series entitled Gothik, the series was based on The Wizard of Oz and featured Jonny Z from his short story Frame 137 as the main character. In January 2013 Motionworks Entertainment released OBarrs western comic, Sundown and it is available on iPhone and iPad. As of the mid-2000s, OBarr resides in Dallas with his daughter, James OBarr at the Internet Movie Database James OBarr at ComicBookDB. com