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Infographic #1 - An International DB

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GCD Comics Timeline


Eric Heuvel (born 25 May 1960, The Netherlands) began his career as a cartoonist in fanzines in the 1980s.

His first professional work was ‘January Jones’, a feature about a female pilot in the 1930s (albums 1987–1995). When “Eppo” was relaunched in 2009, he created new ‘January Jones’ stories for the magazine.

He next created ‘Bud Broadway’ (1995–2000), about a global adventurer.

Heuvel’s Clear Line (‘ligne claire’) style is well-suited to his many historical works about World War II. For the Anne Frank Foundation, he created “De Ontdekking” (“The Discovery”, 2003, in English as “A Family Secret”) about the occupation of Holland.

“De Zoektocht” (“The Search”) followed in 2007, telling the story of the Holocaust. He completed the trilogy with “De Terugkeer” (“The Return”) in 2010, about the war in the Dutch-occupied Indies.

From 2003, he created the feature ‘Geheim van de Tijd’ (‘Secrets of History’) in “Algemeen Dagblad”. He published the story of the German aerial bombing of Rotterdam in May 1940, which broke a cease-fire agreement and led directly to the surrender of the country, in “Frontstad Rotterdam” (2006).

In 2012, Heuvel received the Stripschapprijs, awarded by the fan organization Stripschap.

At Comiclopedia — https://www.lambiek.net/artists/h/heuvel.htm
At Wikipedia — https://en.wikipedia.org/wiki/Eric_Heuvel
In the GCD — http://ow.ly/CNbI300y8T6

(Heuvel created the cover art on “De ontdekking & De zoektocht”, 2011, a hard-cover collection)

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Carmine Infantino (born 24 May 1925 – 4 April 2013, USA) spent his lifetime creating, editing, and publishing comic books. Much of that work was at DC Comics.

Beginning in 1942, his earliest work appeared at Marvel (“Captain America Comics”), Lev Gleason (“Crime Does Not Pay”), Hillman (“Airboy Comics”), and other publishers.

His first credited work at DC was on the ‘Johnny Thunder’ story in “Flash Comics” that introduced Black Canary (1947). Later that year he drew his first ‘Flash’ story and he soon added ‘Green Lantern’.

In 1956, he drew a new ‘Flash’ who marked the beginning of DC’s Silver Age. In 1964, he drew the New Look ‘Batman’ who introduced a more-serious direction in the stories.

He is also known for his work on ‘Adam Strange’, ‘Elongated Man’, ‘The Space Museum’, and ‘Batgirl’.

In 1967, Infantino became the Editorial Director at DC. He hired Dick Giordano from Charlton and Jack Kirby from Marvel, made editors of Joe Kubert and other artists, and hired new creators such as Neal Adams and Denny O’Neil.

From 1971 to 1976, he was the Publisher of DC. During this time he created ‘Human Target’ in “Action Comics”, consulted on the scripts for two ‘Superman’ movies, and collaborated with Marvel on the historic “Superman vs. the Amazing Spider-Man” (1976).

After working at Warren in 1977 he went to Marvel. Through the early 1980s, he drew “Nova”, “Ghost Rider”, “Spider-Woman”, and other titles.

Infantino returned to DC in 1981 with a new ‘Dial H for Hero’ series in “Adventure Comics” (1981–1982). He drew “The Flash” (1981–1984) and a new ‘Supergirl’ feature (1982–1984). He drew the TV adaptation “V” (1985–1986).

Among his final works were a ‘Space Museum’ story in “Secret Origins” #50 (1990) and a story of ‘The Web’ in “Impact Christmas Special” #1 (1991)

Infantino received the National Cartoonists Society ‘Best Comic Book’ award in 1958. From 1961 to 1969, he received an Alley Award a dozen times. In 2000, he received an Inkpot Award and was inducted into the Will Eisner Awards Hall of Fame.

At Comiclopedia — https://www.lambiek.net/artists/i/infantino.htm
At Wikipedia — https://en.wikipedia.org/wiki/Carmine_Infantino
In the GCD — http://ow.ly/6Nq2300vSP9

(Infantino penciled and inked the cover of “Jonny Quest” 13, June 1987)

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#100Years
Frank Bellamy ( http://ow.ly/jSa830bQ9pz )

In June 1971, Bellamy began drawing the newspaper comic strip Garth which appeared in the Daily Mirror. This was the period in which intense competition with the new tabloid The Sun encouraged large helpings of nudity to be seen in British tabloids, and the strip reflected this. Bellamy's style was much more vivid than that of the original artist John Allard, and he was probably brought in to spice up the strip. Jim Edgar had been writing the strip since 1966 and shared the by-line credit with Bellamy. Bellamy applied all the graphic tricks in his arsenal from stippling and crosshatching to chiaroscuro inking to create a modern and eye-catching look for Garth unlike anything else appearing in newspapers at the time. Bellamy worked continuously on Garth for the next five years, although drawing in black and white rather than colour gave him time to maintain a number of other regular commissions. During this period he drew the first comic strips The Sunday Times had ever run in its magazine as non-fiction journalism. He also regularly produced illustrations for the BBC's Radio Times television listings magazine, in particular for the Doctor Who television programme.

Frank Bellamy died suddenly in 1976, at the height of his powers. He had plans for many projects, including a Western strip he was to write himself, inspired by the spaghetti westerns of Sergio Leone,[citation needed] but none of that work survives.

excerpted from https://en.wikipedia.org/wiki/Frank_Bellamy

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#100Years
Frank Bellamy ( http://ow.ly/EcCk30bQ7IL )

Bellamy then went on to draw two of his most celebrated strips, Fraser of Africa and Heros the Spartan. He also drew Montgomery of Alamein (the life of Field Marshal Bernard Law Montgomery) and did some work for Look and Learn.
Fraser of Africa, one of Bellamy's artistic high-water marks, was not his idea but, as he was obsessed with Africa, he was the perfect choice to draw it. Bellamy used a monochromatic sepia colour palette to reflect the sun and desert locale, with occasional bursts of bright colour. It was a challenging and unusual approach and Fraser of Africa became the Eagle's most popular strip. Bellamy insisted on proper research and even had a reader living in East Africa supplying reference material.
Heros the Spartan, a sword and sorcery adventure set in Roman times was another artistic triumph. Drawn as a two-page spread and usually organized around a complicated splash in the centre of the two pages, Heros was a bravura display of skill. The battle scenes displayed a vividness and complex layout rarely seen in comics and it won Bellamy an award (for 'Best Foreign Artist') from the American Academy of Comic Book Arts in 1972.

In November 1965, Bellamy left the fading Eagle to work for TV Century 21, where he drew the centrespread Thunderbirds strip. Rather than faithfully draw puppets, he took the artistic licence of rendering the characters as real people for a more exciting strip, as was already being done by the comic's other artists (including Ron Embleton and Mike Noble) in their strips. Apart from one short break, Bellamy drew Thunderbirds throughout its run in TV Century 21 and TV21, leaving shortly after the comic merged with Joe 90 Top Secret to become TV21 & Joe 90 in 1969.

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#100Years
Frank Bellamy ( http://ow.ly/Qx1F30bQ6Gz )

Frank Bellamy (21 May 1917 – 5 July 1976) was a British comics artist, Whilst in the army, Bellamy had a weekly illustration published by the Kettering Evening Telegraph. Later, he worked in advertising (for Gibbs Dentifrice). In 1953, he began his first comic strip, called Monty Carstairs in Mickey Mouse Weekly. Shortly after he moved to Swift where his work included Swiss Family Robinson, King Arthur and Robin Hood.

In 1957, he moved to Eagle and began working in colour on their back page biography strips: The Happy Warrior (the life of Winston Churchill), The Shepherd King (the life of the biblical King David), and The Travels of Marco Polo for which Bellamy only did eight episodes before moving to Dan Dare.

Bellamy took over Dan Dare part way through the Terra Nova storyline, replacing creator Frank Hampson. It was an awkward set-up: the new owners of Eagle thought the strip looked dated, so gave Bellamy the brief of redesigning everything, from the costumes and spacecraft to the page layouts. Bellamy was left to draw the title page unaided (in contrast to Hampson's many-hands approach, where the drawing, inking, lettering and colouring were all separately completed by a team of artists), while two of Hampson's former assistants, Keith Watson and Don Harley, had to do the second page. Bellamy's redesigns were somewhat controversial and, after he left the strip a year later, the next artist was instructed to reintroduce the original designs..

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Mike Nielsen (born 20 May) is a long-time indexer and editor of the Grand Comics Database.

He has served as a director and was one of the main researchers for the GCD calendar.

Happy Birthday Mike!

Nielsen indexes in the GCD — http://ow.ly/CLm430bT7oA

(Jim Starlin created the cover of “'Breed II” #1, November 1994, which Mike indexed for the GCD)

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Gail Beckett (born 20 May 1942) is a comics letterer and occasional colorist who worked in USA comics in the 1980s and 1990s.

From 1983 to 1997, she lettered for Dan Barry on the ‘Flash Gordon’ syndicated daily and Sunday strips.

In comic books, she lettered “Indiana Jones and the Fate of Atlantis” and “The Young Indiana Jones Chronicles” at Dark Horse in 1991 and 1992. She worked on some 15 issues for Continuity Comics alone in 1993.

Beckett lettered “Godwheel” and other titles at Malibu. Her other publishers include DC Comics, Marvel, and Penthouse.

In the GCD — http://ow.ly/3VtK30bT7li

(Dan Barry created the cover of “The Young Indiana Jones Chronicles” #1, February 1992)

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Gardner Fox (20 May 1911 – 24 December 1986, USA) was a fiction writer best known for his work in comic books, pulp short stories, and novels.

His career at DC Comics began at least as early as the summer of 1938, when he had stories in “New Adventure Comics” #27, “Action Comics” #1, and “Detective Comics” #18. Of his nearly 4000 story credits in the GCD, about 2500 are in comics from DC.

Fox is known as the co-creator of the original, Golden Age characters The Flash, Hawkman, Doctor Fate, and Sandman. He was also the writer who first teamed those and other heroes as the Justice Society of America.

He was one of the main writers of the Silver Age revival of DC super-heroes, as well. He wrote the story in “The Flash” #123 (September 1961) which established that there are multiple versions of the DC Universe, with the first two christened Earth-1 and Earth-2.

After leaving DC in 1968, Fox returned to his prose fiction roots. In the 1940s, he had published in “Weird Tales”, “Amazing Stories”, and a multitude of pulps in other genres.

Now, he wrote barbarian adventure series — “Kothar” novels at Belmont Books and then “Kyrik” at Leisure Books. Roy Thomas adapted one of his Kothar stories in “Conan the Barbarian” in 1975.

At Wikipedia — https://en.wikipedia.org/wiki/Gardner_Fox
‘Gardner Fox’ in the GCD — http://ow.ly/mfiZ30bT7gP
‘Gardner F. Fox’ in the GCD — http://ow.ly/vRLx30bT7gp

(Sheldon Moldoff created the cover of “Flash Comics” #10, October 1940, in which Fox wrote ‘The Flash’, ‘King Standish’, and ‘Hawkman’)

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Steve Lieber (born 19 May 1967, USA) is a comics creator whose career began in the early 1990s.

He drew “Hawkman” (DC, 1994–1996) and appeared in some of the “Big Book of…” anthologies from the DC imprint Paradox.

He worked on “Neil Gaiman’s Lady Justice” at Big Entertainment (1996) and “Grendel Tales: The Devil’s Apprentice” at Dark Horse (1997).

Lieber collaborated with writer Greg Rucka on “Whiteout” (Oni Press, 1998) and “Whiteout: Melt” (1999). The feature was adapted into a film in 2009.

He drew ‘Batman’ in “Detective Comics” (DC, 2001–2002) and in other titles.

At Marvel, he drew the ‘Speedball’ story in “Civil War: Front Line” (2006) and its follow-up in “Civil War Chronicles” (2007–2008).

He and writer Jeff Parker created “Underground” at Image (2009–2010), and he has worked on various features in “Dark Horse Presents” during the 2010s.

At Wikipedia — https://en.wikipedia.org/wiki/Steve_Lieber
In the GCD — http://ow.ly/1zhn300m4Qs

(Lieber created this variant cover for “Adam Strange / Future Quest Special” #1, May 2017)

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#100Years
Bill Everett ( http://ow.ly/S2R730brBkx )

Within two years, however, Everett began penciling for Marvel once again, first on the character the Hulk, in Tales to Astonish, initially over Kirby layouts, and on Doctor Strange in Strange Tales. Readers during this 1960s Silver Age of comic books also became acquainted with his Golden Age and 1950s stories, which were reprinted first in the book The Great Comic Book Heroes by Jules Feiffer (Dial Press, 1965), and then in the comic books Fantasy Masterpieces, Marvel Super-Heroes, and Marvel Tales.

Everett even returned to his enduring character, first inking Namor's adventures in Tales to Astonish #85–86, then taking over full artistic duties for issues #87–91 and #94, and penciling issues #95–96. He then did complete stories – writing, penciling and inking – on Sub-Mariner #50–55 and 57 (June 1972 – Nov. 1972; Jan. 1973), with script assists by Mike Friedrich on two issues; and #58 (Feb. 1973), co-written with Steve Gerber and co-penciled with Sam Kweskin as his health began to deteriorate for the final time. He co-wrote and inked Sub-Mariner #59 (March 1973), plotted #60 (April 1973), and co-wrote, co-penciled (with fellow Golden Ager Win Mortimer), and co-inked #61 (May 1973). He had also been announced to draw an issue of Marvel Team-Up starring Spider-Man and the Sub-Mariner, but, according to one contemporaneous report, "was not able to finish this one before his death."

His final efforts on the character he created were five pages of pencils, inked by fellow Golden Ager Fred Kida, that appeared posthumously in Super-Villain Team-Up #1 (Aug. 1975).

Artist Gene Colan said that Everett had been Lee's first choice to draw the horror series Tomb of Dracula, which premiered in 1972 and for which Colan then lobbied successfully.

Everett died February 27, 1973 at the age of 55.

excerpted from http://ow.ly/ozKt30brBYX

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