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    P. Craig Russell

    Philip Craig Russell studied painting at school before getting into comic books in the early 70s, mostly doing horror and fantasy work.

    Since then, he has made his name mostly do comic adaptations of other works, whether they be the Elric stories of Michael Moorcock or the operas of Wagner.

    He also did some work for DC Comics' Sandman.

    He has won a number of awards, and just recently did a Conan mini-series for Dark Horse.

    Andy Kubert

    Andy Kubert is the youngest son of legendary comic artist, Joe Kubert, and went to work at DC Comics as a young man.

    He soon graduated to bigger assignments at Marvel Comics, becoming the artist who had to follow Jim Lee on X-Men, a role which Andy excelled at for years before moving on to try his hand on a number of other Marvel titles, usually bringing improved sales along with him as he went (Ka-Zar, Captain America, Thor).

    He drew the hit Origin mini-series for Marvel, and also was Neil Gaiman's pick to draw Gaiman's first Marvel work, 1602.

    Recently, he and his older brother Adam went back to their DC roots, by signing an exclusive contract with DC.

    Andy is currently drawing Grant Morrison's Batman run.

    Adam Hughes

    Adam Hughes broke into comic as a young man with some work for Comico, then making a big splash as the regular artist for DC Comics' Justice League America.

    His work on the interiors of the title, while making him quite popular, also showed him that regular ongoing interiors assignments were not what he would like to do in comics, and since then, he has devoted himself to special projects and comic book covers.

    He had a long run as cover artist for Wonder Woman.

    And currently, he is drawing folks in with his striking Catwoman covers for DC.

    In addition, it was just recently announced that Hughes will both write AND draw an All-Star Wonder Woman comic book for DC.

    Brian Bolland

    Brian Bolland first began drawing comics professionally as a young man in Britain in the 70s, as Dave Gibbons helped him out in finding opportunities.

    A high-profile run on Judge Dredd eventually led to Len Wein getting Bolland to work on American comics, most notably the 80s mini-series Camelot 3000 (written by Mike W. Barr) and the Killing Joke one-shot (written by Alan Moore).

    Since the late 80s, though, Bolland has generally avoided sequential work, choosing instead to devote his time to striking comic book covers.

    He has had long runs as cover artists on Wonder Woman, Gotham Knights, Flash and Animal Man, while providing some stunning and highly memorable covers for those books (particularly Animal Man and Wonder Woman).

    Dave McKean

    Dave McKean first came to America to try to break in as a comic artist in the late 80s, but it was not until he teamed up with Neil Gaiman that his goal was achieved.

    After working with Gaiman on the graphic novel, Violent Cases, the pair got a mini-series from DC Comics called Black Orchid. Neither of the two ever looked back.

    McKean REALLY hit it big, though, with a project with another writer, Grant Morrison, the perfectly timed (it came out around the Tim Burton Batman movie, so anything with Batman on it sold like crazy). Afterwards, McKean had the freedom to do the projects he wanted to do.

    McKean has worked with Gaiman on a number of occasions (most prominently on covers for Gaiman's Sandman), highlighting his unique style (which incorporates photography, painting, digital work and sculpture in with his drawing).

    However, he also did comic work on his own, using a stripped-down art style different from his mixed-media cover work.

    Most recently, McKean's debut as a film director, MirrorMask, was released.

    Carlos Pacheco

    Carlos Pacheco worked in the Spanish comic industry for years before being noticed by an American audience, working on translations of Marvel comics (providing new covers, etc.).

    He gained notice from his work on the Marvel UK title, Dark Guard, and soon his clean, dynamic artwork was getting some major attention.

    It was not long before Pacheco was getting assignments from both Marvel and DC, leading to, in 1997, him becoming the regular artist on X-Men, following Andy Kubert's departure.

    After X-Men, he worked on the Avengers Forever maxi-series with Kurt Busiek.

    Currently, after finishing a run as Green Lantern artist (with Geoff Johns again), Pacheco is drawing Superman (with Busiek again).

    Greg Land

    Greg Land broke into mainstream comics in the mid-90s, but it wasn't until Birds of Prey began that he had his own regular title to work on.

    He drew Birds of Prey and then Nightwing, leaving only to go work for Crossgen.

    Land's photo-realistic artwork was a big hit for fans, and it got more photo-realistic on his Crossgen title, Sojourn.

    After Crossgen closed shop, Land moved his services over to Marvel Comics, doing a number of assignments for them, including Phoenix: Endsong.

    Pacheco then lived a childhood dream of his by becoming the regular artist AND writer on Marvel's Fantastic Four. It did not last too long, though, and soon Pacheco was off to DC to do projects with Geoff Johns (Virtue and Vice) and Busiek (Arrowsmith).

    Currently, Land is drawing the Ultimate Power mini-series from Marvel.

    Jim Starlin

    Jim Starlin broke into the comics world as a young man, and was in very much of a "learn as you go" mode, as very soon after he began working for Marvel Comics in the early 70s, he was writing/drawing titles on his own.

    After major success on Warlock and Captain Marvel, Starlin created his own character for Marvel's Epic line, Dreadstar.

    His clean, straightforward style was very accessible to readers.

    For a time, Starlin seemed to concentrate more on writing than on drawing, but the last couple of years have seen a return to more pencilling for Starlin, on titles like Infinite Abyss, Thanos, Cosmic Guard and his current series, Mystery in Space, for DC Comics.

    Paul Smith

    Paul Smith was working in animation when he broke in as a comic book artist in the early 80s.

    His work on Doctor Strange got him noticed, so when Dave Cockrum ended his second tour of duty on Marvel's popular title, X-Men, it was quite a surprise to see the little known Smith given the job.

    However much of a surprise it was at first, it wasn't for long, as Smith's unique draftmanship quickly made him a prominent artist in the industry.

    However, like many other great artists, Smith preferred not to draw a monthly book, so his run on X-Men was not particularly long. Since then, he has drawn many different comic books, most notably being the artist on James Robinson's Leave it to Chance (using a looser, more cartoonish style).

    Smith recently drew a Kitty Pryde mini-series for Marvel and a few issues of She-Hulk.

    Jean Giraud (Moebius)

    Jean Giraud had been drawing French comics for years before he debuted his pseudonym, Moebius, in 1963. Giraud used the name Moebius for his science fiction and fantasy work, which he used a different style than his western comic, Blueberry, which he did as Giraud.

    It was as Moebius that Giraud co-founded the popular anthology Métal Hurlant (Heavy Metal) in 1975, where he did some of his most famous work.

    Moebius even did some American superhero work, most prominently a Silver Surfer two-issue series with Stan Lee.

    Jaime Hernandez

    Along with his brothers Gilbert and Mario, Jaime (Xaime) Hernandez helped create Love and Rockets, which consisted primarily of two serials, one by Gilbert (Palomar) and one by Jaime (Locas).

    The brothers worked on Love and Rockets throughout the 80s, and after it finished with #50, they both worked on solo projects before returning for volume 2 a few years ago.

    Jaime is well-regarded for his ability to draw characters that, while somewhat resembling the typical Archie character traits, are embued with so much nuance that they seem so real to the reader.

    Olivier Coipel

    French artist Olivier Coipel first came to the attention of American readers when DC tapped him to do a new take on the Legion of Superheroes, along with writers Dan Abnett and Andy Lanning.

    Coipel's style was a lot darker and a lot edgier than the artists he followed, but over time, he evolved into a dynamic, stylized artist.

    Since his Legion days, he has been the regular artist for Avengers and drew Marvel's big mini-series from 2005, House of M.

    He is going to be drawing the upcoming Thor series from Marvel.

    Michael Turner

    Michael Turner's big break as an artist came in the mid-90s, after doing backgrounds for Top Cow, he helped launch (and co-create) the series Witchblade for Top Cow.

    The book was a smash success, and Turner followed it up with another popular title that he created, Fathom.

    Turner took Fathom to his own comic company, Aspen Comics.

    In recent years, due partly to poor health, Turner has done more cover work than interiors, although he did do a very popular arc on DC's Superman/Batman.

    As a cover artist, he has become one of the most popular cover artists in the industry, with Marvel and DC both routinely asking for covers by him.

    It was recently announced that Turner would be doing an Ultimate Wolverine series for Marvel with writer Jeph Loeb.

    Alex Maleev

    Alex Maleev got his start in his native Bulgaria, drawing comics for Bulgarian comics.

    He came over to America in the mid 90s, studying at the Joe Kubert school, and fitting in some work on various Batman titles between gigs as a storyboard artist for films such as the Bone Collector and Great Expectations.

    Around that time, Maleev began to work more regularly in comics, becoming the regular artist on Sam and Twitch, which was written by Brian Michael Bendis.

    Maleev then moved with Bendis over to Marvel, to draw Daredevil.

    Maleev stayed on Daredevil with Bendis for four years, until their run recently ended.

    Maleev's art is noted by its grainy, cinematic feel to his storytelling. He brought that edge to Avengers: Illuminati, and will soon take it to a Spider-Woman series written by Bendis.

    Steve Dillon

    Steve Dillon broke into the world of British comics as a teenager in the late 70s, and continued to work in the field, from Warrior to 2000 AD to Dr. Who Magazine until he finally moved to American comics in the late 80s.

    His first American run was on Animal Man.

    Soon after Animal Man, he began a highly impressive ELEVEN-YEAR working relationship with Garth Ennis that began with a run on Hellblazer together, then 60 issues of their creator-owned titled, Preacher, followed up by a long run on Punisher.

    More recently, Dillon has done a number of projects with writer Daniel Way, from Bullseye: Greatest Hits to Supreme Power: Nighthawk to Punisher vs. Bullseye to finally, his current assignment, the on-going series, Wolverine Origins.

    Sam Kieth

    Sam Kieth first came to prominence as Matt Wagner's inker on Mage.

    A few years later, he popped up at DC, doing the first five issues of Neil Gaiman's Sandman, before departing the book.

    Kieth had a prominent run on Marvel Comics Presents, drawing stories featuring Wolverine and Ghost Rider.

    Soon, Kieth followed other prominent Marvel artists to Image, where Kieth created his own series titled the Maxx (with some early script help from William Messner- Loebs).

    Maxx ran for 35 issues, and was even turned into a cartoon series for MTV.

    Since then, Kieth has been busy on a variety of projects for a number of comic book companies.

    Most recently, Kieth did a mini-series for DC titled "Batman: Secrets."

    Darick Robertson

    Darick Robertson started doing comics while he was still in high school, but, after drawing a number of Justice League issues in the early 90s, he got his big break following Mark Bagley as the artist on Marvel Comics' New Warriors.

    After his run on New Warriors, Robertson tried his hand at a number of projects featuring other Marvel superheroes, but ultimately, he decided to eschew superheroes for awhile when he helped create Transmetropolitan with writer Warren Ellis, which the two produced together for five critically acclaimed years.

    After Transmetropolitan, Robertson went back to Marvel and (after a Punisher mini-series with Garth Ennis) superheroes, drawing first the Wolverine ongoing series and then the Nightcrawler mini-series.

    After a Fury mini-series with Garth Ennis, Robertson moved to DC with Ennis to do a creator-owned comic, The Boys, whose third issue was just released.

    Jae Lee

    Jae Lee was only just out of college when he gained his big break in comics, given the task of following John Byrne as penciller of Namor for Marvel Comics.

    Lee's dark, moody artwork soon took him to a variety of projects for Marvel.

    Lee started his own creator-owned title, Hellshock, in the mid-90s, but by the end of the decade, he was back doing more work for Marvel Comics, most prominently his two mini-series with Paul Jenkins, the Inhumans (where Lee was given free reign to redesign the Inhumans) and The Sentry.

    Lee has kept busy, drawing short runs on a number of different titles, ranging from Captain America to GI Joe vs. Transformers.

    He is currently drawing (for release next year) Marvel Comics' adaptation of Stephen King's Dark Tower.

    Barry Windsor-Smith

    Barry Windsor-Smith made his debut as a young man when he approached Marvel Editor Roy Thomas, and came away with a gig drawing the X-Men.

    Smith really rose to prominence, though, a few years later as the artist of Marvel's adaptation of Robert E. Howard's Conan the Barbarian character.

    The book was a smash hit, and Smith was a star.

    Soon after this, though, Smith withdrew from regular comic work, to work more with painting, as the pre-raphaelite influence was already becoming apparent in his comic book work, but now he was embracing it fully.

    Smith returned occasionally to do some notable comic book, specifically some X-Men issues with Chris Claremont that were very well-received, as well as a larger return for Valiant Comics in the early 90s, with some lush, gorgeous work on Archer and Armstrong.

    Smith also contributed Rune to the Ultraverse.

    Most recently, Smith has announced he will be doing a Thing graphic novel for Marvel Comics.

    Gil Kane

    Gil Kane (nee Eli Katz) began working in comics as a teenager before World War II, doing a number of projects for MLJ Comics, but then he returned to school, and eventually went to serve in the military during World War II.

    Upon his return to the United States, Kane did a number of freelance work, primarily for DC Comics. He happened to be right there when DC decided to redo their superhero line, and Kane was ready! He was the first artist to draw the Silver Age Green Lantern and the Silver Age Atom.

    After drawing for DC for quite some time, Kane moved over to Marvel, where he drew notable runs on Captain Marvel and Amazing Spider-Man, in particular, the Death of Gwen Stacy.

    Kane was not just a superhero artist, though, as his Blackmark orginal graphic novel in the early 70s was a sword and fantasy book.

    Kane's work was marked by an extremely dynamic style. His pencils had a great deal of movement to them, as they really popped from the page.

    Like Jimmy Olsen, Kane was "Mr. Action."

    Gil Kane passed away in 2000.

    Jim Aparo

    Jim Aparo tried to break into the comic industry as a young man, but was not able to, so instead turned his hand to doing advertising work for the next decade or so.

    The comic art bug, though, was something he couldn't kick, so he kept plugging away until finally, in the 60s, Dick Giordano hired him to draw comics for Charlton.

    Aparo was quite prolific at Charlton, bringing the same realism that Neal Adams strove for, but slightly less bombastic - more grained in realism. His heroes looked like real athletes - a lot leaner than most other artists draw characters. His clothes looked like real clothing.

    After working for Charlton for awhile, when Dick Giordano moved over to DC, he brought Aparo over with him, and that started about thirty-plus years of continued work at DC for Jim Aparo, with rarely a missed month until Aparo stopped drawing comics regularly in the mid-90s.

    First, Aparo drew the last 16 issues on Aquaman's title, before moving on to Brave and the Bold, where Aparo stayed (with only a few issues missing in between) from #98 until #200!! For almost the entirety of the run, Aparo did not just pencil the book, but he both inked AND lettered it!

    Brave and the Bold soon led to Batman and the Outsiders, and when Batman left that title, soon Aparo did, too, following Batman to, well, Batman titles. Aparo stayed on as Batman artist until around 1993, when he moved over to Green Arrow until Oliver Queen was replaced around 1995.

    It was at this point that Aparo stopped working regularly in comics, but he was always willing to do a story whenever an editor asked, as he kept drawing stories until well into the 21st Century.

    Jim Aparo passed away last year.

    David Finch

    David Finch first came up at Top Cow in the mid-90s as the replacement for Marc Silvestri on Cyberforce. His style was reminscient of Silvestri.

    Finch's trademark, other than drawing attractive women, is his sharp, angular lines and the way that he presents a specific mood for his pieces.

    Finch came over to Marvel in 2002, first doing some work on X-Men Unlimited, and was then given the assignment of drawing Call of Duty with writer Chuck Austen.

    After that, Finch began a long run on Ultimate X-Men, finishing Mark Millar's run and drawing the entirety of Bendis' run on the book.

    He followed Bendis over to Avengers, and the two launched New Avengers together.

    Currently, Finch is handling the art chores on Moon Knight for Marvel, only by now, Finch has gone well beyond just Silvestri's style of art, as there are hints of Silvestri, McFarlane, Mignola and Quesada all wrapped up in Finch's current art style.

    Gene Colan

    Gene Colan broke into comics after serving in World War II.

    He freelanced for both DC Comics and Timely (later to be Marvel) Comics.

    In the 60s, he would use his name for the romance comics he was drawing for DC, but use the name Adam Austin for the superhero work he did for Marvel, but he ultimately dropped the pseudonym.

    Colan's art was noted for his interesting panel approaches. He also had a style different from the Jack Kirby style that a number of Marvel artists were encouraged to emulate.

    However, the real key to Colan's success is the shadowy, textured feel to his work. This is especially evident in black and white.

    It comes as no surprise, then, to see that Colan was very good at drawing Tomb of Dracula, which he did for Marvel in the 70s and Batman, which he did for DC in the 80s (for a time, Colan was drawing BOTH Batman titles!).

    Colan also drew most issues of Steve Gerber's Howard the Duck.

    Other than Tomb of Dracula, though, Colan is probably best known for his Daredevil work, drawing the book for basically every issue from #20-100, and coming back at different times, even as recently as the late 1990s!!

    Todd McFarlane

    Todd McFarlane first gained attention in the comic industry with a back-up story in Epic Comics' Coyote.

    This led to assignments at both DC and Marvel. His run on Incredible Hulk was popular enough that Marvel decided to bump him up to a bigger book, Amazing Spider-Man.

    On Amazing Spider-Man, McFarlane experimented with the look of the character, his costume and his webbing. McFarlane added a cartoony feel to the work, but also a dynamic cartoonish feel.

    McFarlane was soon so popular on the title that Marvel gave him his own Spider-Man series to write and draw. Spider-Man #1 was one of the highest selling comics of all-time.

    Soon, McFarlane helped form the comic company Image, debuting his own creation, Spawn, and making IT one of the highest selling comics on the market.

    Spawn has had a movie and a animated TV series.

    McFarlane recently announced a return to drawing, after a long absence, for the DC/Image crossover, Batman/Spawn.

    Chris Bachalo

    Chris Bachalo broke into comics soon after graduating from school. After a Sandman fill-in, Bachalo became the regular artist on Shade the Changing Man, along with long-time inker, Mark Buckingham.

    On Shade, Bachalo showed off his style of the time, a cartoony, heavily detailed style where characters' personalities would be prominent in their depiction.

    After Shade, and a high-profile mini-series starring Death from Sandman, Bachalo helped create and launch the popular X-Men spin-off, Generation X.

    While on Generation X, Bachalo's style changed. He got even more detailed, and soon he would fill the whole page with stylized artwork. Also, he began accentuating characteristics in characters broadly.

    This was especially evident on his creator-owned work, Steampunk, done with writer Joe Kelly.

    The last few years, Bachalo has kept busy mostly on X-Men projects. Ultimate X-Men, New X-Men, Uncanny X-Men and currently, X-Men.

    Joe Kubert

    Joe Kubert first began drawing comics as a young man in the 40s, and worked for a number of comic companies, but eventually became primarily an artist for DC Comics, working on many different titles.

    Kubert worked as DC Comics' director of publications for a time before leaving to form the Joe Kubert School of Cartoon and Graphic Art. More than one of his former pupils are on this list somewhere.

    Kubert perhaps is best known for his work on war comics (although his Tarzan and Tor work is equally well regarded in other circles).

    Kubert is an excellent draftsman, but his primarily talent seems to be the personality and life he enfuses each panel with. This is especially helpful for war stories.

    Kubert was a prominent cover artist for DC Comics, as well.

    Kubert also worked on the acclaimed original graphic novel, Fax from Sarajevo, during the 1990s.

    Kubert recently finished a Sgt. Rock mini-series for DC, and he continues to do regular work for the US Military magaine, PS Magazine.

    Mark Bagley

    Mark Bagley was working at Lockheed Martin, doing technical drawings when a friend of his insisted that he enter Marvel's Try-Out contest, where the winner would get a professional gig from Marvel.

    Bagley entered, and was the winner. He was given some New Universe work, and some backups in Annuals and some titles.

    Eventually, Bagley was named the regular artist for New Warriors, a new title from Marvel that was a moderate hit.

    His work on New Warriors was popular enough that, when Erik Larsen left Amazing Spider-Man, Bagley was tapped to be the replacement, and since then, Bagley has become basically THE artist associated with Spider-Man.

    His clean art with his angular lines has made him a popular artist, and Bagley is a quick artist who stays on books for a long time. He was the regular artist on Amazing Spider-Man for over fifty issues.

    He followed this up with a 45-issue run on Thunderbolts, with writer Kurt Busiek (and later, Fabian Nicieza).

    Most recently, Marvel just released his 100th issue of Ultimate Spider-Man. During the success of Ultimate Spider-Man, Bagley officially became THE Spider-Man artist, as his rendition of Spider-Man adorns pretty much any licensed Spider-Man product out there, from paper plates to napkins to t-shirts.

    J.H. Williams III

    J.H. Williams mostly kicked around the periphery of mainstream comics for most of the early 90s, drawing an issue here and an issue there. Mostly fill-in work.

    This changed when he (and his frequent inker, Mick Gray) were assigned Chase, from DC. The book didn't sell that well, but it was a critical hit, and suddenly, Williams and Gray were in demand, but for the next year, they still mostly did fill-in work.

    This changed when Alan Moore tapped the team to illustrate his new comic book series, Promethea.

    It was on Promethea that Williams truly broke loose as a creative force, with his intricate artwork and imaginative designs brought Moore's thoughts to the reader in a manner that few could ever expect.

    Williams brought this creativity for the full run of the series, eventually moving past being inked. He brought this same style to Desolation Jones (with Warren Ellis) and Seven Soldiers #0 (with Grant Morrison).

    Currently, he is the "regular" artist on Detective Comics, using a more straightforward (yet still excellent) style of art, however, his run on Detective is being delayed by delays on the last issue of Seven Soldiers (#1, the bookend to #0).

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    Alex Toth

    Alex Toth began working in comics out of high school during the 1940s, doing a multi-year stint at DC Comics, drawing most of the well-known Golden Age characters, like Green Lantern, The Flash, The Atom and Dr. Mid-Nite. In the early 50s, he left DC and did a number of different styles of comics for Standard Comics - war, romance and western comics.

    After a stint in the military during, Toth returned and worked for Dell until the 60s. At Dell, he did a number of comics based on popular programs.

    He soon began to work in television, being the designer for Space Angel and, later, a number of Hanna Barbara shows, most prominently, Space Ghost and Super Friends.

    Toth, throughout, continued to contribute comic stories here and there, and he was a vocal critic of comic book art, contributing many columns on the subject.

    Toth was the standard-bearer when it came to comic book art, really, as his ability to tell a story with his art was textbook perfect, which is why it is no surprise that he was so desired in the field of television, where his storytelling skills were put to great use.

    With Toth, it was almost like watching a video, with the wonderous integration of the art with the story.

    Alex Toth passed away earlier this year.

    Darwyn Cooke

    Darwyn Cooke wanted to break into comics, and he did...just about 15 years after he meant to.

    Cooke's work appeared in 1985's New Talent Showcase #19, but with little interest in his work, he decided to go into magazine art design, which is where he worked for the next few years until the 1990s, when he tried breaking into comics again, and when there was little interest AGAIN, he went to work for Bruce Timm, doing storyboard work for Batman: The Animated Series.

    Cooke had great success with this for years, until 2000, when he finally broke into comics with his Batman: Ego graphic novel.

    Cooke found regular freelance work after that, and most notably worked with writer Ed Brubaker to re-imagine Catwoman for her new series.

    In 2004, though, Cooke had his boldest project yet, the six-issue, 400 plus page, New Frontier, where he used his tremendous storytelling skills to retell the beginning of DC's Silver Age.

    The project was a huge critical success.

    Currently, Cooke is preparing to launch a new series starring Will Eisner's The Spirit, which Cooke will write and draw.

    Steve McNiven

    Steve McNiven was a schoolteacher for years before finally feeling he was ready to start looking for a professional gig drawing comics. In his very first con, looking for work, McNiven's talent was noticed by Crossgen comics, which hired him to follow Joshua Middleton as regular artist for Crossgen's Meridian, with writer Barbara Kesel.

    He stayed with Crossgen until it was clear the company was going under, at which point McNiven went to Marvel Comics, where he became the artist for Roberto Aguirre-Sacasa's Marvel Knights: Four.

    People were quite impressed with McNiven's detailed work which was just stylized enough not to be photo-realistic.

    After a stint on Ultimate Secret and New Avengers, McNiven took over the biggest assignment of his career, drawing Marvel's big crossover event, Civil War, with writer Mark Millar.

    McNiven is still doing Civil War at this point in time.

    Marc Silvestri

    Marc Silvestri made a big splash with his first major assignment in comics, as he took over as the penciller for Uncanny X-Men, Marvel's highest selling title, in 1987 (he would alternate with Rich Leonardi).

    He stayed on the book for a few years before becoming the regular artist on Wolverine, with writer Larry Hama.

    Silvestri's art, over the years, evolved into a dynamic style of art, noted by a good deal of cross-hatching and intense rendering.

    After a couple of years, Silvestri was one of the founding members of Image Comics, and Silvestri debuted his creator-owned comic, Cyberforce.

    Silvestri's comics from Image were part of his imprint, Top Cow. Top Cow debuted a number of new titles, mostly with artists influenced by Silvestri. Silvestri did a lot of work finding major new artists. Some artists "discovered" by Silvestri's studio include Michael Turner, David Finch, Joe Benitez, Tyler Kirkham and Michael Choi.

    Since he stopped as regular artist on Cyberforce, Silvestri has mostly done short runs on titles or special projects (like this Batman: Black and White piece).

    Silvestri still managed to help co-create two of Top Cow's most popular characters, Witchblade and The Darkness.

    Silvestri returned to Marvel for the last few issues of Grant Morrison's run on New X-Men, and currently draws Hunter/Killer for Top Cow, with writer Mark Waid.

    Jim Steranko

    Jim Steranko had many different occupations through his early 20s, including escape artist and magician, but finally, the comic world snared him, initially with him working for Joe Simon at Harvey Comics.

    He then went to Stan Lee at Marvel looking for a gig, and he was assigned finishes on Jack Kirby's SHIELD stories in Strange Tales. Soon, Steranko would take over drawing the series, and after that, writing the series as well. The stories were popular enough that Nick Fury and SHIELD were given their own title, which Steranko famously drew four of the first five issues of.

    Steranko's stylized art, filled with bombast and pop art influence (not to mention psychedelic influences) was over the top, yet refined at the same time.

    Steranko brought this style to Captain America for three issues as well.

    Soon, Steranko realized monthly comic book drawing was not for him, so he went into book cover illustration, as well as forming his own publication company, where he put out the Steranko History of Comics.

    He also began to work in film, helping to design Indiana Jones and the Raiders of the Lost Ark.

    He occasionally still produced comic book work, with his stylized black and white shadowy work in Chandler: Red Tide in 1976 serving as a gigantic influence for Frank Miller's Sin City style of art.

    Steranko still works in the field of art, in many different media.

    Walt Simonson

    When Walt Simonson graduated from college in the early 70s, his senior thesis was a comic booK! Therefore, it should come as no surprise that Simonson was soon working in the comic book industry.

    Simonson worked on a number of odd projects before getting his big break on the Manhunter back-up series in the pages of Detective Comics, with writer Archie Goodwin.

    Simonson soon was drawing Batman regularly.

    He went to Marvel later in the decade, and drew Thor with writer Roy Thomas and an extended run with writer Len Wein. At Marvel, he also finally published a graphic novel, Star Slammers, based on his senior thesis.

    Simonson is known for his dramatic style of art that is extremely stylized.

    He brought this style back to Marvel in the early 80s when he became the writer and artist on Thor, which he continued for most of the 80s.

    He next drew X-Factor, along with his wife, writer Louise Simonson.

    He next tackled the Fantastic Four.

    After a stint at Dark Horse and Malibu, Simonson popped up at DC, drawing and writing an Orion ongoing series.

    Since then, Simonson has kept busy doing covers and mini-series depicting Michael Moorcock's universe of characters.

    Arthur Adams

    Art Adams was still in his teens when he made his comic debut on the Marvel mini-series, Longshot.

    Regular comic work was never in the cards for Adams, as his detailed style of artwork took too long for monthly comics, so instead, he has made his career drawing annuals, special projects, mini-series and covers of comic books.

    Still, his distinctive detailed, yet cartoony, style of work has proven to be very popular.

    In the early 90s, Adams helped found Legend at Dark Horse, where he debuted his creator-owned comic, Monkeyman and O'Brien.

    Adams continues in this vein today, drawing a number of covers and special projects (he did a lot of work at America's Best Comics' Jonni Future strip).

    John Romita Sr.

    John Romita graduated school in the late 40s, and soon began working in comic books, but after a rough start, he was soon outside the industry, until a chance encounter with a friend from school changed Romita's situation, as Romita soon found himself ghost-drawing comic books for the friend.

    Eventually, Romita decided to get work under his own name, and, after pointing out that he's already been hired, in a roundabout way, Romita began working for Atlas Comics (soon to be called Marvel Comics). He drew the Captain America comic of the 50s.

    Romita worked mostly on romance comics for the next ten years, until he was lured into the world of superhero comics in the mid-60s.

    He had a stint on Daredevil, and was then brought over to replace Steve Ditko on Amazing Spider-Man.

    Romita originally kept close to original artist Steve Ditko's style, but soon, Romita's clean, soap opera-like artwork shown through, and soon became the model for all future Spider-Man artists.

    Look at this splash page from Amazing Spider-Man...notice the soap opera feel to it? And notice how THIS is the Peter Parker all other artists have drawn since?

    Eventually, Romita began to work for Marvel as its Art Director, which is where he served for the rest of his career. In this role, he designed pretty much all new characters, coming up with the design for Wolverine and the Punisher.

    Romita still occasionally does an art job here and there.

    Alan Davis

    Alan Davis made his big break in the comic industry in Britain, after doing fanzine work, on the Captain Britain strip in The Mighty World of Marvel from Marvel UK.

    Davis soon became a popular artist, drawing Captain Britain's monthly series, with writer Alan Moore. Davis also drew Marvelman, with Moore.

    In 1985, Davis was hired by DC to draw Batman and the Outsiders, and he proved popular enough that he was hired to do Detective Comics.

    He was then brought to Marvel to launch Excalibur, with Chris Claremont. After the pair left the book, Davis returned to write and draw the title.

    Davis' clean style is reminiscient of Neal Adams, with his bright, realistic characters.

    Davis worked on many projects over the next few years, from the Elseworlds' Nail series for DC and Clandestine for Marvel.

    For awhile, he wrote/drew X-Men for Marvel Comics. He returned later to draw Uncanny X-Men with Chris Claremont.

    Recently, it was announced he was doing a Fantastic Four: The End mini-series and a return of Clandestine.

    Bryan Hitch

    Bryan Hitch first broke into comics working on British comic books, such as Dr. Who and Death's Head.

    His work for Marvel UK eventually led to him getting assignments for American comics. He drew some issues of X-Men, and was the regular artist on Outsiders for DC for awhile.

    He initially drew very similar to Alan Davis, but when he became the regular artist on Stormwatch, he helped relaunch the title with Warren Ellis as the Authority, and it was here that Hitch debuted his more detailed, photo-realistic style of art.

    Hitch was hired to bring this style to the JLA, which he did for a time.

    He left, though, to launch The Ultimates with writer Mark Millar.

    He has been working on the series for the past four years, bringing a high level of critical and commercial success to the title.

    When the book ends, it is unknown what Hitch will do next.

    John Buscema

    After a short stint training to be a boxer, John Buscema, as a young man, realized that art was to be his life's passion.

    In the late 1940s, Buscema was hired on at Timely Comics by Stan Lee, where Buscema worked for the next few years.

    After a short stint in the Army, Buscema spent most of the 50s working for Timely (even as they went to become known as Atlas Comics). He also freelanced for a number of other companies, in order to make ends meet.

    He would draw westerns, romance comics, war comics, whatever the need was.

    The business was a bit too dried up, though, by the end of the 50s, so Buscema left comics to become a commercial artist, which is what he did for eight years, missing the beginning of Marvel's superhero explosion.

    Stan Lee lured him back to comic books with the promise of better working condition than he was having in the commercial art industry, and soon, Buscema was working on The Avengers, with writer Roy Thomas.

    Their run on Avengers was quite acclaimed.

    For the rest of the 60s, though, Buscema mostly worked in the areas that were more comfortable for him (he was never a fan of superheroes), so he mostly worked on Marvel's non-superhero comics.

    However, when Jack Kirby left Marvel, he left a huge hole to be filled, and John Buscema ended up being the man who filled the hole, taking over a number of superhero comics, ultimately having a run on almost every title Marvel published (and doing it nicely and quickly!).

    Buscema's style was a powerful one, but it was one that had its origins in a more down-to-Earth style, like his boxing pedigree. This might be why, although he drew them well, he never got into superheroes.

    He was in luck, though, as he soon found the one successful property he could throw himself into - Marvel's adaptation of Conan.

    Conan was just the sort of earthy title Buscema loved, and after taking over from Barry Windsor-Smith, Buscema would draw the title for years, ultimately drawing over a hundred issues of BOTH Conan titles!

    In the late 70s, Buscema would cut down on his pencils, so as to be able to draw even MORE assignments, so for the rest of the decade and most of the 80s, Buscema's work was only breakdowns, something that is quite evident in his second Avengers run, an acclaimed run with writer Roger Stern that inker Tom Palmer had a huge influence in the look of the book, as Buscema was not doing full pencils at the time.

    Buscema was a prolific worker, and continued to do assignments well into his 70s.

    John Buscema passed away in 2002.

    Bill Sienkiewicz

    When Bill Sienkiewicz first began working at Marvel Comics, on the Fantastic Four, his style had a real Neal Adams-influence to it, clean and fairly straightforward.

    It was not until he was given the regular assignment on Moon Knight, with writer Doug Moench, that Sienkiewicz began to experiment as an artist. And when Moon Knight went direct market only? Then Sienkiewicz went nuts as an artist, bringing in all the abstract and expressionist influences he could muster to really change the way comic book artwork looked, an influence that remains heavy today.

    He went to work on New Mutants with writer Chris Claremont, where he was given free reign to re-imagine the title, and his use of exagerration and unique perspectives made him an in-demand artist.

    Here is a page from Batman #400, with Sienkiewicz's style at the time...

    Instead, though, of continuing as a popular comic book artist with that style, Sienkiewicz got even more abstract. First, in the Marvel mini-series, Elektra: Assassin, and later, when he began bringing in oil painting, collage and mimeograph to his work, primarily on his own creator-owned work, Stray Toasters.

    Here, Sienkiewicz paved the way for the Dave McKeans of the world.

    Sienkiewicz still regularly draws, but in the comic world, he mostly supplies occasional inking, rather than full artwork. Otherwise, he keeps busy in the world of art design for TV and film, and the occasional special project.

    Steve Ditko

    After a short stint in the military after World War II, Steve Ditko studied at the Cartoonists and Illustrators School, and by 1953, he was working in the field of comics, for Crestwood, Harvey and Charlton Comics.

    Soon, he found himself steady work at Atlas Comics for the rest of the 50s, working on the relaunched titles Amazing Adventures, Strange Worlds, Tales of Suspense and Tales to Astonish, which soon became the most popular titles from Atlas Comics (soon to be known as Marvel Comics).

    In 1962, Ditko co-created Spider-Man with Stan Lee. It was working on Spider-Man and Doctor Strange that Ditko gained the majority of his fame.

    A master of economy, Ditko stories were often packed with many panels, giving each story a depth of plot that made each issue a hearty reading experience.

    His art was always very cleanly detailed, and he was a master of creating the right mood with his work, and, as I mentioned, with the amount of panels he used, he could convey the deepest of emotions in one small panel, making a five-page story feel like a 22-pager.

    Check out this example from a page of Amazing Spider-Man...

    Meanwhile, on Doctor Strange, Ditko cut loose with surreal ideas, like introducing Eternity.

    Eventually, Ditko seemed to desire more freedom with his work (he had taken on more and more writing work on his strips), so he left Marvel for Charlton Comics, where he was given a good deal of freedom.

    He worked on Captain Atom, Blue Beetle and The Question, and in addition, he created Mr. A for Wally Wood's independent company.

    When Dick Giordano left Charlton for DC, Ditko was one of the creators he brought with him, and Ditko did some work for DC in the late 60s/early 70s, including creating The Creeper and co-creating Hawk and Dove.

    Soon, though, Ditko went back to Charlton and independent companies, only returning to DC brielfy in the mid-70s, where he created Shade the Changing Man.

    Ditko came back to work for Marvel in the early 80s, and from then on until his retirement from mainstream comics in the late 90s, he would work for either company as a freelancer, doing a number of titles as eclectic as Rom the Space Knight, Mighty Morphin' Power Rangers and Indiana Jones.

    Since the late 90s, Ditko has only released a few one-shots sporadically, mostly for his longtime friend, Robin Snyder.

    Mike Mignola

    When Mike Mignola broke into the comic industry in the early 80s, his style was unlike most other artists, as his characters were generally a lot blockier than other artists. This style only got more dramatic the more well-known he got, as he was able to experiment more.

    After a few DC mini-series with this blockier, shadowy style, Mignola soon gained higher profile assignments with the style, using it on a number of Superman issues during John Byrne's run, and then, on Jim Starlin's mini-series, Cosmic Odyssey.

    After drawing Gotham by Gaslight, the popular one-shot that began DC's Elseworlds line of comics, Mignola was busy on a number of special projects until 1994, when Mignola joined with other notable artists such as John Byrne and Frank Miller to do creator-owned work for Dark Horse Comics.

    Mignola's entry was Hellboy, whose gothic nature fit Mignola's style beautifully.

    Hellboy was a massive success, who continues to this day, with a movie version (and a sequel forthcoming).

    Mignola was now a heavily in demand artist for art design for film and animation, and he did work designing Bram Stoker's Dracula, Atlantis: The Lost Empire in 2001 and Blade II.

    Recently, Mignola helped adapt a one-shot he did, The Amazing Screw-On Head, for an animated TV program.

    Frank Quitely

    Frank Quitely (nee Vincent Deighan), first began drawing comics in Scottish underground comics in the early 90s. However, the magazine his work appeared in, Electric Soup, was picked up for distribution outside of Scotland, and soon, Quitely was receiving entreaties from British comic books, where he went to work and quickly became a big fan favorite.

    Quitely's first American comic work was 1995's Flex Mentallo, a Doom Patrol spin-off written by Grant Morrison. The series was a critical hit.

    Quitely worked on a number of anthologies and short stories throughout the 90s, even doing a graphic novel with Alan Grant starring Batman.

    In 2000, Quitely's biggest break to date occured, a JLA graphic novel written by Grant Morrison. JLA: Earth 2 was a critical and commercial success, and Quitely soon found himself following Bryan Hitch on the popular Authority title, with writer Mark Millar.

    Quitely left the book, though, to join Grant Morrison on the Marvel series New X-Men. The book was a critical success (and sold well, as well).

    In 2004, Quitely drew We3, also with Grant Morrison.

    We3, about a trio of animals turned into assassins who try to return to their normal lives, really exemplified Quitely's strengths as an artist, with his dynamic, highly detailed style of art.

    His craftsmanship and attention to storytelling is striking, as seen here in this page from We3...

    Currently, Quitely is gaining critical success as the artist on DC's All Star Superman, again with Grant Morrison.

    Will Eisner

    Will Eisner first began drawing while still in high school, and did his first comic book work in 1936. Soon, Eisner formed a partnership with Jerry Iger where they would package comics for other comic book companies to publish.

    While speed was the main selling point in the art, even then, Eisner was a quality storyteller.

    But it was his work on The Spirit series that truly cemented his legacy as a comic book artist.

    His artwork was overtly stylized in a time when companies were expecting routine.

    His work had a heavily noir feel that influenced many comic artists and film makers over the years.

    After the Spirit (and a two-decade break doing technical manuals), Eisner continued to convey great humanity and down-to-Earth sentiments for decades in his original graphic novels.

    John Romita, Jr.

    John Romita, Jr. got his big break in mainstream comics when he took over drawing Iron Man. In the early day, Romita was guided by his inker, Bob Layton, but after his popularity on Iron Man grew, Romita was given the plum assignment of drawing Amazing Spider-Man.

    There, Romita developed his own style, a bit grittier than the clean linework he used on Iron Man, and a bit more modern than his father's Spider-Man. His work was a smash success. So much so that he was soon moved from the title to Marvel's biggest title, Uncanny X-Men.

    Here, Romita developed his style even further, with his work becoming more and more stylized. It was his run on Daredevil, with writer Ann Nocenti, though, that Romita would finally solidify his art style, which has been the style he has used ever since.

    Heavy lines and stylized characters are trademarks of Romita's dynamic work, which, since Daredevil, has graced the pages of practically every Marvel title available, from Punisher to Thor to Wolverine.

    His most significant work for Marvel, though, has been his Spider-Man work. He has drawn the character more than any other artist, save Mark Bagley.

    Currently, Romita is working on The Eternals, with writer Neil Gaiman.

    John Cassaday

    John Cassaday was a young artist from Texas when Wildstorm editor Jeff Mariotte was turned on to his art samples. Mariotte assigned Cassaday a mini-series called Desperadoes (written by Mariotte himself) in the late 90s.

    Cassaday then went to Marvel and did some various small projects for Marvel, including an impressive Union Jack mini-series.

    Cassaday's style was still in the early stages at that time, but even then, he had a dynamic approach to his pencils, with an impeccable sense of design.

    This sense of design was put to great use when he was assigned the new Warren Ellis title, Planetary. It was here that Cassaday perfected his current art style, with almost photo-realism, but without the stitled movements that most photo-realistic artists use. Cassaday's characters emoted. Take this Planetary page for example...

    Meanwhile, Cassaday found the time to contribute dynamic, eye-catching covers for other properties, as well as drawing the first six issues of Marvel's 2002 Captain America relaunch.

    Recently, Cassaday was hand-chosen to illustrate Joss Whedon's X-Men book, Astonishing X-Men.

    The pair recently won the Eisner Award for their work on Astonishing X-Men.

    Recently, it was announced that an original graphic novel Cassaday did a few years back, I Am Legion, would be adapted into a film, with Cassaday as the director.

    Frank Miller

    Frank Miller broke into comic as a young man, drawing a number of short stories for both DC and Marvel. He soon became a fairly regular cover and fill-in artist for Marvel, until finally, in the late 70s, being assigned the regular art gig on Daredevil.

    As Miller grew more comfortable on the book, he began to experiment, and his art got a lot less mainstream and a lot more noirish - working with shadows a lot more.

    This same detailed, noir look, was brought over to the immensely popular Wolverine mini-series drawn by Miller, written by Chris Claremont.

    After he finished his acclaimed run on Daredevil, Miller began to experiment with art even more, with his creator-owned mini-series, Ronin, for DC, where Miller took in a lot of manga influences to his style.

    Miller continued to experiment with the seminal Batman mini-series, Dark Knight Returns, where he continued with his expert storytelling techniques.

    In the 90s, though, Miller changed his style even more dramatically, with the debut of Sin City, Miller was using exaggerated characters, heavy shadows and often more suggesting characters with lines and shadow rather than outright rendering them.

    The series was a massive success (recently turned into a film, with filmmaker Robert Rodriguez attempting to transfer Miller's style directly into the film).

    More recently, Miller experimented even further, with the mini-series Dark Knight Strikes Again, as Miller drew a good deal of the series using heavily digitized colors.

    Miller recently announced he will be adapting Will Eisner's The Spirit for film, as well as writing and drawing a Batman graphic novel featuring the Dark Knight facing off with Al Qaeda.

    John Byrne

    In the early 70s, John Byrne made his major comic book debut for Charlton Comics. Byrne would draw a number of titles for Charlton before moving over to Marvel towards the middle of the 70s.

    Byrne was quickly put to work on a number of titles, and he grew more popular as an artist.

    Byrne's clean art style lent itself well to superhero comics, especially his ability to draw a number of characters at one time, without getting non-detailed. Byrne's linework generally skews towards curves, rather than straight lines, giving his characters a softer, less harsh edge.

    In 1978, Byrne became the regular artist on X-Men, with writer Chris Claremont. Byrne drew the book for the next few years as the title soon became one of Marvel's biggest sellers, and after the run, Byrne left to draw and write Fantastic Four, to great acclaim and high sales.

    Byrne has an acclaimed run drawing Captain America with writer Roger Stern.

    Through the mid-80s, Byrne had pretty much drawn every Marvel superhero in their title, with the notable exceptions of Thor and Dr. Strange.

    In the mid-80s, Byrne moved to DC, where he revamped Superman with the mini-series, Man of Steel. He also drew DC's big crossover, Legends.

    He returned to Marvel in the late 80s, and drew Avengers West Coast and The Sensational She-Hulk.

    In the 90s, Byrne drew Namor for Marvel, and also drew his creator-owned title, Next Men, for Dark Horse Comics.

    Toward the mid-90s, Byrne drew Wonder Woman and Jack Kirby's Fourth World for DC.

    In the late 90s, Byrne drew Spider-Man and X-Men Hidden Years for Marvel.

    He went back to DC for the 00s, drawing such titles as Lab Rats, Doom Patrol, The All-New Atom, JLA and Blood of the Demon.

    Currently, Byrne is in betwen regular projects.

    Alex Ross

    After a stint at Chicago's American Academy of Art, Alex Ross broke into comics in the early '90s, doing work for Now Comics.

    His biggest break, though, was in 1993, when he collaborated with Kurt Busiek on the smash success, "Marvels," where readers first were introduced to Ross' trademark photorealistic and imposing painted work.

    Ross helped design (and drew covers for) Kurt Busiek's "Astro City," as well.

    In 1996, Ross followed up "Marvels" with "Kingdom Come," with writer Mark Waid, which was another critical and commercial success.

    During the late '90s, Warner Brothers began promoting Ross' work with fine art prints of his drawings. In addition, he worked with Paul Dini on a series of large-format one-shots featuring the most popular DC characters, including Superman, Batman, Wonder Woman and Captain Marvel.

    Also during the late '90s, Ross worked with writer Jim Krueger on the Marvel Comics series "Earth X," which was based on some ideas and designs Ross had done for Wizard Magazine, in which Ross designed the future of the Marvel Universe. Ross would design the characters and do the covers on both "Earth X" and its two sequels, "Universe X" and "Paradise X."

    Ross' art reached perhaps its largest audience when, in 2002, he was asked to create a promotional poster for the 2002 Academy Awards.

    Currently, Ross is working with Jim Krueger again, this time on a 12-issue series for DC starring the Justice League called simply "Justice." Ross is co-writing the book with Krueger and painting over Dougie Braithwaite's pencils.

    Neal Adams

    As a young man, Neal Adams first attempted to break into comic books, but found little success. Instead, he turned to the world of comic strips, drawing backgrounds as an assistant on a number of strips before getting his own, "Ben Casey," which he did for a few years.

    In the mid-60s, after some success getting work at Warren Comics, Adams tried with DC Comics again, this time finding work with the Deadman serial in "Adventure Comics," which quickly got the attention of comic book editors at both DC and Marvel.

    His realistic, yet dynamic style of art really broke free of the standard style of art that DC usually used at the time, making Adams' art seem even more dramatic than it actually was.

    Marvel snared Adams next interior assignment, having him draw a run on "X-Men" and "Avengers," which were both critically acclaimed.

    DC then got Adams to do a run on "Green Lantern/Green Arrow" with writer Denny O'Neil that drew acclaim from comic readers, and even outside the comic industry.

    Since that run ended in the early '70s, Adams has rarely done regular comic book work, choosing instead to devote his time to his own company, Continuity Associates, which did commercial artwork. However, Adams continued to supply DC with regular cover work throughout the 70s, providing some of the most striking and gripping covers on the market.

    He also did a number of popular posters.

    In the '80s, Adams expanded Continuity to include its own comic line, which Adams did some work for.

    Currently, Adams still runs Continuity, as he continues to be a sought-after commercial artist, but he still manages to do a comic book cover here and there with more work to come.

    George Perez

    George Perez first broke into comics in the early '70s, drawing backups for Marvel's magazine line. Soon, Perez was gaining enough attention that he was given one of Marvel's bigger titles, "The Avengers." Perez was a hit on the book, and for most of the '70s, Perez kept busy on a number of assignments for Marvel, including a run on "Fantastic Four" with Marv Wolfman.

    Towards the beginning of the '80s, Perez was already doing work for DC Comics, drawing "Justice League of America." When his old "Fantastic Four" partner, Wolfman, made the move to DC, Perez and Wolfman got together to launch the "New Teen Titans."

    The book was a smash hit, both critically and commercially, and Perez and Wolfman were instant comic book stars.

    "Titans" was the perfect mixture of Perez' strengths - clean, but still dynamic and just a little ornate. In addition, Perez had soon gained a reputation as being one of the best artists out there for drawing large groups of heroes (note the team books he worked on - "Avengers," "Justice League," "Titans" - he loved the group shots).

    On "Titans," Perez honed his skills, becoming more and more detailed.

    His ability to draw large groups was put to the test when, in 1985, he joined Wolfman on "Crisis on Infinite Earths," the massive DC crossover that changed the DC Universe forever and remains a favorite amongst comic readers. It also gave Perez the chance to draw lots and lots and lots of characters.

    After "Crisis," Perez went solo (while working with Len Wein at first) and relaunched "Wonder Woman" for DC.

    After staying on the book a number of years, in the '90s, Perez ceased regular work, instead working on mini-series and special projects.

    He still managed to produce some highly acclaimed work, like "Hulk: Future Imperfect," with writer Peter David.

    In the late '90s, Perez took up regular comic work again, relaunching the "Avengers" with writer Kurt Busiek. The book was a smash hit.

    Perez then signed an exclusivity deal with CrossGen, but in the meantime, he began work on "JLA/Avengers," a prestige edition crossover of the Marvel and DC characters that Perez had initially worked on in the '80s, before a disagreement between the two companies quashed the deal. Now, two decades later, Perez finally had the chance to finish it.

    And, of course, draw a cover featuring every single member of the Justice League and the Avengers.

    Perez also contributed covers (and some interior pages) to "Infinite Crisis," the sequel to the original crossover Perez had worked on in the mid-'80s.

    Recently, it was announced that Perez will be working on a new team-up series for DC with writer Mark Waid titled "Brave and the Bold."

    Jim Lee

    Jim Lee attended Princeton University, originally intending to become a doctor. After graduation in the mid-'80s, however, Lee decided to take a shot at a career in comic book art first. After some small independent work, Lee was soon drawing a number of different titles for Marvel Comics, including "Alpha Flight" and "Punisher War Journal."

    In 1989, Lee was given a fill-in position on "Uncanny X-Men." The result was so impressive that soon after the fill-in he was named the regular penciller of the title. He would draw the book for the next two years, coinciding with commercial success that the title had not seen in years.

    Lee's dynamic and stylized art (with a great attention to detail) was extremely popular. Marvel decided to capitalize on Lee's popularity by launching a second "X-Men" title in 1991, with Lee as the artist (and ultimately, the co-writer).

    At the time, however, Image Comics was being founded, and Lee was asked to be a part of it. He eventually agreed, and became one of the original seven founding members of Image Comics.

    Lee's branch of Image was called Wildstorm studios. Lee contributed the massive hit, "WildC.A.T.S.," which he drew and co-wrote with Brandon Choi, and helped develop a number of new titles for the studio. In the late '90s, Lee made a real push towards giving other creators a place to produce creator-owned titles, and came up with Homage Studios and Cliffhanger, which published such critically acclaimed comics as "Astro City" and "Strangers in Paradise" (Homage) and such commercial hits as "Battle Chasers" and "Danger Girl" (Cliffhanger). Ultimately, Lee merged the two studios into one group titled Wildstorm Signature.

    In the mid-'90s, Lee drew and co-wrote "Fantastic Four" for about a year, as part of Marvel's Heroes Reborn deal with Jim Lee and Rob Liefeld's respective studios.

    After Heroes Reborn, Lee rededicated himself to Wildstorm, drawing "Divine Right," and helping creators launch such notable new series such as "The Authority" and "Planetary." Soon after, Lee struck a deal with Alan Moore to produce Moore's America's Best Comics line.

    In 1998, though, Lee sold Wildstorm to DC Comics. Since then, he has contributed a year-long run on "Batman" with writer Jeph Loeb in 2002 that was the biggest hit of the year, titled "Hush." He then did a year-long run on "Superman" with writer Brian Azzarello.

    Currently, he is illustrating "All-Star Batman and Robin" with writer Frank Miller and a relaunched "Wildcats" with writer Grant Morrison.

    Jack Kirby

    Jack Kirby (nee Jacob Kurtzberg) first broke into drawing in the mid-'30s, while still in his late teens. He worked for a Cartoonist Syndicate for a few years, then for an animation studio for a time. By this point, comic books were really beginning to take off, and this was a place that Kirby could really find a career on his own.

    Kirby first began to contribute to Will Eisner and Jerry Iger's comic book packaging studio, and then later, was one of the artists who were hired away by Fox Comics. At Fox, he first met Joe Simon. The two would become collaborators for well over the next decade.

    The two left Fox and began working at Timely Comics. It was there that the duo created Captain America, one of the biggest comic successes of the time.

    After a disagreement with Timely Comics' publisher, Martin Goodman, Kirby and Simon left for DC Comics, where they had a number of hits.

    Kirby and Simon both entered the military for World War II, and when they came back, they paired up again, and began to work in a number of genres for a number of comic book companies.

    By the late '50s, with the comic industry floundering, the pair realized they would be better off if each man tried to make it on his own, so the duo split up.

    Kirby began working at Marvel Comics (nee Timely Comics), just before they were about to hit it big with superhero comics.

    When they did begin producing superhero comics, Kirby co-created, with Stan Lee, such classic titles as "Fantastic Four," "Incredible Hulk" and the "X-Men."

    While working on the "Fantastic Four," Kirby either created or co-created such long-lasting characters as Dr. Doom, Silver Surfer, Galactus, Black Panther and The Inhumans.

    Tiring with the working conditions at Marvel, in the early '70s, Kirby left for DC Comics, where he created the Fourth World, which was his stories of the New Gods - heroic Orion and villainous Darkseid, as well as the Forever People and Mister Miracle.

    After creating a number of other characters for DC, Kirby returned to Marvel in the mid-'70s, writing and drawing "Black Panther," "Captain America" and "The Eternals."

    Kirby left Marvel again in the late '70s, this time to work in animation.

    In the 80s, he did some independent comic book work.

    In the early '90s, Topps Comics debuted a whole line of comics based on Kirby ideas.

    Jack Kirby passed away in 1994. He was 76 years old.


    • #3
      Boris Vallejo

      Boris Vallejo (Lima, 8 de janeiro de 1941) é um pintor do Peru.

      Boris freqüentou a Escola Nacional de belas artes em seu país nativo antes de imigrar para os Estados Unidos em 1964. Fez um grande volume de trabalhos desde então para o campo da fantasia, publicando principalmente ficção científica e linha fantasia.

      Boris também ilustrou para capas de revista, arte de caixa de vídeo e publicidade de filmes de ação.

      O domínio dele de quadro a óleo está imediata e abundantemente claro a qualquer um que olha o seu trabalho e sua sensação clássica: é como muito uma homenagem aos velhos mestres, como é qualquer trabalho contemporâneo no gênero de Fantasia.


      • #4
        Trabalho muito bom, deveria estar na quadrinhos.


        • #5
          Tem que taki pra valorizar a pasta e a gtalera fazer crosses podeno dizer quem eh melhor ou pior...


          • #6
            É cross?
            Send down the firewalker
            Send down the neon priest
            Send down the junky doctor
            Send down the shadow king
            Down through the heart of the city at night
            In black and white


            • #7
              Postado originalmente por artvandelay
              É cross?
              Se esta nessa pasta e pq eh


              • #8
                (Jae) Lee !
                Ross !
                Hitch !
                Hughes !
                McKean !
                Land !
                Maleev !

                Jim Lee de cú é rola!!
                Frank Miller de cú é rola!!


                • #9
                  faltou o J SCOOT CAMPBELL
                  Cuiabá tem paCÚ, piraruCÚ, tambaCÚ, nunca vi povo que gosta tanto de "peixe"


                  • #10
                    Esses caras são muito FERAS! Principalmente a família Kubert.


                    • #11
                      SicReq data Files
                      Não ganhei nada....


                      • #12
                        Pena que faltou o mestre...


                        • #13
                          acho que faltou aí o ross andru. ele desenhou um tempão o aranha, acho que na década de 70. a narrativa era muito boa, divertida de ler. o cara era meio desconhecido, mas era foda.


                          • #14

                            From MySpace' J. Scott Campbell: I'm a comic book artist and creator who's worked in the field of comics for over a decade. I've either created or co-created such books as the long-time fan favorite 'GEN 13', the mega hit 'Danger Girl' and the highly innovative 'Wildsiderz'. Currently, I am working on an upcoming, large scale, highly anticipated, SPIDER-MAN project for MARVEL comics. Also look forward to the final two issues of 'Wildsiderz' this coming year! Stay tuned for further details as soon as they become available!

                            Quadrimcast, o seu podcast quinzenal sobre quadrinhos, filmes, séries e assuntos nerds em geral!



                            • #15
                              DALE KEOWN

                              Keown started working in comics in 1986 drawing several series for Aircel Comics, including Samurai, Elflord, DragonRing (later DragonForce), and Warlock 5.

                              Keown moved to Marvel Comics in 1989, where he first worked on Nth Man: the Ultimate Ninja, before replacing Jeff Purves on The Incredible Hulk. Keown worked on Hulk with writer Peter David, creating one of the most memorable runs of the book

                              He left in 1993, to start publishing his self-created Pitt at Image Comics. In 1995, publication of Pitt was moved over to Full Bleed Studios (Dale Keown's own company).

                              He gradually lost interest[citation needed] and began working for other companies once more, drawing The Darkness for Top Cow and teaming up with Peter David once more with Hulk: The End for Marvel. Keown also drew a crossover featuring The Darkness and the Hulk.

                              Keown drew many of the pictures for the Hulk memorabilia that was released to coincide with the 2003 Hulk movie.

                              As of September 2005 Keown has been working on a crossover of The Darkness and Pitt, to be written by Paul Jenkins, with a special preview book released in December 2006 and the full three-issue limited series debuting in 2009.

                              Quadrimcast, o seu podcast quinzenal sobre quadrinhos, filmes, séries e assuntos nerds em geral!