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. Jack Abel – Jack Abel was an American comic book artist best known as an inker for leading publishers DC Comics and Marvel Comics. He was DCs primary inker on the Superman titles in the late 1960s and early 1970s and he sometimes used the pseudonym Gary Michaels. After a reshuffling at DC c and he had already inked Gene Colan there on a long stretch of Iron Man stories beginning with Tales of Suspense #73, under the pseudonym Gary Michaels. As Colan recalled, He did a lot of Iron Man with me and he had a very slick line, which was okay on Iron Man, of course. Iron Man was made of iron, so you want it to look like metal, but when it came to stone and dark corners and garbage, he wasnt the man for that. From the mid-1970s, Abel inked not only for Marvel and again DC, but for the smaller companies Gold Key, Charlton Comics, Atlas/Seaboard, and Skywald Publications. Baseball-fan Abel, who in the 1970s rented studio space at Neal Adams and Dick Giordanos Continuity Associates, outside comic books, Abel inked John Celardo from 1967-1969 on the syndicated comic strip Tales of the Green Beret, written by author Robin Moore. In 2016, Abel was nominated and tied for runner-up for the Inkwell Awards Special Recognition Award, Jack Abel at the Comic Book DB The Unofficial Handbook of Marvel Comics Creators Comic Art & Graffix Gallery, Murphy Anderson interview. WebCite archive Remembering Jack Abel, Comic Book Marketplace, vol,2, #46, Reminiscences by Gene Colan, Peter David, Joe Giella, Russ Heath, Joe Kubert, Alan Kupperberg, and Steve Mitchell Schenk, Ramon, ed. Charlton Personnel. Archived from the original on March 5,2008, additional WebCitation archive made June 15,2010
2. 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
3. Dan Adkins – Danny L. Adkins was an American illustrator who worked mainly for comic books and science-fiction magazines. Dan Adkins was born in West Virginia, in the basement of an unfinished house and he left the state when I was about 7 as his family moved to Pennsylvania, Reno, Nevada, Phoenix, Arizona, New York, Ohio, and New Jersey. When he was about 11 years old, Adkins said, he had a bout with rheumatic fever that left him paralyzed from the waist down for six months, serving in the Air Force in the mid-1950s, stationed at Luke Field outside Phoenix, Adkins was a draftsman. As he described the job, If a change was made to a building on the base, I also drew a lot of electronics stuff, engine corrections, etc. After I got a second stripe as Airman Second Class, I became an illustrator, from eight months after basic training. When I got out, I was the equivalent of a staff sergeant, as an illustrator, I had a whole room to myself with equipment to turn out posters to put in front of the base library or movie theatre. We also did a magazine where wed list all the happenings and we had to spend a certain amount of money per month in order to get the same amount the next month. And I couldnt come up with things to spend the money on. Launched in 1956, that publication was Sata, filled with fantasy illustrations, in Phoenix, Arizona, Adkins met artist-writer Bill Pearson who signed on as Satas co-editor. In 1959, Pearson became the editor of Sata, ending the 13-issue run with several offset-printed issues. Adkins contributed to numerous other fan publications, including Amra, Vega, at 19, Adkins began doing freelance illustration for science-fiction magazines. He moved to New York City at and when he was about 24 years old was an art director for the Hearst Corporations American Druggist, ss he recalled, We turned out 92-page biweekly medical journals. We had this big dummy room with all these shelves where we laid out every sheet and you had to order the galleys, what they called thumbnails, which is a block of print thats a photograph. I quit after three months and went into advertising, working for Advertising Super Mart, where I did paste-up mechanicals. In 1964, during the period fans and historians call the Silver Age of Comics. Wood and Adkins collaborated on a series of stories for Warren Publishings black-and-white horror-comics magazines Creepy, Adkins was among the original artists of Woods T. H. U. N. D. E. R. Agents, for Tower Comics, drawing many Dynamo stories during his 16 months in the Wood Studio and he joined Marvel Comics in 1967. Working primarily as an inker but also penciling several stories for Doctor Strange, Adkins additionally worked for a variety of comics publishers, including Charlton Comics, DC Comics, Dell Comics/Western Publishing, Eclipse Comics, Harvey Comics, Marvel, and Pacific Comics
4. Vince Alascia – Syd Shores and Al Avison had taken over art duties on Captain America Comics, and Alascia shortly afterward filled-in as Shores inker while Avison did his World War II military service. Alascia later went into rotation as one of the various Captain America Comics artists in any given issue. Examples of his work in that flagship title include the story Ali Baba and His Forty Nazis in issue #32, inking Ken Bald, and The Crime Dictator in issue #47, additionally, in issue #19, Alascia inked Shores on the chapter starring superheroine Miss America. In issue #21, he also pencilled both the Whizzer chapter and the chapter, and inked Avisons Sub-Mariner chapter. Other Timely work includes stories featuring the Young Allies in Kid Komics and The Young Allies, the Patriot in the omnibus title Marvel Mystery Comics, a Modell/Alascia Eerie story was reprinted in Skywald Publications, Nightmare #1. The art team would sign its work Nicholas & Alascia. As a penciler, Alascias work for Charlton includes the August 1956 premiere issue of Tales of the Mysterious Traveler. S, marines in Action, and Six-Gun Heroes. Strikes me as a cross between Sheldon Moldoff and Mort Meskin, and if you know anything about Golden Age artists, you know that those two are names to conjure with. Artist Gill Fox had a different view, recalling that Alascia had taken an art course that was an offshoot of the course at Textile High School, I was deeply impressed with Vinces talent, he did great stuff for the yearbook. Years later, I went to see him and he had totally changed, I tried to get him to make a move into a better kind of work, but I couldnt get him to do it. Vince had an art career. Vince used to have these Rip Kirby strips in front of him, but what he was inking had nothing to do with the strip he was looking at. I dont know what he got out of it except inspiration, the Unofficial Handbook of Marvel Comics Creators Vassallo, Michael J. Vincent Fago and the Timely Funny Animal Dept. Archived from the original on November 24,2009, a Timely Talk with Allen Bellman, Comicartville. com,2005. POV Online, Which writer or artist has had the longest streak working on one comic book, archived January 1,1996, at the Wayback Machine. The Star-Spangled Avenger, by Steve Stiles
5. Alfredo Alcala – Not to be confused with Larry Alcala. Alfredo P. Alcala was a Filipino comic book artist, born in Talisay, Alcala was an established illustrator whose works appeared in the Alcala Komix Magazine. His 1963 creation Voltar introduced him to an audience, particularly in the United States. Alcala garnered awards in science-fiction during the part of the 1970s. Alfredo Alcalas lifelong interest in comic books began in childhood and he dropped out of school in his early teens to pursue a career in art, initially as a sign painter and commercial artist. Subsequently he took employment in a shop, designing lamps and household furniture. During the Japanese occupation of the Philippines in World War II he drew revealing pictures of their gear, inspired by the work of Lou Fine and other cartoonists, Alcala commenced with his comic book career in October 1948, beginning with an illustration in Bituin Komiks. By the end of the year he was drawing for Ace Publications, Ace was the publisher of four titles, each featuring his work. Ukala was one of his first major comics, though his career rapidly expanded, Alcala never used assistants to complete his work. He said, I somehow felt that the minute you let someone else have a hand in your work no matter what and its like riding a bicycle built for two. He eventually became a star of the Filipino comics scene, so famed that a periodical bore his name, in 1963 he created the comic book Voltar whose titular character predated Frazettas interpretation of Conan the Barbarian which bore a more than passing resemblance. Voltar became a winning success at home and eventually abroad. He has also cited the work of British artist Frank Brangwyn as a major influence, fellow cartoonist Tony DeZuniga was the first Filipino artist to relocate to the United States to work for DC Comics in 1970, followed by Nestor Redondo. In 1971 Alcala began a decade of work for both DC and Marvel Comics on horror and fantasy titles, eventually moving to New York City in 1976. He was one of the artists on the licensed movie tie-in series Planet of the Apes, in 1975, Alcala and writer Jack Oleck created Kong the Untamed for DC Comics. Later that year, Alcala drew Marvel Treasury of Oz, a adaptation of The Marvelous Land of Oz. Alcala joined Warren Publishing in 1977 and drew 39 stories for that publisher from 1977-1981 and his series Voltar was reprinted in issues 2-9 of The Rook. In the early 1980s he penciled the Star Wars newspaper strip and inked comic books such as Conan the Barbarian over John Buscemas pencils and inked Don Newtons pencil artwork in Batman
6. Murphy Anderson – He worked on such characters as Hawkman, Batgirl, Zatanna, the Spectre, and Superman, as well as on the Buck Rogers daily syndicated newspaper comic strip. Anderson also contributed for many years to PS, the preventive maintenance comics magazine of the U. S. Army. Murphy Anderson was born on July 9,1926, in Asheville, North Carolina, by the following month he was the regular artist on the Planet Comics features Life on Other Worlds and Star Pirate. Anderson continued doing work, as well as illustrations for science-fiction pulp magazines. From 1947 to 1949, Anderson was the artist on the Buck Rogers comic-book series, during the 1950s, Anderson worked for several publishers including Pines Comics, St. John Publications, Ziff Davis, DC Comics, and Atlas Comics, that decades predecessor of Marvel Comics. Anderson succeeded artist and co-creator Carmine Infantino on the superhero feature Captain Comet beginning with the story The Girl from the Diamond Planet in Strange Adventures #12. Years later, Anderson and writer John Broome created the feature Atomic Knights in Strange Adventures #117, Anderson and writer Gardner Fox launched the Hawkman series in May 1964 and introduced the Zatanna character in issue #4. Comics historian Les Daniels noted that Hawkman really took off when artist Murphy Anderson took over. Anderson came into his own with his elegantly ornamental version of the Winged Wonder. The Spectre was revived by Fox and Anderson in Showcase #60 and was given his own series in December 1967, Anderson designed the costume of Adam Strange. With his frequent collaborator, penciler Curt Swan, the artwork on Superman. He often hid his initials somewhere within the stories he inked, in 1972, he drew Wonder Woman for the cover of the first issue of Ms. Magazine. In 1973, he established Murphy Anderson Visual Concepts, which provided color separations, Anderson also contributed for many years to PS, the preventive maintenance comics magazine of the U. S. Army. Anderson and his wife of 67 years, Helen, had two daughters, Sophie and Mary, and a son, Murphy III, Anderson died in Somerset, New Jersey on October 22,2015, at the age of 89, of heart failure. Anderson received an Inkpot Award in 1984 and was inducted into the Jack Kirby Hall of Fame in 1998, in 2013, Anderson was inducted into the Inkwell Awards Joe Sinnott Hall of Fame. 2 #15 Our Army at War #28,31 Phantom Stranger #1, archived from the original on October 23,2015
7. 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
8. Jim Aparo – James N. Aparo was an American comic book artist best known for his 1960s and 1970s DC Comics work, including on the characters Batman, Aquaman and the Spectre. Aparo was raised in New Britain, Connecticut, and was self-trained as an artist and he attempted to enter the comic book profession in his early 20s, approaching EC Comics, which declined to hire him. He then worked in the industry in Connecticut, often drawing fashion illustrations for newspaper advertisements. He continued to pursue a career in books and comic strips while working in advertising. His first break in the field was with the comic strip Stern Wheeler, written by Ralph Kanna. In 1966, editor Dick Giordano at Charlton Comics hired him as a book artist. Over the next few years at Charlton, Aparo drew stories in many genres—Westerns, science fiction, romance, horror, mystery, Aparo was one of the few artists in mainstream comics at that time to serve as penciller, inker, and letterer for all of his work. In the late 1960s, Dick Giordano left Charlton for a position at DC Comics. After an initial issue for which Aparo provided only pencil art, Aparo resumed producing pencils, inks, and letters for most issues of the series until its cancellation. Aparo continued for a time to art to Charlton for The Phantom. Eventually Aparo resigned his assignment on The Phantom and worked almost exclusively for the remainder of his career for DC Comics, Aparos next series assignment at DC was Phantom Stranger. In 1971, Aparo was assigned a job as the artist for The Brave. This series routinely featured team-ups of DCs Batman with other characters, in this case, as the regular artist on the Phantom Strangers own series, Aparo was considered an appropriate choice. Aparo even co-starred as himself in The Brave and the Bold #124, during the more than 10 years as the artist for The Brave and the Bold, its bimonthly frequency permitted Aparo to do many other significant works for DC. He also provided art for a revival of Aquaman in both Adventure Comics and a continuation of the previously-cancelled Aquaman and he was assigned the solo Batman series in Detective Comics as of issue #437 for a rather short time and drew occasional stories for anthology series. Aparo and writer Len Wein introduce Sterling Silversmith in Detective Comics #446 and he drew The Untold Legend of the Batman, the first Batman miniseries in 1980, inking John Byrnes pencils in the first issue and providing full art for the second and third issues. Aparo was one of the artists on the double-sized Justice League of America #200, when The Brave and the Bold was cancelled in 1983, it was replaced with a series called Batman and the Outsiders, a superhero team led by Batman. This series, which Aparo co-created with writer Mike W. Barr, would be described by DC Comics writer, the Masters of Disaster were among the supervillains created by Barr and Aparo for the series
9. Bernard Baily – Bernard Baily was an American comic book artist best known as co-creator of the DC Comics characters the Spectre and Hourman, and a comics publisher, writer, and editor. Bernard Baily began his comics career under S. M. Jerry Iger, editor of Wow, one of the seminal American comic books that reprinted black-and-white newspaper comic strips in color and adding occasional new material as well. For DC Comics precursor National Comics, Baily co-created and drew the adventure feature Tex Thomson in Action Comics #1, the Thomson feature ran through Action Comics #32, after which the character adopted the superhero identities Mister America and the Americommando. Baily also wrote and drew the pirate-adventure feature Buccaneer in Nationals More Fun Comics #32-51, in More Fun Comics #52, Baily and writer Jerry Siegel, Supermans co-creator, introduced DCs violent spirit of vengeance, the Spectre. One compilation of the top hundred American comics artists writes that, Baily crafted a mood of menace and suspense, using bravura layouts featuring the Spectres otherworldly powers and he was also a fabulous cover artist who contributed reams of great images. Baily co-created the frequently revived DC superhero Hourman, with writer Ken Fitch, Hourman ran through Adventure Comics #83. Baily also drew the syndicated comic strips Vic Jordan and Stories of the Opera. In 1943, Baily founded the publishing company Baily Publications and, with artist Mac Raboy, the latter concern, which lasted through 1946, was the outsource producer of such comics as Cambridge House Publishers single-issue Star Studded Comics and Gold Medal Comics. B. Among the fledgling artists gaining a foothold in the industry at Bailys studio were Gil Kane, Carmine Infantino, and Frank Frazetta, other personnel included Dan Barry, Dick Briefer, Manny Stallman, and Nina Albright, one of a handful of Golden Age women comic-book artists. Baily himself drew for a number of companies in the 1950s, including DC Comics, Fawcett Comics, Key Publications, St. John Publications, and Marvel Comics precursor Atlas Comics. He also wrote and drew the comic strip Gilda Gay through the 1950s. He also drew the cover of Stanley Publications black-and-white horror-comics magazine Chilling Tales of Horror #1, during the 1970s, Baily published farm periodicals. His last known work was penciling the eight-page His Brothers Keeper, written by Jack Oleck. Baily was living in Putnam County, New York, at the time of his death at age 79, rare Eisner, Making of a Genius. Archived from the original on December 20,2009, archived from the original on 2009-11-25