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WALLY WOOD
Astonishing Tales 1
Wally Wood (American, 1927-1981): is widely regarded as one of the greatest comic book artists in the war, crime, science fiction, superhero, and humor genres. A child prodigy, Wood blended the disparate cartooning influences of Hal Foster, Alex Raymond, Milton Caniff, and Will Eisner into a detail-laden style uniquely his own. After briefly working as an assistant to Will Eisner and George Wunder, and producing some early romance comic stories for Fox, Wood came into his own at EC and Avon, working on science fiction stories. Equally impressive was his uproarious work for Harvey Kurtzman’s EC humor title, Mad. During the Silver Age Wood re-designed Daredevil for Marvel, and was heavily involved in producing the super-hero /spy line-up, the T.H.U.N.D.E.R. Agents for Tower. Wood also launched the important independent magazine, witzend. Other important projects in his canon include his fantasy stories for Warren Publishing, his sexy syndicated strips for the military, Sally Forth and Cannon, and his graphic novel trilogy based on his childhood creation, the Wizard King. Perhaps his most hilariously infamous satire was his XXX-rated parody poster, the Disneyland Memorial Orgy. Wood collaborated with many talented assistants over his career including Harry Harrison, Joe Orlando, Dan Adkins, Ralph Reese, Wayne Howard, Larry Hama, Paul Kirchner, Mike Zeck, and many others.
Wallace Allan Wood (June 17, 1927, Menahga, Minnesota – November 2, 1981, Los Angeles, California) was an American comic book writer, artist and independent publisher, best known for his work in EC Comics and Mad. Although much of his early professional artwork is signed Wallace Wood, he became known as Wally Wood, a name he claimed to dislike.[1] Within the comics community, he was also known as Woody, a name he sometimes used as a signature.
He was the first inductee into the comic book industry's Jack Kirby Hall of Fame, in 1989, and was inducted into the subsequent Will Eisner Award Hall of Fame three years later.
In addition to Wood's hundreds of comic book pages, he illustrated for books and magazines while also working in a variety of other areas — advertising; packaging and product illustrations; gag cartoons; record album covers; posters; syndicated comic strips; and trading cards, including work on Topps' landmark Mars Attacks set.
EC publisher William Gaines once stated, "Wally may have been our most troubled artist... I'm not suggesting any connection, but he may have been our most brilliant".[2]
Biography
Early life and career
Wally Wood was born on June 17, 1927, and began reading and drawing comics at an early age. He was strongly influenced by the art styles of Alex Raymond's Flash Gordon, Milton Caniff's Terry and the Pirates, Hal Foster's Prince Valiant, Will Eisner's The Spirit and especially Roy Crane's Wash Tubbs. Recalling his childhood, Wood said that his dream at age six, about finding a magic pencil that could draw anything, foretold his future as an artist.[1]
Wood's mother was his first publisher, in a sense, collecting his early drawings and binding them on her sewing machine into books. These early and mostly undated works still exist today because of her actions and offer a glimpse into his progression as a young artist.
Wood graduated from high school in 1944, signed on with the United States Merchant Marine near the end of World War II and enlisted in the U.S. Army's 11th Airborne Paratroopers in 1946. He went from training at Fort Benning, Georgia, to occupied Japan, where he was assigned to the island of Hokkaidō. Arriving in New York City with his brother Glenn and mother, after his discharge in July 1948, Wood found employment at Bickford's as a busboy. During his time off he carried his thick portfolio of drawings all over midtown Manhattan, visiting every publisher he could find. He briefly attended the Hogarth School of Art (later changed to the Cartoonists and Illustrators School) but dropped out after one semester.
By October, after being rejected by every company he visited, Wood met fellow artist John Severin in the waiting room of a small publisher. After the two shared their experiences attempting to find work, Severin invited Wood to visit his studio, the Charles William Harvey Studio, where Wood met Charlie Stern, Harvey Kurtzman (who was working for Timely/Marvel) and Will Elder. At this studio Wood learned that Will Eisner was looking for a Spirit background artist. He immediately visited Eisner and was hired on the spot.
Over the next year, Wood also became an assistant to George Wunder, who had taken over the Milton Caniff strip Terry and the Pirates. Wood cited his "first job on my own" as Chief Ob-stacle, a continuing series of strips for a 1949 political newsletter. He entered the comic book field by lettering, as he recalled in 1981: "The first professional job was lettering for Fox romance comics in 1948. This lasted about a year. I also started doing backgrounds, then inking. Most of it was the romance stuff. For complete pages, it was $5 a page... Twice a week, I would ink ten pages in one day".[3]
Artists' representative Renaldo Epworth helped Wood land his early comic-book assignments, making it unclear if that connection led to Wood's lettering or to his comics-art debut, the ten-page story "The Tip Off Woman" [sic] in the Fox Comics Western Women Outlaws #4 (cover-dated January 1949, on sale late 1948). Wood's next known comic-book art did not appear until Fox's My Confession #7 (August 1949), at which time he began working almost continuously on the company's similar My Experience, My Secret Life, My Love Story and My True Love: Thrilling Confession Stories. His first signed work is believed to be in My Confession #8 (October 1949), with the name "Woody" half-hidden on a theater marquee. He penciled and inked two stories in that issue: "I Was Unwanted" (nine pages) and "My Tarnished Reputation" (ten pages).
Wood began at EC co-penciling and co-inking with Harry Harrison the story "Too Busy For Love" (Modern Love #5), and fully penciling the lead story, "I Was Just a Playtime Cowgirl", in Saddle Romances #11 (April 1950), inked by Harrison.
1950s
Working from a Manhattan studio at West 64th Street and Columbus Avenue, Wood began to attract attention in 1950 with his highly detailed and imaginative science-fiction artwork for EC and Avon Comics, some in collaboration with Joe Orlando. During this period, he drew in a wide variety of subjects and genres, including adventure, romance (which he really didn't care for) war and horror; message stories (for EC's Shock SuspenStories); and eventually satirical humor for writer/editor Harvey Kurtzman in Mad including a satire of the lawsuit Superman's publisher DC filed against Captain Marvel's publisher Fawcett called "Superduperman!" battling Captain Marbles.
Wood was instrumental in convincing EC publisher William Gaines to start a line of science fiction comics, Weird Science and Weird Fantasy (later combined under the single title Weird Science Fantasy). Wood penciled and inked several dozen EC science fiction stories, many considered classics. Wood also had frequent entries in Two-Fisted Tales and Tales from the Crypt, as well as the later EC titles Valor, Piracy and Aces High.
Working over scripts and pencil breakdowns by Jules Feiffer, the 25-year-old Wood drew two months of Will Eisner's classic, Sunday-supplement newspaper comic book The Spirit, on the 1952 story arc "The Spirit in Outer Space". Eisner, Wood recalled, paid him "about $30 a week for lettering and backgrounds on The Spirit. Sometimes he paid $40 when I did the drawings, too".[4]
Between 1957 and 1967, he produced both covers and interiors for more than 60 issues of the science-fiction digest Galaxy Science Fiction, illustrating such authors as Isaac Asimov, Philip K. Dick, Jack Finney, C.M. Kornbluth, Frederik Pohl, Robert Silverberg, Robert Sheckley, Clifford D. Simak and Jack Vance. He painted six covers for Galaxy Science Fiction Novels between 1952 and 1958. His gag cartoons appeared in the men's magazines Dude, Gent and Nugget. He inked the first eight months of the 1958-1961 syndicated comic strip Sky Masters of the Space Force, penciled by Jack Kirby. Wood expanded into book illustrations, including for the picture-cover editions (though not the dust-jacket editions) of titles in the 1959 Aladdin Books reissues of Bobbs Merrill's 1947 "Childhood of Famous Americans" series.[5]
The Silver Age/Bronze Age
Wood additionally did art and stories for comic-book companies large and small — from Marvel (and its 1950s iteration Atlas Comics), DC (including House of Mystery and Kirby's Challengers of the Unknown), and Warren (Creepy and Eerie), to such smaller firms as Avon (Strange Worlds), Charlton (War and Attack, Jungle Jim), Fox (Martin Kane, Private Eye), Gold Key (M.A.R.S. Patrol Total War, Fantastic Voyage), Harvey (Unearthly Spectaculars), King Comics (Jungle Jim), Atlas/Seaboard (The Destructor), Youthful Comics (Capt. Science) and the toy company Wham-O (Wham-O Giant Comics). In 1965, Wood, Len Brown, and possibly Larry Ivie[6] created T.H.U.N.D.E.R. Agents for Tower Comics. He wrote and drew the 1967 syndicated Christmas comic strip, Bucky's Christmas Caper.[7]
Daredevil #7 (April 1964): Wood's best-known work for Marvel, debuting Daredevil's modern red costume
For Marvel during the Silver Age of comic books, Wood's work as penciler-inker of Daredevil #5-8 and inker (over Bob Powell) of issues #9-11 established the title character's distinctive red costume (in issue #7; see cover at left). When Daredevil guest-starred in Fantastic Four #39-40, Wood inked that character, over Jack Kirby pencils, on the covers and throughout the interior.[8] Wood also penciled and inked the first four 10-page installments of the company's "Dr. Doom" feature in Astonishing Tales #1-4 (August 1970 - February 1971), and both wrote and drew anthological horror/suspense tales in Tower of Shadows #5-8 (May-November 1970), as well as sporadic other work.[9]
In one of his final assignments, Wood returned to a character he helped define, inking Frank Miller's cover of Daredevil #164 (May 1980).
In circles concerned with copyright and intellectual property issues, Wood is known as the artist of the unsigned satirical Disneyland Memorial Orgy poster, which first appeared in Paul Krassner's magazine The Realist.[10] The poster depicts a number of copyrighted Disney characters in various unsavory activities (including sex acts and drug use), with huge dollar signs radiating from Cinderella's Castle. Wood himself, as late as 1981, when asked who did that drawing, said only,"I'd rather not say anything about that! It was the most pirated drawing in history! Everyone was printing copies of that. I understand some people got busted for selling it. I always thought Disney stuff was pretty sexy... Snow White, etc."[11] Disney took no legal action against either Krassner or The Realist but did sue a publisher of a "blacklight" version of the poster, who used the image without Krassner's permission. The case was settled out of court.
During the 1960s, Wood did many trading cards and humor products for Topps Chewing Gum, including concept roughs for Topps' famed 1962 Mars Attacks cards prior to the final art by Bob Powell and Norman Saunders. Discovering (from Roy Thomas) that Jack Kirby had returned to DC in 1970, Wood called editor Joe Orlando in an attempt to get the assignment to ink Kirby's new work, but that role was already filled by Vince Colletta.[12] Wood continued to produce periodic work for Marvel during the early 1970s, primarily as inker, and then worked on a handful of comics for DC between 1975 and 1977, producing in particular several covers for Plop!, pencils and inks for issues of All Star Comics in which Wood contributed to the creation of Power Girl by giving her huge breasts and an opening of her costume in the chest which exposes the majority of her breasts, just covering her nipples. Also Wood inked (over Steve Ditko) on Paul Levitz' four-issue miniseries Stalker. Active with the 1970s Academy of Comic Book Arts, Wood also contributed to several editions of the annual ACBA Sketchbook. His last known mainstream credit was inking Wonder Woman #269, cover-dated July, 1980.[13]
Over several decades, numerous artists worked at the Wood Studio. Associates and assistants included Dan Adkins, Richard Bassford, Tony Coleman, Nick Cuti, Leo and Diane Dillon, Larry Hama, Russ Jones, Wayne Howard, Paul Kirchner, Joe Orlando, Bill Pearson, Al Sirois, Ralph Reese, Bhob Stewart, Tatjana Wood and Mike Zeck.
Wood as publisher
In 1966, Wood launched the independent magazine witzend, one of the first alternative comics, a decade before Mike Friedrich's Star Reach or Flo Steinberg's Big Apple Comix (for which Wood drew the cover and contributed a story). Wood offered his fellow professionals the opportunity to contribute illustrations and graphic stories that detoured from the usual conventions of the comics industry. After the fourth issue, Wood turned witzend over to Bill Pearson, who continued as editor and publisher through the 1970s and into the 1980s.
The Marvel Comics Art of Wally Wood (1982) collects his 1970s Dr. Doom and fantasy stories.
Wood additionally collected his feature Sally Forth, published in the U.S. servicemen's periodicals Military News and Overseas Weekly from 1968-1974, in a series of four oversize (10"x12") magazines. Pearson, from 1993-95, reformatted the strips into a series of comics published by Eros Comix, an imprint of Fantagraphics Books, which in 1998 collected the entire run into a single 160-page volume.
In 1969, Wood created another seminal independent comic, Heroes, Inc. Presents Cannon, intended for his "Sally Forth" military readership. Artists Steve Ditko and Ralph Reese and writer Ron Whyte are credited with primary writer-artist Wood on three features: "Cannon", "The Misfits" and "Dragonella". A second magazine-format issue was published in 1976 by Wood and CPL Gang Publications. Larry Hama, one of Wood's assistants, said, "I did script about three Sally Forth stories and a few of the Cannon's. I wrote the main Sally Forth story in the first reprint book, which is actually dedicated to me, mostly because I lent Woody the money to publish it".[14]
In 1980 and 1981, Wood published two completely pornographic comic books titled Gang Bang issues #1 and #2 featuring two sexually explicit Sally Forth stories, and sexually explicit versions of Disney's Snow White and the Seven Dwarfs titled So White and the Six Dorks, Terry and The Pirates titled Perry and the Privates, Prince Valiant titled Prince Violate, Superman and Wonder Woman titled Stuporman Meets Blunder Woman, Flash Gordon titled Flasher Gordon and Tarzan titled Starzan. A third issue of Gang Bang was published after Wood's death featuring all reprints of Wood's Malice in Wonderland previously published in National Screw magazine from 1976-1977 and other Wood material from Wally Wood's Weird Sex-Fantasy (1977). [15]
Final years
For much of his adult life, Wood suffered from chronic, unexplainable headaches. In the 1970s, following bouts with alcoholism, Wood suffered from kidney failure. A stroke in 1978 caused a loss of vision in one eye. Faced with declining health and career prospects, he committed suicide by gunshot three years later.
Wood was married three times. His first marriage was to artist Tatjana Wood, who later did extensive work as a comic-book colorist.
EC editor Harvey Kurtzman, who had worked closely with Wood during the 1950s, once commented, "Wally had a tension in him, an intensity that he locked away in an internal steam boiler. I think it ate away his insides, and the work really used him up. I think he delivered some of the finest work that was ever drawn, and I think it's to his credit that he put so much intensity into his work at great sacrifice to himself".[16]
Awards
•National Cartoonists Society Comic Book Division awards, 1957, 1959, and 1965.
•Alley Award, Best Pencil Artist,1965
•Alley Award, Best Inking Work, 1966
•Best Foreign Cartoonist Award, Angoulême International Comics Festival, 1978
•The Jack Kirby Hall of Fame, 1989
•The Will Eisner Award Hall of Fame, 1992
Quotes
Writer/artist/editor (and former Wood assistant) Larry Hama:
“The comics world lost one of its greatest innovators last month with the untimely passing of Wally Wood. His work was hilarious and terrifying; action-packed but solidly planted; amazingly childlike while maturely crafted. He brought us joy and wonder in four colors for a dime and the world will never see the likes of him again. . . . Hopefully,
there is a sylvan glade somewhere, where sleek, silver spaceships glide silently overhead, tentacled aliens lurk behind boulders muttering "spa-fon" and a cute little pipsqueak frolics with the nicest zaftig elvish ladies for an endless afternoon.[17]
”
“Never draw what you can copy; never copy what you can trace; never trace what you can photostat and paste down".
"An editor is someone dedicated to destroying the work of a creator." WALLY WOOD
Wood, Wally: Wally Wood (American, 1927-1981): is widely regarded as one of the greatest comic book artists in the war, crime, science fiction, superhero, and humor genres. A child prodigy, Wood blended the disparate cartooning influences of Hal Foster, Alex Raymond, Milton Caniff, and Will Eisner into a detail-laden style uniquely his own. After briefly working as an assistant to Will Eisner and George Wunder, and producing some early romance comic stories for Fox, Wood came into his own at EC and Avon, working on science fiction stories. Equally impressive was his uproarious work for Harvey Kurtzman’s EC humor title, Mad. During the Silver Age Wood re-designed Daredevil for Marvel, and was heavily involved in producing the super-hero /spy line-up, the T.H.U.N.D.E.R. Agents for Tower. Wood also launched the important independent magazine, witzend. Other important projects in his canon include his fantasy stories for Warren Publishing, his sexy syndicated strips for the military, Sally Forth and Cannon, and his graphic novel trilogy based on his childhood creation, the Wizard King. Perhaps his most hilariously infamous satire was his XXX-rated parody poster, the Disneyland Memorial Orgy. Wood collaborated with many talented assistants over his career including Harry Harrison, Joe Orlando, Dan Adkins, Ralph Reese, Wayne Howard, Larry Hama, Paul Kirchner, Mike Zeck, and many others.
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Original cartoon character that makes "Dog" motif.
It draws with Photoshop. It is a very lovely mascot character.
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This was from the Melbourne's Hearld Sun Newspaper about the latest parts company going broke and making the local Ford Assembly line stop and Ford Australia's workers have a few days off, to sort out the trouble.
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MAX FLEISCHER
Max Fleischer (July 19, 1883 – September 11, 1972) was an American animator. He was a pioneer in the development of the animated cartoon and served as the head of Fleischer Studios. He brought such animated characters as Betty Boop, Koko the Clown, Popeye, and Superman to the movie screen and was responsible for a number of technological innovations.
Fleischer devised a concept to simplify the process of animating movement by tracing frames of live action film. His patent for the Rotoscope was granted in 1915, although Max and his brother Dave Fleischer made their first cartoon using the system in 1914. Extensive use of this technique was made in Fleischer's Out of the Inkwell series for the first five years of the series, which started in 1919 and starred Koko the Clown and Fitz the dog.
Fleischer produced his Inkwell films for the Bray Studios until 1921, when he and younger brothers Dave and Lou established Fleischer Studios (initially named "Out of the Inkwell Films") to produce animated cartoons and short subjects; Max was credited as the producer at the beginning of every cartoon as well. Koko and Fitz remained the stars of the Out of the Inkwell series, which was renamed Inkwell Imps in 1927. The Fleischer brothers also partnered with Lee DeForest, Edwin Miles Fadiman, and Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast, extending as far west as Cleveland, Ohio.
Fleischer invented the "follow the bouncing ball" technique for his Song Car-Tunes series of animated singalong shorts beginning in May 1924. After a few films with unsynchronized sound (music and sound effects only), Fleischer added synchronized sound to this series, with My Old Kentucky Home (released April 13, 1926) with a dog-like character saying "Follow the ball, and join in, everybody." The sound entries in the Song Car-Tunes series — roughly 19 out of 36 short films — used the Phonofilm sound-on-film process developed by Lee DeForest. The Song Car-Tunes series would last until early 1927, just a few months before the actual start of the sound era. This was before Walt Disney's Steamboat Willie (1928), which is often mistakenly cited as the first cartoon to synchronize sound with animation. However, by late 1926, both the DeForest Phonofilm Corp. and Red Seal Pictures had filed for bankruptcy, and the Song Car-Tunes series came to an end.
In 1923, Fleischer made two 20-minute educational features explaining Albert Einstein's Theory of Relativity (The Einstein Theory of Relativity) and Charles Darwin's Theory of Evolution. Both features used a combination of animated special effects and live action. Fleischer also produced Finding His Voice (1929) illustrating how sound films worked.
Into the early sound era, Fleischer produced many technically advanced and sophisticated animated films. Several of his cartoons had soundtracks featuring live or rotoscoped images of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. Fleischer's use of black performers was bold at a time when depictions of blacks were often denigrating and stereotypical.
In 1928, as film studios made the transition to sound, Fleischer revived the Song Car-Tunes series as Screen Songs, starting with the release of The Sidewalks of New York on February 5, 1929 through Paramount Pictures. Out of the Inkwell Films, Inc. was reorganized as Fleischer Studios in January 1929 following bankruptcy. During this time, Walt Disney was also gaining success with Mickey Mouse and Silly Symphonies. In August 1929, the silent Inkwell Imps series was replaced with the Talkartoon series, beginning with Noah's Lark. A year into the series, Fitz was renamed "Bimbo" and became the star of the Talkartoon series, starting with the cartoon Hot Dog (1930).
However, in August 1930, a Rubenesque poodle-human hybrid, Bimbo's girlfriend, made her screen debut in Dizzy Dishes, and quickly became Fleischer's biggest star; she would later be named Betty Boop. By 1931, Betty's floppy canine ears had evolved into hoop earrings, and she was transformed into a fully human girl (though she retained her romantic relationship with the dog for several episodes after her transmogrification). By the time of Minnie the Moocher (1932), Betty Boop was in a class of her own, and by August 1932, starting with Stopping the Show, the Talkartoon series was renamed as Betty Boop Cartoons; by now, as noted from even the opening song from Stopping the Show, Betty clearly became the self-proclaimed "Queen of the Animated Screen." Along with his standout star Boop, Fleischer had become one of the two premier animation producers; the up-and-coming Walt Disney was the other.
Fleischer cartoons were very different from Disney cartoons, in concept and in execution. The Fleischer approach was sophisticated, focused on surrealism, dark humor, adult psychological elements and sexuality. The Fleischer milieu was grittier, more urban, sometimes even sordid, often set in squalid tenement apartments with cracked, crumbling plaster and threadbare furnishings. Even the jazz music on Fleischer's soundtracks was rawer, saucier, more fitting with the unflinching Fleischer look at America's multicultural scene. But as popular as Betty Boop was for Fleischer, the Fleischer Studios would never come close to matching the huge international success of Mickey Mouse.
Fleischer would come closest through his deal securing the rights to the comic strip character Popeye the Sailor from King Features Syndicate. Popeye started out as a secondary character in 1929 in the newspaper feature Thimble Theater, and made his film debut in July, 1933, introduced in the Betty Boop short Popeye the Sailor. Popeye was an immediate hit for Fleischer, and would remain in production until 1957.
Fleischer's studio was a major operation in New York under the support of Paramount Studio. But as a recipient of Paramount cash, Fleischer was also at the mercy of Paramount's management. During the Great Depression, Paramount went through four name changes and reorganizations due to bankruptcies. These reorganizations affected the production budgets and created obstacles to Fleischer's development.
When the three-color Technicolor process became available, Paramount vetoed it based on their concerns with economic balance, giving Disney the opportunity to acquire an exclusivity to the process for four years, thus giving him the market edge on color cartoons. Two years later, Paramount approved color production for Fleischer, but he was left with the clearly inferior two-color processes of Cinecolor (red and blue) and two-strip Technicolor (red and green). The Color Classics series was introduced in 1934 as Fleischer's answer to Disney's Silly Symphonies.
These color cartoons were augmented with a Fleischer-patented three-dimensional background effect called "The Stereoptical Process," a precursor to Disney's Multiplane. This technique replaced the usual flat-plane, drawn and painted cartoon backgrounds with a circular 3-D scale-model background — a diorama — in front of which the action cels were positioned and photographed. As the character, say, hustled down a city street, the camera operator would rotate the diorama a click with each frame. The result was a constantly changing perspective of converging parallel lines that gave an amazing sense of depth. The process worked most dramatically with pans or tracking shots; for static shots, traditional drawn backgrounds sufficed. It was used to great effect in the longer format Popeye cartoons Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These series of double-length (two-reel) cartoons were a gradual progression expressing Fleischer's desire to produce feature-length animated features. And while he had concepts for full-length features, it was not until the success of Disney's Snow White and the Seven Dwarfs (1937) that the stodgy Paramount executives realized the value of an animated feature as Fleischer had been proposing for the previous three years.
The popularity of Betty Boop was irreparably damaged as a result of the enforcement of the Hays Code in 1934. Her overt sexuality was downplayed, and her racy flapper attire was replaced with longer skirts and a less revealing neckline. While the production of the cartoons had become more refined with more structured stories, the level of the content was more juvenile, largely influenced by Paramount's front office, which was changing the tone of their films to reflect a more family-oriented audience by producing films more of the nature of MGM. Betty became a spinster career girl and maiden aunt character, a judgmental "good citizen" instead of the carefree, funloving Jazz Baby she had once been. As a result, she lost much of her audience appeal, and the era and musical style that she represented had already faded away with the coming of the Swing Era.
In 1937, film production at Fleischer's studio was affected by a five month strike, which kept his cartoons off theater screens through the rest of the year. The strikers represented by the Commercial Artists and Designers Union were not recognized by the IATSE, which represented the majority of the motion picture crafts. But after five months, Paramount Pictures urged Fleischer to settle. Then in March 1938, Fleischer Studios moved from New York City to Miami, Florida. The reasons were many. While it was reasoned that the relocation removed the studio from further union agitation, they were in need of additional space for the production of features. Coincidentally with the move, relations between brothers Dave and Max began deteriorating. A feud started simmering after Dave began an adulterous affair with his Miami secretary in 1938, and was followed by more personal and professional disputes.
While at Paramount, Dave Fleischer was asked by the studio to put the popular comic book and radio hero Superman into a cartoon series. Despite the high budgets that came from the series — triple the budget of typical Popeye one-reelers — Superman became the most successful cartoons in the late period of the studio. Its ultra-realistic drawing, stylish Art Deco look and magnificently intricate scoring made the Superman pilot the highwater mark of the studio's sophisticated output.
In the wake of Disney's inarguable triumph with Snow White and the Seven Dwarfs in 1937, Paramount top brass finally acquiesced to Fleischer's longstanding appeals to produce feature-length animated films — and now they wanted one for a Christmas 1939 release. In order to finance the new operation, Fleischer negotiated a loan with Paramount that in essence surrendered the studio's assets for the term of the loan, 10 years.
While Gulliver's Travels (1939) did moderate box office, it did not make back all of its costs since the production ran nearly $500,000 overbudget due to the relocation, transportation of film for processing and back, and costs of training new workers. At the time, it was also reported that the escalated war in Europe just three months before cut off Paramount's foreign release potential; however, recent information indicates that the picture was released in Europe but the returns were not reported to Fleischer Studios' accounting department. At the same time, returns on Popeye cartoons were also not properly accounted. These factors contributed to the continued financial losses for Fleischer's studio. The final blow came with the ill-fated release of their second feature, Mr. Bug Goes to Town (1941) two days before the bombing of Pearl Harbor.
On May 24, 1941, Paramount initiated takeover of Fleischer's studio. Max remained nominally in charge, but the long-simmering personal feud with his brother Dave further complicated the situation. Shortly after the release of Mr. Bug, a disgusted Dave left for California to take over as head of Columbia's Screen Gems animation unit in April 1942 — just one month prior to the renewal of Fleischer's contract. The move put Dave in breach of contract, for taking a position with a competitor while still contracted to Paramount. This breach, along with the substantial debt to Paramount, gave the bigger studio the right to take control of the smaller, forcing Max out. Paramount installed new management, among them Max's son-in-law, Seymour Kneitel. On May 25, 1942, the studio was renamed Famous Studios, and it moved back to New York within eight months.
Despite the disappointing performance of the feature films, the Superman series continued to do well. Nine episodes were completed by Fleischer Studios, with the final eight made by Famous Studios after the reorganization. Today, the Max Fleischer Superman cartoons are considered the final triumph of this great pioneer and his innovative studio.
After leaving his studio, Fleischer was brought in as head of the Animation Department for the industrial film company, The Jam Handy Organization. While there he supervised the technical and cartoon animation departments, producing training films for the Army and Navy and was also involved with research and development for the war effort. Following the war, he supervised the production of the animated adaptation of Rudolph the Red Nosed Reindeer (1948), sponsored by Montgomery Ward. Fleischer left Handy in 1954 and returned as Production Manager for the Bray Studios in New York.
Fleischer lost a lawsuit against Paramount in 1955 over the removal of his name from the credits of his films. While Fleischer had issues over the breach of contract, he had avoided suing to protect his son-in-law, Seymour Kneitel, who still had a position with Paramount's Famous Studios. The lawsuit was lost because the court decided that, though Fleischer's case had merit, the statute of limitations had expired. In 1958, Fleischer revived Out of the Inkwell Films, Inc. and partnered with his former animator, Hal Seeger to produce 100 color Out of the Inkwell (1960–1961) cartoons for television. Actor Larry Storch performed the voices for Koko and supporting characters Kokonut and Mean Moe.
Although the rift with his brother Dave was never resolved, Max eventually formed a friendship with his old rival Walt Disney, who welcomed Max to a reunion with former Fleischer animators who were by then employed by Disney.
Fleischer, along with his wife Essie, moved to the Motion Picture Country House in 1967. He died from heart failure on September 11, 1972, after a period of poor health. On the day of his death, Max Fleischer was cited as a great pioneer who invented an industry, and was named by Time magazine as the "Dean of Animated Cartoons."[
His son Richard Fleischer, born in 1916, entered the film industry in the 1940s, and in retirement worked on merchandising Betty Boop.
I'm going to lead a couple of mini-workshops on visual notetaking at RefreshPhilly tonight. These notes are my preparation for tonight. The first thing I'm going to do is give a little drawing instruction, using Ed Emberly as inspiration.
_________________
This image is image 26 of the 100 Days Envizualized, a project where I upload my visual notes that I create on 100 consecutive days. To check out the other notes, go here
An eBook will be available of all 100 days worth of notes, with annotation, once the 100 days are over.
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MAX FLEISCHER
Betty Boop
Max Fleischer (July 19, 1883 – September 11, 1972) was an American animator. He was a pioneer in the development of the animated cartoon and served as the head of Fleischer Studios. He brought such animated characters as Betty Boop, Koko the Clown, Popeye, and Superman to the movie screen and was responsible for a number of technological innovations.
Fleischer devised a concept to simplify the process of animating movement by tracing frames of live action film. His patent for the Rotoscope was granted in 1915, although Max and his brother Dave Fleischer made their first cartoon using the system in 1914. Extensive use of this technique was made in Fleischer's Out of the Inkwell series for the first five years of the series, which started in 1919 and starred Koko the Clown and Fitz the dog.
Fleischer produced his Inkwell films for the Bray Studios until 1921, when he and younger brothers Dave and Lou established Fleischer Studios (initially named "Out of the Inkwell Films") to produce animated cartoons and short subjects; Max was credited as the producer at the beginning of every cartoon as well. Koko and Fitz remained the stars of the Out of the Inkwell series, which was renamed Inkwell Imps in 1927. The Fleischer brothers also partnered with Lee DeForest, Edwin Miles Fadiman, and Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast, extending as far west as Cleveland, Ohio.
Fleischer invented the "follow the bouncing ball" technique for his Song Car-Tunes series of animated singalong shorts beginning in May 1924. After a few films with unsynchronized sound (music and sound effects only), Fleischer added synchronized sound to this series, with My Old Kentucky Home (released April 13, 1926) with a dog-like character saying "Follow the ball, and join in, everybody." The sound entries in the Song Car-Tunes series — roughly 19 out of 36 short films — used the Phonofilm sound-on-film process developed by Lee DeForest. The Song Car-Tunes series would last until early 1927, just a few months before the actual start of the sound era. This was before Walt Disney's Steamboat Willie (1928), which is often mistakenly cited as the first cartoon to synchronize sound with animation. However, by late 1926, both the DeForest Phonofilm Corp. and Red Seal Pictures had filed for bankruptcy, and the Song Car-Tunes series came to an end.
In 1923, Fleischer made two 20-minute educational features explaining Albert Einstein's Theory of Relativity (The Einstein Theory of Relativity) and Charles Darwin's Theory of Evolution. Both features used a combination of animated special effects and live action. Fleischer also produced Finding His Voice (1929) illustrating how sound films worked.
Into the early sound era, Fleischer produced many technically advanced and sophisticated animated films. Several of his cartoons had soundtracks featuring live or rotoscoped images of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. Fleischer's use of black performers was bold at a time when depictions of blacks were often denigrating and stereotypical.
In 1928, as film studios made the transition to sound, Fleischer revived the Song Car-Tunes series as Screen Songs, starting with the release of The Sidewalks of New York on February 5, 1929 through Paramount Pictures. Out of the Inkwell Films, Inc. was reorganized as Fleischer Studios in January 1929 following bankruptcy. During this time, Walt Disney was also gaining success with Mickey Mouse and Silly Symphonies. In August 1929, the silent Inkwell Imps series was replaced with the Talkartoon series, beginning with Noah's Lark. A year into the series, Fitz was renamed "Bimbo" and became the star of the Talkartoon series, starting with the cartoon Hot Dog (1930).
However, in August 1930, a Rubenesque poodle-human hybrid, Bimbo's girlfriend, made her screen debut in Dizzy Dishes, and quickly became Fleischer's biggest star; she would later be named Betty Boop. By 1931, Betty's floppy canine ears had evolved into hoop earrings, and she was transformed into a fully human girl (though she retained her romantic relationship with the dog for several episodes after her transmogrification). By the time of Minnie the Moocher (1932), Betty Boop was in a class of her own, and by August 1932, starting with Stopping the Show, the Talkartoon series was renamed as Betty Boop Cartoons; by now, as noted from even the opening song from Stopping the Show, Betty clearly became the self-proclaimed "Queen of the Animated Screen." Along with his standout star Boop, Fleischer had become one of the two premier animation producers; the up-and-coming Walt Disney was the other.
Fleischer cartoons were very different from Disney cartoons, in concept and in execution. The Fleischer approach was sophisticated, focused on surrealism, dark humor, adult psychological elements and sexuality. The Fleischer milieu was grittier, more urban, sometimes even sordid, often set in squalid tenement apartments with cracked, crumbling plaster and threadbare furnishings. Even the jazz music on Fleischer's soundtracks was rawer, saucier, more fitting with the unflinching Fleischer look at America's multicultural scene. But as popular as Betty Boop was for Fleischer, the Fleischer Studios would never come close to matching the huge international success of Mickey Mouse.
Fleischer would come closest through his deal securing the rights to the comic strip character Popeye the Sailor from King Features Syndicate. Popeye started out as a secondary character in 1929 in the newspaper feature Thimble Theater, and made his film debut in July, 1933, introduced in the Betty Boop short Popeye the Sailor. Popeye was an immediate hit for Fleischer, and would remain in production until 1957.
Fleischer's studio was a major operation in New York under the support of Paramount Studio. But as a recipient of Paramount cash, Fleischer was also at the mercy of Paramount's management. During the Great Depression, Paramount went through four name changes and reorganizations due to bankruptcies. These reorganizations affected the production budgets and created obstacles to Fleischer's development.
When the three-color Technicolor process became available, Paramount vetoed it based on their concerns with economic balance, giving Disney the opportunity to acquire an exclusivity to the process for four years, thus giving him the market edge on color cartoons. Two years later, Paramount approved color production for Fleischer, but he was left with the clearly inferior two-color processes of Cinecolor (red and blue) and two-strip Technicolor (red and green). The Color Classics series was introduced in 1934 as Fleischer's answer to Disney's Silly Symphonies.
These color cartoons were augmented with a Fleischer-patented three-dimensional background effect called "The Stereoptical Process," a precursor to Disney's Multiplane. This technique replaced the usual flat-plane, drawn and painted cartoon backgrounds with a circular 3-D scale-model background — a diorama — in front of which the action cels were positioned and photographed. As the character, say, hustled down a city street, the camera operator would rotate the diorama a click with each frame. The result was a constantly changing perspective of converging parallel lines that gave an amazing sense of depth. The process worked most dramatically with pans or tracking shots; for static shots, traditional drawn backgrounds sufficed. It was used to great effect in the longer format Popeye cartoons Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These series of double-length (two-reel) cartoons were a gradual progression expressing Fleischer's desire to produce feature-length animated features. And while he had concepts for full-length features, it was not until the success of Disney's Snow White and the Seven Dwarfs (1937) that the stodgy Paramount executives realized the value of an animated feature as Fleischer had been proposing for the previous three years.
The popularity of Betty Boop was irreparably damaged as a result of the enforcement of the Hays Code in 1934. Her overt sexuality was downplayed, and her racy flapper attire was replaced with longer skirts and a less revealing neckline. While the production of the cartoons had become more refined with more structured stories, the level of the content was more juvenile, largely influenced by Paramount's front office, which was changing the tone of their films to reflect a more family-oriented audience by producing films more of the nature of MGM. Betty became a spinster career girl and maiden aunt character, a judgmental "good citizen" instead of the carefree, funloving Jazz Baby she had once been. As a result, she lost much of her audience appeal, and the era and musical style that she represented had already faded away with the coming of the Swing Era.
In 1937, film production at Fleischer's studio was affected by a five month strike, which kept his cartoons off theater screens through the rest of the year. The strikers represented by the Commercial Artists and Designers Union were not recognized by the IATSE, which represented the majority of the motion picture crafts. But after five months, Paramount Pictures urged Fleischer to settle. Then in March 1938, Fleischer Studios moved from New York City to Miami, Florida. The reasons were many. While it was reasoned that the relocation removed the studio from further union agitation, they were in need of additional space for the production of features. Coincidentally with the move, relations between brothers Dave and Max began deteriorating. A feud started simmering after Dave began an adulterous affair with his Miami secretary in 1938, and was followed by more personal and professional disputes.
While at Paramount, Dave Fleischer was asked by the studio to put the popular comic book and radio hero Superman into a cartoon series. Despite the high budgets that came from the series — triple the budget of typical Popeye one-reelers — Superman became the most successful cartoons in the late period of the studio. Its ultra-realistic drawing, stylish Art Deco look and magnificently intricate scoring made the Superman pilot the highwater mark of the studio's sophisticated output.
In the wake of Disney's inarguable triumph with Snow White and the Seven Dwarfs in 1937, Paramount top brass finally acquiesced to Fleischer's longstanding appeals to produce feature-length animated films — and now they wanted one for a Christmas 1939 release. In order to finance the new operation, Fleischer negotiated a loan with Paramount that in essence surrendered the studio's assets for the term of the loan, 10 years.
While Gulliver's Travels (1939) did moderate box office, it did not make back all of its costs since the production ran nearly $500,000 overbudget due to the relocation, transportation of film for processing and back, and costs of training new workers. At the time, it was also reported that the escalated war in Europe just three months before cut off Paramount's foreign release potential; however, recent information indicates that the picture was released in Europe but the returns were not reported to Fleischer Studios' accounting department. At the same time, returns on Popeye cartoons were also not properly accounted. These factors contributed to the continued financial losses for Fleischer's studio. The final blow came with the ill-fated release of their second feature, Mr. Bug Goes to Town (1941) two days before the bombing of Pearl Harbor.
On May 24, 1941, Paramount initiated takeover of Fleischer's studio. Max remained nominally in charge, but the long-simmering personal feud with his brother Dave further complicated the situation. Shortly after the release of Mr. Bug, a disgusted Dave left for California to take over as head of Columbia's Screen Gems animation unit in April 1942 — just one month prior to the renewal of Fleischer's contract. The move put Dave in breach of contract, for taking a position with a competitor while still contracted to Paramount. This breach, along with the substantial debt to Paramount, gave the bigger studio the right to take control of the smaller, forcing Max out. Paramount installed new management, among them Max's son-in-law, Seymour Kneitel. On May 25, 1942, the studio was renamed Famous Studios, and it moved back to New York within eight months.
Despite the disappointing performance of the feature films, the Superman series continued to do well. Nine episodes were completed by Fleischer Studios, with the final eight made by Famous Studios after the reorganization. Today, the Max Fleischer Superman cartoons are considered the final triumph of this great pioneer and his innovative studio.
After leaving his studio, Fleischer was brought in as head of the Animation Department for the industrial film company, The Jam Handy Organization. While there he supervised the technical and cartoon animation departments, producing training films for the Army and Navy and was also involved with research and development for the war effort. Following the war, he supervised the production of the animated adaptation of Rudolph the Red Nosed Reindeer (1948), sponsored by Montgomery Ward. Fleischer left Handy in 1954 and returned as Production Manager for the Bray Studios in New York.
Fleischer lost a lawsuit against Paramount in 1955 over the removal of his name from the credits of his films. While Fleischer had issues over the breach of contract, he had avoided suing to protect his son-in-law, Seymour Kneitel, who still had a position with Paramount's Famous Studios. The lawsuit was lost because the court decided that, though Fleischer's case had merit, the statute of limitations had expired. In 1958, Fleischer revived Out of the Inkwell Films, Inc. and partnered with his former animator, Hal Seeger to produce 100 color Out of the Inkwell (1960–1961) cartoons for television. Actor Larry Storch performed the voices for Koko and supporting characters Kokonut and Mean Moe.
Although the rift with his brother Dave was never resolved, Max eventually formed a friendship with his old rival Walt Disney, who welcomed Max to a reunion with former Fleischer animators who were by then employed by Disney.
Fleischer, along with his wife Essie, moved to the Motion Picture Country House in 1967. He died from heart failure on September 11, 1972, after a period of poor health. On the day of his death, Max Fleischer was cited as a great pioneer who invented an industry, and was named by Time magazine as the "Dean of Animated Cartoons."[
His son Richard Fleischer, born in 1916, entered the film industry in the 1940s, and in retirement worked on merchandising Betty Boop.
B-Pop Manga Fashion Funky Punk Skater Harajuku Hair Style Cosplay Anime Costume Halloween Colors Cartoon Chibi Animanga Fandom Japanese Bad Girl SD Super Deformed Hair Style Comic Super Pee Wee Kids Bikes Dress Shoes Pink Girls Room Poster Americana Tokyo Fitz MV JRC Hip Hop Love Junior Riters Club Poetry Americana Pop Culture Love Art Coloring Book CD Super Pee Wee Color Me Comic Book Images Pictures Story Super Deformed Children SD Tokyo Fitz Japan NYC Urban Arts Manhua College Mason Valentine Pulp Art Anime Graphic Manga Kodomo Toy TV Manga Fee Fee Big Sun Pets Dinosaur Kat Cat Chu Dog Puppy Ski Mask Children Kawaii Eyes Emotion Chibi Doll SD Television Red Cartoon Guns Fandom Japanese Art Cosplayer Superhero Costume B-Pop Super Girl Supervillian Fiction Tablet Sketch Child Art Action Figure Pets Toy Girls Doll Oil Cell Phone 3-D TV App Image Pixel Screen Picture Home Car Stereo Theater Music Player Pod Television Gadget Monster Headphone Head Set Superhero Bad Girl Super Girl Costume Cosplay Outfit SD Japan Tokyo Harajuku Urban Street Fashion Love Shirt Flower Train Candy Hearts Boots Mask Gun Toy Gloves Cape Asian Art Form Kodomo Pastel Josei Otaku Fandom Pony Fantasy Dress Up Still Figure Character Role Play Shonen Art Print Cartoon Comic Anime Character Book Convention Manga Cards Chibi Doll Candy Money Gems Perry Will Dino Herman Rino Pet CD Record Album Chinese Animation Character Plush Bunny Superhero
Title: Nice Work-Shake!
Creator: John Francis Knott, 1878-1963
Date: June 22, 1945
Series: Series 17 - John Knott portrait drawings and cartoons; John Knott cartoons, Dallas Morning News
Description: The context for this cartoon is explained in an accompanying editorial entitled 'Victory for Free Trade.' Dallas Morning News, June 22, 1945, Section 2, Page 2.
Part Of: Belo records, 1842-2007
Physical Description: 1 drawing: 38 x 22.7 cm
File: a2010_0001_17_02_01_101_nice_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/bel/id/286
View John Knott's World War II Cartoons: digitalcollections.smu.edu/cdm/search/collection/bel/sear...
View the John Knott Portrait Drawings and Cartoons series: digitalcollections.smu.edu/cdm/search/collection/bel/sear...
View the Belo Records, 1842-2007: digitalcollections.smu.edu/all/cul/bel/
Nudity! Anal trauma! Panty obsession! Chainsaw fart bondage! Double entendres about testicles! All this and more awaits you in the original, uncensored children's cartoon Dragon Ball DVDs according to Video Vulture (not to be confused with Video Vulture Z).
Read all about it here: www.ffwdweekly.com/article/screen/video-vulture/that-litt...
Kerry, et al, i just had to put my stamp on these. hope you like them
All Background art taken from HB shows
Supa Pewee Kids Art Poster Book Cartoon Image Kat Chu Kawaii Chibi Manga GN Anime SD Japan Cartoon Frame Scene Story Art Fitz Music Hip Hop Rap Poetry Writing Club Kodomo Children Asian Art Form Action Posters Prints Cd Song Lyric Book Poetry Americana Ali-P Super Pop Pee Wee Pink Bad Girl Superhero Costume Cosplay Fantasy Lil Pink Fandom Dino Hermee Dinosaur Pets Spectrum School Bus Stuff We Do Music Raps JRC Text Note Paper Card Poster Sticker Toy Patch Box Supa Pewee Kids Story Mason Valentine Alison Parker is B-Pop Ali-P Monkey Tree Big House Hip Hop Pop Rock Poetry Red Pot Climb Super Nasty Writers Club Images Picture Tunes Download CD Portal Ship Pirate Jewels Gem Terminator Crystal Lightning Weather Thunder Twilight Storm Dragon Sailor Mug Baby Think Seed Tank Moon Mars Ring Saga Fish Tank Bros Pool Sea Bowl Craft Wrestling Fighters Dark Hollywood Collectibles Brother Hot Toys Mad Men Green Grass Yellow Old Engine Monogram Text Symbol Cold Universe Horse Kitty Kitten Dress Shoe Party Halloween Christmas New Era Cap Ripple Junction Museum Triad Replicas Sideshow T-Shirts Hats Triad Underground Toys Movie Monsters Wacky Doctor Collectibles Sword War Hunter Buster Race RC Me Kawaii Bros Pool Sea Bowl Craft Wrestling Fighters Dark Hollywood Collectibles Brother Hot Toys Mad Men Green Grass Yellow Old Engine Monogram Text Symbol Cold Universe Horse Kitty Kitten Dress Shoe Party Halloween Christmas New Era Cartoon Frame Scene Story Art Fitz Music Hip Hop Rap Poetry Writing Club Kodomo Children Asian Art Form Action Fun Color Illustration Posters Prints Cd Song Lyric Book Poetry Americana Ali-P Super Tokyo Street Fashion Urban Graffiti Sneakers Jeans Clothes Love Pod Music Player Record Album Pin Wheels Kat Cat Chu Two Original Princess Lilly Castle Opus Love Flower Hat Bracelet Jewelry Ring Gold Chapter Punk Skater Chick Hip Hop Rap Cosplayer Comic Convention Omake Otaku Opus CD DVD Mix Tape Coloring Book Tale Pop Pee Head Culture Purse Hand Bag Bunny Hybrid Creature Wrestling Ring Action Figures Arcade Video Game Vintage Green Teen Adult World TV China Adult Cartoon Comedy Sitcom Bad Girls Club Logo Poster Japanese Girl Tokyo Fashion Harajuku Hair Style Clothes Sneakers Horror Monsters Classic Film Smash Mouth
Supa Pewee Kids Art Poster Book Cartoon Image Kat Chu Kawaii Chibi Manga GN Anime SD Japan Cartoon Frame Scene Story Art Fitz Music Hip Hop Rap Poetry Writing Club Kodomo Children Asian Art Form Action Posters Prints Cd Song Lyric Book Poetry Americana Ali-P Super Pop Pee Wee Pink Bad Girl Superhero Costume Cosplay Fantasy Lil Pink Fandom Dino Hermee Dinosaur Pets Spectrum School Bus Stuff We Do Music Raps JRC Text Note Paper Card Poster Sticker Toy Patch Box Supa Pewee Kids Story Mason Valentine Alison Parker is B-Pop Ali-P Monkey Tree Big House Hip Hop Pop Rock Poetry Red Pot Climb Super Nasty Writers Club Images Picture Tunes Download CD Album Music Tooth Pod Car Pee Wee Pop Head Rock SD NYC Japan Sea Sun Star Cat Mask Puppy Food Shonen Seinen Super Picture Text Symbol Paint By Number Android Game App Lil Dinosaur Pet Child Hero Play Set Children Bugs Lil Insect Toy Skateboard Kart Bike 3 Wheel Cart Scooter Engine Cart Race Nasty Pop Scene Japanese Girl Appeal Harajuku Skater Strip Tokyo Graffiti Ink Chibi Comic Manga Super Deformed Cartoon Character Memo Text Note Paper Card Poster Sticker Toy Pod Car Pee Wee Pop Head Rock SD NYC Japan Sea Sun Star Cat
Mason Valentine His Pets Do it For Em Book Cover Poster Image Musical Poetry Rap Hip Hop Song Lyrics - SPWK Supa Pewee Kids - JRC Junior Riters Club Song Writers Club - Super Pee Wee Kids Characters Mason Valentine B-Pop Kat Story Book Music Tokyo Fitz Street Art Urban Fashion Yahoo
As We Walk - Supa Pewee Kids - Comic Book Pages Mason Valentine & B-Pop SPWK American Cartoon Kids Story Art Illustration Twistidlee Unique Poetree Americana Poetry Song Music Hip Hop Rap Comic Book B-Pop Supa Pewee Kids Super Pop Cartoon Characters Anime andom Hip Hop Rap Book Strip Songs Art Stories Storys Bad Kids Girl Twisted Unique Poetry American Poet Poem Americana Opus Comic Book Collection Tooth Pod Car Pee Wee Pop Head Rock SD NYC Japan Sea Sun Star Cat Mask Puppy Food Shonen Seinen Super Picture Text Symbol Paint By Number Android Game App Lil Dinosaur Pet Child Hero Play Set Children Bugs Lil Insect Toy Skateboard Kart Bike 3 Wheel Cart Scooter Engine Cart Race Nasty Pop Scene Japanese Girl Appeal Harajuku Skater Strip Tokyo Graffiti Ink Chibi Comic Manga Super Deformed nt By Number Android Game App Lil Dinosaur Pet Child Hero Play Set Kart Bike 3 Wheel Cart Scooter Engine Cart Race Nasty Pop Scene Japanese Girl Appeal Harajuku Skater Strip Tokyo Urban Graffiti Ink Street Love Pink Green Style Role Cosplay Video t Cape Boots Cape Sticker Decal Film Cell TattooReal Classic Hip Hop Rap Rock Pop Dance Electronic Music Scene Funk Techno LP Wax Spin DJ EP Record Sales The Write Lyrics Disc Ticket Write Sing R&B Jazz Song Music Book Sheet Page Album Collect Dig Radio FM AM Vinyl Shop Store NYC New York Arts Note Art Key Guitar Drums Beat Dance Culture Wallpaper Store Wall Paper Download Tunes Disc Fashion Graffiti Resident Teen Adult Fiction Kids Poster Card Bill Show Beat Cover Track List Title Decal Skate Board Wheel Skater Sticker Emblem Trick Truck Love Heart Skull Fuse Fusion Image Logo Video VHS VCR Tape Record Universal Background Play Seat Sit Head Cell Phone Microphone Run Masters Headphone Urban Nation Ink Tattoo Award Film Fact Drama Horror Night Honors Street Urban Hood Loft Live Pink Blue Green Red Ski Mask Ball Rat Mouse Trap Silent Camera Cord Wireless Oil Potrait Frame Blue Print Copy Remix Play Produce Industry Seed CD DVD Movie Stage Theater Performance Remix Written Conect Battle Ship Jeep Tank Tattoo Art Black Purple Red Green Rain Lake Yellow Orange Spectrum Brown Colors Spectrum Boy Girl Toy Action Figure Sneakers Jacket Pants Sweat Shirt Music Genre Category Asap Video Hand Write Hip Hop Club Pop Electronic Sculpt Carve Apple Pie Pumpkin Peach Plant Tree Org Com Speakers Sound System .com .org Tweeter Camera Audio AM FM Wave Burst Sound American Spy
Video Arcage Game Boardgame Love Valentines Day Clay Jar Mix Plastic Glass Booster Big Booster Jacket Sox Tank Train Plane Plain Rail Road Real Estate Reality House Building Home Rail Build Vacation Florida FL NY New York California States Country Boots Toy Laser Pen Gun Diner Food Breakfast Diet Bike Big Wheel Remote Control Car Joy Stick College Art Music Colage Scrape ScrapBig Black White Coloring Book Dictionary Encyclopedia Sky Ocean Science Action Figure Pulse Motorcycle Boat Sale Ocean Moon Waves Space Air Ship Craft Woofer Tweeter Audio Bost Bass Club Speaker Car Van Truck Train Boat Speed Set Sound Light System CD Disc Tracks List Songs Music Stereo Bass Walkman Cassette Disc Man Data Computer Video Game Album Record Musical Poet Poetry Poem Valentine MP MP3
Compact Disc Lyric Words Windows Note Word Notes Boost Headphones Cord Gear itunes Pod Ipod Pad Tablet Monitor Touch Screen Micro Memory Adapter USB Keyboard Mouse
Mouse Hub Vinyl Wax Pulse Mobile Android Plan Race Car Track Train Engine Speed Flag Country Tires Wheel Stick Shift Seat Track Road Gas Set Motor Cycle Motorcycle Sport
Street Jacket Leather Hat Accessories Pole Cart Go Long Kart Moto Position Man Steering Wheel Post Horse Dog Nut Bolt
Universal Background Play Seat Sit Head Cell Phone Microphone Run Masters Headphone Urban Nation Ink Supplies Hotel Battle Baseball Football Party Bet Greatness Casino Chips Floor Strip Sun Odds Event Pay Tank Battle for States Localized Awards University Education Europe La Nouvelle Manga List Closed Dunk Series Piece Ball Jack Construction Creative Dolls Educational List Closed Dunk Leaves Safety Rack Grim Keeper n Act Fruit Apple Flash Light Movie Ancient Mummy Monster Snowman Monster Movie Patch Skull Myth Creature Mad Scientist Magic Fairy Tale Story Candle Skeleton Logo Boots Suit Cape
Halloween pretty 6d classic chicago rocks nyc metal feet auto world australia fun blur silhouette lego sculpture chile paint moon polaroid barcelona outdoors dusk shore lens side beed of naturale boeing duck bar bay station shop indoor port tulip bag blue sky field fishing texture sunny temple hill fly woods cathedral hiking selfie door sculpture bright long horse
orange purple train bus race car yellow sunset beach water
sky flower red blue nature night tree white green flower portrait art light snow dog sun clouds cat winter park street landscape summer trees sea city yellow christmas lake family bridge people bird river pink house car food old macro new
DECONSTRUCTING ROY LICHTENSTEIN
BEFORE AND AFTER
JOYCE BALLANTYNE
circa 1940's
ROY LICHTENSTEIN
Woman In Bath 1963
It would seem that Lichtenstein was even less original than many of his existing detractors had thought.
Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 - four months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey).
www.warholstars.org/warhol1/11roylichtenstein.html
Joyce Ballantyne (April 4, 1918 – May 15, 2006) was a painter of pin-up art. She is best known as the designer of the Coppertone girl, whose swimming costume is being pulled down by a dog.
She was born in Norfolk, Nebraska during World War I, and grew up in Omaha. She attended the University of Nebraska for two years and then transferred to the Art Institute of Chicago to study commercial art and the American Academy of Art.
After two years at the Art Institute, Ballantyne joined Kling Studios, where she painted Rand McNally maps and illustrated books for Cameo Press. She then moved to the Stevens-Gross Studio, where she remained for more than a decade. While at the studio, she became part of a group of artists that included Gil Elvgren, Al Moore, and Al Buell.
In 1945 Ballantyne began painting pin-ups for Brown & Bigelow, having been recommended by Gil Elvgren. While there, she designed direct mail pin-up brochures for the company, and was eventually given the honor of creating an Artist's Sketch Pad twelve page calendar. She often used herself as a model.[1] In 1954, Ballantyne painted twelve pin-ups for a calendar published by Shaw-Barton. Upon the calendar's release in 1955, demand was so great that the company reprinted it many times.
Ballantyne then went on to paint one of the most famous advertising images ever, when Coppertone suntan lotion asked her to create a billboard image in 1959. That image, of a pigtailed girl with her bathing suit being tugged down by a small dog, has become an American icon. Her daughter Cheri Brand was used as the model for the girl
Joyce Ballantyne eventually moved into the realm of portraits and fine art, painting the portraits of scores of entertainment and sports personalities as well as luminaries from the business, social, and academic worlds. Subjects included comedian Jonathan Winters, Robert Smalley of Hertz, and Major General John Leonard Hines.
In 1974, Ballantyne moved with her husband to Ocala, Florida where she lived until her death.
Joyce Ballantyne was a noteworthy member of the "girl's club" among pin-up artists - her women were often more natural than the studiously coy poses of her male counterparts.
Joyce Ballantyne was born in Norfolk, Nebraska, just after World War One. She attended Nebraska University for two years, painting murals in her spare time for department stores and movie theatres before leaving to study commercial art. After studying at the Academy of Art in Chicago for two years, she joined Kling Studios, where she painted Rand McNally road maps and illustrated a dictionary for the Cameo Press. She then moved on to the Stevens/Gross studio, where she stayed for more than ten years...
Influenced, as much of the studio was, by Haddon Sundblom, she became part of a group of artists who were extremely close, both professionally and personally, including Gil Elvgren, Earl Gross, Al Moore, Coby Whitmore, Thornton Utz, and Al Buell. She was also to become one of the three best known female pin-artists of the period along with Pearl Frush and Zoë Mozert.
She had first met Elvgren when he was teaching at the Academy of Art and she was a student. After years of working closely together they often shared assignments if one of them became ill or if a schedule was tight. Like her friend Elvgren, she preferred to work in oil on canvas.
Ballantyne's most important pin-ups were the twelve she painted in 1954 for a calendar published by Shaw-Barton. When it was released nationally in 1955, the demand from new advertisers was so great that the company reprinted it many times. Ballantyne then went on to paint one of the most famous advertising images ever. Coppertone suntan lotion asked several illustrators to submit preliminary ideas for a special twenty-four-sheet billboard for their American and international markets. Ballantyne won the commission, and her final painting (based somewhat on an ideal of Art Frahm) became a national icon. Its little pig-tailed girl whose playful dog pulls at her bathing suit charmed the entire nation.
Ballantyne also did much advertising work for other national clients, including Sylvania TV, Dow Chemical, Coca-Cola, and Schlitz Beer. She painted pin-ups for the calendar companies Louis P Dow and Goes and illustrations for such magazines as Esquire and Penthouse.
In 1974, Ballantyne moved with her husband to Ocala, Florida where she lived until her death.
Joyce Ballantyne biography borrowed from The Great American Pin-up by Charles G. Martignette & Louis K. Meisel.
Roy Lichtenstein
Woman in Bath
1963
Oil on canvas. 173.3 x 173.3 cm
Museo Thyssen-Bornemisza, Madrid
INV. Nr. 648 (1978.92)
Inspired by a romantic comic-strip, Woman in Bath features a basic range of primary colours—blue, yellow and red—applied using Lichtenstein’s characteristic Benday dot technique. The woman’s hands and face, outlined by thick black lines against a white background, stand out from the static geometry of the tiled wall behind her. Lichtenstein was one of the painters who abandoned the language of Abstract Expressionism in the 1960s, giving rise to the Pop Art movement. Here, in his treatment of a subject often addressed in the history of art—in the form of ‘The Bath of Venus’—he succeeds in challenging appearances, replacing the mechanical reproduction of the cartoon by the manual work of the painter.
In the 1960s, Roy Lichtenstein and other American artists of his generation, such as Andy Warhol, Tom Wesselmann and James Rosenquist, reacted against the language of Abstract Expressionism and gave rise to the Pop movement. At a time of economic expansion and prosperity in which major social advances had brought with them a new opulence characteristic of the age, these artists began to turn their gaze to everyday objects, advertisements and other consumer society products to use as subject matter for their works.
Lichtenstein produced his own personal portrait of the new America using a totally new artistic language: the so-called Benday dots process used to print comic strips, which was invented in 1879 by Benjamin Day. By using comic strip images and techniques in his work, the painter succeeded in rebelling against the texture and gesture of his abstract predecessors and exploring the complex connections between art and popular culture. Comic strips, which circulated in thousands of copies of newspapers and magazines, were not intended as works of art but as a means of transmitting synthetically a narrative content that aroused a particular emotion. Although at first sight Lichtenstein’s works appear no more than enlarged comic strips, when they are analysed at length it can be seen how different they are. By isolating these synthetic images, reproducing them by hand and changing their format, he achieved an impression of dispassionate objectivity devoid of any subjective feeling, which enabled him to make a rigorous artistic reflection. Lichtenstein thus strips them of their normal consumption and manages to alter appearances by replacing the mechanical reproduction of the comic strip with the manual work of the painter. Insofar as his works are a pictorial representation of a mechanical printing process, Lichtenstein succeeded in bringing together fine art and commercial design, thereby challenging the foundations on which painting had previously been based by converting a banal image into a work of art.
The Museo Thyssen-Bornemisza Woman in Bath was painted in 1963, most likely inspired by a sequence from a romantic serial. The subject of a bathing woman, a fairly frequent theme in art history in the form of The Toilet of Venus, was commonly depicted by Pop artists. The female figure, her contours delimited by thick lines set against a white background, is painted in an elementary palette of primary colours — blue, yellow and red — applied using the characteristic Benday dots. Gail Levin links this work to another oil painting produced the same year, Drowning Girl. In both compositions Lichtenstein shows the face and hands of a woman in water, but whereas the figure in the Museo Thyssen-Bornemisza painting is placidly enjoying a bath and gazes at the viewer with a broad smile, the girl in the other painting, who wears a contorted expression, is drowning in a sea of her own tears. The smiling figure of the former stands out against the static geometry of the background tiled wall, while the image in the painting in The Museum of Modern Art is caught up in a whirlpool of turbulent water which, according to Lichtenstein’s own testimony, is copied from the Japanese artist Hokusai’s engraving of The Great Wave.
The disturbing women in Lichtenstein’s paintings of the mid 1960s are embodiments of modern heroines. He shows them in different poses: sometimes as busy housewives, in a role they accept smilingly in a male-dominated world; on other occasions as characters in dramas of passions, in which they express anxiety, nervousness and fear. By portraying this stereotyped image of women of his day in his art, Lichtenstein merely intended to make a plastic statement about their need to aim for a new ideal: “Women draw themselves this way — that is what makeup really is. They put their lips on in a certain shape and do their hair to resemble a certain ideal”.
Paloma Alarcó
Local accession number: 11_03_000115
Title: Abraham's dream
Genre: Political cartoons; Lithographs; Prints
Publisher: Published by Currier & Ives, 152 Nassau St., N. Y.
Date issued: 1864
Physical description: 1 print : lithograph ; 13 1/2 x 18 in.
Summary/Abstract: The artist portrays a President tormented by nightmares of defeat in the election of 1864. The print probably appeared late in the campaign. Lincoln was said to have believed in the prophetic importance of dreams. The President lies on a bed under a sheet embroidered with stars. In his dream Columbia or Liberty, wielding the severed head of a black man, stands at the door of the White House. She sends a frightened Lincoln away with a kick. Lincoln, wearing a Scotsman's plaid cap and a cape and carrying a valise, flees to the left, saying, 'This don't remind me of any joke!!' The cap and cloak allude to an incident in 1861 before Lincoln's first inauguration. On being informed that an attempt would be made to assassinate him on his way to Washington, Lincoln took a night train and disguised himself in a large overcoat and Kossuth hat. The press made the most of Lincoln's timidity, and it was widely reported that Lincoln was seen wearing a Scotch plaid cap and a very long military cloak. Lincoln also carries a rolled piece of paper 'To whom it may concern.'
General notes: Title from item.; Caption on item: 'Coming events cast their shadows before.'
Subjects: Nightmares; Presidents; Chasing; Columbia (Symbolic character); United States--History--Civil War, 1861-1865; White House (Washington, D.C.); Lincoln, Abraham, 1809-1865
Collection: Americana Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
I drew this 10 or 15 years ago. I was going thru some old boxes and found it... it is an old photocopy of the original, thus the poor image quality.
Anyway, I don't remember who the Barb is that I sent this to, but I hope she liked it. It cracks me up...
JACK KIRBY
Western Tales 33
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
Cartoon in the Guam News Letter, July 1912, as reprinted from US newspapers courtesy of Anne Hattori.
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It draws with Photoshop. It is a very lovely mascot character.
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