WAYNE BORING
WAYNE BORING
Superman
Wayne Boring was born on June 5, 1905, in Minnesota. He studied art at the Chicago Art institute and Minnesota School of Art, becoming a comic artist for National Publications in 1937 where he ghosted "Slam Bradley", "Spy" and "Dr.Occult" for Joe Shuster and Jerry Siegel.
After the success of "Superman" in 1938 Joe Shuster opened his own studio and pulled a few artists from DC to help illustrate the Superman stories that the studio supplied to DC under contract alongside other artists including Ed Dobrotka, Stan Kaye and Paul Cassidy & Leo Nowak as well as others.
Over the course of the next 30 years Boring did little else than Superman and became one of the most recognizable artists to draw the character. During the early years at the Shuster Studio, Wayne was emulating the "Shuster Style" as were all the artists there. But by 1942 he had developed a clear style heavily influenced by Flash Gordon artist & creator Alex Raymond.
Wayne's work on Superman stories over the next 30 years was a longer relationship than any other artist would have with any other character in the history of comic books. He also illustrated the sunday and daily comic strips from the middle 1940's to the 1960's - though not continually as the strip was illustrated by numerous artists chosen by DC Comics as opposed to the comic strip syndicate.
Unfortunately, his tenure as the Superman artist that was admired by 2 generations of comic fans would come to an end.
In 1968 with new editorship at DC Comics, several long time artists were dismissed as DC decided it was time to go for a new look at the flagship comic publisher. Wayne was let go along with George Papp (creator of Green Arrow) and Sheldon Moldoff (creator of Green Lantern and long time ghost artist on Batman).
After 1968 he quietly ghosted backgrounds for Hal Foster's epic "Prince Valiant" Sunday page from 1968 until 1972 as well as ghosting Sam Leff's "Davy Jones". He also worked at Marvel for a short period in the 1970's (it was actually something of a coup to have a longtime top DC artist at Marvel, although by now it was a pyric victory)
It was hard to believe that unlike Jack Kirby, Joe Kubert & other longtime artists that Wayne was not working in the comic industry and they weren't calling him.. So he went to work part time as a security guard at a Florida bank near where he lived.
However forgotten he may have been by the comic companies, he was far from forgotten by comic book fans who would write him and call him & seek him out at the few appearances he made at comic book conventions.
He loved talking to the fans and the fans loved talking to him, He would do comissions for fans of Superman & other DC characters and would continue to draw great Superman art until he away in 1987 of a heart attack.
Wayne Boring's Superman is one of the most enduring characters in the comics hobby. Boring's stylized artwork and fine linework along with his ability to handle science fiction subject has made him one of the most popular artists of his time, and among the most remembered in comics history.
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
Rick Yager
Rick Yager was hired as an assistant on the 'Buck Rogers' newspaper strip by Dick Calkins and Russell Keaton in 1932. Yager had formal art training (especially in watercolors), and he quickly moved from inker and writer of the "substrip" (early Sunday strips had a small sub-strip running below) to writer and artist of the Sunday strip and eventually the dailies as well. When Russell Keaton moved over to 'Skyroads', Yager quickly took control of the Sundays. Yager probably had complete control of the 'Buck Rogers' dailies from about 1940 on.
Around 1958, there was a falling out between the artists and the syndicate over the strip, and the artists quit. After 'Buck Rogers', Rick Yager wrote and drew 'Little Orvy', and he did some advertising art as well (he introduced the "bent" Wrigley's Gum Man). After that, he drew the Sunday 'Grin and Bear it' (George Lichty's name was signed to these strips, even though Lichty had passed away), and he also drew 'Cappy Dick'.
Partly because of the way he and 'Buck Rogers' parted company, Rick Yager has been written out of the comic histories. But during the glory years of 'Buck Rogers', he was well known, and toured the country on bond drives and publicity drives. In one memorable incident, he and Walt Disney took the stage, and Walt tried to draw Buck Rogers, while Rick tried to draw Mickey Mouse. Neither succeeded!
Richard Allen "Dick" Dillin (December 17, 1929, Watertown, New York, United States – March 1, 1980) was an American comic book artist best known for an extraordinarily long 12-year run as the penciler of the DC Comics superhero-team series Justice League of America. He drew 115 issues from 1968 up until his death, bridging the venerable title's Mike Sekowsky and George Pérez eras. DC Comics referred to Dillin as one of the "cornerstone talents" of the industry.
Early life and career
Determined since childhood to draw for comics, Dillin graduated from Watertown High School to become an art student at Syracuse University on the GI Bill, following his military service with the 8th U.S. Army in Tokyo, Yokohama, and Okinawa. Sometime after marrying wife Estella in 1948, Dillin left his job at a Watertown manufacturer of air brakes for trains, and sought an art career in New York City. Six months later, after having done magazine illustration and other commercial art and gaining a foothold at Fawcett Comics and Fiction House, he relocated his family to suburban Peekskill, New York.
Dillin's art at Fawcett (on features including "Lance O'Casey" and "Ibis the Invincible" in Whiz Comics) and Fiction House ("Buzz Bennett", "Space Rangers") led to drawing for Quality Comics, beginning in 1952. He worked particularly on the popular title Blackhawk but also on G.I. Combat, Love Confessions, and Love Secrets. When Quality went out of business, Dillin, searching for new work, eventually tried DC Comics — where he saw one or more issues of Blackhawk on the desk as he was being interviewed, and to his relief was told, "We've been trying to get in touch with you."
DC Comics
Justice League of America #64 (Aug. 1968), penciller Dick Dillin's first issue. Inking by Joe Giella.
Dillin returned to Blackhawk, now a DC property, and when the book's initial run ended, went on to draw issues of World's Finest Comics and Batman specials before being assigned Justice League of America, a superteam series featuring, at the time, Superman, Batman, Green Lantern, Wonder Woman, Green Arrow, and the Atom. Dillin penciled the series from #64-183 (Aug. 1968 - Oct. 1980), except for the planned reprint issues #67, 76, 85 and 93, issue #153 which was pencilled by George Tuska, and issue #157 where he provided the intro and epilogue pages while Juan Ortiz pencilled the main story. He had completed the first 2½ pages of #184 when he died; penciler George Pérez and inker Frank McLaughlin took over the title, starting that issue from scratch.
Dillin's tenure on JLA included the reintroduction of Red Tornado; the migration of the Black Canary from Earth-2 to Earth-1; the introduction of the JLA satellite; the 1973 and 1976 integration of the defunct and newly acquired Quality Comics and Fawcett Comics heroes, respectively; and the murder of the first Mr. Terrific, Terry Sloane.
Wayne Boring Superman vs. WWII Imperial Japanese Soldiers Painting Original Art (1982). Considered by many to be among the top Superman artists ever to put pen to paper, Wayne Boring began his comics career as part of Joe Schuster's studio, ghosting Superman for several years before joining DC in 1942. He was one of the Man of Steel's primary artists until 1968, a record of longevity few other artists can claim. As this piece reveals, though, Boring's legion of fans weren't content to let him merely fade into obscurity, since even when he was working as a bank security guard, Boring was creating masterpieces like the one offered here. Completed shortly before the artist's death, this mixed media piece proves that Boring had not lost a drop of his considerable talent.
Wayne Boring was born on June 5, 1905, in Minnesota. He studied art at the Chicago Art institute and Minnesota School of Art, becoming a comic artist for National Publications in 1937 where he ghosted Slam Bradley, Spy and Dr.Occult. Boring began working in the Joe Shuster studio in 1938 and over the course of the next 30 years he became one of the most recognizable artists to draw the character. He also illustrated the Sunday and daily Superman comic strips from the middle 1940's to the 1960's. After 1968 until 1972 he ghosted backgrounds for Hal Foster's epic Prince Valiant Sunday page as well as Sam Leff's Davy Jones comic strip. Wayne Boring's Superman is one of the most enduring characters in the comics' hobby. Boring's stylized artwork and fine line work, along with his ability to handle science fiction has made him one of the most popular artists of his time, and among the most remembered in comics history.
WAYNE BORING
WAYNE BORING
Superman
Wayne Boring was born on June 5, 1905, in Minnesota. He studied art at the Chicago Art institute and Minnesota School of Art, becoming a comic artist for National Publications in 1937 where he ghosted "Slam Bradley", "Spy" and "Dr.Occult" for Joe Shuster and Jerry Siegel.
After the success of "Superman" in 1938 Joe Shuster opened his own studio and pulled a few artists from DC to help illustrate the Superman stories that the studio supplied to DC under contract alongside other artists including Ed Dobrotka, Stan Kaye and Paul Cassidy & Leo Nowak as well as others.
Over the course of the next 30 years Boring did little else than Superman and became one of the most recognizable artists to draw the character. During the early years at the Shuster Studio, Wayne was emulating the "Shuster Style" as were all the artists there. But by 1942 he had developed a clear style heavily influenced by Flash Gordon artist & creator Alex Raymond.
Wayne's work on Superman stories over the next 30 years was a longer relationship than any other artist would have with any other character in the history of comic books. He also illustrated the sunday and daily comic strips from the middle 1940's to the 1960's - though not continually as the strip was illustrated by numerous artists chosen by DC Comics as opposed to the comic strip syndicate.
Unfortunately, his tenure as the Superman artist that was admired by 2 generations of comic fans would come to an end.
In 1968 with new editorship at DC Comics, several long time artists were dismissed as DC decided it was time to go for a new look at the flagship comic publisher. Wayne was let go along with George Papp (creator of Green Arrow) and Sheldon Moldoff (creator of Green Lantern and long time ghost artist on Batman).
After 1968 he quietly ghosted backgrounds for Hal Foster's epic "Prince Valiant" Sunday page from 1968 until 1972 as well as ghosting Sam Leff's "Davy Jones". He also worked at Marvel for a short period in the 1970's (it was actually something of a coup to have a longtime top DC artist at Marvel, although by now it was a pyric victory)
It was hard to believe that unlike Jack Kirby, Joe Kubert & other longtime artists that Wayne was not working in the comic industry and they weren't calling him.. So he went to work part time as a security guard at a Florida bank near where he lived.
However forgotten he may have been by the comic companies, he was far from forgotten by comic book fans who would write him and call him & seek him out at the few appearances he made at comic book conventions.
He loved talking to the fans and the fans loved talking to him, He would do comissions for fans of Superman & other DC characters and would continue to draw great Superman art until he away in 1987 of a heart attack.
Wayne Boring's Superman is one of the most enduring characters in the comics hobby. Boring's stylized artwork and fine linework along with his ability to handle science fiction subject has made him one of the most popular artists of his time, and among the most remembered in comics history.
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
Rick Yager
Rick Yager was hired as an assistant on the 'Buck Rogers' newspaper strip by Dick Calkins and Russell Keaton in 1932. Yager had formal art training (especially in watercolors), and he quickly moved from inker and writer of the "substrip" (early Sunday strips had a small sub-strip running below) to writer and artist of the Sunday strip and eventually the dailies as well. When Russell Keaton moved over to 'Skyroads', Yager quickly took control of the Sundays. Yager probably had complete control of the 'Buck Rogers' dailies from about 1940 on.
Around 1958, there was a falling out between the artists and the syndicate over the strip, and the artists quit. After 'Buck Rogers', Rick Yager wrote and drew 'Little Orvy', and he did some advertising art as well (he introduced the "bent" Wrigley's Gum Man). After that, he drew the Sunday 'Grin and Bear it' (George Lichty's name was signed to these strips, even though Lichty had passed away), and he also drew 'Cappy Dick'.
Partly because of the way he and 'Buck Rogers' parted company, Rick Yager has been written out of the comic histories. But during the glory years of 'Buck Rogers', he was well known, and toured the country on bond drives and publicity drives. In one memorable incident, he and Walt Disney took the stage, and Walt tried to draw Buck Rogers, while Rick tried to draw Mickey Mouse. Neither succeeded!
Richard Allen "Dick" Dillin (December 17, 1929, Watertown, New York, United States – March 1, 1980) was an American comic book artist best known for an extraordinarily long 12-year run as the penciler of the DC Comics superhero-team series Justice League of America. He drew 115 issues from 1968 up until his death, bridging the venerable title's Mike Sekowsky and George Pérez eras. DC Comics referred to Dillin as one of the "cornerstone talents" of the industry.
Early life and career
Determined since childhood to draw for comics, Dillin graduated from Watertown High School to become an art student at Syracuse University on the GI Bill, following his military service with the 8th U.S. Army in Tokyo, Yokohama, and Okinawa. Sometime after marrying wife Estella in 1948, Dillin left his job at a Watertown manufacturer of air brakes for trains, and sought an art career in New York City. Six months later, after having done magazine illustration and other commercial art and gaining a foothold at Fawcett Comics and Fiction House, he relocated his family to suburban Peekskill, New York.
Dillin's art at Fawcett (on features including "Lance O'Casey" and "Ibis the Invincible" in Whiz Comics) and Fiction House ("Buzz Bennett", "Space Rangers") led to drawing for Quality Comics, beginning in 1952. He worked particularly on the popular title Blackhawk but also on G.I. Combat, Love Confessions, and Love Secrets. When Quality went out of business, Dillin, searching for new work, eventually tried DC Comics — where he saw one or more issues of Blackhawk on the desk as he was being interviewed, and to his relief was told, "We've been trying to get in touch with you."
DC Comics
Justice League of America #64 (Aug. 1968), penciller Dick Dillin's first issue. Inking by Joe Giella.
Dillin returned to Blackhawk, now a DC property, and when the book's initial run ended, went on to draw issues of World's Finest Comics and Batman specials before being assigned Justice League of America, a superteam series featuring, at the time, Superman, Batman, Green Lantern, Wonder Woman, Green Arrow, and the Atom. Dillin penciled the series from #64-183 (Aug. 1968 - Oct. 1980), except for the planned reprint issues #67, 76, 85 and 93, issue #153 which was pencilled by George Tuska, and issue #157 where he provided the intro and epilogue pages while Juan Ortiz pencilled the main story. He had completed the first 2½ pages of #184 when he died; penciler George Pérez and inker Frank McLaughlin took over the title, starting that issue from scratch.
Dillin's tenure on JLA included the reintroduction of Red Tornado; the migration of the Black Canary from Earth-2 to Earth-1; the introduction of the JLA satellite; the 1973 and 1976 integration of the defunct and newly acquired Quality Comics and Fawcett Comics heroes, respectively; and the murder of the first Mr. Terrific, Terry Sloane.
Wayne Boring Superman vs. WWII Imperial Japanese Soldiers Painting Original Art (1982). Considered by many to be among the top Superman artists ever to put pen to paper, Wayne Boring began his comics career as part of Joe Schuster's studio, ghosting Superman for several years before joining DC in 1942. He was one of the Man of Steel's primary artists until 1968, a record of longevity few other artists can claim. As this piece reveals, though, Boring's legion of fans weren't content to let him merely fade into obscurity, since even when he was working as a bank security guard, Boring was creating masterpieces like the one offered here. Completed shortly before the artist's death, this mixed media piece proves that Boring had not lost a drop of his considerable talent.
Wayne Boring was born on June 5, 1905, in Minnesota. He studied art at the Chicago Art institute and Minnesota School of Art, becoming a comic artist for National Publications in 1937 where he ghosted Slam Bradley, Spy and Dr.Occult. Boring began working in the Joe Shuster studio in 1938 and over the course of the next 30 years he became one of the most recognizable artists to draw the character. He also illustrated the Sunday and daily Superman comic strips from the middle 1940's to the 1960's. After 1968 until 1972 he ghosted backgrounds for Hal Foster's epic Prince Valiant Sunday page as well as Sam Leff's Davy Jones comic strip. Wayne Boring's Superman is one of the most enduring characters in the comics' hobby. Boring's stylized artwork and fine line work, along with his ability to handle science fiction has made him one of the most popular artists of his time, and among the most remembered in comics history.