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"penciling" Definitions
  1. work or markings done with or as if with a pencil or brush, especially fine or delicate work done with a pencil or brush on a painting or drawing.
  2. a drawing or sketch made with a pencil.
"penciling" Synonyms
noting writing composing drafting formulating inscribing penning scrawling scribbling jotting down setting down taking down writing down drawing up roughing out writing roughly dashing off committing to paper putting in writing putting down on paper drawing outlining sketching tracing charting plotting colouring(UK) coloring(US) delineating marking painting silhouetting rendering limning designing depicting defining etching signing autographing initialing(US) initialling(UK) adding countersigning inking subscribing underwriting witnessing putting styling re-signing signing one's name More

361 Sentences With "penciling"

How to use penciling in a sentence? Find typical usage patterns (collocations)/phrases/context for "penciling" and check conjugation/comparative form for "penciling". Mastering all the usages of "penciling" from sentence examples published by news publications.

type: All Declarative Interrogative Exclamative

structure: All Simple Compound Complex Compound-Complex

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Analysts are penciling in at least one more RRR cut this year.
By penciling in an amount, your father was making his intentions clear.
I'm penciling in [She plays Psylocke in the X-Men movie franchise].
This means penciling in your chocolate fix soon is not a bad idea.
BANKERS 'HOPING FOR SOFT LANDING' Lenders are anxiously penciling out farmers' growing risk.
They're penciling in a timeframe of mid-2018 for a mass production ready product.
BEBs are already tiptoeing around at the edge of penciling out for lots of cities.
My daily look consists of cream foundation, blush, penciling in my eyebrows, and applying mascara.
Instead, she made them a talking point, by penciling extreme razor-thin arches across her forehead.
For the latter distinction, Grant's is penciling in the name of the firm that Dalio built.
It helps because I don't have a lot of brow hair, and I'm always penciling in.
Early this year, economists polled by Reuters were penciling in a fade to around 6.6 percent.
When all benefits are considered, it can make the difference between a project penciling out or not.
And they're penciling in Spring 2018 for the full AI-powered meeting summarization feature to launch, he adds.
Nonetheless, it's worth penciling in some time for a stroll along Greenpoint Avenue and Kent and West streets.
Bankers, too, are penciling in Frieda River as one of a number of projects likely to be needing financing.
After that, you can be sure that the proud aunt will be penciling in some quality time with her niece.
After penciling in a brief cuddle session with the reality star, the puppy went upstairs to get down to business.
However, analysts are penciling in a recovery after that, with fourth-quarter profits projected to grow by a healthy 6%.
Good news for the always-busy club: There's a trick for penciling in your brows in less than 60 seconds.
The Stars coach quickly expanded her playbook, penciling in plays designed specifically with Plum in mind, a luxury for any coach.
Only one economist was predicting that Norges Bank may start easing policy, penciling in a cut for the second quarter of 2020.
Philadelphia Federal Reserve Bank President Patrick Harker said he was penciling in one more rate increase this year and three in 2018.
They are penciling in a 663% contraction in North American demand this year, partly reflecting greater usage of scrap by product manufacturers.
No matter the anti-Bey chatter, plenty of Lemonade fans are penciling in a few minutes to catch the singer at the CMAs.
According to the WSJ report, some of the traders are penciling in a decline in the yuan of as much as 40 percent.
Philadelphia Federal Reserve Bank President Patrick Harker said he was still penciling in one more rate hike this year and three in 0.413.
So should you start penciling Kansas in as one of the four No. 1 seeds before the bracket is released on Sunday night?
Jose Francisco Goncalves, chief economist at Banco Fator in Sao Paulo, was even more bearish, penciling in a contraction of up to 3.5%.
"Overall, we are penciling in growth of 4.0% y/y, down from 4.4% in Q3," Leather said in a research note on Friday.
There, the Fed signaled plans to slow down raising interest rates this year amid rising economic uncertainty, after penciling in two rate hikes.
He said it's also eyeing additional form factors such as wearables down the line, penciling in 2020 for expanding into other devices and verticals.
The economy is weakening, but this isn't another Great Recession Page said he's penciling in one more rate cut this year -- probably in December.
Ms. Paradise, who operates the spotlight onstage, was penciling in the starting lineup before Thursday's game, on Field 2, near the Central Park carousel.
"The central bank will likely wait a little longer before penciling in one more rate cut," HSBC said in a research note on Friday.
When you were expanding Miranda's world from just her bedroom on YouTube to a full life and town, what did you start penciling in first?
A few years back, for instance, he decided to scrap traditional penciling and inking for his "Killogy" comic book series and take up digital drawing.
He mentioned that when Hillary urged him to expand Arkansas's preschool offerings, it wasn't just a matter of penciling in a number in a box.
This past week, economists were penciling in a short-lived hit to first quarter growth from the virus before it bounces back in the second quarter.
Then, after a few funny poses with their half-brows, they begin penciling in a new straighter brow shape from their arches up toward their temples.
The OBR also estimates that it will take a year longer to fully return the bank to private hands, penciling in the final stock sales by 2025.
The 25 books on display evince a familiar old-fashioned style — think "Mutt and Jeff" or "Blondie" — distinguished by robust penciling and a cumulative air of obsession.
Economists are penciling China's growth to slow 13.533 percent this year, from a solid 6.9 percent in 2017, due to a cooling property market and rising borrowing costs.
Eat I was writing the menu for our lunch service at Prune a few weeks ago and kept crossing out then penciling back in a classic: quiche Lorraine.
Facebook's recommendations feature A new appointment card feature added to Facebook's Messenger platform offers a more formalized process for penciling dates at a hair salon or auto-repair shop.
Most of the more than 100 economists polled June 7-12 by Reuters say they are not penciling in a rate cut until the third quarter of next year.
However, S&P said it expected growth to fall short of the government's 1.5 percent target for this year and next, penciling in just 1.3 percent and 1.2 percent respectively.
They're planning to launch a home crab kit delivery service called Red Apron — penciling in a launch for three apartments in a street in Greenwich Village, New York in summer 2019.
Since then content inflation has continued at a heady pace, with analysts penciling in a 30 percent rise in the price to win the rights for the European blue-riband event.
"TAL combines the old school China fraud playbook of simply penciling in more favorable numbers with the more sophisticated asset parking fraud of Enron," the short seller added in a report.
Fed officials are penciling in three rate increases for the year and markets anticipating only one or two as the U.S. economic expansion trundles toward its 12th year of steady growth.
Independent economists are also penciling in a higher federal deficit in the coming fiscal year, at 20193-3.4 percent of GDP, creating room for the government to invest an extra $6 billion.
Expectations of monetary tightening were also supported by Philadelphia Federal Reserve Bank President Patrick Harker, who said he was still penciling in one more rate hike this year and three next year.
In the same way that Only Yesterday selectively incorporates blank backgrounds, Yamadas makes deliberate use of negative space, only penciling in the broadest strokes necessary to depict its characters and their surroundings.
Although it's not yet in the market, with the company previously aiming to have a preproduction version of the sensor ready by this September, and penciling in delivery to OEMs in early 2017.
Economists polled by Reuters are penciling in more moderate growth of 6.5 percent this year, citing the expected drag from higher borrowing costs, a crackdown on air pollution and a cooling housing market.
UBS economists are now penciling in a rate hike by the Federal Reserve in June, followed by one in September, the financial services firm said in a note Wednesday as it updated its calls.
They also expect a slower pace of expansion this year in Chile due to "tighter financial conditions and soft private consumption dynamics," and are now penciling in growth of 3.4 percent instead of 3.6 percent.
Nevertheless, if the Trump-Xi meeting goes poorly and economic data deteriorates over the next month, a July rate cut might be more likely, said Knightly, who is currently penciling in cuts in September and December.
Ms. Severin was a consummate comic book artist, engaged in most parts of illustrating a comic book, which involves penciling outlines of the characters and scenes, finalizing the images in ink and then coloring them in.
While he still is penciling in "modest fiscal stimulus of some kind" in 2018 and 2019, large tax cuts could mean a bigger bump, and spending cuts could by contrast deliver a drag on growth, he said.
Apply that to the 2017 revenue analysts are penciling in for Kraft Heinz and Mondelez, and the buyers could squeeze out over $3 billion more pre-tax income a year, worth more than $20 billion taxed and capitalized.
Apply that to the 2017 revenue that analysts are penciling in for Kraft Heinz and Mondelez, and the buyers could squeeze out over $3 billion more pretax income a year, worth more than $20 billion taxed and capitalized.
The firms say they can reverse a period of underperformance for the San Diego-based Fortune 20073 company and unlock $11 billion to $16 billion of value, penciling out to a boost of $139-$158 per share for investors.
But he has emerged as such a star for U.S.A. Hockey's National Team Development Program that pro and college scouts are penciling in the left-shooting center as the odds-on favorite for the top spot 218 months from now.
To meet the 26 deficit target of 7503% of GDP, the government offered Brussels new so-called "safeguard clauses", penciling in valued-added tax hikes worth some 2750 billion euros unless it can find alternative resources to cut the deficit.
Bond markets are convinced a global recession is coming, Australia could become the second advanced economy to start cutting interest rates again next week -- to a record low of 1.25% -- and some economists are now penciling in as many as five Fed cuts.
Bond markets are convinced a global recession is coming, Australia could become the second advanced economy to start cutting interest rates again next week — to a record low of 22% — and some economists are now penciling in as many as five Fed cuts.
Adding to concerns is whether the Fed would switch gears to a more hawkish stance if jobs data continued to surprise on the upside with some analysts penciling in a March rate increase if payrolls data, due later in the day, surprised on the upside.
If the bad economic outcome that investors are penciling in materializes, and the Fed's depleted options aren't supplemented by a big fiscal push, that would pave the way for a more painful downturn — one that costs jobs and subdues business for a longer period.
In an interview with publisher Craig Yoe that prefaces Jay Disbrow's Monster Invasion, Disbrow connects his comics career to a consumption of Sunday supplements as a kid and remembers tiring of commuting from Asbury Park into Manhattan for inking and penciling gigs at Iger in his 20s.
BENGALURU (Reuters) - Global funds in August recommended an increase to bonds and cash holdings to the highest since early 2013 at least and cut equities to the lowest since late 2016, penciling in a more than 45% chance of a significant correction in stock markets this year.
"At home, the huge amount of social financing might ease as the central bank is wary of reigniting property market bubbles, while abroad the global economic recovery is expected to slow down," Nie said, penciling in more moderate output growth of 26.7069-6.5 percent for the rest of the year.
"Singapore is probably one of the more exposed economies in the region to Brexit not just from a trade perspective but also from a financial market (perspective)," said Nomura economist Brian Tan, penciling the full-2016 growth forecast at 1.1 percent, at the lower end of the government's 1-3 percent expectations.
"The slow but steady upward pressure on inflation could tilt a majority of policymakers to lift their suggested interest rate forecast, possibly penciling in two additional moves in the second half of the year after almost certainly raising rates tomorrow," said Sal Guatieri, a senior economist at BMO Capital Markets in Toronto.
Office apps for iPad will also sense the approach of an incoming stylus — so long as it's an active stylus like Apple's Pencil — so you can quickly switch between, say, typing in a Word document to penciling in hand-written notes in the margins with a stylus without selecting anything in the app.
Hours after his chief negotiator Michel Barnier urged his British counterpart to "start negotiating seriously" when they met in Brussels on Monday, European Commission President Juncker echoed the bloc's refusal to discuss the future free trade deal London wants before penciling in terms for leaving the EU. Juncker scoffed at a raft of British negotiating papers published over the summer which Prime Minister Theresa May's government said had shown London was responding seriously to the detailed proposals agreed by the other 27 EU states.
The original series was canceled with issue #6 (March 1963). Lee had written each story, with Jack Kirby penciling the first five issues and Steve Ditko penciling and inking the sixth.
During this period, he also penciled occasional covers and small miscellaneous jobs for Marvel Comics. Other work around this time included penciling the cover and co-penciling (with Rob Haynes) the lead story of Firearm #0 (Nov. 1993) and penciling the back cover and one story in Godwheel #2 (Feb. 1995) for Malibu Comics.
The flowers of the plant grow from where the leaf meets the stem, and are white with purple penciling.
Boucher, Geoff. "Jerry Robinson, key creator behind the Joker and Robin, dead at 89". Los Angeles Times. December 8, 2011 In 1943, when Kane left the Batman comic books to focus on penciling the daily Batman newspaper comic strip, Robinson took over the full penciling, along with others such as Dick Sprang.
The Fillbach Brothers (Matt Fillbach and Shawn Fillbach) are comic book artists, known for penciling the Dark Horse Comics Star Wars: Clone Wars Adventures series.
Aang is contacted by his former life Yangchen,DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). The Rift Part 1 (March 5, 2014), Dark Horse Comics. who tried contacting him about Old Iron's return.DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer).
Aang then aids in preventing Azula, disguised as the Kemurikage, from stealing any more children.DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). Smoke and Shadow Part 2 (December 16, 2015), Dark Horse Comics.DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer).
Cullins began working for Marvel Comics by penciling three six–page High Evolutionary backup stories, one each in the 1988 X-Factor Annual #3, The Punisher Annual #1, and Silver Surfer Annual #1. He was still freelancing primarily for DC, collaborating there with writer J. M. DeMatteis on a six-issue miniseries revival (Feb.–July 1988) of Jack Kirby's The Forever People, penciling the stories and covers.
DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). The Search Part 2 (July 10, 2013), Dark Horse Comics. convincing her to grant Rafa a new face.DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). The Search Part 3 (October 30, 2013), Dark Horse Comics. After a period of entertainment,DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). Smoke and Shadow Part 1 (September 23, 2015), Dark Horse Comics.
His last known published comics work is penciling and inking the 12-page story "Caves of Castle Finn" in DC Comics' TV-animation tie-in Scooby-Doo #25 (Aug. 1999).
In June 2017, Kubert began penciling Peter Parker: The Spectacular Spider-Man written by Chip Zdarsky. The revamped title being billed as a “back-to-basics” approach for the character.
Steven Butler is an American comic book artist. He is known both for penciling the Archie Comics series Sonic the Hedgehog as well as creating new designs for Archie characters in 2007.
1978), and the sword-and-sorcery title Warlord #64 (Dec. 1982), his last known original comics work. His only major-publisher penciling was a story in DC's Weird Mystery Tales #4 (Feb. 1973).
Gabriele's first confirmed work for Timely was both penciling and inking the "Mantor the Magician" feature in The Human Torch #2 (Fall 1940). Circa 1941–1942, Gabriele freelanced through the Jerry Iger Studio.
His other earliest known DC work was penciling and inking the three-page story "Not Old Enough!" in Young Romance #185 (Aug. 1972), and penciling the eight-page supernatural story "Eye of the Beholder" in Forbidden Tales of Dark Mansion #7 (Oct. 1972) and the one-page "Enter the Portals of Weird War" in Weird War Tales #9 (Dec. 1972). At one point Chaykin lived in the same Queens apartment building as artists Allen Milgrom, Walter Simonson and Bernie Wrightson.
After the war, for Hillman Periodicals, Peddy had runs penciling the aviator hero Airboy and the muck-monster the Heap variously from 1946 to 1948."Arthur Peddy Checklist" in Arndt, p. 42. In 1947, Peddy additionally began penciling for All-American Publications, one of the companies that would evolve into DC Comics. With inker Bernie Sachslate, generally credited as Bernie Sachs, he formed the Peddy and Sachs Studio, which lasted through 1953 and included inker Jack Abel for a time.
With artist Allan Otero penciling and inking the book. In 2006, Arcana acquired arcana.com to build one of the biggest online site for comics, graphic novels and characters. Arcana has owned this site since 2004.
Schwartz rejected the drawing and commissioned a new one by Gil Kane, though Anderson's costume design was retained. Schwartz then assigned the scribing of the stories to Gardner Fox and the penciling to Mike Sekowsky.
In 2000, Breyfogle drew the Elseworlds three-issue mini-series Flashpoint. In 2001, DC offered him the job of penciling The Spectre monthly, which he drew for one year. He spent 2003 penciling and inking the title Black Tide, published by Angel Gate Press. In 2004, Breyfogle began work on an illustrated children's book for the Society of St. John Monastery, finished many commissions for fans, put together a couple printed sketchbooks showcasing his work, and continued writing his novel, getting halfway done, finishing through chapter six.
Cazeneuve's other mid- to late Golden Age work included Feature Comics' "Yank and Doodle", and Harvey Comics' "Boy Heroes", "Captain Freedom", and "Shock Gibson". His last known credited DC Comics work is penciling and inking the six-page Aquaman story "The Sea Serpent" in Adventure Comics #124 (Jan. 1948). He then worked primarily for Fawcett Comics, starting with Whiz Comics #103 (Nov. 1948). Cazeneuve's last known credited comics work is penciling and inking the seven-page Western feature "Golden Arrow" in Whiz Comics #107 (March 1949).
The Hulk's original series was canceled with issue #6 (March 1963). Lee had written each story, with Kirby penciling the first five issues and Steve Ditko penciling and inking the sixth. The character immediately guest-starred in The Fantastic Four #12 (March 1963), and months later became a founding member of the superhero team the Avengers, appearing in the first two issues of the team's eponymous series (Sept. and Nov. 1963), and returning as an antagonist in issue #3 and as an ally in #5 (Jan.
I said, 'Sure!!' At that point I was starving. I wasn't interested in the comics business; I was talked into it". Freelancing for Centaur Publications, Everett "sold my first page for $2 – writing, penciling, inking and all.
His work on this line includes writing and penciling the mini-series Barb Wire: Ace of Spades (1–4), penciling issues 10–12 of X, being the image illustrator (i.e., the visual creator) of characters like Ghost and is given creator credit on Wolf Gang, Pit Bulls and Motorhead. He also worked on Will to Power (issues 4–6 as writer & 10–12 as penciler) and the second volume of Ghost, on which he acted as writer and later co-writer for the majority of that title's run.
He continued his work on X-Men, penciling the first installment, in the form of a one-shot Uncanny X-Men/Dark Avengers crossover Utopia in 2009. That same year, he contributed to the crossover miniseries Image United, penciling all the characters he created during his run at Image that featured in the story. In 2012, Silvestri was one of several artists to illustrate a variant cover for Robert Kirkman's The Walking Dead #100, which was released July 11 at the San Diego Comic-Con.Logan, Michael (June 4, 2012).
Miller's early comics work includes inking issues of Freak Force for Malibu Comics in the early 1990s. His work for Marvel includes penciling issues of Wolverine and other X-Men titles in the late 1990s. His DC work includes penciling several issues of Adventures of Superman, JLA in 2000 and 2001, and his longest running series, Injustice: Gods Among Us . He did pencil and ink work on the comics adaptation of George R. R. Martin's Hedge Knight series (2003-2004, 2007) and Robert Jordan's The Wheel of Time: New Spring (2005-2010).
Tony Akins is an artist, penciling and inking for DC/Vertigo who has contributed to the titles Jack of Fables, Fables,Hellblazer,House of Mystery and is currently drawing alternate issues of Wonder Woman for The New 52 relaunch.
Hama began penciling for comics a year-and-a-half later, making an auspicious debut succeeding character co-creator Gil Kane on the feature "Iron Fist" in Marvel Premiere, taking over with the martial arts superhero's second appearance and his next three stories (#16-19, July-Nov. 1974). He went on to freelance for start-up publisher Atlas/Seaboard (writing and penciling the first two issues of the sword & sorcery series Wulf the Barbarian, writing the premiere of the science fiction/horror Planet of Vampires); some penciling work on the seminal independent comic book Big Apple Comix #1 (Sept. 1975); and two issues of the jungle-hero book Ka-Zar before beginning a long run at DC Comics. At DC, Hama became an editor of the titles Wonder Woman, Mister Miracle, Super Friends, and The Warlord, and the TV- series licensed property Welcome Back, Kotter from 1977–1978.
Graham's last comics work was co-penciling, with Steven Geiger, Power Man and Iron Fist (the again-retitled Luke Cage series) #114 (Feb. 1985), written by Jim Owsley, who would later write the Black Panther under his pen name, Christopher Priest.
Cover penciling and more interior inking for Marvel and occasionally DC followed. His first story penciling for one of the two major comics companies was the three-issue Howard the Duck: The Movie (December 1986 - February 1987), adapting the 1986 film Howard the Duck, and which he self-inked. During this time, Baker also attempted to sell humor spot illustrations, but was rejected by the major newspaper syndicates. Jim Salicrup, a Marvel editor, did commission him "to write a few one-panel gags about [the superhero team] the X-Men", titled "It's Genetic" and appearing in the Marvel-produced fan magazine Marvel Age.
Following McLaughlin's final Charlton work, penciling the cover and both penciling and inking the seven-page story "The Living Legend" in the comic strip spin-off comic book The Phantom #30 (Feb. 1969), McLaughlin began to freelance. After a smattering of work that including inking an eight- page teen humor story in DC Comics' Debbi's Dates #10 (Nov. 1970) and a seven- page story in Warren Publishing's black-and-white horror-comics magazine Eerie #34 (July 1971), McLaughlin circa 1971 began assisting comic-strip artist Stan Drake on the naturalistic soap-opera strip The Heart of Juliet Jones.
I pencilled it, Pete Morisi inked it. Credits were not routinely given in most comics until the 1960s, making identification difficult, and Perlin's first confirmed work is penciling and inking the seven-page story, "Ghosts From the Underworld", by an unknown writer, in the publisher Youthful's Captain Science #3 (cover-dated April 1951). Through 1952, he did some comics work for Ziff-Davis, Hillman Periodicals and Stanley Morse, before finding his niche penciling horror- comics stories for Harvey Comics, St. John Publications, Comic Media, and the 1950s iteration of Marvel Comics, known as Atlas Comics.Don Perlin at the Grand Comics Database.
Marcos later illustrated a long run of DC's TV tie-in series Star Trek: The Next Generation through the early 1990s, and again from 1993–1994. His last known comics penciling for several years was the 14-page, painted story "Om", scripted by Ron Fortier from a Marcos plot, in Quantum Cat Entertainment's Frank Frazetta Fantasy Illustrated #7 (July 1999). He returned as an inker two years later on a handful of issues of CrossGen's Ruse, Mystic, Crux, and Silken Ghost through 2003, and once again did penciling from 2006 to 2008, on comics including Dynamite Entertainment's Red Sonja and Savage Tales.
1973), it appeared a month after his first published comics work, the full-length "The Monster of the Monoliths" in Marvel's Conan the Barbarian # 21, which Mayerik and Russell penciled over Barry Windsor-Smith layouts.Val Mayerik and misspelling Val Mayerick at the Grand Comics Database Mayerik quickly found more assignments, penciling Marvel's adaptation of H.G. Wells' The Invisible Man, over Adkins layouts, in Supernatural Thrillers # 2 (Feb. 1973); and doing his first full penciling, with writer George Alec Effinger's adaptation of Lin Carter's "Thongor! Warrior of Lost Lemuria" story "Thieves of Zangabal", in Creatures on the Loose # 22 (March 1973).
Her illustration for the magazine led Marvel editor-in-chief Stan Lee to assign her the feature "Doctor Strange" in Strange Tales, replacing Bill Everett, who had succeeded character co-creator Steve Ditko. With Lee, Severin co-created the fictional cosmic entity the Living Tribunal in Strange Tales #157 (June 1967). Severin was Marvel's head colorist until 1972, at which point she turned most of her coloring duties over to George Roussos so that she could do more penciling assignments. She continued to expand from colorist to do penciling and inking, and occasionally also lettering, on various titles.
Nauck's first assignment from Marvel Comics was writing, penciling and inking "Mutant Mishaps", a story that was published on the back cover of What The--?! #21 (September 1992). He subsequently wrote and illustrated the "Mutant Mishaps" story that appeared in What The--? #25 (Summer 1993).
107 was an American comics artist best known for co-creating the Marvel Comics characters Iron Man, Black Widow, Hawkeye, and the Wasp, and for his long run penciling the Marvel superhero-team series The Avengers during the 1960s Silver Age of comic books.
"DC Comics Announces Superman/Wonder Woman". IGN. After working with Charles Soule on Superman/Wonder Woman, Daniel again returned to writing duties. Penciling and scripting the relaunch of the Deathstroke title, it sold out and headed off to a second printing.Johnston, Rich (January 9, 2015).
Day inked Carmine Infantino on Marvel's Star Wars series, occasionally doing finished art over breakdowns, and penciling #68–69 (Feb.–March 1983), which take place on Boba Fett's ancestral homeworld of Mandalore. In addition, Day inked Thor and Marvel Two-in-One featuring the Thing.
The Comics Journal. pp. 3 – 6. which underlined the increased popularity and clout that his stint on the title had earned him. With The New Mutants #98, Liefeld assumed full creative control over the series, penciling, inking, and plotting, with Fabian Nicieza writing dialog.
In 1974, Rosenberger stopped work on DC projects for unknown reasons. He started penciling for Sy Barry, the regular artist for The Phantom newspaper strip, whose eyesight was beginning to fail him. He continued with this task on-and-off for about a year.
George Pérez Storyteller includes artwork from the unpublished third issue of Crimson Plague. Pérez worked for CrossGen early in the new century. He penciled four issues of CrossGen Chronicles.CrossGen Chronicles No. 25 (March 2001 – December 2001) His main project for the company was penciling Solus.
20–22 Though Romita felt he no longer wanted to pencil, in favor of being solely an inker, Lee soon enticed him otherwise: Romita began a brief stint on Daredevil beginning with issue #12 (Jan. 1966), initially penciling over Jack Kirby's dynamic layouts as a means of learning Marvel's storytelling house style. Sales perked; while the title had a smaller print run than Marvel flagships The Amazing Spider-Man and Fantastic Four, it briefly had the company's highest percentage of sales compared to print-run. It also proved to be a stepping-stone for Romita's signature, years-long penciling run on The Amazing Spider-Man.
Bob McLeod began his career working in the production department of Marvel Comics in 1973 on a recommendation from Neal Adams. He began penciling and inking for Marvel's Crazy Magazine, doing several movie satires and the "Teen Hulk" strip. He was a member of The Crusty Bunkers inkersTheakston, Greg and Nowlan, Kevin, et al., at while working at Adams' Continuity Studios, and became an inker at Marvel and DC Comics on many series, including The Incredible Hulk, Conan the Barbarian, Legion of Super Heroes, Detective Comics, Wonder Woman, and The New Titans, as well as penciling Star Wars and several Spider-Man fill-ins for Marvel.
Blue Devil #1 (June 1984). Cover art by Cullins and Dick Giordano. After co-penciling Justice League of America #212 (March 1983) with Rich Buckler, and making his cover debut with The Daring New Adventures of Supergirl #7, Cullins penciled his first full-length comic, Blue Devil #1 (June 1984), starring a superhero he had co-created with writers Gary Cohn and Dan Mishkin earlier that month for a backup feature in The Fury of Firestorm #24 (June 1984). Blue Devil ran 31 issues, through cover–date December 1986, with Cullins penciling the first six and Blue Devil Annual #1 (1985), and covers through the end of the run.
Impulse, in The Flash vol. 2 #91 (cameo) and #92 (first full appearance). Wieringo followed this with a short run on Robin, another DC title, with writer Chuck Dixon, while concurrently penciling Marvel Comics' Rogue #1–4 (Jan.–April 1995), a miniseries starring that X-Men superheroine.
In the early 1990s Eaton started penciling Doctor Fate and Swamp Thing for DC Comics. He went on to draw Silver Surfer and Thor for Marvel Comics. He later went to work for CrossGen after relocating to Florida. Eaton eventually quit Crossgen and returned to Vermont.
When penciling his convention drawings, Hughes prefers 11 x 14 Strathmore bristol vellum paper, because it prefers that paper's rougher surface, although he uses smoother paper for brush inking,Coulson, Steve (May 15, 2006). "Adam Hughes - Anatomy of a sketch, Pt3 - The Tools". YouTube. Retrieved January 29, 2018.
Pat Boyette at the Grand Comics Database. His last known comics work was penciling and inking the three-page story "The Head of Joaquin Murieta" in The Big Book of the Weird Wild West (Aug. 1998), one of DC Comics/Paradox Press's The Big Book of... trade paperback series.
Many people use cosmetic treatments to cover the loss of the hair, such as applying artificial eyelashes, tattooing eyebrows/eyelashes, penciling in the eyebrows or using mascara to make the existing eyelashes look longer. Some people even use eyeliner to make the eye stand out when lacking eyelashes.
May 15, 2006. Accessed September 8, 2010 whereas he does convention drawings on 11 x 14 Strathmore bristol, as he prefers penciling on the rougher, vellum surface rather than smooth paper, preferring smoother paper only for brush inking.Coulson, Steve. "Adam Hughes - Anatomy of a sketch, Pt3 - The Tools". YouTube.
This may refer to a ghosted Zakarin story. The Atlas Tales database lists both "It!" and the six- page "Out Of My Mind", in Astonishing #7 (also Dec. 1951), as Romita's first full penciling and inking — although "It!" carries a later job number (9118) than the other tale (8964).
" With speed to match his style,Goldberg, Alter Ego #18. p. 10: "He was the fastest artist I ever saw. I was always fascinated by how he did covers. He'd start out penciling stick figures and outline them with a pen and then fill in the blacks [i.e.
At the recommendation of artist Gray Morrow, then editing then Archie Comics' imprint Red Circle Comics, American publishers began using Alcazar's work in the mid-1970s. Alcazar's first credited U.S. work appears in four publications cover-dated December 1973: penciling and inking the six-page stories "Suicide ...Maybe" and "A Thousand Pounds of Clay" in the Archie/Red Circle comic book Chilling Adventures in Sorcery #4; penciling the two-page story "The Old School" in Warren Publishing's black-and-white horror-comics magazine Creepy #58; and inking penciler Rich Buckler's cover of Marvel Comics' black-and-white horror-comics magazine Vault of Evil #8. He had been recommended to Marvel by artist Neal Adams.
In the late 1980s and early 1990s, Heck returned to Marvel, where his work included features for the superhero anthologies Marvel Comics Presents and Marvel Fanfare. The artist even returned to two signature characters: He inked Hawkeye stories in Solo Avengers #17-20 and the subsequent Avengers Spotlight #21–22 (April–Sept. 1989) — both penciling and inking a second Hawkeye story in that last issue — and he drew Iron Man, inking penciler Mark Bright's eight-page "The Other Way Our" in Marvel Comics Presents #51 (June 1990), and both penciling and inking the one-page featurette "Tony Stark, The Invincible Iron Man" in Iron Man Annual #12 (Sept. 1991) and a pinup in Marvel Super-Heroes vol.
1969) Within two years, however, Everett began penciling for Marvel once again, first on the character the Hulk, in Tales to Astonish, initially over Kirby layouts, and on Doctor Strange in Strange Tales. Readers during this 1960s Silver Age of comic books also became acquainted with his Golden Age and 1950s stories, which were reprinted first in the book The Great Comic Book Heroes by Jules Feiffer (Dial Press, 1965), and then in the comic books Fantasy Masterpieces, Marvel Super-Heroes, and Marvel Tales. Everett even returned to his enduring character, first inking Namor's adventures in Tales to Astonish #85–86, then taking over full artistic duties for issues #87–91 and #94, and penciling issues #95–96.
Upon his return to the United States, he worked on the comic book series Southern Knights. His first major comic book job was penciling eight issues of the comic book Speed Racer for NOW Comics, starting in 1988. In 1989 he took over penciling interiors and covers for DC Comics' Mister Miracle with issue #7, continuing until the series ended in 1991. He then penciled two issues of Wonder Woman, filling in between retiring artist George Perez and new regular artist Jill Thompson, and went on to produce art for DC and Marvel Comics titles including Justice League of America, Silver Surfer, X-Men, Legion of Super-Heroes, The Incredible Hulk, and Lobo.
1984 and Oct. 1985). Boring died of a heart attack, following a brief comeback announced in one of his last published works, penciling a Golden Age Superman story written by Roy Thomas and inked by Jerry Ordway in Secret Origins vol. 2 #1 (April 1986).Manning, Matthew K. "1980s" in Dolan, p.
His first work for Marvel Comics was penciling the 17-page story "The Master Assassin of Mars, Part 3" in John Carter, Warlord of Mars #18 (Nov. 1978).Frank Miller at the Grand Comics Database. NOTE: A different artist named Frank Miller was active in the 1940s. He died December 3, 1949.
Comic Book Resources. April 28, 2008. In 2011 Kirk began a run on X-Factor, reuniting him with his Supergirl collaborator, Peter David, penciling issues 225 - 228. Kirk would return to that title with issue 233, and remained the regular penciller on it until it ended in mid-2013 with issue 256.
Nord started his career with a letter and some original artwork sent into the editors of Marvel Comics's Marvel Comics Presents. They were so impressed, he was awarded with a professional job penciling a Shang Chi serial.Marvel Comics Presents vol.1 #154 He eventually became the regular artist on Marvel's Daredevil series.
Over the next few years, he continued to work for DC Comics, penciling series such as Justice Society of America, Oracle: The Cure, Tangent: Superman's Reign and The Outsiders. In 2010, it was announced that he would pencil the first issue, issue #0, of DC's Blackest Night follow-up series, Brightest Day.
Fanning can occur in various ways including extruding and retracting the hair-pencils, wing or abdominal movement, or flight in front of the female. When the female moth becomes receptive to the male hair-penciling, she will flick her antennas rapidly in response to his pheromone cues.Lassance, J.-M., & Löfstedt, C. (2009).
Tartaglione thus began a long association with Marvel that found him penciling suspense, adventure, sports and crime stories — signing his work a variety of ways including "Tartag", "Tar", "Leone" and "JT" — though he was most prolific in romance titles, illustrating more than 120.John Tartaglione at the Grand Comics Database. WebCitation archive.
Liney was working as a cartoonist at the Philadelphia Evening Ledger when he began selling gags to Henry's creator, Carl Thomas Anderson in 1936. He continued as a gagwriter until 1942, penciling the strip for Anderson from 1942 to 1945. When Anderson became ill, Liney took over the daily strip in 1945.Crouch, Bill.
"Tony's Online Tips" (column), WorldFamousComics.com, March 4, 2005. Graham collaborated with writer Don McGregor on the critically lauded "Black Panther" series that ran in Jungle Action #6–24 (Sept. 1973–Nov. 1976), becoming the series' regular penciler with issue #11 (Sept. 1974) and leaving after penciling the first five pages of issue #22 (July 1976).
It has a silvery white head, and the body plumage is dark brown or black with white lacing. The back is also white in roosters, and the overall color is technically referred to as "penciling". When mated with other breeds, especially White Plymouth Rocks or New Hampshires, Iowa Blues will produce sex linked hybrid offspring.
Hughes (2010). p. 18. He occasionally will use Copic markers in both warm and cool gray tones to render covers in grayscale. Similar to his penciling, Hughes tends to ink different portions of the sketch at random,Coulson, Steve (May 15, 2006). "Adam Hughes - Anatomy of a sketch, Pt4 - Requests". YouTube. Retrieved September 8, 2010.
Simonson became writer of the Fantastic Four with issue #334 (Dec. 1989), and three issues later began penciling and inking as well (#337). For issues #347-349, he collaborated with Arthur Adams, introducing the "New Fantastic Four" consisting of Wolverine, Spider-Man, Ghost Rider and the Hulk.Nolen- Weathington Modern Masters Volume Eight Walter Simonson p.
Tom Lyle's comics career began in the mid 1980s penciling titles such Airboy, Strike!, and Airwolf for Eclipse Comics. From 1988 to 1990, he penciled DC Comics' Starman series with writer Roger Stern, introducing the second Blockbuster in Starman #9 (April 1989). Lyle worked on the first solo Robin limited series with writer Chuck Dixon.
Joe Quesada illustrated issues #8–13, 15 (1991), and Don Heck's final DC work was penciling and inking over Quesada's layouts for Spelljammer #11 (July 1991); Dave Simons also provided artwork for the title. Elliot S! Maggin served as an editor for DC from 1989 to 1991 and oversaw the licensed TSR titles, including Spelljammer.
In 2006 Benes was assigned to provide art to for writer Brad Meltzer's run on Justice League of America series, which he drew until 2009. He subsequently contributed to Batman and Birds of Prey (vol. 2) titles, and Steel. In 2018, Benes released the first comic he also wrote along with penciling, Nina & Ariel.
During the 1970s, Baily published farm periodicals. His last known comics work was penciling the eight-page "His Brother's Keeper", written by Jack Oleck, in DC's House of Mystery #279 (April 1980). Baily was living in Putnam County, New York, at the time of his death at age 79.Bernard Baily at the Social Security Death Index.
His twin sons, Dan Jr. and James "Jim" DeCarlo (born January 27, 1948) were also prolific Archie artists, penciling and inking respectively.Dan & James DeCarlo Jr. at the Lambiek Comiclopedia. Accessed March 18, 2008 The two predeceased their father. Dan Jr. died in October 1990 of stomach cancer, and James died in August 1991 from complications from a stroke.
He then did complete stories – writing, penciling and inking – on Sub-Mariner #50–55 and 57 (June 1972 – Nov. 1972; Jan. 1973), with script assists by Mike Friedrich on two issues; and #58 (Feb. 1973), co-written with Steve Gerber and co-penciled with Sam Kweskin as his health began to deteriorate for the final time.
The title was relaunched a few months later as Howard Chaykin's Amerikan Flagg!. This run saw Chaykin return to write the first issue before handing over to John Francis Moore, with Mike Vosburg and Richard Ory penciling and inking the interior art, but the franchise failed to recapture its early success and was canceled after 12 issues.
Upon leaving DC, Sekowsky returned to Marvel, where he had gotten his start in the 1940s. From 1971 to 1975, he sporadically provided penciling for stories in Amazing Adventures vol. 2, featuring the Inhumans; and Giant-Size Super-Villain Team-Up. Sekowsky and writer Greg Weisman planned a Black Canary miniseries in 1984 for DC Comics.
The Cat was introduced in one of a trio of Marvel Comics aimed at a female audience, alongside Night Nurse and Shanna the She-Devil. Marvel writer-editor Roy Thomas recalled in 2007: The series lasted four issues, each with a different art team. Severin was teamed with acclaimed 1950s EC Comics artist Wally Wood as inker for the premiere, followed by Severin and inker Jim Mooney in issue #2; newcomer Paty Greer co-penciling with 1940s Golden Age of Comic Books legend Bill Everett, who also inked, in issue #3; and Jim Starlin and Alan Weiss co-penciling the finale, with Frank McLaughlin inking. A fifth issue of the series was drawn by Ramona Fradon, but the title was cancelled due to lack of sales on previous issues.
After beginning the Harmony Restoration Movement, an event that was meant to remove Fire Nation remnants from the Earth Kingdom, Aang agrees to end Zuko's life should he go down a path similar to his father, after the latter requests it, being stopped by Katara from entering the Avatar State as he began a later encounter with ZukoDiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). The Promise Part 1 (January 25, 2012), Dark Horse Comics. and then tries to mediate protestors and the Yu Dao resistance,DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). The Promise Part 2 (May 30, 2012), Dark Horse Comics.
Throughout the decade, Gabriele provided art as well to Timely's Blonde Phantom Comics, Comedy Comics, Kid Comics, and Young Allies Comics. He worked as well for Quality Comics, penciling and inking covers and stories both of the spirit-of-America character Uncle Sam in National Comics and Uncle Sam Quarterly. Gabriele also penciled and inked the character Yankee Eagle in Quality's Smash Comics.
The penciling process Hughes employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox.Coulson, Steve. "Adam Hughes - Anatomy of a sketch, Pt2 - The Process". YouTube. May 15, 2006. Retrieved September 8, 2010.
The Rift Part 3 (November 5, 2014), Dark Horse Comics. Aang also has a fight with the Rough Rhinos when they try to oust him from the Eastern Fire Refinery.DiMartino, Michael Dante; Konietzko, Bryan; Yang, Gene (writer), Sasaki of Gurihiru (penciling, inking), Kawano of Gurihiru (colorist), Heisler, Michael; Comicraft (letterer). The Rift Part 2 (July 2, 2014), Dark Horse Comics.
1964), included a special introduction by Lee, hailing the return of the Golden Age great. Tuska became a Marvel mainstay, penciling and occasionally inking other artists on series as diverse as Ghost Rider, Sub-Mariner, and The X-Men. His signature series became Iron Man, on which he enjoyed a nearly 10-year, sometimes briefly interrupted, run from issue #5 (Sept.
Salazar was the financial czar virtually from the day he took office. Within one year, armed with special powers, Salazar balanced the budget and stabilised Portugal's currency. Restoring order to the national accounts, enforcing austerity and red-penciling waste, Salazar produced the first of many budgetary surpluses, an unparalleled novelty in Portugal. In July 1929, Salazar again presented his resignation.
Reviewing the first issue for Amazing Heroes, R.A. Jones, who criticized the writing, stating: > Longshot does have one major saving grace, and that is the penciling of > Arthur Adams. I'm going to once again go out on my prophetic limb and > predict that Art will soon become a fan favorite. He has a dynamic style > that grabs your attention and won't let go.
Bill Everett succeeded him through #152 (January 1967), followed by Marie Severin (self-inked for four issues before being inked by Herb Trimpe in some of his earliest Marvel work). Another cosmic entity, the Living Tribunal, was introduced during Severin's run, in issue #157. Dan Adkins took over penciling duties from #161 (Oct. 1967) to the final issue, #168 (May 1968).
Fables is an American comic book series created and written by Bill Willingham, published by DC Comics' Vertigo. Willingham served as sole writer for its entirety, with Mark Buckingham penciling more than 110 issues. The series featured various other pencillers over the years, most notably Lan Medina and Steve Leialoha. Fables was launched in July 2002 and concluded in July 2015.
While operating the Photostat camera in the Marvel offices, Trimpe did freelance inking for Marvel, and made his professional penciling debut with two Kid Colt stories in the Western series Kid Colt, Outlaw #134–135 (May and July 1967). Shortly thereafter, Trimpe and writer Gary Friedrich created Marvel's World War I aviator hero the Phantom Eagle in Marvel Super-Heroes #16 (Sept. 1968).
3) #32 (Aug. 2000) with writer Dan Jurgens, as well as penciling the four-issue crossover mini-series Maximum Security (#1–3 and prologue Dangerous Planet), and writer/penciller on a U.S. Agent mini-series in 2000-2001. He was artist for the one-shot Captain America and the Invaders: Bahamas Triangle with writer Roy Thomas, released in July 2019.
The character WildStar also appeared in a few issues of The Savage Dragon, most recently as SoulStar. The coloring was done by Ruben Rude and Olyoptics. Afterwards, a short-lived ongoing series titled WildStar, was written, inked and edited by Gordon, with Chris Marrinan penciling and John Workman lettering. The coloring of the series was also done by Ruben Rude and Olyoptics.
Another feature of the female color pattern is the distinct, detailed penciling found on feathers of the head, neck, body, most of the wing and tail. Rouen females can be much darker brown than Mallard females. Both sexes also have blue speculum feathers. However, Rouen speculum feathers are brighter in color and larger in size than that of the Mallard.
The strip ended in 1962. Adding credence to the latter date is Wildey spending part of 1960, possibly only a month, penciling his idol Milton Caniff's famed Steve Canyon comic stripQuatto, p. 3 and trying unsuccessfully to launch his own syndicated strip. Two such proposed strips would help provide a character name and some narrative background to Wildey's later animated television series, Jonny Quest.
Adrian Kleinbergen (born 1961) is a Canadian artist, born in Edmonton, Alberta. Along with drawing and painting, he does jewelry design and manufacture, sculpture, caricature, writing, costuming, and even magic. He started in comics in 1987, penciling, inking and coloring Starstone and Darkewood for Aircel Publishing in Ottawa, Ontario, Canada. He contributed art work to the unpublished v3 of 'Genesis' a Role-Playing game in 1991.
Reese contributed to various Wood projects, including Topps trading cards, DC Comics stories and Wood's independent comics. His first confirmed comics work is an illustration for a one-page text story, "...And Thereby Hangs A Tale...", in witzend #1 (Summer 1966). His first comics story was co-penciling and co-inking with Wood a 10-page science-fiction in Heroes, Inc. Presents Cannon (1969).
Gröss worked with Marvel at the X-Men office on Excalibur in issues #84 and #88 penciling Nightcrawler. With Marvel, he joined the Cybercomics project and penciled rendered some stories, specifically Spider-man. Additionally, he worked as an artist on X-Men: Domino issue #1. With DC Comics, Gröss was an artist for Batman: Two-Face Strikes Twice on issues #1 and #2 in 1993.
This guide is required reading in over 50 college sex education courses and continues to be printed and taught at schools. Gröss also did some penciling and inking work featured in Gay Comics issue #24. Additionally, Gröss has illustrated several trading card decks, including the Marvel trading card game, Overpower and with Fantasy Flight Games, he created a set of Game of Thrones playing cards.
He had almost given up on trying to find a job in comics and was satisfied with his position at Lockheed Martin. Bagley was reluctant to enter the contest because of the cost of the Try-out Book itself. His friend, Cliff Biggers, gave him the book and persuaded Bagley to enter the contest. Bagley won first place for penciling, finishing ahead of thousands of other hopefuls.
It was written by Chris Claremont...Sal Buscema took over the penciling chores with issue #4. Beginning in the late 1970s, Buscema generally inked his own work. In 1986, he began drawing Thor, working with writer Walt Simonson. In the late 1980s, he returned to inking others' work, again including that of his brother John Buscema on an Englehart-scripted run on Fantastic Four.
Batman and Superman Adventures: World's Finest (December 1997) is an adaptation of the 3-part episode of the same name. The adaptation is mostly faithful to the animated version. An additional scene shows Batman discussing with Alfred his problem with Superman (his tendency to rush in without thinking). The story was written by Paul Dini, with penciling by Joe Staton, and inks by Terry Beatty.
Morales' first professional work was penciling 19 issues of Forgotten Realms with writer Jeff Grubb as part of the TSR line of books. Following Forgotten Realms, Morales co-created and pencilled Black Condor. Morales left DC Comics to do work for Valiant Comics, including Turok, Archer & Armstrong and Geomancer. He also did some licensed work on a Sliders comic book, and work for Wizards of the Coast.
He cited Marvel artists Walt Simonson, Al Milgrom and Larry Hama and writer and editor-in-chief Jim Shooter as providing him art and storytelling advice.Nolen-Weathington, p. 9 Part of his duties involved photocopying, and he would take copies of John Buscema penciling home on which to practice inking. While working for Marvel, Baker attended the School of Visual Arts, in Manhattan, studying graphic design and printmaking,Nolen-Weathington, p.
When work dissipated at Timely in 1946, Pfeufer began drawing for Fawcett Comics, illustrating such features as "Mr. Scarlet" and "Commando Yank" in Wow Comics. Then, with inker John Jordan, Pfeufer began a four-and-a-half-year stint penciling the licensed Western character Tom Mix in Master Comics #97-122 and 124-133, the final issue (Nov. 1948 - April 1953), as well as very occasionally in other Fawcett titles.
Bungie described "Second Sunrise" as an attempt to put a human face on the conflict by illustrating the effects of war on the common citizen. The story was written by Brett Lewis with art provided by Jean "Moebius" Giraud. Giraud explained that his son's enjoyment of the game series ultimately compelled him to accept an invitation to contribute his art; before penciling, he had never played the video games.
In 2015, following the movie reboot tie-ins, BOOM! announced a new ongoing series set after events in the original 1987 film. Individual titles were simply published as "RoboCop", although collected trade paperbacks are titled "RoboCop: Dead Or Alive". The 12-issue series was written by Joshua Williamson with art by Carlos Magno for the first eight issues, while Dennis Culver handled penciling duties for the final four issues.
Shane White's earliest comic work appeared in small-press comics in the mid-80s. His first professional penciling gig was for Silverwolf Comics' (Greater Mercury Comics) Eradicators in 1990. Several years later he did work for DC/Paradox's Big Book of Urban Legends. In 1998 Caliber Comics hired him along with Martin Powell to adapt Whitley Strieber's Communion book, of which two of the four issues were ultimately finished.
Roberts had been working with Zakour since they were both a part of the Rugrats comic strip, and contributors to Nickelodeon Magazine. Zakour was hired to write gags for the Rugrats in its final year. Roberts had been writing gags and drawing the feature for five years, originally rotating with other artists and later providing all the penciling. Zakour and Roberts also collaborated on some comic stories for Nick Mag.
In 1993, Cockrum was recruited by Claypool Comics to produce work for them, resulting in several stories for Claypool's Elvira, Mistress of the Dark series beginning with #7. Cockrum was put into rotation on Peter David's Soulsearchers and Company, beginning with issue #13, becoming the series' penciler with #17 and penciling most issues through #44, published in 2000. Cockrum contributed a short feature to Richard Howell's Deadbeats #18.
Bolle broke into comics in 1943, drawing backgrounds for Funnies Inc., one of a handful of "packagers" that supplied content to publishers entering the fledgling medium of comic books. His first known credits are penciling and inking two "Terry Vance" detective features for Timely Comics, the precursor of Marvel Comics, in Marvel Mystery Comics #47–48 (cover-dated Sept.-Oct. 1943).Frank Bolle at the Grand Comics Database.
He left comics in 1983 to do advertising and commercial art for Neal Adams' studio, Continuity Associates. Mortimer's last superhero art was the four-issue DC miniseries World of Metropolis (Aug.–Nov. 1988), plus some character drawings for the reference Who's Who in the Legion of Super-Heroes #7 (Nov. 1988). His final comics work was penciling the four page "Noble Heart" story for The Big Book of Martyrs (Aug. 1997).
Copies of these are now very hard to find, although there a few still known to be in existence. He is most famous for his work on Marvelman (Miracleman, in the USA), Hellblazer, and Fables, including a story in the original graphic novel 1001 Nights of Snowfall. His Marvel work includes inking Chris Bachalo's pencils on Generation X, Ghost Rider 2099, and penciling Paul Jenkins's run on Peter Parker: Spider-Man.
When he begins the actual pencils, he keeps them "loose", because he will eventually ink over them himself, and does not require greater specificity. The penciling stage is the fastest stage for Takara, who does all of his pencil work with an HB 0.5 mechanical pencil, completing two or three penciled pages a day, sometimes even inking all three by the end of the day.The Incredibles: Family Matters trade paperback.
171: "After a four-year hiatus, Green Lantern's ongoing series made a triumphant return to DC's publishing schedule.... Returning writer Denny O'Neil partnered himself with artist Mike Grell, choosing to focus the title on sci-fi and super- heroics." For a time between 1976 and 1978, Grell was writing and penciling one series, Warlord, and providing pencil art on two others, Green Lantern and Superboy and the Legion of Super-Heroes.
The brick walls are 12 to 20 inches thick. The original Federal character that dominated the house's exterior remains in the large fanlights above the front doors and in the delicacy of the front porch that is supported by twelve slender fluted columns (six on each level). The house has corbelled cornices that feature dentils. The exterior of the building at one time displayed penciling, and remnants remain in several spots.
An alternative is to cool all the atmosphere by spraying the whole atmosphere as if drawing letters in the air ("penciling"). Modern methods for extinguishing an urban fire dictate the use of a massive initial water flow, e.g. 500 L/min for each fire hose. The aim is to absorb as much heat as possible at the beginning to stop the expansion of the fire and to reduce the smoke.
107 Issue #7, featuring Daredevil's battle against the Sub-Mariner, has become one of the most iconic and reprinted stories of the series. Issue #12 began a brief run by Jack Kirby (layouts) and John Romita Sr. The issue marked Romita's return to superhero penciling after a decade of working exclusively as a romance- comic artist for DC. Romita had felt he no longer wanted to pencil, in favor of being solely an inker. He recalled in 1999, Romita later elaborated: When Romita left to take over The Amazing Spider-Man, Lee gave Daredevil to what would be the character's first signature artist, Gene Colan, who began with issue #20 (September 1966). Though #20 identifies Colan as a fill-in penciller, Romita's work load prevented him from returning to the title, and Colan ended up penciling all but three issues through #100 (June 1973), plus the 1967 annual, followed by ten issues sprinkled from 1974–1979.
This hesitancy was due in part to the relative newness of summer crossover events. Early in 1990, Marvel writer/artist Jim Valentino learned Pérez's contract with DC Comics was going to lapse in August. He contacted Pérez by phone to see if he would ink a cover to Guardians of the Galaxy, a comic Valentino was currently writing and penciling. Pérez agreed, and Valentino told Anderson, who was his editor as well.
1973), written by Gerber, with penciling by Howard Chaykin and later Jim Mooney. After the cancellation of Sub-Mariner, Namor co- starred with Doctor Doom in the Super-Villain Team-Up series. The series suffered from mediocre sales due to its lack of a stable creative team, and following issue #13 Namor was dropped from the co-star spot. Marvel published a four-issue miniseries a decade later, Prince Namor, the Sub-Mariner (Sept.-Dec.
He reduced the amount of hatchwork and used larger, more open panels. Herriman died in his sleep in his home near Hollywood on April 25, 1944, after a long illness. An incompletely inked penciling of a week's worth of daily strips was found on his drawing board. On his death certificate, the cause of death was listed as "non-alcoholic cirrhosis of the liver", and despite his mixed-race heritage, he was listed as "caucasian".
Georges Jeanty returned since penciling the first four issues. He too included pop-culture references in the artwork, such as Giles' jumper. He humorously penciled the Tenth Doctor and Rose Tyler from British science fiction television series Doctor Who. Jeanty also references to past Buffy episodes, such as Xander's Sunnydale High School's swim team T-shirt; Xander had previously joined the swim team to investigate the deaths of some of its members in season two.
Clyde Crashcup is a fictional character from the early 1960s animated television series The Alvin Show. He is a scientist in a white coat who tended to "invent" things which had already been invented and whose experiments invariably failed. He usually invented by penciling the concept in air, with the picture becoming the actual object. The character has also appeared in comics and other Alvin and the Chipmunks works after The Alvin Show.
Within one year, armed with special powers, Salazar balanced the budget and stabilized Portugal's currency. Restoring order to the national accounts, enforcing austerity and red-penciling waste, Salazar produced the first of many budgetary surpluses, an unparalleled novelty in Portugal. In four years he showed himself to be an even more accomplished political wizard than an economic one. He civilianized the authoritarian regime when the politics of more and more countries were becoming militarized.
1941), through at least the early 1950s. Avison's last known work is penciling and inking the cover of Harvey's horror anthology Chamber of Chills #26 (Dec. 1954). Avision was married to Margaret Bernice Callaway, and had children Todd Christopher Avison and Kimberly Dean Avison. According to his son and widow, Avison was at least one of the artists who contributed to the design of Mr. Met, the New York Mets mascot that debuted in 1963.
After several years of that critiquing, McDaniel began to get small penciling jobs from Marvel. McDaniel relocated to Pittsburgh (in the suburb Monroeville), and continued working as an electrical engineer with the Loftus Division of the Eichleay Corporation. About a year later, McDaniel was getting more assignments from Marvel. When the call came with an opportunity to work on Daredevil, he quit his engineering job and began his career as a comic book artist.
Sal is one of the best storytellers and a wonderful collaborator. I loved that run." From 1997 to 1999, Buscema worked for rival DC Comics, including penciling Batman, Superman, and Superboy stories, and inking the Creeper, Wonder Woman, and other characters' stories. He recalled, "[T]he short time I worked for DC, they were giving me all these young guys that could hardly hold a pencil in their hands, and asking me to 'tweak it.
Austin has also worked as a writer, primarily for Marvel's X-Men titles and a run on Cloak and Dagger. Austin wrote and inked the Dark Horse Comics' adaptation of Splinter of the Mind's Eye published in 1995. His rare penciling jobs can be seen on the covers of Uncanny X-Men #123 and #142, as well as his self-published book, Austin Art: 60 Pages of Drawings by Terry Austin (2003).
X-Force was created by illustrator Rob Liefeld after he started penciling The New Mutants comic book in 1989 with #86. The popularity of Liefeld's art led to him taking over the plotting duties on the book. With help from writer Fabian Nicieza, who provided the dialogue for Liefeld's plots, Liefeld transformed the New Mutants into X-Force in New Mutants #100, the book's final issue. Liefeld and Nicieza launched X-Force in August 1991.
" – Mark Evanier "Well, I do expect a lot of myself. I'm a harsh critic because I know what I'm capable of. I have hit those occasional peaks amongst the valleys, but the peaks are so few—things like genuine flashes of virtuoso brush inking, like I've never executed before or since—I can count on one hand the number of jobs where I've been able to hit that mark. The same with penciling.
Liefeld sketching Deadpool in a copy of the Deadpool Volume 1 hardcover three days before the release of the 2016 Deadpool film. To his right is a figurine of the character. 2010 saw Liefeld return to the Deadpool character, first by penciling issue #1 of the Prelude to Deadpool Corps series, the issue focusing on Lady Deadpool. Liefeld became the regular artist on Deadpool Corps, providing the interior art for the first nine issues.
Other projects Rosenberger worked on with Archie included the first issue of a short-lived iteration of The Shadow, written by Jerry Siegel, and some work penciling Archie stories. In late 1966 he stopped all his work with Archie Publications. Meanwhile, Rosenberger had been working for National (now DC Comics) since 1963 on romance stories. His style suited the still-popular genre in that he kept up-to-date with fashionable hair and clothing styles.
In 1984, Breyfogle penciled a six–page story for DC Comics’ New Talent Showcase. Mike Friedrich (President of Star Reach, a talent representative agency) saw Breyfogle's work hanging at the 1985 San Diego Comic-Con Art Show and began representing him. This was followed by several issues of First Comics’ American Flagg, penciling a back-up story titled "Bob Violence" in 1985. During this time he drew for Tales of Terror, a horror anthology published by Eclipse Comics.
Supporting characters included Johnny's girlfriend, Doris Evans, usually in consternation as Johnny cheerfully flew off to battle bad guys. She was seen again in a 1973 issue of Fantastic Four, having become a heavyset but cheerful wife and mother. Ayers took over the penciling after ten issues, later followed by original Golden Age Human Torch creator Carl Burgos and others. The Fantastic Four made occasional cameo appearances, and the Thing became a co-star with issue #123 (Aug. 1964).
Born in Brooklyn, New York City to a Jewish household, Krigstein studied art at Brooklyn College."Bernie Krigstein". Comiclopedia. His earliest confirmed work in comics is penciling and inking the 10-page, patriotic "kid gang" feature "The Liberty Lads" in Harvey Comics' Champ Comics #25 (cover-dated April 1943). He went on to draw for Harvey and for the publisher Prize Comics through 1943, during the period fans and historians call the Golden Age of Comic Books.
In 1979 Simonson did writing and art on a book for the first time with his run on Marvel's licensed Battlestar Galactica series, penciling 12 sporadic issues from issues #4 to 23 with writer Roger McKenzie. Simonson began co-writing the series with McKenzie with issue #11, co-wrote some issues with Bob Layton and Steven Grant after McKenzie left the title, wrote began writing the book himself with issue #19, staying on until issue #23.
He returned to art, inspired by Frank Frazetta and illustrators of the Brandywine School. In 1985 he returned to art and started painting in oil, and attended art school for 2.5 years (no diploma). He capped his tutorial by ghost-painting western novel covers and penciling historical comic strips on the side. His first big break came in 1992 illustrating Harlan Ellison's I, Robot: The Illustrated Screenplay, for which he also did 160 pages of fully painted comics.
In 2017 he illustrated the landmark issue #150 of Venom, and continued to contribute covers for Marvel's Secret Warriors and IDW's Revolutionaries. Moore returned to Image comics in 2018, co-plotting, penciling and inking the five-issue sci- fi action romance series The New World with writer Aleš Kot. In 2019 Moore collaborated with fellow Savannah College of Art alumnus Donny Cates on the five-issue series Silver Surfer: Black. It was released to critical acclaim.
185–186 and was assigned a number of low-profile penciling jobs followed by a run on New Warriors in 1990. Bagley penciled the flagship Spider-Man title from 1991 to 1996.Mark Bagley's run on The Amazing Spider-Man at the Grand Comics Database During that time, Bagley's rendition of Spider-Man was used extensively for licensed material and merchandise. Issues #361–363 (April–June 1992) introduced Carnage,Cowsill, Alan "1990s" in Gilbert (2012), p.
Joss Whedon returns as writer for the first time since "The Chain". Cliff Richards joins the team as penciller, replacing the series' regular Georges Jeanty for this issue. Although this is Richard's first issue penciling for Buffy Season Eight, he has previously worked on past Buffy comics including "Slayer, Interrupted", "Play with Fire", and "Jonathan". "Anywhere but Here" is 25 pages as opposed to its usual 22, as stated in the letters column of issue 9.
These feature-length strips were more detailed, delving into an obscure character's personality and introducing new traits. Spotty was revealed as sarcastic and aggressive, while Plug was a more sympathetic, emotional character. The strips detailed a rivalry between the kids and the comic's cover star, Dennis the Menace. Mike Pearce soon began penciling a spin-off from the original strip, The Bash Street Kids – Singled Out, a single-page comic concentrating on one "kid" a week.
Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in Strange Tales #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in Strange Tales #151 (Dec.
1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue.
Joe Phillips - Comic Book Database Retrieved September 16, 2007. Phillips was one of the founding members of Gai- Jin Studios, a comic book studio whose past members include artists such as Adam Hughes and Brian Stelfreeze. In late 1992 he began penciling a story arc reviving the Legion of Super-Heroes character Timber Wolf, written and inked by Al Gordon. In 1996 he created a new comic book character The Heretic, published by Dark Horse Comics.
Stephen Sadowski (born 1967, in British Columbia) is a Canadian artist, working primarily as a penciler and cover artist on superhero comics. He is known for penciling JSA, the 1999 revival of the Justice Society of America written by James Robinson and David S. Goyer. His other work has included Avengers/Invaders, Red Sonja, and Warlord of Mars for Dynamite Entertainment; and Fairest, and Fables: The Wolf Among Us for DC's Vertigo imprint. Sadowski is openly gay.
Gabriele's other early work, some of it reprinted in the 1960s Silver Age of comic books and in the modern era, includes penciling and inking the debut of the Black Marvel, an early creation of future Marvel editor Stan Lee, in Mystic Comics #5 (March 1941); inking the caveboy character Tuk in Captain America Comics #2 (April 1941); inking another the early Stan Lee character, Father Time, in Captain America Comics #6 (Sept. 1941); co-penciling (with Alex Schomburg) the 40-page lead story in Sub-Mariner Comics #3 (Fall 1941); and inking character-creator Bill Everett in Sub-Mariner Comics #4 (Winter 1941). On Captain America, Gabriele inked pencil art by co-creator and future industry legend Jack Kirby on some stories in Captain America Comics #3–4 (May–June 1941) and All Winners Comics #1 (Summer 1941), and on the cover and in all three of the hero's stories in Captain America Comics #8 (Nov. 1941). He would continue contributing to that series and to Sub-Mariner Comics through 1949 and the ends of their respective runs.
Although he soon became Charlton editor Al Fago's assistant, during this period Masulli occasionally contributed artwork to the publisher's titles, including covers and even penciling an entire issue of Atomic Rabbit. Masulli became Charlton's executive editor when Fago left in 1955. Although the company was based in Connecticut, Masulli worked out of an office in Manhattan. In 1958, he hired Sam Glanzman as an artist; Glanzman was a mainstay at Charlton throughout the 1960s. From 1959–1960, Masulli's assistant editor was Dick Giordano.
In the late 1960s Mastroserio drew stories for Warren Publishing's black-and-white horror magazines Creepy and Eerie, often working with writer Archie Goodwin. Both penciling and inking, he made his Warren debut with the six-page "Monsterwork" in Eerie #3 (May 1966). He helped his friend Pat Boyette, a fellow Charlton artist, join the stable of Warren creators, initially having him ghost-pencil, uncredited, "The Rescue of the Morning Maid" in Creepy #18 (Jan. 1968), which credited artist Mastroserio as inker.
Note: Per the Grand Comics Database, Trimpe had actually made his professional penciling debut with two Kid Colt Western stories, in Kid Colt, Outlaw #134–135 (May & July 1967). Trimpe in 2002 described the character's creation: The character made few appearances beyond his debut. The first was a time travel story in The Incredible Hulk #135 (Jan. 1971). Next came a flashback appearance in Ghost Rider #12 (June 1975), in which the Phantom Eagle, as the cover proclaimed, was a real phantom.
At age 17, he met Mike Nasser, who had just received his first comics assignment, penciling a backup feature in Kamandi #45-46. Nasser allowed Rubinstein to practice inking on photocopies of his pencils for the story, and afterward showed the results to editor Gerry Conway, who then assigned Rubinstein to inking the story. Rubinstein is grateful that editors assigned him work with Nasser as partners, pairing them with each other on every assignment. In 1982, Rubinstein inked the acclaimed Wolverine limited series.
1966), doing full pencils or, more often, layouts for other artists; Gil Kane, credited as "Scott Edwards", in #76 (February 1966), his first Marvel Comics work; Bill Everett inking Kirby in #78–84 (Feb–Oct. 1966); and John Buscema penciling Kirby's layouts in #85–87. The Tales to Astonish run introduced the supervillains the Leader, who would become the Hulk's nemesis, and the Abomination, another gamma-irradiated being. Comics artist Marie Severin finished out the Hulk's run in Tales to Astonish.
1975), followed by reprints. Norris' last known comics story is co-penciling (with Roman Arambula and Scott Shaw) the cover and the 17-page funny animal feature "Now You See Them...", starring Yogi Bear, Scooby-Doo, and a plethora of other Hanna- Barbera animated TV series characters, in Marvel Comics' Laff-A-Lympics #10 (Dec. 1978). His last comics work was a drawing of Aquaman in DC Comics' multi-artist, multi-character "History of the DC Universe" poster in 1987.
Kirk at the 2008 New York Comic Con Kirk first broke into the comics field pencilling issue #5 of the Malibu Comics title Dinosaurs for Hire and issue #1 of Captain Canuck vol.2. He then went on to pencil Star Trek: Deep Space Nine comics for Malibu. In 1995, he began working with Marvel, penciling the Ultragirl miniseries. In 1997, he began a long association with DC Comics, beginning with a nearly 60-issue run on the Peter David written Supergirl series.
Thorne began his comics career in 1948, penciling romance comics for Standard Comics. After graduation, he drew the Perry Mason newspaper strip for King Features, which was followed by more comic book work for Dell Comics. He turned out a multitude of stories for Flash Gordon, Jungle Jim, The Green Hornet, Tom Corbett Space Cadet, Tomahawk, Mighty Samson, Enemy Ace and numerous others. Thorne drew the syndicated comic strip Dr. Guy Bennett / Dr. Duncan from 1957 to 1963 for LaFave Newspaper Features.
Williams' early work includes penciling the four-issue miniseries, Deathwish (1994–1995) from Milestone Media. Deathwish was written by Maddie Blaustein and inked by Jimmy Palmiotti. He was one of the artists on the Shade limited series which spun off from the Starman series. Williams gained prominence as the artist on the short-lived (ten issues, 1997–1998) Chase title from DC Comics, where he worked with writer Dan Curtis Johnson. The character had been introduced earlier in Batman #550 (Jan. 1998).
Tumlinson then did military service in World War II, serving as a pilot for SHAEF, the Supreme Headquarters Allied Expeditionary Force. His earliest confirmed comic-book work is penciling "I Hate My Husband!", an eight-page story (either co-penciled with or inked by George Klein) in the Timely Comics romance title My Own Romance #7 (July 1949). Other early credits include stories in such Western-romance comics as Cowboy Romances #3 (March 1950) and, tentatively credited, Rangeland Love #2 (March 1950).
Thompson is generally well regarded as an artist, and was an all-in-one talent, doing the penciling, inking, and lettering on the majority of his stories. However, he is relatively obscure to modern audiences, especially when compared to contemporaries like Will Eisner or Jack Cole. Peer artists like Jim Steranko believed Thompson could at times be considered superior to Eisner or Cole. Thompson's obscurity is generally attributed to none of Thompson's inventions, like Captain Compass, having ever taken off as hit characters.
May 2009 marked Adam Kubert's return to Marvel, his first interior work being published as one of two stories in Wolverine #73 and 74. Archive requires scrolldown Following this he contributed several covers to New Mutants and Wolverine: Weapon X, and penciled the "Dark Reign" tie in, The List: Amazing Spider-Man. When he returned to penciling for Marvel, he continued to do some work for DC, contributing the stories for the Wednesday Comics "Sgt. Rock" feature, drawn by his father.
The superteam debuted in The Crusaders #1 (December 1982). The original creative team included three writers: co-creators Henry and Audrey Vogel and co-plotter/letterer David H. Willis. The team was filled out by Jackson Guice on both pencils and inks, though Guice would be penciling only on Southern Knights #2 and gone entirely after that. The series was published quarterly at first by the Guild, a company founded by Willis and Henry Vogel for the sole purpose of publishing the series.
"The Creig Flessel Interview" (2001), p. 2. Archived from the original on February 6, 2013. He broke into comics after answering an ad in The New York Times by Major Major Malcolm Wheeler-Nicholson, whose National Allied Publications would eventually become DC Comics, and began freelancing there. His first known work for the publisher appeared in More Fun Comics #10 (cover- dated May 1936), penciling and inking the two-page sword-and-sorcery feature "Don Drake" and the two-page humor strip "Fishy Frolics".
He penciled Teen Titans Spotlight #7 and #8, before gaining more popularity among DC readers with his work on the relaunched, post-Crisis on Infinite Earths The Flash #1. This third Flash series featured Wally West after the demise of Barry Allen in the Crisis on Infinite Earths series. Guice drew ten of the first eleven issues. In 1988–89, Guice produced a series of covers for the Quality Comics/Fleetway 2000 AD reprint-title 2000AD Showcase, while penciling the Iron Man title for Marvel.
Dan Adkins at the Grand Comics Database. In addition to penciling and inking, Adkins also did cover paintings, including for Amazing Stories, Eerie (issue 12) and Famous Monsters of Filmland (issues 42, 44). His magazine illustrations were published in Argosy (with Wood), Amazing Stories, Fantastic, Galaxy Science Fiction, Infinity, Monster Parade, Science-Fiction Adventures, Spectrum, Worlds of If and other magazines. In the 2000s, he illustrated Parker Brothers products, and his artwork for Xero was reprinted in the hardback The Best of Xero (Tachyon, 2004).Lupoff. Dick.
103; Daniels, page 29 In 1943, Kane left the Batman comic books to focus on penciling the daily Batman newspaper comic strip. DC Comics artists ghosting the comic-book stories now included Jack Burnley and Win Mortimer, with Robinson moving up as penciler and Fred Ray contributing some covers. After the strip finished in 1946, Kane returned to the comic books but, unknown to DC, had hired his own personal ghosts, including Lew SchwartzLew Schwartz interview, Alter Ego #51 (Aug. 2005) and Sheldon Moldoff from 1953-1967.
After leaving Justice League, Patton was unsuccessful in gaining another regular penciling assignment. Instead, he worked on single issues or short runs of such DC titles as Action Comics Weekly, Blue Beetle, Legion of Super-Heroes, The New Teen Titans, Omega Men, The Outsiders, Secret Origins, and Vigilante. He was one of the contributors to the DC Challenge limited series in 1985. During this period, Patton did sporadic work for Eclipse Comics and Marvel Comics, on such titles as New DNAgents, Daredevil, and Classic X-Men.
In the early 1990s, Hellman went on to illustrate for art director Michael Gentile at New York Press — later continuing with Gentile with the art director moved to Habitat — and the local periodicals The Village Voice, and Guitar World. Hellman eventually drew for national publications including Time, Fortune, Sports Illustrated, The Wall Street Journal, and FHM. Hellman's earliest recorded credit is penciling and inking writer Dennis Eichhorn's two- page autobiographical story "Iron Denny" in Starhead Comix's Real Schmuck #4 (April 1993).Real Schmuck #4.
Benes' got his first professional work in 1993, after he mailed out sample art, and was discovered by Neal Adams, who gave him the job of illustrating Samuree for Continuity Comics in 1993. In the 1990s Benes began to work for Marvel where he did art for multiple comic book titles, including a Captain Marvel six-part miniseries. He later moved to DC Comics, where continued penciling more work for titles such as Gen¹³, Birds of Prey, Supergirl (vol. 3), and Superman (vol. 2).
After three years in there he was able to move to his original destination, the United States; there he became a mainstay of Western/Dell Publishing, penciling numerous characters, including Indian Chief, Tonto, Cisco Kid, Turok, and Gunsmoke. After obtaining American citizenship, in 1960 he returned to Italy, from where he continued to collaborate with Western and other US and British publishers. Series he worked on in this period include Gold Key Comics' Star Trek. For the same company he drew a King Kong adaptation.
Williamson was offered the job at Lucasfilm's specific request, as Lucas had an appreciation of his EC Comics and Flash Gordon work. The adaptation was released as a paperback book, a magazine (Marvel Super Special #16), an oversized tabloid edition, and as issues #39–44 (September 1980–February 1981) of the series. According to Ted Edwards, "The artwork reached a new high, with Williamson penciling and Carlos Garzon inking likenesses of the characters that had an accuracy never before seen in the series." As Goodwin made his departure, Louise Simonson joined as editor.
Richard Bennett is a former comic book artist and current freelance film concept and storyboard artist born in Uruguay. He broke into the comic book industry in 1990, penciling and inking the Cyberad series for Continuity Comics. In 1992, he began freelancing for Marvel Comics on various X-Men titles, then moving in 1994 to WildStorm, where he worked on a wide variety of titles, including the Brass mini-series. In 1997, he did background and character design work for the first season of the animated Spawn HBO series.
The original artist was Steve Crespo, pencils and inks. Crespo left early on, and Will Blyberg took over inking, while other pencilers included: Gary Fields, Kyle Baker, (who did his own inking) a South American known only as "Rodrigues", Tim Harkins, Vince Giarrano, and Scott Roberts (the only contributor to both write and draw the strip.) By the end, Roberts was the sole penciler, and Blyberg inked till the final strip. Sundays were colored by Stu Chaifitz. Tim Harkins and Gary Fields lettered even after they stopped penciling.
He inked roughly a half-dozen Marvel Comics stories in 1975 and illustrated the first issue of DC Comics's Justice Inc. before returning to Gold Key, where he drew and lettered stories through 1982. His work there included issues of Flash Gordon and the TV-spinoff comic Buck Rogers in the 25th Century. His last known comics work is penciling and inking two short stories published in the May 1984 issues of two comics in Archie's Archie Adventure Series imprint, Blue Ribbon Comics #8 and Steel Sterling #6.
Flessel continued to draw comics, often uncredited, through the 1950s, including Superboy stories in both that character's namesake title and in Adventure Comics; and anthological mystery and suspense tales in American Comics Group (AGC's) Adventures into the Unknown. Flessel's final regular comic-book work was penciling and inking the 6-page story "The Flying Girl of Smallville" in Superboy #72 (April 1959). He returned in the 1970s to do occasional inking for writer-penciler Joe Simon, as on Prez #4 (March 1973). Creig Flessel's David Crane (June 10, 1961).
A rejected third line, "like a dog without a bone" gives way to "now you're unknown". Earlier, Dylan had considered working the name Al Capone into the rhyme scheme, and he attempted to construct a rhyme scheme for "how does it feel?", penciling in "it feels real", "does it feel real", "shut up and deal", "get down and kneel" and "raw deal". The song was written on an upright piano in the key of A flat and was changed to C on the guitar in the recording studio.
Guice began his career with fanzine work and "designing patches and emblems for a small company in North Carolina." His first credited comics work was penciling and inking the independently published The Crusaders #1 (November 1982), although he had previously ghosted for Pat Broderick on Rom Annual #1 (1982). On the strength of his fanzine work, (and, Guice believes, at the behest of Rom Annual writer Bill Mantlo) Marvel editor Al Milgrom offered him a tryout on the toy-spin-off title Micronauts. Referring to Rom Annual #1 and Micronauts #48 (Dec.
1982), he remarked that "[b]oth were breaking points for me getting into comics". Guice continued penciling Micronauts until #58 (May 1984). In July 1983, "The Butch Guice Portfolio" appeared in the pages of Marvel Fanfare #9, and Guice contributed to The Official Handbook of the Marvel Universe, Chris Claremont and Bill Mantlo's X-Men and the Micronauts four-issue miniseries as well as occasional issues of a number of different titles. In 1984, he drew the Marvel Comics adaptation of Indiana Jones and the Temple of Doom and inked Dazzler.
Tommy Rancel of ESPN described him as: "Tampa Bay's version of Brett Gardner; albeit in a reduced role". However, with Manny Ramirez sudden retirement, left fielder Johnny Damon became the team's DH expanding Fuld's role. On April 7, he stole a career-high 3 bases in one game, and Maddon began penciling him into the lineup as the team's everyday leadoff hitter. On April 9, playing right field against the Chicago White Sox who had the bases loaded, Fuld made what the Tampa Tribune called "one of the best catches in team history".
"Nick Fury, Agent of S.H.I.E.L.D." was taken over by Jim Steranko in issue #155 (April 1967), who had previously done penciling and coloring for the feature beginning in Strange Tales #151 (Dec. 1966).DeFalco "1960s" in Gilbert (2008), p. 130: "Writer/artist Jim Steranko had begun to draw the 'Nick Fury, Agent of SHIELD' [feature] in Strange Tales #151 and started writing it four issues later." Steranko was an innovative new talent that emerged at Marvel during the late 1960s, as he helped revolutionize the look of the comic book page with his "pop" artwork.
Reinman also worked with Siegel on that company's version of the Shadow, based on the 1930s radio and pulp magazine character. The prolific Reinman's other work includes numerous issues of Adventures into the Unknown and Forbidden Worlds for the small American Comics Group (AGC) in the 1950s and 1960s. He and writer-editor Richard E. Hughes co-created the spy character John Force in ACG's Magic Agent #1 (Feb. 1962). Reinman afterward returned to Marvel, where he remained active through at least the mid-1970s, penciling Ka- Zar #1 (Jan.
Adkins was among the original artists of Wood's T.H.U.N.D.E.R. Agents, for Tower Comics, drawing many Dynamo stories during his 16 months in the Wood Studio. He joined Marvel Comics in 1967.A announced in the "Bullpen Bulletins" of Fantastic Four #63 and other Marvel comics released that month working primarily as an inker but also penciling several stories for Doctor Strange and other titles. Adkins additionally worked for a variety of comics publishers, including Charlton Comics, DC Comics (Aquaman, Batman), Dell Comics/Western Publishing, Eclipse Comics, Harvey Comics, Marvel, and Pacific Comics.
The original creative team for the strip was animator Earl Duvall and artist Al Taliaferro, with Duvall responsible for writing and penciling, and Taliaferro inking. Duvall, who wrote the Silly Symphony short Bugs in Love, created Bucky Bug as the hero of the new Sunday strip. In the first sequence, which lasts for three months, a young bug is born and sets forth into the world to make a name for himself. Stumped for a name, he asks the readers for help, and the strip encouraged readers to write to their newspapers with name suggestions.
The at the Jack Kirby Museum site spells it "Night Glider" Hero Comics' Mr. Fixit, Vortex's NASCAR Adventures, and Millennium Publications' H. P. Lovecraft's Cthulhu: The Whisperer in Darkness. His final DC work was penciling and inking over Joe Quesada's layouts for Spelljammer #11 (July 1991), and his last known comics work was the 10-page "The Theft of Thor's Hammer", by writer Bill Mantlo, in Marvel Super-Heroes vol. 2 #15 (Oct. 1993). Marvel one-time editor-in-chief Roy Thomas said of the artist, Heck died of lung cancer in 1995.
Smack! Pow! At one point Syaf met an Irish screenwriter named Catie through Dabel Brothers, through which began to get work with Marvel Comics, his earliest book assignments involving the sharing of penciling duties with other artists, such as Jorge Molina on X-Men: Manifest Destiny: Nightcrawler #1 (May 2009), and Leonard Kirk on Captain Britain and MI13 #13 and 14 (July, August 2009). His earliest work for DC Comics was "The Origin of Congorilla" a backup story written by Len Wein that appeared in Justice League: Cry for Justice #1 (September 2009).
Thomas and Sanderson, p. 137: "The Uncanny X-Men remained something of a cult book, with a small but devoted following, but as the 1980s continued, sales went up and up. By mid-decade, it was consistently the top-selling comic book not simply at Marvel but in the entire American comics industry." In the late 1970s, while serving as the regular penciller of X-Men, Byrne began penciling another superhero team title, The Avengers. Working for the most part with writer David Michelinie, he drew issues #164–166 and 181–191.
In early 1980, Byrne did his first work for DC Comics, penciling the first issue of The Untold Legend of the Batman miniseries. Byrne had always wanted to draw Batman, and had a three-month window of time during which he was not under contract to Marvel. Hearing about the Untold Legend series, Byrne contacted editor Paul Levitz to express interest. DC took him up on his offer, but it was not until the second month of his three-month window that Byrne received the plot for the first issue.
Shooter, Jim "Bullpen Bulletins" Marvel Comics cover-dated February 1986 After winning the contest, he didn't hear from Marvel for several months. After approaching Shooter at a comic convention, Bagley was assigned to a series of low-profile penciling jobs. His comics work during this period included Visionaries, a comic book based on a 1980s toy line, various titles in the New Universe line, backup stories in Captain America, and the first series of Marvel Universe Cards. In 1989, Tom DeFalco and Ron Frenz created a team of teenage superheroes called the New Warriors.
Born in Monroe, Louisiana, and raised in Oakland, California, Allen began teaching himself to play the guitar at age twelve. He later joined a local band, and was assigned to play the bass parts on the bottom four strings of his guitar. Penciling in a mustache on his face to obscure his being underage, he was soon playing in bars with blues guitarist Johnny Talbot. A stint with the Edwin Hawkins Singers led him to meet Freddie Stone, brother of Sly Stone and the guitarist in Sly and the Family Stone.
After that title's cancellation, a Supergirl/Doom Patrol team-up drawn by Jones, originally scheduled to appear in Super-Team Family was published in The Superman Family #191–193. Jones worked on the DC series All-Star Squadron in the mid-1980s, penciling the majority of the issues between 1985 and 1987. He left the comics field for several years to work in television, and focused on graphic design work. Jones returned to comics in 1994 to pencil Marvel Comics' Captain America Annual #13, and issues of DC/Milestone Media's Kobalt, Hardware, and Blood Syndicate.
In 2003 Burrows collaborated with writer Garth Ennis for the first time pencilling the war comic 303. They collaborated again in 2007 on the critically acclaimed Chronicles of Wormwood and the following year on the cult classic Crossed. Burrows went back to the Crossed universe for the anthology series Crossed: Badlands, illustrating two arcs written by Ennis and David Lapham and providing several covers. In 2017 he started working for Marvel Comics, penciling Max Bemis' run on Moon Knight and reuniting once again with Garth Ennis on the Punisher: Soviet mini-series.
In 1998, Kelly graduated from the Minneapolis College of Art and Design where he studied under comic book artist Peter Gross. He worked with Gross on the DC Comics series Lucifer and The Books of Magic, both under the Vertigo imprint. He is now on the MCAD staff, teaching the occasional inking class, as well as classes for younger students. He has also moved on to work on other books, including guest inking responsibilities on American Virgin and penciling duties for AiT/PlanetLar's Giant Robot Warriors with Stuart Moore.
1998) of Claypool Comics' superhero-humor comic Soulsearchers and Company, inked by fellow Silver Age veteran Jim Mooney; and she inked Dave Cockrum's penciling in issue #43 (July 2000). She also inked Richard Howell's pencils on the story "Favor of the Month" in Elvira #144 (April 2005). Severin retired sometime afterward, but continued into the mid-2000s to make occasional contributions, such as recoloring many of the comics stories reprinted in the EC-era retrospective books B. Krigstein and B. Krigstein Comics. The former won both the Harvey and Eisner comic-industry awards in 2003.
In the mid-1950s, while continuing to freelance for Atlas, Romita did uncredited work for DC Comics before transitioning to work for DC exclusively in 1958. His first known work for the company is the tentatively identified penciling credit for the cover of romance comic Secret Hearts #58 (Oct. 1959), and, confirmably, pencils for the seven-page story "I Know My Love", inked by Bernard Sachs, in Heart Throbs #63 (Jan. 1960). Other titles to which he contributed include Falling in Love, Girls' Love Stories, Girls' Romances, and Young Love.
"The Comic Book Artist Fiona Staples Gives Archie a Makeover". New York Times. One of the advantages Staples sees in working digitally is the ability to dispense with tight pencils in favor of making corrections in an ad hoc manner, as she finds that penciling in great detail, and re-drawing such artwork a second time in ink, to be boring. In Saga, Staples inks only the figures in pen-and- ink, using a lot of self-shot photo references to finalize the poses, which she does not use in the thumbnail stage.
Kubert's first known professional job was penciling and inking the six-page story "Black-Out", starring the character Volton, in Holyoke Publishing's Catman Comics #8 (March 1942; also listed as vol. 2, #13). He would continuing drawing the feature for the next three issues, and was soon doing similar work for Fox Comics' Blue Beetle. Branching into additional art skills, he began coloring the Quality Comics reprints of future industry legend Will Eisner's The Spirit, a seven-page comics feature that originally ran as part of a newspaper Sunday supplement.
Also in 1991, Pérez signed on to pencil the six-issue limited series Infinity Gauntlet for Marvel Comics, which was written by Jim Starlin.Manning, Matthew K. "1990s" in Gilbert (2008), p. 254: "Written by Jim Starlin, and with pencils by George Pérez and Ron Lim, The Infinity Gauntlet was born." However, due to the turbulence happening concurrently with War of the Gods, this was a very stressful personal period for Pérez, and he was not able to finish penciling the entire run of Infinity Gauntlet, leaving the project part way through issue No. 4.
The series featured some of Jurgens' earliest penciling work and his first work as a writer/ artist. He began to script Conway's plots with #8 and fully took over the writing duties on the title with #10. Conway was originally both the writer and editor of the title; he remained the series' editor until its conclusion. It was one of the many series that DC published in "maxi-series" format throughout the mid-1980s, meaning that it was a closed-ended, 12-issue limited series—longer than most comics miniseries.
Between 1987 and 1988, he wrote and drew four issues of the comic book Mechthings, which were published by Renegade Press. In the early 1990s he worked on Shadowhawk for Jim Valentino at Image Comics. For that comic he was listed in the credits as the "Big-Background Artist", which referred to his role in both penciling and inking the larger and more detailed background designs only on certain select panels and pages, rather than throughout. From 1987 to 1991 he was a regular contributing illustrator to the science fiction magazine Amazing Stories.
There he drew for the camp newspaper, The Bayonet, and drew some of his first comic books; his earliest known confirmed credit is penciling and inking the 6-page story "Satan Rides the Waves" in Harvey Comics' All-New Comics #7 (cover-dated March 1944).Ernie Schroeder and Ernest Schroeder at the Grand Comics Database Black Knight #1 (May 1953). Cover art by Schroeder. Later, while in California waiting to be shipped with the planned invasion forces to Japan, news came that the atomic bomb had been dropped, precipitating the end of the war.
Wojtkiewicz left after issue #11, and with issue #13 Mark Propst began both penciling and inking the Knights. The look he brought to the series broadened the series' readership, and Comics Interview began publishing numerous Southern Knights spin-offs, mostly using reprints. For instance, a "Dread Halloween Special" was actually just a reprint of Southern Knights #14, and a three-issue Aramis limited series was simply a reprinting of select Aramis appearances from issues #5-26, with brief textual segues. The Southern Knights also guest-starred in Aristocratic Xtraterrestrial Time-Traveling Thieves (vol.2) #1.
During this period, Campiti began selling comic book scripts to Pacific Comics in '82, becoming first published in comics in 1983. By 1985, Campiti was writing Superman stories in Action Comics for DC and soon went into freelance editing, packaging full-time for several years. In the mid-1980s, Campiti helped launch Amazing Comics, Wonder Comics, Pied Piper Comics, Eternity Comics, Sirius Entertainment, Malibu Comics, and other companies. In the process, he discovered and helped launch the careers of such talents as Ron Lim and Bart Sears, who began their professional careers penciling Ex-Mutants and Hero Alliance respectively.
Alcazar's comics work tapered off in the early 1980s. He wrote and drew the eight-page story "Paradise" in the comics-anthology magazine Heavy Metal vol. 5, #4 (July 1981), and penciled the Marvel superhero comic Moon Knight #21 (July 1982), his last known comics work until 1993, when he penciled an issue each of Continuity Comics' Megalith #2 (June 1993) and Earth 4 #3 (Aug. 1993). In 2011, he began penciling, inking, and digital coloring the Vices Press series M3, which won the 2012 award for Best Comic Book at the Burbank International Film Festival.
S.A. Comics #3). Also for Timely, Winiarski also wrote and drew such humor features as "The Creeper and Homer" (in Krazy Komics), "Oscar Pig" (in Terrytoons Comics), Millie the Model, and Hedy De Vine Comics. For Timely's 1950s successor, Atlas Comics, he drew numerous horror and suspense stories for anthologies including Strange Tales and Journey into Mystery, while also penciling, inking and probably writing the antics of trouble-prone "Buck Duck" in that funny animal's namesake comic and its predecessor, It's a Duck's Life. In 1958, Winiarski did some work for Major Magazines' Mad-like satiric magazine Cracked.
Brodsky in late 1950 or early 1951 — the exact date uncertain due to his work often going unsigned, in the manner of the times — began penciling and inking for Marvel's 1950s forerunner, Atlas Comics. He is tentatively credited as cover artist of Marvel Boy #1-2 (Dec. 1950 - Feb.1951), and confirmably credited through the '50s for covers and occasional stories in issues of Atlas' horror/suspense titles Adventures into Weird Worlds, Strange Tales, and Uncanny Tales; the Westerns Kid Colt, Outlaw, Gunsmoke Western, Western Outlaws, and Wild Western; the satiric Crazy; and such miscellaneous genre titles as Sports Action and Spy Fighters.
With Frank Giacoia penciling, Infantino inked the feature "Jack Frost" in USA Comics #3 (cover-dated Jan. 1942), from Timely Comics, the forerunner of Marvel Comics. He wrote in his autobiography that Infantino would eventually work for several publishers during the decade, drawing Human Torch and Angel stories for Timely; Airboy and Heap stories for Hillman Periodicals; working for packager Jack Binder, who supplied Fawcett Comics; briefly at Holyoke Publishing; then landing at DC Comics. Infantino's first published work for DC was "The Black Canary", a six-page Johnny Thunder story in Flash Comics #86 (Aug.
He served as the uncredited art assistant on Steve Canyon for 35 years, continuing for a brief time after Caniff's death in 1988. Rockwell's other comic-book work includes at least one story each in 1951 for Man Comics, Girl Comics, Crime Exposed and Susepense, from Atlas Comics, the 1950s precursor of Marvel Comics; and, in 1983 and 1988, a smattering of work for DC Comics, including on the military adventure title Blackhawk. His final comic-book work were penciling and inking a six-page story and a two-page character profile, both featuring the "Blackhawk Express", in Blackhawk Annual #1 (1989).
Savage and His Battlefield Raiders), among other work. In a rare return to penciling at Marvel, Shores drew and self-inked five anthological horror stories from 1969 to 1971 in Chamber of Darkness, Tower of Shadows, Creatures on the Loose and Monsters on the Prowl, as well as Gerry Conway's adaptation of Harlan Ellison's "Delusions for a Dragon Slayer" in Chamber of Chills #1 (Nov. 1972). Additionally, Shores penciled and occasionally self-inked several Western stories, including the premiere of the feature "Tales of Fort Rango" in Western Gunfighters #1 (Aug. 1970); The Gunhawks #1-2 & 4-5 (Oct.-Dec.
The Nate Butler Studio, Inc. operated through at least 1995, producing artwork for Jim Henson Productions, Weekly Reader, Children's Television Workshop, DC Comics, and King Features Syndicate. The company worked on comic books, coloring books, magazines, apparel, and other licensed products utilizing characters such as The Muppets, Popeye, Bugs Bunny, Tiny Toons, Mighty Mouse, Rocky & Bullwinkle, Snuffy Smith, Batman: The Animated Series, The Jetsons, Berenstain Bears, and Tom & Jerry. His work for Archie Comics includes variously writing, penciling and/or inking stories in roughly a dozen issues of Betty and Me, Archie and Me and other titles in the mid-1980s.
Harry Sahle at the Lambiek Comiclopedia Among his earliest comics work is a cover for the only issue of Pelican Publications' Green Giant Comics (Jan. 1940).Comic Book Database: Green Giant Comics #1 Accessed September 7, 2008. . His earliest-known interior credit is inking the seven-page Fiery Mask superhero story "The Jelly of Doom", over George Kapitan's pencil art, in Timely Comics' Daring Mystery Comics #5 (June 1940).Harry Sahle at the Grand Comics Database With Kapitan writing and himself penciling and inking, Sahle co-created the Black Widow in Mystic Comics #4 (Aug. 1940).
In 1940, Norris and his wife moved to New York City, New York, where he created the features "Power Nelson, Futureman", and "Yank & Doodle" for the comic-book publisher Prize Publications. Historians tentatively identify Norris' comic- book debut as penciling and inking the cover of Prize Publications' Prize Comics #6 (Aug. 1940), with his first confirmed credit the Power Nelson story "Introducing Gene West" two issues later.Paul Norris at Grand Comics Database Norris' first confirmed credit for DC Comics (then National Comics) is the story "The Sandman at Sea", starring DC's original Sandman, Wesley Dodds, in Adventure Comics #65 (Aug. 1941).
Kweskin's earliest confirmed credits include penciling and self-inking stories in three Atlas comics cover-dated February 1953: The horror/mystery books Strange Tales #15 and Adventures Into Terror #16, and the war comic Battlefront #9. He continued drawing stories for such Atlas horror anthologies as Journey into Mystery, Marvel Tales, and Uncanny Tales, Western titles including Kid Colt, Outlaw and Wild Western, and even Bible Tales for Young Folk. After about a year, during a downturn in the comics industry, Kweskin returned to the Midwest. He worked as a studio artist, then became an art director for a maker of industrial films.
This brought Ryan to the attention of comic book stores in the Boston area. When Marvel artist Bob Layton moved to Boston and needed an assistant, the employees at these stores recommended Paul Ryan to Layton. Ryan worked for Layton for a year doing his backgrounds, and through him met the editors and staff at Marvel. Layton is said to have played a vital role in Ryan's development. Ryan said that his only formal training in comics came in that 1983-1984 span, working as Bob Layton’s assistant while also preparing his penciling samples for Marvel.
"Blueberry", jmcharlier.com The second time occurred one year later, during the production of "Mission to Mexico (The Lost Rider)", when Giraud unexpectedly packed up and left to travel the United States,Close friend Mézières, like Giraud passionate about Westerns and the Far West, took it up a notch, when he too left at about the same time for the United States, actually working as a cowboy for two years, albeit not in the South-West, but rather in the North- West. and, again, Mexico; yet again former mentor Jijé came to the rescue by penciling plates 17–38.Ratier, Gilles (27 March 2012).
Salvador Larroca at Lambiek's Comiclopedia Larroca left the title penciling chores in the hands of new writer/penciler, Carlos Pacheco, while Larroca went on to do several issues of Uncanny X-Men, after the departure of Adam Kubert, who left to work on Ultimate X-Men. Larroca then proceeded to rejoin with writer Chris Claremont, on X-Treme X-Men. Larroca stayed on the title for twenty-four issues, at which point he was asked to work on the initial run of Marvel's new Tsunami imprint title, called Namor. Meanwhile, Larroca worked on various miniseries projects, including Ultimate Daredevil & Elektra and Ultimate Elektra.
After Valiant closed, Morales returned to his TSR roots, doing work for Dungeons and Dragons magazines and novella work for Harper Collins, such as Isaac Asimov's Robotics and pen and ink work for Margaret Weis' Testament of the Dragon. He also taught anatomical illustration at a vo-tech school. In 1999, Morales was made the penciler on DC's on Hourman, penciling 20 of that series 25 issues before it was canceled in 2001. Over the course of the following year, he drew nine intermittent issues of JSA between issue #9 and issue #34, before moving onto Hawkman with writer Geoff Johns.
19-20 of print version There Lieber began illustrating comic books; his first known credit is penciling and inking the four-page story crime comics story "Cop on the Beat", by an unknown writer, in All True Crime #44 (cover-dated May 1951). In 1951, he enlisted in the U.S. Air Force, beginning four years of military service. Serving during the Korean War, he spent two of those years stationed at Okinawa, after having done his boot-camp training at the since-defunct Sampson Air Force Base, near the Finger Lakes region of New York State.
The series debuted in 2000 and ran for 12 issues, a prologue and a preview comic called Steampunk Catechism. Originally planned for 24 issues, lack of readership ended the series at the end of act II. Joe Kelly's non-linear storytelling and Bachalo's highly detailed, though possibly confusing, penciling style received little interest from the mainstream comic-reading public. The series did have its supporters, especially Bachalo himself, saying, “I really enjoyed Steampunk. That was probably my favorite book that I’ve worked on.” Despite the early cancellation, Bachalo still has a desire to finish the series.
Brett Breeding (June 13, 1961) is an American comic book artist who was active in the industry in the 1980s and 1990s, primarily as an inker. He is most well known for his work on the DC Comics character Superman. A freelancer, Breeding worked for both DC and Marvel Comics during his career, penciling covers and stories here and there, but mostly focusing on "finish inking" over breakdown layouts. Breeding has worked extensively with pencilers Ron Frenz and Dan Jurgens, and is a co-creator of the Doomsday character, as well as Shadowdragon, Saviour, and Blaze and Satanus.
Although most well known for her artwork on the story of Cassie Hack and her partner Vlad in Devil’s Due Publishing's HACK/Slash series, Stone's career in illustration has included a variety of other projects. This includes inking, penciling, or coloring The Ride (published by Image Comics), Jim Henson's comic Return to Labyrinth, and G.I. Joe comics/merchandise. She was also involved in the artwork for 160-page original graphic novel anthology, Lloyd Kaufman Presents the Toxic Avenger and Other Tromatic Tales. Through HACK/Slash storylines, Stone has drawn numerous pop- culture characters including Reanimator's Herbert West, the Suicide Girls, Milk & Cheese among others.
In the 1970s, Redondo began to do work for publishers in the United States. His earliest U.S. credit is penciling and inking the ten-page story "The King Is Dead", by writer Jack Oleck, in DC Comics' House of Mystery #194 (Sept. 1971). Through the 1970s, Redondo drew dozens of such supernatural anthology stories for DC titles including House of Secrets, The Phantom Stranger, Secrets of Sinister House, The Unexpected, Weird War Tales, and The Witching Hour. He drew six of the seven issues of Rima, the Jungle Girl (May 1974 – March 1975), based on the heroine of a Victorian novel, as well as Swamp Thing #11–23 (Aug.
11 but dropped out after two years. Through that connection, however, he began freelancing with famed graphic designer Milton Glaser, an SVA instructor, assisting him on a set of children's books. Baker's first credited work at Marvel is penciling the half- page entry "Kid Commandos" in The Official Handbook of the Marvel Universe #13 (February1984). After a handful of inking assignments on issues of Transformers, The Avengers Annual #14 (1985) and elsewhere, Baker made his professional story-illustration debut as penciler and inker of the publisher Lodestone Comics' Codename: Danger #2 (October 1985), with a 23-page story written by Brian Marshall, Mike Harris, and Robert Loren Fleming.
Takara begins his pages with 7" x 5" ink thumbnail sketches with which he shows his overall ideas to his editor. When he begins the actual pencils, he keeps them "loose", because he will eventually ink over them himself, and does not require greater specificity. The penciling stage is the fastest stage for Takara, who does all of his pencil work with an HB 0.5 mechanical pencil, completing two or three penciled pages a day, sometimes even inking all three by the end of the day, which he does with Micron pens ranging in size from .005 to 1.0, Pentel brush pens and cheap brushes for filling in large black areas.
In the late 1980s, Blaustein worked for Marvel Comics, as an editor (several issues each of Web of Spider-Man, Marvel Tales, and Marvel Saga) as a writer (several issues of Conan the King), and penciling a one-shot of Power Pachyderms. She wrote assorted comics published by DC Comics in the early 1990s, including a few for the Impact Comics imprint and TSR line. In 1994 she went to work for Milestone Media as production manager and writer. With assistance from her partner Yves Fezzani – sometimes billed together as "Adam & Yves" – she wrote issues of flagship titles Hardware and Static (in which she co-created the character Rubber-Band Man).
Frank Giacoia studied at Manhattan's School of Industrial Art (later the High School of Art and Design) and the Art Students League of New York. He entered the comics industry by penciling the feature "Jack Frost" in U.S.A. Comics #1 (cover-dated Aug. 1941), inked by friend and high school classmate Carmine Infantino — the latter's first art for comics and published by Marvel Comics' 1940s precursor, Timely Comics. His friend and collaborator Carmine Infantino, a classmate at the Art Students League, recalled that Later in 1941, Giacoia joined the New York City comic-book packager Eisner & Iger, the studio of Golden Age greats Will Eisner and Jerry Iger.
Parobeck got to know DC Comics editor Brian Augustyn, to whom he repeatedly sent photocopies of his sample artwork. Augustyn eventually contacted Parobeck to give him a job penciling a few pages of a Doctor Light story in Secret Origins #37. This led to his first regular series work on El Diablo, with writer Gerard Jones, which lasted sixteen issues. Other important series on which he worked were The Fly for DC's short lived Impact Comics imprint, as well as the 1992 Justice Society of America series, on both of which he worked together with writer Len Strazewski, and the Elongated Man mini-series, also from 1992.
On many occasions, the original draft was too long and needed to be refined various times before the desired "tempo" and "flow" for the chapter was finalized. The writer remarked on his preference for reading the previous "two or four" chapters carefully to ensure consistency in the story. The typical weekly production schedule consisted of five days of creating and thinking and one-day using a pencil to insert dialogue into rough drafts; after this point, the writer faxed any initial drafts to the editor. The illustrator's weekly production schedule involved one day with the thumbnails, layout, and pencils and one day with additional penciling and inking.
Jonathan Hickman wrote a story arc in the Avengers and New Avengers comic, ending in the 2015 crossover Secret Wars. His return was announced in March 2019. Some days later, it was detailed that he would write two comic books, House of X and Powers of X, with penciling by Pepe Larraz and R.B. Silva. Marvel Editor in Chief C. B. Cebulski said that "We are excited to have Jon back with the Marvel family, and we could not have asked for a better creative team to help usher the X-Men into a whole new era" Both comics were released as a company wide relaunch of the X-Men.
He contributed some superhero drawings for Pro, the NFL official magazine (1970), and penciled some chapters of the first issue of Marvel Comics Super Special featuring the rock group Kiss (1977). In 1978, small-press publisher Sal Quartuccio released The Art of John Buscema, a retrospective that included an interview, previously unpublished sketches and drawings, and a cover that was also sold as a poster. Buscema capped off the decade penciling writer Doug Moench's three-issue Weirdworld epic-fantasy tale "Warriors of the Shadow Realm" in Marvel Super Special #11-13 (June-Oct. 1979). Pacific Comics released an accompanying portfolio of six signed, colored plates from the story.
Of his attempts to work for DC Comics and Marvel Comics, however, comics historian Mark Evanier wrote, Evanier wrote that Goodwin, by now writing for Marvel, said that, "Every so often, we'd try having him pencil an Iron Man or something, but it never worked out. He couldn't draw superheroes the way they wanted, and he couldn't hit the deadlines of a monthly book". After penciling and inking Iron Man #2 and a supernatural story in Tower of Shadows #1, heavily retouched by John Romita Sr., Craig became primarily an inker. He did however complete Iron Man #2-4, 14, 24 and 25, the latter inked by Sam Grainger.
His last comic-book story was penciling and inking the four-page flashback sequence of the 22-page story "The Mortal Iron Fist, Conclusion", in Marvel Comics' The Immortal Iron Fist #20 (Jan. 2009) He went on to provide cover art for publisher Aardvark-Vanaheim's satiric comic book glamourpuss #11–13 (Jan.–May 2010), with his last known published comics work the one-page illustration "That Russ Heath Girl #4", appearing in issue #19 (May 2011). He lived in Van Nuys, California, where in his 80s he had knee surgery after The Hero Initiative and the Comic Art Professional Society of Los Angeles raised money to help pay for an operation.
Howard Nostrand, who joined as one of Powell's assistants in 1948, recalled working alongside fellow assistants "George Siefringer, who [drew] backgrounds [and] Martin Epp, who inked, lettered and helped George on backgrounds. I started out inking and then got into doing backgrounds ... and then penciling." Features on which they worked during this period included "Red Hawk" in Magazine Enterprises' Straight Arrow; and, for Fawcett Comics, work in Hot Rod Comics, an adaptation of the film The Red Badge of Courage, and "a couple of Westerns" including the movie-spinoff feature "Lash LaRue". In 1961, Powell became art director for the satirical magazine Sick, working there until his death.
It was not until after his run on Ghost Rider, that Larroca would gain the exposure needed to become known as one of the most prominent comic book artists in The United States. Following Marvel's experiment with the various "Heroes Reborn" titles, editor Bobbie Chase gave Larroca the task of penciling the return of Captain America, Iron Man, Fantastic Four, the Avengers, and several other superheroes, in the Heroes Return miniseries.Marvel Comics Vampire Outbreak After the departure of Alan Davis on Fantastic Four, Larroca was given the reins along with writer Chris Claremont. Larroca and Claremont had a three-year-long run on the title.
Under editor Ed Cronin and Cronin's assistant Gill Fox, DiPreta was sent to Quality artist Lou Fine's Tudor City studio in Manhattan to observe and learn from Fine's highly regarded draftsmanship. Shortly afterward, Arnold was concerned over what he saw as Fine's undynamic storytelling, and had Fujitani and DiPreta do pencil-breakdowns for a story each that Fine would finish penciling and inking; DiPreta's starred the character Uncle Sam. At some point, he studied at Columbia University and the University of Connecticut. DiPreta's first generally accepted solo art credit in comics is a one-page humor filler in publisher Quality's National Comics #8 (Feb. 1941).
The breed was first raised in France, but it was not until it reached England in the 19th century that it was refined into the breed recognized as the Rouen today. The French version resembled a larger than average Mallard, but by selective breeding, the British developed the exhibition-type Rouen. The final product was a bird with a deep, long keel, boat-shaped profile, enormous appearance, and refined markings, especially the penciling on the female. It was used chiefly as a roasting bird; though it produced 35 to 125 eggs a year, there were other breeds which were more reliable egg-layers with higher production.
After his debut in The Warlord #48, Arak starred in a monthly DC Comics series, Arak, Son of Thunder, which ran 50 issues (and one 1984 annual) from September 1981 to November 1985. After a few token appearances in other stories, Arak has not appeared in any new adventures since 1988. The Arak series was written, in one form or another, by Roy Thomas, joined in later issues by his wife Dann Thomas and by Jean-Marc Lofficier and Randy Lofficier. After penciling the first 12 issues, artist co- creator Colón left the title, replaced by a string of artists, including Adrian Gonzales, Ron Randall, Gerald Forton, and Tony DeZuniga.
Pérez's first involvement with the professional comics industry was as artist Rich Buckler's assistant in 1973, and he made his professional debut in Marvel Comics' Astonishing Tales No. 25 (Aug. 1974) as penciler of an untitled two-page satire of Buckler's character Deathlok, star of that comic's main feature. Soon Pérez became a Marvel regular, penciling a run of "Sons of the Tiger", a serialized action- adventure strip published in Marvel's long-running Deadly Hands of Kung Fu magazine and authored by Bill Mantlo. He and Mantlo co-created the White Tiger (comics' first Puerto Rican superhero),"Micromails: Meet the Micro-Makers: Bill Mantlo," Micronauts #7 (Marvel Comics, July 1979).
Raised in Brooklyn, New York City, New York, Tartaglione studied at that borough's Pratt Institute, and at the Traphagen School of Fashion in Manhattan. Comics-creator credits were not routinely given in the early days of comic books, up through the 1960s, making a comprehensive listing of Tartaglione's credits difficult to compile. His first confirmed work as a comic-book inker is the six-page story "The Mad Monk!" in Amazing Detective Cases #6 (May 1951), from Atlas Comics, the 1950s forerunner of Marvel Comics. His first confirmed penciling art is the six-page story "The Man Who Walked The Plank", for the same publisher's Young Men #11 (Oct. 1951).
The Flash vol. 2 #97 (Jan. 1995), with Bart Allen (Impulse) second from left. Cover by Wieringo The Flash editor Brian Augustyn asked Wieringo to try out for The Flash. After submitting some sample pages of the Flash running, Wieringo was offered the penciling duties on Volume 2 of that series, on which he was paired with writer Mark Waid, and on which he rose to prominence in the industry, drawing all but two issues from #80–92 (Early Sept. 1993–July 1994), plus #0 (Oct. 1994). He additionally penciled covers through #100, #118–124, and 128–129, and for The Flash 80-Page Giant #2 (April 1999). Wieringo and Waid co-created the young speedster Bart Allen, a.k.a.
He was one of the contributors to the DC Challenge limited series in 1986. Other projects in the 1980s included penciling The Daring New Adventures of Supergirl,Manning "1980s" in Dolan, p. 198 "With the guidance of writer Paul Kupperberg and prolific artist Carmine Infantino, Supergirl found a home in the city of Chicago in a new ongoing series." a Red Tornado miniseries, and a comic book tie-in to the television series V. In 1990, he followed Marshall Rogers as artist of the Batman newspaper comic strip and drew the strip until its cancellation the following year. During the 1990s Infantino also taught at the School of Visual Arts before retiring.
Fury and his Howling Commandos (issues #121-167) at the Grand Comics Database Following seven issues by creators Lee and Kirby (who returned to collaborate on #13 and on the opening and closing pages of #18), penciller Dick Ayers began his long stint on what would be his signature series, penciling 95 issues, including two extra-length annuals.Lovece, Nimbus #3, p. 6 John Severin later joined as inker, forming a long-running, award-winning team; he would, additionally, both pencil and ink issues #44-46. The series' only other pencilers came on one issue each by Tom Sutton (which Ayers said was "done that time I asked for a furlough and reassignment")Ayers in Lovece, Nimbus #3, p.
Early in his career, Martinbrough worked for minority-led publishing imprint Milestone Media, primarily as an inker. In 1993, he inked over John Paul Leon on early issues of the Milestone property Static. He followed that by inking virtually the entire run of DC/Milestone's Shadow Cabinet, again over Leon's pencils. Martinbrough and Leon teamed up again for DC's 1997 reboot of Challengers of the Unknown, with Martinbrough inking issues 1-9 (and inking covers through issue #17). Martinbrough was given his first ongoing penciling duties starting with the DC Comics series The Creeper, in 1997–1998. In 2000–2001, Martinbrough and writer Greg Rucka were the creative team of Detective Comics (starting with issue #742 [March 2000]).
"John Byrne Reboots the Doom Patrol: Writing and Penciling New Issue Due Out in June," ICv2 (March 12, 2004). This series also retroactively eliminated Beast Boy's origins and numerous Doom Patrol appearances in other titles, including the reunions of Beast Boy (then called Changeling) and Robotman in the 1980s New Teen Titans, along with the entire Kupperberg, Morrison, Pollack, and Arcudi incarnations of the team (and their respective new members) along with the rest of the DC Universe's memories of the group. Three new characters—Nudge, Grunt (Henry Bucher), and Vortex—were introduced and utilized throughout the series run. The series debuted as part of a six-part storyline that ran in JLA #94–99 as "The Tenth Circle".
Gottfredson originally wrote and drew the Mickey Mouse strip by himself, but pulled back in 1932 to plotting the stories and doing the penciling, while the dialogue was mostly done by other hands. The stories were always untitled; titles were usually assigned later, when the strips were reprinted in picture books or comic books. Scripts were written by Webb Smith (1932-33), Ted Osborne (1933–38), Merrill De Maris (1933–42), Dick Shaw (1942–43), Bill Walsh (1943–64), Roy Williams (1962-69) and Del Connell (1968–88). Even so, Gottfredson always worked closely with his writers, and would often suggest changes in the scripts whenever he thought it would improve a story.
An Interview with Al Capp - Smithsonian Folkways Frazetta, later famous as a fantasy artist, assisted on the strip from 1954 to December, 1961. Fascinated by Frazetta's abilities, Capp initially gave him a free hand in an extended daily sequence (about a biker named "Frankie," a caricature of Frazetta) to experiment with the basic look of the strip by adding a bit more realism and detail (particularly to the inking). After editors complained about the stylistic changes, the strip's previous look was restored. During most of his tenure with Capp, Frazetta's primary responsibility—along with various specialty art, such as a series of Li'l Abner greeting cards—was tight-penciling the Sunday pages from studio roughs.
During this stage Staples does not use reference, but does so later in the inking stage. During the thumbnail stage, she gives copious thought to the layouts and staging, making it, in her words, the most important part of the process. After scanning the thumbnails, she enlarges them and uses them as rudimentary pencils, and "inks" over them in Manga Studio, and later colors the art in Photoshop. One of the advantages Staples sees in working digitally is the ability to dispense with tight pencils in favor of making corrections in an ad hoc manner, as she finds penciling in great detail and drawing such art a second time in ink to be boring.
Brubaker's first work in comics was as a cartoonist, writing and drawing Pajama Chronicles and penciling a "Gumby 3D" issue for Blackthorne Comics, Purgatory U.S.A. for Slave Labor Graphics, and the semi-autobiographical series Lowlife for Caliber Comics and later Aeon Press. At Caliber, he briefly edited the anthology series Monkey Wrench. In 1991, he started to contribute crime stories to the Dark Horse Comics anthology series Dark Horse Presents, a comic he would continue to contribute to intermittently throughout the decade. Among those contributions was the three part serial "An Accidental Death" (Dark Horse Presents #65–67), a collaboration with artist Eric Shanower, which garnered the two a 1993 Eisner Award nomination.
20 of print version He again drew for his brother, editor Stan Lee, at the 1950s forerunner of Marvel Comics, known generally as Atlas Comics, though whether on staff or freelance is uncertain. Regardless, his next confirmed credit is penciling and inking the three-page story "A World to Conquer" in Journey into Unknown Worlds #52 (Dec. 1956), followed by stories in such Atlas romance comics as Love Romances, Love Tales, Stories of Romance, True Tales of Love and The Romances of Nurse Helen Grant in issues cover-dated April to August 1957 and July 1958. Because it was not standard industry practice during this time to give writer and artist credits, Lieber may have supplied more.
Pugh's earliest work included penciling John Ostrander's Youngblood, telling the story of his futuristic sword and sorcery character Grimjack's childhood and early adulthood, as well as providing covers for the Grimjack Case Files limited series. He also illustrated Pat Mills' Third World War before starting a brief run on Hellblazer with writer Jamie Delano. Pugh returned to Animal Man starting with issue 7, replacing Travel Foreman Recent work includes writing and drawing Hotwire: Requiem for the Dead, a story based on concepts developed by Warren Ellis. It was originally planned to appear in Atomeka Press's Blast and then in 2005 their Bojeffries Terror Tomes #1Hotwire, Steve PughHotwire, Blog posting, August 15, 2005Hotwire gallery before finally being published by Radical Comics.
"How is it that JB "created" Venom?" . "Frequently Asked Questions". Byrne Robotics, accessed July 2, 2011. By mid-1984, Tom DeFalco and Ron Frenz took over scripting and penciling. DeFalco helped establish Parker and Watson's mature relationship; in The Amazing Spider-Man #257 (Oct. 1984), Watson tells Parker that she knows he is Spider-Man, and in #259 (Dec. 1984), she reveals to Parker the extent of her troubled childhood. Other notable issues of the DeFalco-Frenz era include #252 (May 1984), with the first appearance of Spider-Man's black costume, which the hero would wear almost exclusively for the next four years' worth of comics; the debut of criminal mastermind the Rose, in #253 (June 1984); the revelation in #258 (Nov.
Byrne insisted that the title keep its Canadian character, Wolverine, and contributed a series of story elements to justify Wolverine's presence which eventually made the character among the most popular in Marvel's publishing history. With issue #114, Byrne began co-plotting the series as well as penciling. Claremont recounted that "at that point in time John and I were, in a very real sense, true collaborators on the book. It was with very few exceptions, difficult, for me, anyway, to tell in the actual gestation of the book where one of us left off and the other began – because it involved one of us coming up with an idea and bouncing it off the other ...""The Dark Phoenix Tapes", Phoenix: The Untold Story #1 (April 1984).
Two styles of brickwork were used in construction; the front and east side are of Flemish bond, the north side is of five-course American bond, and the west side is a combination or the two, with four-course American substituted for the five- course. Original penciling may still be seen in the mortar joints. All elevations are fitted with windows; these are triple-hung with 12/12 sash, and are hung with louvered shutters and 8-inch rectilinear moldings; the moldings have been topped by ramped lintels with 6-inch-square corner blocks. Sitting over the entryway is a lancet transom with intersecting tracery, a similar design to which may also be seen in the window in the tympanum.
His earliest confirmed work in comic books is penciling and inking a one-page advertisement for Wheaties cereal, "Preacher Roe Sparks in Pitching Duel", in Walt Disney's Comics and Stories #144 (cover-dated Sept. 1952).Dan Spiegle at the Grand Comics Database. His first story in the medium was the 16-page Annie Oakley Western story "The Bushwacker", by an unknown writer, in Dell Comics' Annie Oakley and Tagg #7 (June 1956). Through the remainder of the decade he drew primarily Western stories for such Dell titles as Four Color, Rex Allen, Queen of the West Dale Evans, and others, as well as that publisher's Four Color feature "Spin and Marty", based on the segment from the Walt Disney TV program The Mickey Mouse Club.
"One of the greatest thrills I experienced working in comics was to be allowed to draw Superman," Ryan said about his time at DC. "To me, he was the first, best hero." Egmont's Fantomen (Phantom) cover art by Paul Ryan He was a contributing artist on the NASCAR/Superman custom comic and on Celebrating the Century, a stamp collecting book which DC produced for the United States Postal Service. Ryan briefly returned to Marvel in 1999, teaming again with writer Tom DeFalco, this time on the Fantastic Five. The turn of the Millennium found Ryan working with Wildstorm, penciling one of the Left Behind graphic novels, and working with Crossgen as a fill-in artist on such titles as Ruse and Crux.
In 1948, through one of his father's friends, Nostrand found work as an assistant to comic book artist Bob Powell, who drew for Harvey Comics and Fiction House. Nostrand recalled working alongside his fellow assistants, background artist George Siefringer and "Martin Epp, who inked, lettered and helped George on backgrounds. I started out inking and then got into doing backgrounds... and then penciling." Nostrand worked for Powell on features that included "Red Hawk" in Magazine Enterprises' Straight Arrow and "Bobby Benson's B-Bar-B Riders", based on the children's television series, in the same publisher's comic book of that title, but it was the horror comics that Harvey would begin publishing in the early 1950s that would feature some of Nostrand and Powell's finest comic art.
In 2006, a campaign was begun by fans to make the Shadow Man series of games available for download on the Nintendo Wii system. People who have worked on Shadowman characters and storylines include Marvel Comics Editor-in Chief Joe Quesada, former Marvel Comics Editor-in-Chief Jim Shooter, Sin City co-director Frank Miller, Garth Ennis, Rob Liefeld, Barry Windsor-Smith, Jamie Delano, Steve Ditko, David Lapham, Rags Morales, Fabian Nicieza, Jim Starlin, Bob Layton, Jimmy Palmiotti, Walt Simonson and Ashley Wood among many others. With issue seven Bob Hall took over writing chores and continued as the primary writer on the book until the first "Shadowman" run ended with issue 43. As of issue ten he took over penciling the book as well.
37 Iger recalled that Baker came into his studio with a single sample of a color sketch in his portfolio; he thought the woman was so naturally beautiful that he hired Baker on the spot, as a background artist before he was given his first scripts. Baker's first confirmed comics work is penciling and inking the women in the 12-page "Sheena, Queen of the Jungle" story in Fiction House's Jumbo Comics #69 (cover-dated Nov. 1944), otherwise penciled by Robert Webb and Alex Blum.Matt Baker at the Grand Comics Database Much of Baker's work was originally penciled backgrounds as well as female figures for other artists, and most of his work has been inked over, with the inker credited for his work.
Captain America Comics #75 at the Grand Comics Database After virtually all the Timely staff was let go in 1948 during an industry downturn, Colan began freelancing for National Comics, the future DC Comics. A stickler for accuracy, he meticulously researched his countless war stories for DC's All- American Men at War, Captain Storm, and Our Army at War, as well as for Marvel's 1950s forerunner Atlas Comics, on the series Battle, Battle Action, Battle Ground, Battlefront, G.I. Tales, Marines in Battle, Navy Combat and Navy Tales. Colan's earliest confirmed credit during this time is penciling and inking the six-page crime fiction story "Dream Of Doom", by an uncredited writer, in Atlas' Lawbreakers Always Lose #6 (Feb. 1949).Lawbreakers Always Lose #6 (Feb.
Advertisement for Superman comic strip. Over the years, there have been a number of different writers and artists on the Superman newspaper strips. Originally, the strip was drawn by Joe Shuster. As Superman became more and more popular and the workload kept increasing, Shuster turned over many duties to his studio assistants. Paul Cassidy was the first in a line of ghost artists on the strip and took over the inking and detail work in 1939. In September 1940, Leo Nowak replaced Cassidy on the strip. Other assistants during this time included Dennis Neville, John Sikela (beginning in 1940), Ed Dobrotka (beginning in 1941), Paul J. Lauretta, and Jack Burnley (beginning in 1941). Sikela and Dobrotka often traded penciling and inking duties between each other.
His earliest known comic book work was penciling and inking the five-page story "The Scientist's Haunted House" for the feature "K-51 Spies At War" in Fox Comics' Wonderworld Comics #13 (May 1940).Tom Gill at the Grand Comics Database Other early comics work includes Novelty Press' Blue Bolt Comics, from 1944 to 1946, and Target Comics in the mid-1940s. He is also tentatively identified on three stories for Fiction House's Jungle Comics in 1941, and drew occasionally for that publisher's Wings Comics in the mid-1940s. With an unknown writer, he co-created the Native American Western character Red Warrior, who starred in a namesake comic-book series for Atlas Comics, the 1950s iteration of Marvel Comics.
304: "Looking to repeat the success of Ultimate Spider-Man in 2000, the second major title of this alternate universe was crafted by esteemed writer Mark Millar along with the famed Kubert brothers, Andy and Adam, taking turns at the drawing table." penciling the first four issues, and then illustrating 16 various issues beginning with #7, before leaving the title with issue #33 (July 2003). In 2004, he began a run on Ultimate Fantastic Four, once again with writers Mark Millar and Brian Michael Bendis,Manning "2000s" in Gilbert (2008), p. 320: "Ultimate veterans Brian Michael Bendis, Mark Millar, and Adam Kubert reexamined Marvel's first family, creating this alternate version of the Fantastic Four." illustrating that series' first six issues, and then issues 13-18.
Niño was among the vanguard of Philippine comics artists -- including Alfredo Alcala, Nestor Redondo, and Gerry Talaoc -- recruited for American comic books by DC Comics editor Joe Orlando and publisher Carmine Infantino in 1971, following the success of the pioneering Tony DeZuniga. Niño's earliest U.S. comics credit is penciling and inking the nine-page story "To Die for Magda" in DC Comics' House of Mystery #204 (July 1972) written by Carl Wessler. Niño was soon contributing regularly to such other DC supernatural anthologies as companion title House of Secrets and Forbidden Tales of Dark Mansion, Secrets of Sinister House, Weird War Tales, Weird Mystery Tales, and The Witching Hour. He also drew the jungle-adventure feature "Korak" in some issues of DC's Tarzan.
They introduced the Ventriloquist in their first Batman story together and the Ratcatcher in their third. He drew the Batman for six years (1987–1993), penciling Detective Comics from 1987–1990, then moving to Batman to introduce the character Tim Drake as the new RobinManning "1990s" in Dolan, p. 247: Batman #457 (Dec. 1990) "In this tale by writer Alan Grant and artist Norm Breyfogle, Robin finally got a new uniform...When DC editorial made the decision to modify the classic costume of the iconic Boy Wonder, they called upon several artists to put their own spin on it. It was legendary artist Neal Adams who delivered the winning concept." from 1990–1992, and finally starting a new Batman series for DC titled Batman: Shadow of the Bat from 1992–1993Manning "1990s" in Dolan, p.
In 1974 he began a long association with Marvel, where he was a full-time penciler until 1987. He earlier had freelanced, initially on a Dr. Strange story by writer Gardner Fox in Marvel Premiere #5 (Nov. 1972), inking Sam Kweskin (credited as "Irv Wesley"),Marvel Premiere #5 at the Grand Comics Database. and co-penciling two issues of Thor with John Buscema in 1973, among other work, including a smattering for rival DC Comics' supernatural anthologies. He had continued in commercial art and package design as his primary employment all these years, Perlin recalled, when had an offer to return to comics full-time: Perlin drew Werewolf by Night #17-43 (May 1974 - March 1977), a run that introduced the character Moon Knight, co-created with writer Doug Moench.
In 1982, Gordon left Marvel for DC Comics to ink writer- penciler-co-creator Scott Shaw and fill-in penciler Stan Goldberg on the funny-animal superhero series Captain Carrot and His Amazing Zoo Crew. In 1983, Gordon did a year-and-a-half run at the independent Eclipse Comics, inking Will Meugniot on Will and Mark Evanier's The DNAgents, as well as inking Rick Hoberg for the company's spin-off series Surge and its anthology Eclipse Monthly. Afterward, he returned to Marvel to become the regular inker on the company's flagship series Fantastic Four, and on the science-fiction adventure limited series Rocket Raccoon (with Mike Mignola penciling). Other work around this time includes issues of The Eternals and Power Pack, and Marvel's licensed series Thundercats and Transformers.
Studies show that human error is a factor in 80 percent of navigational accidents and that in many cases the human making the error had access to information that could have prevented the accident. The practice of voyage planning has evolved from penciling lines on nautical charts to a process of risk management. Passage planning consists of four stages: appraisal, planning, execution, and monitoring, which are specified in International Maritime Organization Resolution A.893(21), Guidelines For Voyage Planning, and these guidelines are reflected in the local laws of IMO signatory countries (for example, Title 33 of the U.S. Code of Federal Regulations), and a number of professional books or publications. There are some fifty elements of a comprehensive passage plan depending on the size and type of vessel.
Guardian was a fan character, created by John Byrne years before he did any professional work in comics. He was originally called "the Canadian Shield", after the rock formation, but when Byrne introduced the character in X-Men this name was rejected by publisher Marvel Comics because of their fictional organization S.H.I.E.L.D. Byrne then suggested "Guardian", but this was also rejected due to the numerous extant Marvel characters under that name, so X-Men scripter Chris Claremont came up with Weapon Alpha and later Vindicator. These names were used for the character's initial appearances in X-Men #109, 120-121, and 139-140. Byrne disliked both these names, and when he was assigned the writing and penciling of the newly launched Alpha Flight comic, he quickly had "Vindicator" change names to his earlier suggestion, "Guardian".
Kubert's first work for DC Comics, where he would spend much of his career and produce some of his most notable art, was penciling and inking the 50-page "Seven Soldiers of Victory" superhero-team story in Leading Comics #8 (Fall 1943), published by a DC predecessor company, All-American Publications. Throughout the decade, Kubert's art would appear in comics from Fiction House, Avon, and Harvey Comics, but he otherwise worked exclusively for All-American and DC. Kubert's long association with the Hawkman character began with the story "A Hot Time in the Old Town" in The Big All-American Comic Book (1944). Kubert drew several Hawkman stories in that title as well as in All Star Comics. He and Irwin Hasen drew the debut of the Injustice Society in All Star Comics #37 (Oct.
With the exception of an occasional item such as the cover of Dazzler #12, Tartaglione returned to penciling for the first time in years with the 64-page Marvel Comics biography The Life of Pope John Paul II (1982), written by Steven Grant and Mieczyslaw Malinski, and inked by Joe Sinnott. A 1984 follow-up profiled Mother Teresa, with the same artists and writer David Michelinie. Comics historian Mark Evanier wrote that Tartaglione at Marvel "became the 'go-to' guy when a project came along that required historical research and/or spiritual themes. He was therefore the perfect artist when, in 1982, Marvel issued a comic-book biography of Pope John Paul II that through various religious channels sold well into the millions, leading to a follow-up book on Mother Teresa".
In late 1965, Grandenetti began freelancing for additional companies, drawing a small number of stories for Charlton Comics and Tower Comics, and penciling a Sub-Mariner story—inked by the character's creator, Golden Age of Comics legend Bill Everett—in Marvel Comics' Tales to Astonish #86 (Dec. 1966). Mostly, however, Grandenetti began turning to Warren Publishing, home of the black-and-white, horror-comics magazines Creepy and Eerie. Grandenetti's work for Warren, writes comics-art historian Don Mangus, "returned to a much more expressionistic and experimental phase, building on what he had begun at Eisner's studio, or perhaps due to freedom from Kanigher’s restraints. Perhaps it was the subject matter or the fluid nature of the wash medium but whatever the case, he produced brilliant work at Warren in the late 1960s and early 1970s".
Watterson's technique started with minimalist pencil sketches drawn with a light pencil (though the larger Sunday strips often required more elaborate work) on a piece of Bristol board, with his brand of choice being Strathmore because he felt it held the drawings better on the page as opposed to the cheaper brands (Watterson said he would use any cheap pad of Bristol board his local supply store had, but switched to Strathmore after he found himself growing more and more displeased with the results). He would then use a small sable brush and India ink to fill in the rest of the drawing, saying that he did not want to simply trace over his penciling and thus make the inking more spontaneous. He lettered dialogue with a Rapidograph fountain pen, and he used a crowquill pen for odds and ends.Watterson (1995). p. 20.
By then Pfeufer had succeeded John Hales as artist on another feature, "Gordon Fife and the Boy King", in Dell's The Comics and Eastern Color's Reg'lar Fellers Heroic Comics, where all three of Pfeufer's features were appearing by 1941. Who's Who lists this as a Watkins Syndicate strip for which Pfeufer drew the daily from 1936 to 1942 and the Sunday strip from 1940 to 1942. That source additionally lists another early Pfeufer feature, "Scissor Sketches", drawn from 1935 to 1937. Pfeufer's first confirmed Sub-Mariner art, for Marvel Comics' 1940s forerunner, Timely Comics, was the 12-page story "Fingers of Death" in Marvel Mystery Comics #32 (June 1942), though Pfeufer may have inked over character- creator Bill Everett's pencil art, or even supplied some penciling himself, as early as the Sub-Mariner story in The Human Torch #6 (Winter 1941).
Archived from the original on October 6, 2013. Of his pairing with Kirby, Stone recalled in a 1997 interview, Cartoonist Fred Hembeck, describing Stone as "my favorite Kirby inker", said that "beyond the bold and expressive line Stone's varied brushwork brought to Jack's power-packed pencils, the sheer fact that, by year's end, he was inking the King on Fantastic Four, Avengers, X-Men, and the Thor and Captain America features in their respective home titles gave the entire line a warm and homey sense of visual cohesiveness that it's never quite managed to achieve since." Later in the decade, Stone returned to freelancing for DC Comics, penciling an occasional Batman story — including the lead tale in the anniversary-issue Batman #200 (March 1968). He additionally pencilled numerous stories for Tower Comics' T.H.U.N.D.E.R. Agents, Dynamo and NoMAN.
Although Tom Palmer has done a small amount of penciling work (as well as some cover art and some coloring), the vast majority of his artistic output since the 1960s has been as a comic book inker. Reminiscing about how he came to be an inker, Palmer recounted: Especially noteworthy is Palmer's extensive work for Marvel Comics, including well-remembered runs paired with pencilers Neal Adams on The Avengers and Uncanny X-Men; Gene Colan, on titles such as Doctor Strange, Daredevil, and Tomb of Dracula; and John Buscema, on The Avengers. He also inked the entire run of John Byrne's X-Men: The Hidden Years. Palmer is widely considered the definitive inker for Gene Colan, whose use of grey textures made his pencils notoriously difficult to ink in a way that did them justice.Field. pp.
Barrows' took over penciling duties with a year-long run on Teen Titans with writer Sean McKeever, as well as being teamed with writer Greg Rucka for a run on DC's longest running title, Action Comics.Barrows' sale page at Comic Art Ink As of 2010, Barrows has become one of the main artists for DC's Superman family of titles, collaborating with writer James Robinson on the Man of Steel's tie-in miniseries to the Blackest Night event, illustrating the main story in Free Comic Book Day's War of the Supermen zero-issue, and providing the covers to that main series. Barrows began his run as artist on DC's Superman, with writer J. Michael Straczynski for the writer's run on the main Superman title, beginning with the "Grounded" story arc with a ten-page entry in issue #700 (August 2010).
Landrith joked that he won with a platform of, "more pay, shorter hours, fewer umpires and more base-hits." In mid-March, Giants manager Bill Rigney brought in former all-star hitter Lefty O'Doul for hitting drills and learning sessions with some of the team's lighter hitters, including Landrith. Landrith responded the next day by hitting a game-winning home run in the 11th inning of a spring training game off rookie Jim Brewer to help the Giants beat the Chicago Cubs 7-6. By late March sports writers were already penciling in Landrith as the definite opening day starter behind home plate for San Francisco, but on April 3 Landrith had a freak accident with his hand in an exhibition game against the Cubs, suffering a hair-line fracture on the back of his index finger.
Ronn Sutton at the 2011 Calgary Comic & Entertainment Expo Ronn Sutton (born December 17, 1952) is a Canadian illustrator and comic book artist that has drawn several hundred comic books over the past four decades. This includes a nine-year stint illustrating nearly 50 issues of Elvira, Mistress of the Dark for Claypool Comics from 1998 to 2006. Ronn's comics career began in 1973 with his artwork appearing in issues of the Canadian newsstand comic ORB Magazine, as well as anonymously penciling and inking many pages of Howard Chaykin's Sword of Sorcery for DC Comics (although he hid his initials drawn into a sword handle in issue #3, page 23). Over the decades he has drawn for a variety of publishers that have included Vortex Comics, Renegade Press, Northstar, Brainstorm, Draculina, Caliber Comics, Millennium Publications, Claypool Comics, Dark Horse Comics, Moonstone Books and more.
In 2000, Frank worked on various assignments for both DC and Marvel, including issue No. 7 of Tom Strong under DC's America's Best Comics imprint and writing and penciling a two-page X-Men story in X-Men: Millennial Visions, his final collaboration to date with inker Cam Smith. Kin, a six-issue miniseries created, written and penciled by Frank, was published under Image's Top Cow imprint. The story tells of a secret government agency named S.I.A. who discovers that a race of neanderthal men exists in the mountains of Alaska and proceed to eliminate them to obtain their technology, which developed differently from that of the rest of the world. The book's protagonist, S.I.A. agent Trey McAloon, is opposed to the agency's plans and confronts them about it, while the book's other main character, Alaskan Park Ranger Elizabeth Leaky, establishes contact with one of the neanderthals.
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 (cover-dated Fall 1947). He did additional work on the following issue of that science fiction / superhero series, now titled simply Moon Girl, and went on to draw stories for the EC Western comics Saddle Justice and Gunfighter and the crime comic Crime Patrol; he later expanded into romance comics with EC's Modern Love Craig additionally did a small amount of early work for Magazine Enterprises, American Comics Group and, tentatively identified through the pen name "Jay", possibly for Eastern Color's New Heroic Comics.Johnny Craig at the Grand Comics Database When he teamed with Al Feldstein, they used the pseudonym F. C. Aljohn. Johnny Craig's "Any Sport in a Storm", The Vault of Horror #38 (Sept. 1954).
Marcos moved to New Jersey in the U.S. in the 1970s. Warren Publishing art director Billy Graham assigned him his first American-comics work, penciling and inking the six-page story "The Water World", by writer Buddy Sounders, in Warren's black-and-white horror-comics magazine Creepy #39 (May 1971).Pablo Marcos at the Grand Comics Database After another Creepy story and one in companion magazine Eerie that year, Marcos drew comics exclusively for rival Skywald Publications' Nightmare and Psycho from May 1972 to May 1973 cover-dates. Skywald co-founder Sol Brodsky introduced Marcos to fellow Peruvian artist Boris Vallejo, who became a mentor. Giant-Size Dracula #2 (Sept. 1974), cover-artist Marcos' first American color comics work When Brodsky, who had been Marvel Comics' production manager, left Skywald to return to Marvel, he brought Marcos along as an artist and later his staff assistant for roughly two months.
Several artists have also produced a large amount of notable work for Vertigo, several (Steve Dillon, Pia Guerra, Eduardo Risso and Darick Robertson) mainly producing lengthy runs on individual creator-owned titles (in Guerra's case, Y: The Last Man makes up around 80% of her output to date),Pia Guerra at the Comic Book Database. Retrieved June 2, 2008. but others on a number of titles. Vertigo's main Universe titles, The Sandman, Hellblazer and Swamp Thing, have been particularly artistically diverse, and home to many talents, while the large number of creator-owned miniseries has seen large numbers of individuals producing work for Vertigo. Peter Gross worked on a pre-Vertigo issue of Swamp Thing and an early Vertigo issue of Shade the Changing Man (#36, June 1993) before penciling & inking a story featuring Timothy Hunter in the "Children's Crusade" crossover Arcana Annual (Jan. 1994).
Jurgeit, 2003, p. 10 It were not only the Blueberry creators that were left in a pickle, as Koralle had managed to convince other well known Franco-Belgian comic artists to switch sides. Aside from Giraud's old mentor Jijé (who, having abandoned his own Jerry Spring Western comic, was now penciling Charlier's revitalized Redbeard and Tanguy et Laverdure), these predominantly concerned artists from publishing house Le Lombard. The most prominent of the latter was Hermann Huppen with his new post-apocalyptic Western Jeremiah for which he had abandoned that other famed 1970s Franco-Belgian Western, Comanche (written by Greg), second only in renown after Blueberry at the time.The "big five" Franco-Belgian realistic Western comics of the 1970s constituted in descending order of popularity, Blueberry, Comanche (Le Lombard), Buddy Longway (Le Lombard), ' (Dargaud) and ' (Dargaud); The hitherto most popular Western, Jerry Spring, had by 1970 become irrelevant because of Blueberrys success.
Another of his earliest works, under the pseudonym Arthur Dean, was penciling the adventure feature "Dr. Fung" in Fox Feature Syndicate's Wonder Comics #1 (May 1939) and subsequently.Bob Powell at the Grand Comics Database Powell also did early work for Fox's Wonderworld Comics and Mystery Men Comics; Fiction House's Planet Comics, where his strips included "Gale Allen and the Women's Space Battalion"; Harvey Comics' Speed Comics, for which he wrote and drew the feature "Ted Parrish", (pencilling at least once under the pseudonym Bob Stanley); Timely Comics' one-shot Tough Kid Squad Comics; Quality Comics' Crack Comics (where he pencilled as Terence McAully), Hit Comics (as Stanley Charlot), Military Comics (where he signed his pencils for the "Loops and Banks" aviation strip as Bud Ernest), Smash Comics (as Powell Roberts), and Feature Comics. Other pseudonyms included Rex Smith and W. Morgan Thomas, as well as Buck Stanley, S. T. Anley, and Major Ralston.
A self-taught comics artist, although with a degree in art, Patton's influences included José Luis García- López, John Buscema, Gil Kane, Neal Adams, and Dick Giordano. Patton was interested in journalism, but was enticed into a comics career in large part thanks to Giordano by then a top executive at DC. Patton entered the comics industry in 1983 by penciling a brief run of Creeper back-up stories in The Flash. After drawing various titles including Green Lantern, The Brave and the Bold, and the "Green Arrow" backup feature in Detective Comics, Patton became the artist of Justice League of America beginning with the August 1983 issue. During this period, Patton's roommate was fellow comics artist Shawn McManus. Patton drew issues ##217–227 and 233–239 of JLA, a period in the title's history when it underwent great changes — including the core characters of Superman, Batman, and Wonder Woman leaving the team, and the introduction of the new multicultural lineup.
Penciling in a contract with Wuhan Guanggu partway through 2006,阿根廷尖刀拒绝接受试训 汉军无奈冒险签新前锋 新浪体育 Demus did well in training and debuted as they took on Tianjin Teda,光谷新外援磨刀霍霍 德莫斯处子秀欲拿泰达开张 北方网 but did not fit in well with Zheng Bin upfront,汉军“新枪”德莫斯受困 裴恩才为其找理由 搜狐体育 putting in what was seen as an indolent performance with no goals in his first five appearances.五轮联赛一球未进 天价外援成质疑焦点 搜狐体育 In total, he made 17 appearances and 5 goals in the Chinese Super League.
Paul Gulacy was raised in Youngstown, Ohio, and as a teen was inspired by art of Jim Steranko on Marvel Comics' Nick Fury, Agent of S.H.I.E.L.D.Gulacy in He went on to study at the Art Institute of Pittsburgh. Fellow Youngstown resident Val Mayerik, a Marvel artist, introduced him to another local Marvel artist, Dan Adkins of East Liverpool, Ohio, for whom Gulacy would work as an assistant, and who suggested Gulacy prepare a six-page sample for Marvel. "He sent it to an editor named Roy Thomas", Gulacy recalled, "and two weeks later I got the phone call telling me I was hired." Gulacy's initial work as a Marvel freelancer was penciling the 15-page story "Morbius, the Living Vampire" in Adventure into Fear #20 (cover- dated Feb. 1974), written by Mike Friedrich and inked by Jack Abel. Following this came an inking assignment, over penciler Bob Brown on the superhero comic Daredevil #108 (March 1974).
Guice's cover for Doctor Strange #15 (March 1990) used Christian music singer Amy Grant's likeness without her permission,Doctor Strange, Sorcerer Supreme #15 at the Grand Comics Database leading to her management filing a complaint against Marvel Comics, saying the cover gave the appearance she was associating with witchcraft. A US District Court sealed an out-of-court settlement between Grant and Marvel in early 1991, with a consent decree that Marvel did not admit to any liability or wrongdoing. Guice and writer Walt Simonson co-created the Ahab character in Fantastic Four Annual #23 (1990).Manning, Matthew K. "1990s" in Gilbert (2008), p. 251: "This first part [of the 'Days of Future Present' storyline], written by Walter Simonson, with art by Jackson Guice, marked the debut of Ahab, a denizen from this alternate future." In 1991, Guice took over penciling Nick Fury, Agent of S.H.I.E.L.D., before moving back to DC. Guice drew Action Comics #676–711 (April 1992–July 1995) and worked with writers Roger Stern and David Michelinie.
1973–June 1975).Morbius did not appear in issues #6 and 9; reprinted Morbius stories from the series appeared in Vampire Tales Super Annual #1 (summer 1975), the only issue of that title. All but the first and last of these were written by Don McGregor, with penciling by Rich Buckler and by Tom Sutton, primarily. After his first two Vampire Tales stories, Morbius concurrently became the star of his own feature in Marvel's bimonthly Adventure into Fear anthology series, beginning with issue #20 (Feb. 1974) and continuing through issue #31 (Dec. 1975), the last issue of that title. These were written, successively, by Mike Friedrich, Steve Gerber (who had written the first Morbius solo story in Vampire Tales #1), Doug Moench and Bill Mantlo, working with a wide variety of pencillers. Following sporadic guest appearances throughout the next 16 years, Morbius was revived in the 1992 series Morbius the Living Vampire, launched as part of the "Rise of the Midnight Sons" crossover story arc in Marvel's supernatural/horror comics. It ran for 32 issues (Sept. 1992–April 1995).
That original story was also reprinted in 1975's Tales of the Zombie Super Annual #1,Tales of the Zombie Annual #1 at the Grand Comics Database. and again two decades later in Curse of the Weird #4 (March 1994), the final issue of a short-lived Marvel horror reprint series. Following the premiere, all the Zombie stories were by Gerber and artist Pablo Marcos (one of these in collaboration with writer Doug Moench and artist Alfredo Alcala). The original series' finale, set at Garth's daughter's wedding in issue #9, was a three-chapter story written by Tony Isabella (chapter 2 with co-scripter Chris Claremont), and drawn by pencilers Virgilio Redondo, Yong Montano, and Ron Wilson, respectively, and inker by Alcala (chapters 1-2) and Marcos (chapter 3). Tales of the Zombie published the last work of Golden Age great Syd Shores, Captain America's first penciler following Jack Kirby's departure from the character in 1941. Shores had finished penciling two-thirds of the eight-page story "Voodoo War" for issue #5 (May 1974) before dying of a heart seizure.
After the first series' cancellation, WildStorm, now an imprint of DC Comics, resurrected the Wildcats under a whole different premise—Wildcats dealt with the lives of the original members after the team's breakup following a botched mission during which team member Zealot apparently died. Scott Lobdell provided the writing for the initial seven issues as well as a Mosaic one-shot detailing the change in Lord Emp, with Travis Charest penciling most of them. New villains like Kenyan and CC Rendozzo were featured as antagonists, but it was all dropped very quickly, with Charest leaving the monthly comic format to work on a French Metabarons graphic novel called Dreamshifters and Lobdell exiting a couple of issues later. As Joe Casey and Sean Phillips took over Wildcats, they quickly dealt away with Kenyan, while Void and Emp ended up having Spartan absorb their assets and powers; thus the book began a long spell featuring him aided by Ladytron and Grifter with Maul and Voodoo guest-starring, as well as new characters Noir, Agents Wax, and Mohr of the National Park Service.
In May, Win Smith refused to write the strip, and Disney assigned Gottfredson to it, promising it would be only a temporary arrangement until someone else could be found to take over. Gottfredson continued to produce the Mickey Mouse strips for the next 45 years. Gottfredson's first daily strip was published in newspapers on his 25th birthday, May 5, 1930. In January 1932 he began work on the newly inaugurated Mickey Mouse color Sunday strip which, in addition to the daily, he continued through mid-1938. Gottfredson headed the comics department at Disney 1930–1946, and was replaced by Frank Reilly. Originally, Gottfredson wrote and drew the Mickey Mouse strip alone, but in 1932 he pulled back to plotting the stories and doing the penciling, while the dialogue was mostly done by other hands. Scripts were written by Webb Smith (1932-33), Ted Osborne (1933–38), Merrill De Maris (1933–42), Dick Shaw (1942–43), Bill Walsh (1943–64), Roy Williams (1962-69) and Del Connell (1968–88). Even so, Gottfredson always worked closely with his writers, and would often suggest changes in the scripts whenever he thought it would improve a story.

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