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GCD Comics Timeline
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)
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’)
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)
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
Bill Everett ( http://ow.ly/SfmU30brAC0 )
With writer-editor Lee, Everett co-created the Marvel superhero Daredevil, who debuted in Daredevil #1 (April 1964).
In an interview conducted by Marvel writer-editor and Everett's one-time roommate Roy Thomas, in what the latter recalled as either "late 1969 or in 1970," Everett said of Daredevil's creation five years earlier:
I must have called Stan, had some contact with him, I don't know why. I know we tried to do it on the phone. I know he had this idea for Daredevil; he thought he had an idea. . . . With a long-distance phone call, it just wasn't coming out right, so I said, 'All right, I'll come down this weekend or something. I'll take a day off [from his job as art director of Eton Paper Corporation in Massachusetts] and come down to New York'. . . . I did the one issue, but I found that I couldn't do it and handle my job, because it was a managerial job; I didn't get paid overtime but I was on an annual salary, so my time was not my own. I was putting in 14 or 15 hours a day at the plant and then to come home and try to do comics at night was just too much. And I didn't make deadlines – I just couldn't make them – so I just did the one issue and didn't do any more.
excerpted from https://en.wikipedia.org/wiki/Bill_Everett
Daredevil's origins are complicated. For a longer version, see https://en.wikipedia.org/wiki/Bill_Everett#Marvel_Comics
Bill Everett ( http://ow.ly/PPhJ30brzct )
With money inherited from a great-uncle, Everett took some time off and traveled before settling in Fairbury, Nebraska, his wife's hometown. "This was when I renewed my association with Martin Goodman, working by mail on a freelance basis, picking up the Sub-Mariner where I'd left off four years ago". His first recorded post-war credit is writing and full art for the 12-page story "Sub-Mariner vs. Green-Out" in Sub-Mariner Comics #21 (Fall 1946) – the third of three Sub-Mariner stories that issue, for which Syd Shores drew the cover. Everett was soon providing Sub-Mariner stories regularly for the solo title as well as for The Human Torch, Marvel Mystery Comics and even Blonde Phantom Comics.
Additionally, he drew the title feature in the three-issue spin-off series Namora (Aug.-Dec. 1948).
Early pseudonyms included Willie Bee and Bill Roman.
By now, Timely Comics had evolved into Marvel's 1950s iteration, Atlas Comics. Like most superhero characters in the postwar era, the Sub-Mariner had faded in popularity, and his solo title had been canceled in 1949. But after a nearly five-year hiatus, he briefly returned with Captain America and the Golden Age Human Torch in Young Men #24 (Dec. 1953), during Atlas' mid-1950s attempt at reviving superheroes. Everett drew the Sub-Mariner feature through Young Men #28 (June 1954) and in Sub-Mariner Comics #33–42 (April 1954 – Oct. 1955), which outlasted the other two characters' features. During this time, Namora had her own spin-off series.
Everett also drew the features "Venus" and "Marvel Boy", as well as a large number of stories for Atlas' anthological horror-fantasy series. One such tale, "Zombie!," written by editor-in-chief Stan Lee and published in Menace #5, introduced the character Simon Garth, the Zombie, who in the 1970s would be plucked from this one-shot story to star in Marvel's black-and-white horror-comics magazine Tales of the Zombie.
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5,438 indicia publishers
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