23 Saturday Apr 2016
Posted in cartoon, EDITORIAL, illustration
Tags
artist as brand, cartoonist, comics, digital media, graphic novel, illustration, innovation, Levinland studio, technology, webisodes
Growing up in the 60’s and 70’s in Beverly Hillsand Los Angeles was quite the experience. We regularly saw great performers at the Whiskey,Troubadour and Hollywood Paladium, went surfing at Topanga, Malibu and Point Dume. and hung out at Randy’s Doughnuts, Ships and DL’s. These webisodes are design to give the viewer part of that experience.
22 Monday Apr 2013
Posted in EDITORIAL, FANTASY/CONCEPT ARTIST
Tags
artist as brand, cartoonist, comics, digital painting, illustrators journal, innovation, levinland, lon levin, nude sketch, nudes, sexy, suicide girls
Like it or not the “Suicide Girl” movement is here to stay. Tattooed girls with electric red and blue hair and piercings have attracted attention worldwide. I have to admit I’m intrigued by these women. The daring way they go about their way of life is exciting and some of them are damn good-looking with very sexy bodies!
What I find great about this movement and lifestyle is they have tapped into the culture said here we are and then blanketed the internet with videos, photography and comic books. And so because this blog is about creativity, photography and art in its many forms I’m jumping on their bandwagon and promoting their comic book apps They are sexy funny and very well done. Kudos to the suicide girls all over the world. Keep up the good work! Click here or on the art and be taken to their site to buy these fun books.
BTW, I get nothing out of this. It’s my way of paying back the girls especially sexy Moxi for making the world a little more fun.
05 Wednesday Sep 2012
Posted in cartoon
Tags
cartoonist, cartoons, comics, digital media, illustrators journal, innovation, levinland, lon levin, Mad Magazine, Sergio Aragones, this week in digital media on blogtalk radio
Here’s a really nice video featuring Sergio’s work. I met Sergio when I was in high school. He was married to a teacher at my school and he came in and talked with us. I knew his work well and was delighted to see him. Years later at the Book Festival in LA I saw him signing books at a booth and told him about it and he laughed. When I told him I was an artist too and my work tended to be comical he laughed harder.
Sergio Aragonés Domenech (born 6 September 1937, Sant Mateu, Castellón, Spain) is a cartoonist and writer best known for his contributions to Mad Magazine and creator of the comic book Groo the Wanderer.
Among his peers and fans, Aragonés is widely regarded as “the world’s fastest cartoonist.”The Comics Journal has described Aragonés as “one of the most prolific and brilliant cartoonists of his generation. Mad editor Al Feldstein said, “He could have drawn the whole magazine if we’d let him.”
According to the artist, he arrived in New York in 1962 with nothing but 20 dollars and his portfolio of drawings. After working odd jobs around the city, Aragonés went to Mad’s offices in Madison Avenue hoping to sell some of his cartoons. “I didn’t think I had anything that belonged in Mad, said Aragonés. “I didn’t have any satire. I didn’t have any articles. But everybody was telling me, ‘Oh, you should go to Mad.”
Since his knowledge of English wasn’t very extensive, he asked for the only Mad artist he knew of that spoke Spanish, Cuban-born artist Antonio Prohías, creator of the comic Spy vs. Spy. Aragonés hoped Prohías could serve as a interpreter between him and the Mad editors. According to Aragonés, this proved to be a mistake, since Prohías knew even less English than he. Prohías did receive Aragonés very enthusiastically and, with difficulty, introduced the young artist to the Mad editors as his “Sergio, my brother from Mexico,” temporarily leading to even further confusion, as the Mad editors thought he was “Sergio Prohías.” Mad editor Al Feldstein and publisher Bill Gaines liked what they saw, and Aragonés became a contributor to the magazine in 1963. His first sale was an assortment of astronaut cartoons which the editors arranged into a themed article. As of the 500th issue in 2009, Aragonés’ work had appeared in 424 issues of Mad, second only to Al Jaffee (451 issues). “They told me, “Make Mad your home,” said Aragonés, “and I took it literally.”
The cartoonist has a featured section in every issue called “A Mad Look At….”, featuring 2-4 pages of speechless comic strips, all related to the same subject. Aragonés also became famous for his wordless “drawn-out dramas” or “marginals” which were inserted into the margins and between panels of the magazine. The drawings are both horizontal and vertical, and occasionally extend around corners. He always draws his male characters overweight. Prior to Aragonés’ arrival at Mad, the magazine had sometimes filled its margins with text jokes under the catch-all heading “Marginal Thinking.” Aragones convinced Feldstein to use his cartoons by creating a dummy sample issue with his Marginals drawn along the edges. The staff of Mad enjoyed his marginals, but expected him to only last one or two issues. They did not expect him to be able to maintain the steady stream of small cartoons needed for each issue. However, Aragonés has provided marginals for every issue of Mad since 1963 except one (his contributions to that issue were lost by the Post Office). Associate Editor Jerry DeFuccio said, “Writing the ‘Marginal Thinking’ marginals had always been a pain in the butt. Sergio made the pain go away.”
Aragonés is a very prolific artist; Al Jaffee once said, “Sergio has, quite literally, drawn more cartoons on napkins in restaurants than most cartoonists draw in their entire careers.” Writer Mark Evanier estimated that, as of 2002, Aragonés had written and drawn more than 12,000 gag cartoons for Mad alone.
28 Saturday Jul 2012
Posted in ARTICLES
Tags
anime, comics, digital media, digital painting, illustrators journal, innovation, kentaro miura, levinland, lon levin, manga, social media, technology, this week in digital media on blogtalk radio
What I particularly find interesting in the interview with Kentaro is his openness about his process. How he openly talks about how he borrows from other creators. The animation in the clip is really nice, especially the backgrounds and details.
Kentarou Miura was born in Chiba City, Chiba Prefecture, Japan, in 1966. He is left-handed. In 1976, at the early age of 10, Miura made his first manga, entitled Miuranger, that was published for his classmates in a school publication; the manga ended up spanning 40 volumes. In 1977, Miura created his second manga called Ken e no michi (剣への道 The Way to the Sword), using India ink for the first time. When he was in middle school in 1979, Miura’s drawing techniques improved greatly as he started using professional drawing techniques. His first dōjinshi was published, with the help of friends, in a magazine in 1982.
That same year, in 1982, Miura enrolled in an artistic curriculum in high school, where he and his classmates started publishing their works in school booklets, as well as having his first dōjinshi published in a fan-produced magazine. In 1985, Miura applied for the entrance examination of an art college in Nihon University. He submitted Futanabi for examination and was granted admission. This project was later nominated Best New Author work inWeekly Shōnen Magazine. Another Miura manga Noa was published in Weekly Shōnen Magazine the very same year. Due to a disagreement with one of the editors, the manga was stalled and eventually dropped altogether. This is approximately where Miura’s career hit a slump.
In 1988, Miura bounced back with a 48-page manga known as Berserk Prototype, as an introduction to the current Berserk fantasy world. It went on to win Miura a prize from the Comi Manga School. In 1989, after receiving adoctorate degree, Kentarou started a project titled King of Wolves (王狼 ōrō?) based on a script by Buronson, writer of Hokuto no Ken. It was published in the monthly Japanese Animal House magazine in issues 5 and 7 of that year.
In 1990, a sequel is made to Ourou entitled Ourou Den (王狼伝 ōrō den, The Legend of the Wolf King) that was published as a prequel to the original in Young Animal magazine. In the same year, the 10th issue of Animal House witnesses the first volume of the solo project Berserk was released with a relatively limited success. Miura again collaborated with Buronson on manga titled Japan, that was published in Young Animal House from the 1st issue to the 8th of 1992, and was later released as a stand-alone tankōbon. Miura’s fame grew after Berserk was serialized in Young Animal in 1992 with the release of “The Golden Age” story arc and the huge success of his masterpiece made of him one of the most prominent contemporary manga artists. At this time Miura dedicates himself solely to be working on Berserk. He has indicated, however, that he intends to publish more manga in the future.
In 1997, Miura supervised the production of 25 anime episodes of Berserk that aired in the same year on NTV. Various art books and supplemental materials by Miura based on Berserk are also released. In 1999, Miura made minor contributions to the Dreamcast video game Sword of the Berserk: Guts’ Rage. 2004 saw the release of yet another video game adaptation entitled Berserk Millennium Falcon Arc: Chapter of the Record of the Holy Demon War.
Since that time, the Berserk manga has spanned 36 tankōbon with no end in sight. The series has also spawned a whole host of merchandise, both official and fan-made, ranging from statues, action figures to key rings, video games, and a trading card game. In 2002, Kentarou Miura received the second place in the Tezuka Osamu Cultural Prize of Excellence for Berserk.
Here is an interview I found with Kentarou:
| Today, I’d like to interview the creator of Berserk, Mr. Kentaro Miura about how Berserk was created. | Hello, nice to meet you. |
| The first question is how did you come across the idea of Berserk? Would you tell us how you came up with the concept for Berserk? | I didn’t have a solid idea of how I wanted Berserk to be in the beginning, but the idea grew gradually by watching my favorite anime shows when I was in college. If I was interested in something, I’d be looking up information. It was like kneading clay, the concept of Berserk slowly came together. I didn’t have the clear picture of what I really wanted to do at first. |
| I thought the subject matter of Berserk is pretty complicated. | Well… |
| You talk about the universal law of Karma. | Well, how do I put this… When you’re a cartoonist and working at home you sit at your desk pretty much all day. You get most of your information about the world from the news on TV. I think that’s how most cartoonists spend their days. And then I start to see the whole picture of my point of view towards all the problems that are happening in the world. An average working man living in an average world would have a personal problem. He’d be worried about how his kids are doing in school. But I live in isolation, watching the world only on the news on TV so I start to see the bigger picture. I can look at the world from another angle. I’m not talking about one specific event. If I see news about war in another country of if there’s a massacre somewhere in Japan I just look at the world objectively. Religious cults or acts of atrocity have been the topics of the news recently. When I hear those stories, not that I want to find some kind of answer, but it makes me want to visualize what’s happening. I just want to see it in my world in my own way. The idea becomes clearer and polished in the process. I think I’ve said this in an interview before, but when I learned about Tsuchizoku and Futsuzoku, it did influence Berserk. I was writing Berserk watching the incident on the news. And a little while later I wrote about mass psychology in Berserk. I believe that incident made me want to write about it so I would understand it myself. In the beginning, about up to volume five, I was still writing stuff that I had thought of when I was in college. So my real life reflected a lot in the stories in the beginning. And after a while, I started to see the bigger picture. |
| I see. That’s actually similar to the second question. I’d like to know if anything influenced Berserk. | It is a Japanese novel, but… a novel called “Guin Saga” written by Kaoru Kurimoto was the most influential. Guin Saga is a fantasy novel series, and it’s been trying to set arecord in the Guinness World Records as the longest fantasy work ever written by a single author. It was planned to be 100 volumes from the beginning. But it’s already 80-something, so it’ll go over 100 easily. I started reading it when I was in junior high and I’m still reading the new volume every month. So I could say Guin Saga is the most significant novel. And other stuff like movies and cartoons influenced me, too. |
| I see. I’d like to talk about a little more about the concept. The timeline in Berserk seems to be sometime in the medieval period. It has the whole medieval theme, like it’s happening somewhere in Europe. Is there any real historical events you based Berserk on? | Not really, I don’t really use specific historical events but rather I use fairy tales or fantasy movies. I’ve been working on the concept of my own fantasy world since I was in high school and college. Like I mentioned, I got ideas from Guin Saga, and from films, like “Excalibur” and “Conan the Barbarian.” I came up with the dark fantasy concept from those movies. I don’t think I get inspired by the actual historical events. I simply used them as data. I’ve thought of writing a story based on Dracula. I’m talking about Vlad Tepes, the real Dracula. I wanted to use the real historical records. And there’s the famous story from Sherlock Holmes. The story where Conan Doyle got tricked by the Cottingley fairy hoax… |
| I’m sorry, I’m not familiar with it. | I didn’t write the exact same thing, but I wrote a story similar to that. There was a story about a fairy in… I can’t remember exactly which volume, but I think it was around 15 or 16. |
| I’d like to ask you a technical question now. Your drawings are very well detailed. From every nook and corner, they are drawn in depth. Do you use anything as reference when you draw? | I do have a huge pile of pictures that I use as reference. I use a collection of photographs from different countries… but it’s actually easier to find the pictures of armor or landscape in Japan. So whenever I need some pictures l’ll go find it by myself or ask somebody to get it. So the collection is really big now. |
| I see. | Pictures are the best reference for a cartoonist. It’s all about how something looks. If you really talk about technical stuff you’ll notice that some armors aren’t supposed to be used around that time. But I really don’t go that far. |
| I see. | I simply like things that look cool. |
| I see. And now I’d like to ask you about this main character, Guts. He’s got some personality, he’s a deep character. Is there anybody in particular that you used as a model for Guts? | Well, Guts’ friends in the Band of Hawk are actually based on my friends from college. But there wasn’t anybody in particular for Guts and Griffith. |
| Not even a historical figure? | Well, it’s funny that you mentioned it, but l’ve heard about this knight who helped a peasant revolution in Germany and the knight’s name was Goetz. And he had an iron artificial arm. When I found out about it, I thought it was a strange coincidence. I don’t know if he shot arrows from it. It was especially uncanny because I had already started Berserk. I wasn’t really thinking of anybody at the time I created Guts. But if you’re only talking about his looks and not about his personality then I guess Rutger Hauer was the model. I saw him playing a mercenary in a medieval movie, “Flesh & Blood” and I really liked him in that movie. He also played the lead in “Salute of the Jugger.” It was an Sci Fi movie, but I thought the character he played was similar to Guts. And the main character from “Highlander” kind of reminds me of Guts. I think it had a lot to do with those cool collected type heroes I admired when I was in college. But if it’s about Guts’ personality or his belief… I guess some of it comes from myself. And sometimes I use my close friends as examples. So Guts’ personality isn’t always based on one person, but it’s more abstract. His actions and state of mind depend on the situation. So Guts doesn’t have a specific model. |
| I see. In the U.S, Media Blasters is introducing Berserk the anime to audiences. Did you have any requests when Berserk became an anime series for the first time? What kind of advice did you give to the production studio? | Berserk is my very first comic book and anime. So I was very excited, and I wanted to make something good. I could’ve just let the studio staff do the work, but I gave some advice on the outlines of the character designs. But my main concern was the scripts. They’d send me the scripts and I’d revise them and make changes. I checked all scripts, and made a lot of changes and requests on all of them. I bet the writers hated me. |
| But that’s natural, that’s how much you care about your show. | Yeah, I guess that’s about it. |
| I’d like to ask you a couple of personal questions now. We talked about Kaoru Kurimoto’s Guin Saga earlier. And my next question is… Is there any cartoonist, director or movie that influenced you? | Well, it’s a Japanese cartoonist, but… like Mr. Go Nagai, I believe he’s very famous in the U.S. He was a big influence on me. I love his dynamic style. And I have a couple of favorite American film directors. I like the movies of Tim Burton and Sam Raimi. This is another strange story. Back then I was still in college, it was the day I finished the first episode of Berserk and there was “Evil Dead 2” playing at theaters. So after I mailed it to the publisher, I went to see it. It was so similar to Berserk, I was really surprised by myself. In “Evil Dead 3,” I also know it as “Captain Supermarket”… the main character had his arm cut off and he had a chainsaw attached to his arm and had a shotgun on his back. I was like “What the?” Because Guts has a gun on his arm and a huge sword on his back. It was just like Ash. I remember getting worried that I might get sued. I just finished my very first cartoon, but I was already nervous. I’m a big fan of Sam Raimi’s movies, I like “Dark Man”, too. He got really big after “Spider-Man,” but I still like his movies. And I like Tim Burton, because his movies are always ‘offbeat.’ It’s almost strange that a person can be that offbeat and big at the same time. But that’s why I love his movies. James Cameron lost his touch after he got big. Well, I don’t know if he thinks of himself as offbeat. But when I saw “Terminator,” as a Sci Fi fan, I was really excited that he was one of those offbeat geniuses, like Tim Burton… but turns out he wasn’t. And of course, “Star Wars” is my all-time favorite movie. I saw it when I was little, so I was really shocked, I was a big Star Wars fan ever since. But “Episode 1” was very weak. The script needed some work. |
| And another question… As a lot of people know, you started writing Berserk when you were in college… and finally it’s been animated and people can see the world you’ve created. You’ve mentioned it earlier, but tell us how you got a chance to publish Berserk. | I tried to get Berserk published by Hakusen Publisher. |
| Get it published? | Yes, in Japan, a cartoonist would write a cartoon of about 25 pages… and send it to a publisher. And if they picked yours, it would be a series in the magazine. And fortunately, I was picked. The publisher liked Berserk, so I would be able to make Berserk into a series. Usually, those first ideas always seemed to have something special. |
| I see. And this is the last question. Berserk is a huge success in the U.S. | Thank you very much. |
| Berserk fans abroad are very happy. If you have any messages to the fans in the U.S… | Actually I kind of have a question. What do Westerners think of this fantasy world created by an Oriental? Many of us Orientals feel that the fantasy worlds created in Hollywood… or believed in by Westerners are more genuine fantasy worlds. And I think Berserk is strongly influenced by Western culture. I’m trying to create something from what I learned from the West. So I’m curious about what people in the West think of Berserk. That’s my question to the fans in the U.S. I hope they like it. |
| I’ll make sure to tell Berserk fans in the U.S. | Thank you. |
10 Tuesday Jul 2012
Posted in ARTICLES, Happy Birthday
Tags
artist as brand, cartoons, Christopher Reeve, comics, DC comics, digital painting, George reeve, illustrators journal, innovation, Jerry siegel, superman, technology, this week in digital media on blogtalk radio, warner bros, xanate media
Shuster’s story is one of caution for artists in every line of work. It always hard for an artist to hold onto rights when they have to put food on table. I’ve been there and it’s not pleasant to give up rights or originals when you don’t want to but sometimes you have to. In Shuster’s case it’s extreme because of the popularity and the billions of dollars made off his creation. That being said the corporate entities that held the rights should have been a lot more generous than they were. The takeaway is we artists are in business and rights to content is the one chance to make some good money if the work is good and valued. So hang on to them if you can!
Shuster (July 10, 1914 – July 30, 1992) was a Canadian-American comic book artist. He was best known for co-creating the DC Comics character Superman, with writer Jerry Siegel, first published in Action Comics #1 (June 1938).
Shuster was involved in a number of legal battles concerning the ownership of the Superman character, eventually gaining recognition for his part in its creation. His comic book career after Superman was relatively unsuccessful, and by the mid-1970s Shuster had left the field completely due to partial blindness.
He and Siegel were inducted into both the comic book industry’s Will Eisner Comic Book Hall of Fame in 1992 and the Jack Kirby Hall of Fame in 1993. In 2005, the Canadian Comic Book Creator Awards Association instituted the Joe Shuster Awards, named to honor the Canada-born artist.
Shuster became famous as the co-creator of one of the most well-known and commercially successful fictional characters of the 20th century. National Allied Publications claimed copyright to his and Siegel’s work, and when the company refused to compensate them to the degree they believed appropriate, Siegel and Shuster, in 1946, near the end of their 10-year contract to produce Superman stories, sued National over rights to the characters. They ultimately accepted $94,000 to stop pursuing the claim for $94,000 after a court ruled that National had validly purchased the rights to Superman when it bought the first Superman story. But after this bitter legal wrangling, National cropped Shuster and Siegel’s byline. In 1947, the team rejoined editor Sullivan, by then the founder and publisher of the comic-book company Magazine Enterprises where they created the short-lived comical crime-fighter Funnyman. While Siegel continued to write comics for a variety of publishers, Shuster largely dropped out of sight.
23 Saturday Jun 2012
Posted in Happy Birthday
Tags
artist as brand, cartoonist, cartoons, comics, illustration, innovation, levinland, this week in digital media on blogtalk radio
Becky Cloonan is an American comic book creator, known for work published by Tokyopop and Vertigo.
Cloonan created minicomics and was part of the Meathaus collective before collaborating with Brian Wood on Channel Zero: Jennie One in 2003. Since then, her profile (and workload) has steadily risen; her best-known work to date has been the twelve-issue comics series Demo (2004), also with Wood. Wizard named Demo its 2004 “Indie of the Year.” The series was also nominated for two Eisner Awards in 2005, for Best Limited Series and Best Single Issue (for #7, “One Shot, Don’t Miss”).
Cloonan’s first solo graphic novel, East Coast Rising Volume 1, was released by Tokyopop in 2006. East Coast Rising: Volume 1 marked Cloonan’s third Eisner Award nomination in 2007, this time for Best New Series. She also collaborated with writer Steven T. Seagle on the Vertigo Comics series American Virgin, which was cancelled with the 23rd issue. She is also doing art for the six part upcoming series “True Lives of the Fabulous Killjoys” being co-written by Gerard Way and Shaun Simon.
She has also created artwork for the band Leftover Crack and hip-hop group CunninLynguists.
19 Thursday Jan 2012
Posted in Happy Birthday
Tags
comic strips, comics, drawing, illustration, illustrators journal, levinland, Little Ophran Annie, nude sketch, painter, xanate media
Little Orphan Annie by Harold Lincoln Gray
Over the years the giant shadow of Orphan Annie has hidden from view the creator of the original strip to such extent very few people know who Harold Lincoln Gray was. Reagrdless of his politics which he regularly injected into his strip his sense of style and his draftsmanship cannot be denied. He was an original.
Harold Lincoln Gray (January 20, 1894 – May 9, 1968) was an American newspaper artist and cartoonist, best known as the creator of Little Orphan Annie, which he worked on for 45 years. The strip became the basis for the 1977 Broadway musical Annie and its 1982 film adaptation
Born in Kankakee, Illinois, Gray grew up on a farm near the small town of Chebanse, Illinois. His parents, Ira L. Gray and Estella M. Rosencrans, both died before he finished high school in 1912 in West Lafayette, Indiana, where the family had moved. In 1913, he got his first newspaper job at a Lafayette daily. He graduated from Purdue University in 1917 with a Bachelor of Science degree in engineering, but as an artist, he was largely self-taught. In 1917, he found a position with the Chicago Tribune at a salary of $15 a week. During World War I, his rank was lieutenant and he served as a bayonet instructor. Discharged from the military, he returned to the Chicago Tribune and stayed there until 1919 when he left to freelance in commercial art. In 1923, he was a charter member of Lombard Masonic Lodge #1098, A.F. & A.M.
From 1921 to 1924, he did the lettering for Sidney Smith‘s The Gumps. After he came up with a strip idea in 1924 for Little Orphan Otto, the title was altered by Chicago Tribune editor Joseph Medill Patterson to Little Orphan Annie, launched August 5, 1924. Gray’s first wife, Doris C. Platt, died in late 1925. He married Winifred Frost in 1929, and the couple moved to Greens Farms, Connecticut, spending winters in La Jolla, California.
By the 1930s, Little Orphan Annie had evolved from a crudely drawn melodrama to a crisply rendered atmospheric story with novelistic plot threads. The dialogue consisted mainly of meditations on Gray’s own deeplyconservative political philosophy. Gray made no secret of his dislike for the New Deal ways of President Franklin Roosevelt and would often decry unions and other things he saw as impediments to the hard-working American way of life.
Gray sometimes ghosted Little Joe (1933-72), the strip by his assistant (and cousin) Ed Leffingwell which was continued by Ed’s brother Robert. Maw Green, a spin-off of Annie was published as a topper to Little Orphan Annie. It mixed vaudeville timing with the same deeply conservative attitudes as Annie.
Films, radio and merchandising made Gray a multi-millionaire. He died of cancer at the Scripps Memorial Hospital in La Jolla on May 9, 1968, at the age of 74.
15 Thursday Dec 2011
Posted in Happy Birthday
Tags
artwork by Kurt Schaffenberger
Happy Birthday to a man who had such a great influence on my generation. He was deeply involved in the creation of Lois lane and worked for many years on the Superman series.
Schaffenberger was born on a farm in the Thuringian Forest, Germany, where, as a boy, he “. . . tended geese, herded goats, and hoed potatoes.” Emigrating to America as a 7-year-old (first to Hartford, Connecticut, and then to New York City), he eventually won a scholarship to the Pratt Institute. After graduation, he joined Jack Binder’s studio in 1941, where he worked on key Fawcett titles including Captain Marvel, Bulletman, and Ibis.
While working for Binder’s studio, which was located in Englewood, New Jersey, Schaffenberger took over an apartment from the local high school football coach, Vince Lombardi (who had yet to achieve success in the National Football League).
During this time, Schaffenberger’s work was also published by Prize, Street & Smith, and Pines.
Schaffenberger served in the U.S. military during World War II, including a stint with the Office of Strategic Services, leaving the military with the rank of Master Sergeant.
Schaffenberger returned to the world of professional sequential art soon after war’s end. He resumed his work for the Captain Marvel family of titles, and expanded his reach to an even more diverse group of publishing houses, including EC, Gilberton, Premier Magazines, American Comics Group, and Marvel Comics.
The Illustrators Journal 