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GCD Comics Timeline
His career began around 1940, providing illustrations for pulp fiction magazines and working in comics through the Harry “A” Chesler studio. Some of his work was published in Fiction House titles, particularly “Fight Comics”.
Kamen was drafted in 1942 and served in World War II. After the war, he joined the Jerry iger Studio. His worked appeared at Fiction House again, as well as Fox Features and Harvey.
He met Al Feldstein at the Iger studio and in 1950 Feldstein introduced him to Bill Gaines at EC Comics. He was soon working exclusively for Gaines.
He was a prolific artist at EC, drawing romance, crime, humor, horror, and science-fiction stories. He appeared regularly in “Tales from the Crypt”, “Haunt of Fear”, “Crime SuspenStories”, and the “Weird Science/Fantasy” titles.
Kamen suggested the magazine format of the ‘Picto-Fiction’ titles in response to the creation of the Comics Code Authority, but that and other efforts could not keep EC publishing comics.
From the late 1950s, he worked in advertising art.
Dean Kamen, inventor of the Segway, is his son, and Jack drew the patent renderings of the machine.
At Comiclopedia — https://www.lambiek.net/artists/k/kamen_jack.htm
At Wikipedia — https://en.wikipedia.org/wiki/Jack_Kamen
In the GCD — http://ow.ly/E1sE300GKqw
(Kamen created the cover of “Crime SuspenStories” #26, December 1954-January 1955)
His first works were published in fanzines in the very late 1970s and early 1980s. In 1983, he met Philippe Dupuy and the pair collaborated extensively for twenty years. Each of them works on both script and art.
Beginning with an homage to Hergé in “P.L.G.P.P.U.R.” (collected in 1991), their early works include the series ‘Henrietta’ (at “Fluide Glacial” then “Je Bouquine” then “Spirou”).
Their best-know works are the ‘Monsieur Jean’ stories, which began in 1989. The gentle, compelling stories were published by Les Humanoïdes and Dupuis, and are translated into English.
Berberian and Dupuy received awards at Angoulême in 1989 and 1999, and in 2008 the Grand Prix. They received an Inkpot Award in 2003.
At Comiclopedia — https://www.lambiek.net/artists/b/berberian.htm
‘Dupuy and Berberian’ at Wikipedia — https://en.wikipedia.org/wiki/Dupuy_and_Berberian
In the GCD — http://ow.ly/MQXA300FGX4
(Berberian and Dupuy created the cover art on “MYX Stripmagazine” #3:3, April 2005)
His comics career began in the mid-1990s. His first full comic was the two-issue “Little Mister Man” (Slave Labor Graphics, 1995).
His work covers a broad range of topics in a consistently simple and pleasant visual style. He analyzed that style in a series of ‘Craft Is the Enemy’ essays, collected as “The Cute Manifesto” (Alternative Comics, 2005).
Kochalka is known for philosophical and autobiographical works, many featuring his personal avatar Magic Boy.
His graphic novels include “Paradise Sucks” (Black Eye Books, 1997), the “Monkey vs. Robot” books (Top Shelf, 2000, 2003), and the collection “Fancy Froglin’s Sexy Forest” (Alternative Comics, 2003).
He created “SuperF*ckers” at Top Shelf (2005–2007, now collected), a funny and wildly profane parody of the Legion of Super-Heroes. A sequel, “SuperF*ckers Forever” (IDW, 2016), was just collected.
His books for children include the series “Johnny Boo” (since 2008) and “Dragon Puncher” (since 2010).
The band James Kochalka Superstar has released more than a dozen albums since 1995, often accompanied by a mini-comic. Kochalka wrote the script for an online animated adaptation of “SuperF*ckers” (2012–2013). He has been an instructor at James Sturm’s Center for Cartoon Studies in Vermont.
Kochalka has received multiple Ignatz Awards at the Small Press Expo, beginning in 1997 at the first Expo. In 2006, he received the ‘Best Online Comic’ Harvey Award.
In March 2011 he was declared the cartoonist laureate of Vermont, serving a term of three years.
At Comiclopedia — https://www.lambiek.net/artists/k/kochalka.htm
At Wikipedia — https://en.wikipedia.org/wiki/James_Kochalka
In the GCD — http://ow.ly/X1S830c3ull
(Kochalka painted the cover of “Mermaid”, May 1998)
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)
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)
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, but none of that work survives.
excerpted from https://en.wikipedia.org/wiki/Frank_Bellamy
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.
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..
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)
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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