Category:Silver Age comics creators
Pages in category "Silver Age comics creators"
The following 161 pages are in this category, out of 161 total. This list may not reflect recent changes (learn more).
The following 161 pages are in this category, out of 161 total. This list may not reflect recent changes (learn more).
1. Neal Adams – Adams was inducted into the Eisner Awards Will Eisner Comic Book Hall of Fame in 1998, and the Harvey Awards Jack Kirby Hall of Fame in 1999. Neal Adams was born on Governors Island, New York City, New York, at the suggestion of staffers, Adams drew three or four pages of the Fly, but did not receive encouragement from Simon. Sympathetic staffers nonetheless asked Adams to draw samples for the Archie teen-humor comics themselves, while he did so, Adams said in a 2000s interview, he unknowingly broke into comics, I started to do samples for Archie and I left my Fly samples there. A couple weeks later when I came in to show my Archie samples, I noticed that the pages were still there and they said, One of the artists did this transition where Tommy Troy turns into the Fly and its not very good. You did this real nice piece so we’ll use that, if its OK and that panel ran in Adventures of the Fly #4. Afterward, Adams began writing, penciling, inking, and lettering humorous full-page and half-page gag fillers for Archies Joke Book Magazine, in a 1976 interview, he recalled earning bout $16.00 per half page and $32.00 for a full page. That may not seem like a deal of money. As we were not in a wealthy state and it was manna from heaven, so to speak. Having not left Archie Comics under the best of circumstances, Adams turned to art for the advertising industry. After a rocky start freelancing, he began landing regular work at the Johnstone and Cushing agency, but they gave me a chance and. I stayed there for about a year, in 1962, Adams began his comics career in earnest at the NEA newspaper syndicate. From a recommendation, writer Jerry Caplin, a. k. a, Jerry Capp, brother of Lil Abner creator Al Capp, invited Adams to draw samples for Capps proposed Ben Casey comic strip, based on the popular television medical-drama series. On the strength of his samples and of his Chip Martin, College Reporter AT&T advertising comic-strip pages in Boys Life magazine, the first daily strip, which carried Adams signature, appeared November 26,1962, a color Sunday strip was added September 20,1964. Adams continued to do Johnston & Cushing assignments during Ben Caseys 3 1/2-year run, Comics historian Maurice Horn said the strip did not shrink from tackling controversial problems, such as heroin addiction, illegitimate pregnancy, and attempted suicide. These were usually treated in soap opera fashion, but there was also a touch of toughness to the proceedings, well rendered by Adams in a forceful, direct style that exuded realism and tension and accorded well with the overall tone of the strip. In addition to Capp, Jerry Brondfield also wrote for the strip, the ABC series, which ran five seasons, ended March 21,1966, with the final comic strip appearing Sunday, July 31,1966. I wasnt happy working on the strip nor was I happy giving up a third of the money to Bing Crosby Productions, the strip I should have been making twelve hundred a week from was making me three hundred to three-fifty a week. On top of that, I was not able to express myself artistically when I wanted to, but we left under very fine conditions
2. John Buscema – His younger brother Sal Buscema is also a comic book artist. Buscema is best known for his run on the series The Avengers and The Silver Surfer, in addition, he pencilled at least one issue of nearly every major Marvel title, including long runs on two of the companys top magazines Fantastic Four and Thor. He was inducted into the Will Eisner Comic Book Hall of Fame in 2002, born in Brooklyn, New York City, John Buscema showed an interest in drawing at an early age, copying comic strips such as Popeye. He showed an interest in commercial illustrators of the period, such as N. C, wyeth, Norman Rockwell, Dean Cornwell, Coby Whitmore, Albert Dorne, and Robert Fawcett. Buscema graduated from Manhattans High School of Music and Art and he took night lessons at Pratt Institute as well as life drawing classes at the Brooklyn Museum. While training as a boxer, he began painting portraits of boxers, colan recalled that. John never seemed very happy in comics. There always seemed to be something else he wanted to do. His first recorded credit is penciling the four-page story Till Crime Do You Part in Timelys Lawbreakers Always Lose #3. He contributed to the dramatic series True Adventures and Man Comics, as well as to Cowboy Romances, Two-Gun Western, Lorna the Jungle Queen. Buscema next produced a series of Western, war, and sword, Buscema recalled, I did a bunch of their movie books. I worked from stills on those, except for The Vikings. I think one of the best books I ever did was Sinbad the Sailor. He began a position for the New York City advertising firm the Chaite Agency. Buscema called this time quite a period for me in my own development of techniques. He returned to comic books in 1966 as a regular freelance penciller for Marvel Comics, debuting over Jack Kirby layouts on the Nick Fury, Story in Strange Tales #150, followed by three Hulk stories in Tales to Astonish #85-87. He then settled in as regular penciller of The Avengers, which would one of his signature series. Avengers #49-50, featuring Hercules and inked by Buscema, are two of his best-looking of that period, said comics historian and one-time Marvel editor-in-chief Roy Thomas, Thomas and Buscema introduced new versions of the Black Knight and the Vision during their collaboration on The Avengers. The process brought Buscemas art to life in a way that it had never been before, anatomically balanced figures of Herculean proportions stalked, stormed, sprawled, and savaged their way across Marvels universe like none had previously. John Buscema named Frank Giacoia, Sal Buscema, and Tom Palmer as his favorite inkers, Buscema drew the first appearance of the Prowler in The Amazing Spider-Man #78
3. Gene Colan – Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005. Eugene Jules Colan was born September 1,1926 to Harold Colan, a salesman, and Winifred Levy Colan. His parents ran a business on the Upper East Side. His family were Christians, and his familys surname had originally been Cohen, Colan began drawing at age three. The first thing I ever drew was a lion, I mustve absolutely copied it or something. But thats what my folks tell me, and from then on, I just drew everything in sight. My grandfather was my favorite subject, among his earliest influences, he said in 2001, were the Coulton Waugh adventure comic strip Dickie Dare in The New York Sun. I was influenced by the style, or the story and he moved with his family at about age 4 to Long Beach, New York, on Long Island. Later, he would try to copy artist Norman Rockwells covers to The Saturday Evening Post, other major art influences were comics artists Syd Shores and Milton Caniff. Colan attended George Washington High School in the Washington Heights section of Manhattan, Colan began working in comics in 1944, doing illustrations for publisher Fiction Houses aviation-adventure series Wings Comics. Ust a summertime job before I went into the service, it gave Colan his first published work and his first comics story was a seven-page Clipper Kirk feature in the following months issue. After attempting to enlist in the U. S. Marine Corps during World War II but being pulled out by his father because I was underage, originally scheduled for gunnery school in Boulder, Colorado, plans changed with the wars sudden end. I was going to be an aerial gunner, but it never materialized, he recalled in 2001. After training at an Army camp near Biloxi, Mississippi, he joined the U. S. forces in the Philippines, There Colan rose to the rank of corporal, drew for the Manila Times, and won an art contest. Upon his return to life in 1946, Colan went to work for Marvel Comics 1940s precursor. He recalled in 2000, I was living with my parents, I worked very hard on a war story, about seven or eight pages long, and I did all the lettering myself, I inked it myself, I even had a wash effect over it. I did everything I could do, and I brought it over to Timely, what you had to do in those days was go to the candy store, pick up a comic book, and look in the back to see where it was published. Most of them were published in Manhattan, they would tell you the address, al Sulman, listed in Timely mastheads then as an editorial associate, gave me my break
4. Vince Colletta – This included a few landmark early issues of Marvel Comics Fantastic Four, and a long, celebrated run on the character Thor in Journey into Mystery and The Mighty Thor. He settled in Brooklyn, New York City, where his wife, the family then moved to New Jersey and opened an Italian market, severing any ties to the Mafia. The following year he began his collaboration with Marvel, at the companys 1950s iteration. Collettas work also appeared in genres as jungle adventure and horror/fantasy. His last confirmed work for decades was I Cant Marry Now in Love Diary #6. Collettas first confirmed work as an inker of another artists pencils is unknown, historians pinpoint Collettas first inking of Jack Kirbys pencils as either the cover of Kid Colt, Outlaw #100 or, the cover of Love Romances #98. Members of artist Wally Woods studio were among those who assisted or ghosted on Collettas mid-1960s Charlton stories, as an inker for Marvel in the 1960s, Colletta worked on nearly every title, including some of the earliest issues of Daredevil. Colletta began his run on Kirbys The Mighty Thor feature with the Tales of Asgard backup in Journey into Mystery #106. Colletta graduated to the feature with #116. Colletta also inked Journey into Mystery Annual #1, which introduced Hercules to the Marvel universe, historians and critics consider Collettas Thor work to be his creative highlight. Historian Nick Simon said, For me, the Kirby/Colletta version of Thor is the definitive one, author and Silver Age of Comic Books historian Pierre Comtois wrote that. Be that as it may, what Colletta chose to keep, Colletta would also pencil stories in many 1960s issues of Charlton Comics Teen-Age Love and First Kiss. He occasionally inked romance stories penciled by Joe Sinnott, and other pencilers on such titles as Charltons Gunmaster, and Dell Comics Guerrilla War, Jungle War Stories, and Western series Idaho. While Collettas rates were good and he brought an innocent Marvel Age look to Jacks new heroes, he was prone to erasing background characters and transforming ustling crowd scenes easier silhouettes. Kirby confidante Mark Evanier and inker Wally Wood eventually convinced a reluctant Kirby to ask DC Publisher Carmine Infantino to remove Colletta from inking Kirbys titles. He was replaced by inker Mike Royer, causing fans to write to DC in complaint. Collettas frequent assistant Art Cappello did much of the inking on these comics. He was named DCs art director in May 1976, resigning the post in May 1979 and his time there included discovering future industry star Frank Miller
5. Johnny Craig – John Thomas Alexis Craig, better known as Johnny Craig, was an American comic book artist notable for his work with the EC Comics line of the 1950s. He sometimes used the pseudonyms Jay Taycee and F. C, born in Pleasantville, New York, Craig studied at the Art Students League of New York. While attending classes, he working in 1940 as an assistant of Harry Lampert. Between 1943 and 1945, Craig served in the Merchant Marines, returning to comics after his discharge, he began drawing for EC Comics, beginning with the penciling and inking the cover of Moon Girl and the Prince #1. When he teamed with Al Feldstein, they used the pseudonym F. C, wally Wood once said Craig drew the cleanest horror stories you ever saw. His first EC horror work came with the art for The Crypt of Terror #17. In being a writer as well as an artist, Craig differed from the majority of EC artists and he was responsible for the stories hosted by the Vault-Keeper, and he also drew that horror host in the framing sequences of stories by other EC illustrators. He eventually concentrated on The Vault of Horror and Crime SuspenStories, Craig became the editor of The Vault of Horror early in 1954, giving up his work for Crime SuspenStories at that time. Later that year, he created the Vault Keepers attractive assistant, after the EC horror books came to an end, Craig edited ECs Extra. in 1955, writing and drawing two stories in each bimonthly issue. Craigs story. And All Through the House in Vault of Horror #35 was adapted for the Joan Collins segment of the 1972 omnibus film Tales from the Crypt, Craigs many covers included that of the infamous Crime SuspenStories #22, shown during the 1950s Senate hearings on juvenile delinquency. Senator Estes Kefauver asked EC publisher Bill Gaines whether he thought the cover, Gaines responded, Yes, sir, I do, for the cover of a horror comic—a remark that became an oft-quoted example of comic books alleged depravity. Ironically, Craig was one of the more wholesome EC artists, one critic wrote of his work, Craig was a meticulous craftsman and not a fast worker, but his stories are regarded as some of the best ever in comics. His art was relatively low-key and restrained, effectively staged and featured impeccable draftsmanship, the scripts he wrote tended to be literate and cerebral, and generally relied on solid construction and implacable internal logic, rather than on contrived snap endings. His horror work made use of psychology and mood than of the supernatural. He returned to comics in the 1960s with art for ACGs Unknown Worlds, in 1967, he applied at DC. Recalling the excellence of his EC stories, editor George Kashdan gave him an issue of The Brave, Craig handed the job in weeks late, whereupon his art was deemed too subdued, even for the relatively staid DC super-hero comics of the time. Before publication, the pages were heavily retouched and revised as to expunge any trace of Johnny Craigs style. Evanier wrote that Goodwin, by now writing for Marvel, said that, Every so often, wed try having him pencil an Iron Man or something and he couldnt draw superheroes the way they wanted, and he couldnt hit the deadlines of a monthly book
6. Steve Ditko – Stephen J. Steve Ditko is an American comic book artist and writer best known as the artist and co-creator, with Stan Lee, of the Marvel Comics superheroes Spider-Man and Doctor Strange. Ditko studied under Batman artist Jerry Robinson at the Cartoonist and Illustrators School in New York City and he began his professional career in 1953, working in the studio of Joe Simon and Jack Kirby, beginning as an inker and coming under the influence of artist Mort Meskin. During this time, he began his long association with Charlton Comics, where he did work in the genres of science fiction, horror. He also co-created the superhero Captain Atom in 1960, during the 1950s, Ditko also drew for Atlas Comics, a forerunner of Marvel Comics. He went on to contribute much significant work to Marvel, in 1966, after being the exclusive artist on The Amazing Spider-Man and the Doctor Strange feature in Strange Tales, Ditko left Marvel for reasons never specified. Ditko also began contributing to small independent publishers, where he created Mr. A, since the 1960s, Ditko has declined most interviews, stating that it is his work he offers readers, not his personality. Ditko was inducted into the comics industrys Jack Kirby Hall of Fame in 1990, the second-eldest child in a working-class family, he was preceded by sister Anna Marie, and followed, according to the 1940 census, by sister Elizabeth and brother Patrick. Good with his hands, Ditko in junior school was part of a group of students who crafted wooden models of German airplanes to aid civilian World War II aircraft-spotters. Upon graduating from Johnstown High School in 1945, he enlisted in the U. S. Army on October 26,1945, and did service in postwar Germany. Following his discharge, Ditko learned that his idol, Batman artist Jerry Robinson, was teaching at the Cartoonists, moving there in 1950, he enrolled in the art school under the G. I. He was in my class for two years, four or five days a week, five hours a night, Ditkos first published work was his second professional story, the six-page Paper Romance in Daring Love #1, published by the Key imprint Gillmor Magazines. Beginning as an inker on backgrounds, Ditko was soon working with and learning from Mort Meskin, Meskin was fabulous, Ditko once recalled. I couldnt believe the ease with which he drew, strong compositions, loose pencils, yet complete, Ditkos known assistant work includes aiding inker Meskin on the Jack Kirby pencil work of Harvey Comics Captain 3-D #1. For his own published story, Ditko penciled and inked the six-page A Hole in His Head in Black Magic vol. 4, #3, published by Simon & Kirbys Crestwood Publications imprint Prize Comics, Ditko then began a long association with the Derby, Connecticut publisher Charlton Comics, a low-budget division of a company best known for song-lyric magazines. He first went on hiatus from the company, and comics altogether, in mid-1954, hed take those skeleton outlines I had given him and turn them into classic little works of art that ended up being far cooler than I had any right to expect. Kirby told Lee about his own 1950s character conception, variously called the Silver Spider and Spiderman, Comics historian Greg Theakston says Lee and Kirby immediately sat down for a story conference and Lee afterward directed Kirby to flesh out the character and draw some pages. A day or two later, Kirby showed Lee the first six pages, and, as Lee recalled, not that he did it badly — it just wasnt the character I wanted, it was too heroic
7. Edmond Hamilton – Edmond Moore Hamilton was an American writer of science fiction during the mid-twentieth century. Born in Youngstown, Ohio, he was raised there and in nearby New Castle, something of a child prodigy, he graduated from high school and entered Westminster College in New Wilmington, Pennsylvania at the age of 14, but washed out at 17. Hamilton quickly became a member of the remarkable group of Weird Tales writers assembled by editor Farnsworth Wright. Weird Tales would publish 79 works of fiction by Hamilton from 1926 to 1948, in the late 1930s Weird Tales printed several striking fantasy tales by Hamilton, most notably He That Hath Wings, one of his most popular and frequently-reprinted pieces. Hamilton is wrote one of the first hardcover compilations of what would come to be known as the science fiction genre, The Horror on The Asteroid. The book compiles the stories, The Horror on the Asteroid, The Accursed Galaxy, The Man Who Saw Everything, The Earth-Brain, The Monster-God of Mamurth. Through the late 1920s and early 1930s Hamilton wrote for all of the SF pulp magazines then publishing and he was very popular as an author of space opera, a subgenre he created along with E. E. His story The Island of Unreason won the first Jules Verne Prize as the best SF story of the year, in the later 1930s, in response to the economic strictures of the Great Depression, he also wrote detective and crime stories. Hamilton was always associated with an extravagant, romantic, high-adventure style of SF, as the SF field grew more sophisticated, his brand of extreme adventure seemed ever more quaint, corny, and dated. In 1942 Hamilton began writing for DC Comics, specializing in stories for their characters Superman and Batman and his first comics story was Bandits in Toyland in Batman #11. He wrote the science fiction series Chris KL-99 in Strange Adventures. He and artist Sheldon Moldoff created Batwoman in Detective Comics #233, Hamilton co-created Space Ranger in Showcase #15 with Gardner Fox and Bob Brown. Hamilton was instrumental in the growth of the Legion of Super-Heroes feature. He introduced many of the early Legion concepts including the Time Trapper in Adventure Comics #317, Hamilton retired from comics with the publication of The Cape and Cowl Crooks in Worlds Finest Comics #159. On December 31,1946, Hamilton married fellow science fiction author and screenwriter Leigh Brackett in San Gabriel, California, and moved with her to Kinsman, Ohio. Afterward he would some of his best work, including his novels The Star of Life, The Valley of Creation, City at Worlds End. His single most frequently-reprinted and anthologized work, Edmond Hamilton died February 1977 in Lancaster, California, of complications following kidney surgery. The Captain Future adaptation was later exported to Europe, winning Hamilton a new and different fan base than the one that had acclaimed him half a century before, notably in France and Germany
8. Ross Andru – Ross Andru was an American comic book artist and editor. He is best known for his work on The Amazing Spider-Man, Wonder Woman, Flash, Metal Men and his most frequent collaborator was inker Mike Esposito, with whom he worked on projects over a span of four decades. The two founded three short-lived comic books companies, Mr. Publications, MikeRoss and Klevart Enterprises, Andru was inducted into the Will Eisner Comic Book Hall of Fame in 2007. Andru served in the U. S. Army, and after being discharged in 1946, Andrus first professional comic book work was for the Tarzan newspaper strip in 1948. The newspaper strip for the Sunday page of the Daily Mirror and he paid Ross by the month and the G. I. Bill gave him a few bucks to live on, Ross would lay it out then Burne would ink it with his approach and would actually change everything and it would look really like Burne Hogarth when he got through with it. Ross had a concept for visuals for the layout, for the storytelling. Thats what Burne Hogarth saw in Ross and he developed him to all that out, the shots. That only lasted a couple of years because the strip died in about 1950-51, then Ross came to me when I started publishing and we more or less teamed up. Another source says penciler Andru first teamed with inker Esposito in 1949 for the publisher Fiction House, the teams first confirmed collaboration was on the six-page Wylies Wild Horses in Hillman Periodicals Western Fighters vol. 2, #12, signaling the start of a four-decade collaboration, for those titles as well as G. I. Combat and Our Fighting Forces, Andru and Esposito drew hundreds of tales of combat under editor, from 1957 to 1959, Andru and Esposito shared a studio with fellow comics artists Jack Abel, Art Peddy and Bernie Sachslate, generally credited as Bernie Sachs. Andru began a run on Wonder Woman starting with issue #98. Esposito said Kanigher left the design up to Ross and myself, under his supervision. Andru and Kanigher had several notable collaborations. The Gunner and Sarge feature introduced in All-American Men of War #67 was one of the first war comics to feature recurring characters, Andru drew an early appearance of Kanighers Sgt. Rock character in Our Army at War #81 With Kanigher, the Andru-Esposito team introduced the non-superpowered adventurers the Suicide Squad in The Brave and the Bold #25. Another innovation was the melding of war comics with science-fiction in The War that Time Forgot, Andru also drew early issues of Rip Hunter, Time Master in 1961, and the Sea Devils
9. Otto Binder – Otto Oscar Binder was an American author of science fiction and non-fiction books and stories, and comic books. He is best known for his scripts for Captain Marvel Adventures. Born in Bessemer, Michigan, Otto Binder was the youngest of six children in a family that had emigrated from Austria a year earlier and he was born and raised Lutheran. They settled in Chicago in 1922, during a period rich with science fiction, the two began writing in partnership and sold their first story, The First Martian to Amazing Stories in 1930, it saw publication in 1932 under the pen name Eando Binder. Not earning enough writing to live on, Binder and his brother worked at many jobs, Earl found employment at an iron works. After a year, editor Ed Herron had Binder tackle Fawcetts most prominent character and he soon wrote for the spin-off features starring Captain Marvel, Jr. and Mary Marvel, the latter of whom he co-created with Marc Swayze. Binder spent from 1941 to 1953 with Fawcett, writing 986 stories, out of 1,743, over half the entire Marvel Family saga, per comic-book writer-editor E. Nelson Bridwell. His first Captain Marvel writing was the Dime Action Book novel Return of the Scorpion and his first Captain Marvel comic-book story was Captain Marvel Saves the King in Captain Marvel Adventures #9. He wrote for numerous other Fawcett features, as well as many two-page text fillers that were required in comics in order to be eligible for magazine postal rates and his text stories in Captain Marvel Adventures, under the Eando pseudonym, starred Lieutenant Jon Jarl of the Space Patrol. Binder and Beck unsuccessfully attempted to launch a newspaper strip featuring Mr. Tawky Tawny in 1953. Binder left Fawcett when the shut down its comic book division in 1953. For Quality Comics, Binder co-created Kid Eternity, and wrote Blackhawk, Doll Man, Uncle Sam, for MLJ Comics, he wrote stories starring Steel Sterling, the Shield, the Hangman, and the Black Hood. At Gold Key Comics, Binder co-created Mighty Samson and other characters and his science fiction for EC Comics includes Lost in Space, illustrated by Al Williamson, in Weird Science-Fantasy #28. He then moved on to his best-known DC work, the Superman group of titles, Binder and Plastino debuted the supervillain Brainiac and the Bottle City of Kandor in Action Comics #242 and co-created Supergirl in Action Comics #252. With artist collaborators, he co-created Krypto the Super Dog, the Phantom Zone, and the supporting characters Lucy Lane, Beppo the Super Monkey, in the first issue of Supermans Pal Jimmy Olsen, he introduced Jimmy Olsens signal-watch, and in #31, Jimmys Elastic Lad identity. He wrote the Lois Lane feature in Showcase #9 which served as a tryout for the characters own series, the characters first comic book appearance was in Superboy #68 by Binder and artist George Papp and Bizarro World was introduced in Action Comics #263. Binder scripted what Bridwell calls the classic Supermans Return to Krypton and his last Superman story was The Cage of Doom in Action Comics #377. Binder was featured in a story in the first issue of Shazam, the Binder character, drawn by C. C
10. Sol Brodsky – He later rose to vice president, operations and vice president, special projects. Sol was really my right-hand man for years, described Marvel editor, Brodsky worked primarily behind the scenes, uncredited. His accomplishments include co-creating, with letterer Artie Simek, the logo of The Amazing Spider-Man. He was belatedly credited after decades as the inker of Jack Kirbys pencil art for The Fantastic Four #3-4, Lee described Brodsky as my assistant for years and the companys production head. He could write, he could draw, he could ink — he could do everything, born in Brooklyn, New York City, New York, the son of Abraham and Dora Brodsky, Sol Brodsky was the eldest among siblings Leonard, Ted, and Faye. Determined early in life to pursue cartooning, he took a job sweeping floors at Archie Comics in order to break into the industry, a 1985 tribute feature in the Marvel promotional magazine Marvel Age cites his comic-art debut at age 17 in 1940 in the comic V-Man. Brodskys earliest confirmed credit is inking a six-page Volton story in Holyoke Publishings Cat-Man Comics vol. His earliest known cover art is for Fox Comics Blue Beetle #17, Brodsky served in the U. S. Army Signal Corps during World War II, advancing to the rank of corporal. Upon his return from service, Brodsky created the feature Red Cross in Holyokes aviation series Captain Aero Comics. Fellow comics artist Allen Bellman recalled in 2005, Sol and I were close friends and we both lived in Brooklyn and I was already married. When Roz and I were married, we moved to the Jersey shore area of Asbury Park and he was a warm, good-natured person. Brodsky married Selma Cohen on November 28,1948 and their first child, Janice, was born August 7,1952, and son Gary on March 18,1957. He also drew the cover of Sub-Mariner Comics #34, after an Atlas reorganization circa 1954, publisher Martin Goodman eliminated all his comics-division staff except for editor-in-chief Stan Lee. Freelance cartoonist and later longtime Marvel colorist and Millie the Model artist Stan Goldberg recalled, I would come in a couple of days a week to help out, but I had a lot of my own freelance stuff, so I couldnt do much. Stan got in touch with Sol, Stan was a one-man department, and with Sol it became a two-man department. As Lee elaborated, Sol and I were the staff of Atlas Comics. I bought the art and scripts and Sol did all the production and my job was mainly talking to the artists and the writers and telling them I wanted the stuff done. The corrections, making sure everything looked right, making sure things went to the engraver and he was really the production manager
11. Dick Dillin – Richard Allen Dick Dillin was an American comic book artist best known for a 12-year run as the penciler of the DC Comics superhero-team series Justice League of America. He drew 115 issues from 1968 until his death in 1980, Dick Dillin was born in Watertown, New York. Determined since childhood to draw for comics, Dillin graduated from Watertown High School to become an art student at Syracuse University on the G. I, bill, following his military service with the 8th U. S. Army in Tokyo, Yokohama, and Okinawa. Sometime after marrying wife Estella in 1948, Dillin left his job at a Watertown manufacturer of air brakes for trains, and sought an art career in New York City. Six months later, after having done magazine illustration and other art and gaining a foothold at Fawcett Comics and Fiction House, he relocated his family to suburban Peekskill. Dillins art at Fawcett and Fiction House led to drawing for Quality Comics and he worked particularly on the popular title Blackhawk but also on G. I. Combat, Love Confessions, and Love Secrets and he had completed the first 2½ pages of #184 when he died, penciler George Pérez and inker Frank McLaughlin took over the title, starting that issue from scratch. Dillins tenure on JLA included the reintroduction of Red Tornado and he and writer Dennis ONeil made several changes to the membership of the JLA by removing founding members Wonder Woman and the Martian Manhunter. They also oversaw the migration of the Black Canary from Earth-2 to Earth-1, in the fall of 1972, Dillin drew the DC chapter of a metafictional unofficial crossover crafted by writers Wein, Steve Englehart, and Gerry Conway spanning titles from both major comics companies. Each comic featured Englehart, Conway, and Wein, as well as Weins first wife Glynis, interacting with Marvel or DC characters at the Rutland Halloween Parade in Rutland, Vermont. Beginning in Amazing Adventures #16, the story continued in Justice League of America #103, Wein and Dillin created the supervillain Libra in Justice League of America #111, who would play a leading role in Grant Morrisons Final Crisis storyline in 2008. Dillin drew the return of Wonder Woman to the team in issues #128-129 and he and writer Steve Englehart crafted a new origin story for the JLA in issue #144 and inducted Hawkgirl into the team two issue later. Dillin and writer Bob Haney created the Super-Sons, Superman Jr. and he drew several Green Lantern backup stories in The Flash from 1974 to 1977. In 1975, Dillin drew the framing chapters for a 1940s Seven Soldiers of Victory script in Adventure Comics #438 and 443 and he was living in Peekskill, New York, at the time of his death. Dick Dillin at Mikes Amazing World of Comics