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The Art of Drawing Penis on Hot Woman Fota

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American comic strip cartoonist and illustrator

Wally Wood
A drawing of Wood's face in profile

Self-portrait by Wallace Woods
Born Wallace Allan Wood
(1927-06-17)June 17, 1927
Menahga, Minnesota, United States
Died Nov 2, 1981(1981-xi-02) (aged 54)
Los Angeles, California, U.s.a.
Nationality American
Expanse(southward) Cartoonist, Writer, Penciller, Inker, Publisher
Pseudonym(s) Woody
Awards

Listing

  • National Cartoonists Society Comic Book Segmentation awards, 1957, 1959, and 1965.
    Alley Award, Best Pencil Artist, 1965
    Alley Accolade, Best Inking Piece of work, 1966
    Angoulême International Comics Festival, Best Foreign Cartoonist Award, 1978
    Jack Kirby Hall of Fame, 1989
    The Volition Eisner Award Hall of Fame, 1992
    Inkwell Awards Joe Sinnott Hall of Fame (2011)

Wallace Allan Wood (June 17, 1927 – November ii, 1981)[ane] was an American comic book writer, artist and contained publisher, widely known for his work on EC Comics'south titles such equally Weird Science, Weird Fantasy, and MAD Magazine from its inception in 1952 until 1964, equally well equally for T.H.U.North.D.Eastward.R. Agents, and work for Warren Publishing's Creepy. He drew a few early problems of Marvel'due south Daredevil and established the title grapheme's distinctive red costume. Wood created and owned the long-running characters Sally Along and Cannon.

He wrote, drew, and self-published two of the three graphic novels of his magnum opus, The Wizard King trilogy, about Odkin son of Odkin before his untimely death by suicide.

Much of his early professional artwork is signed Wallace Wood; some people call him Wally Wood, a name he claimed to dislike.[2] Within the comics community, he was also known every bit Woody, a name he sometimes used as a signature.

In add-on to Woods's hundreds of comic volume pages, he illustrated for books and magazines while also working in a diversity of other areas – advertising; packaging and product illustrations; gag cartoons; record anthology covers; posters; syndicated comic strips; and trading cards, including work on Topps's landmark Mars Attacks gear up.

EC publisher William Gaines one time stated, "Wally may take been our nearly troubled artist ... I'm not suggesting any connection, but he may have been our most bright".[3]

He was the inaugural inductee into the comic volume industry's Jack Kirby Hall of Fame in 1989, and was inducted into the Will Eisner Comic Book Hall of Fame in 1992.

Biography [edit]

Early life and career [edit]

Wallace Wood was built-in in Menahga, Minnesota, and he began reading and drawing comics at an early age. He was strongly influenced by the fine art styles of Alex Raymond's Flash Gordon, Milton Caniff'south Terry and the Pirates, Hal Foster's Prince Valiant, Will Eisner's The Spirit and specially Roy Crane'due south Wash Tubbs. Recalling his childhood, Wood said that his dream at age six, about finding a magic pencil that could draw anything, foretold his time to come as an artist.[2] Forest graduated from high school in 1944, signed on with the U.s. Merchant Marine at the close of World State of war 2 and enlisted in the U.S. Regular army's 11th Airborne Division in 1946. He went from training at Fort Benning, Georgia, to occupied Nihon, where he was assigned to the island of Hokkaidō.

In 1947, at age 20, Forest enrolled in the Minneapolis School of Art but only lasted 1 term.[4] Arriving in New York City with his brother Glenn and mother Alma (of Finnish[v] descent), after his armed services belch in July 1948, Woods found employment at Bickford's restaurant as a busboy. During his time off he carried his thick portfolio of drawings all over midtown Manhattan, visiting every publisher he could find. He briefly attended the Hogarth School of Fine art but dropped out afterwards ane semester. In 1948, he enrolled in the Cartoonists and Illustrators School (now known as the Schoolhouse of Visual Arts), staying less than 1 year (although he made a number of professional contacts which helped him after).[vi]

Past October, afterward being rejected past every company he visited, Wood met fellow artist John Severin in the waiting room of a small publisher. After the 2 shared their experiences attempting to observe piece of work, Severin invited Wood to visit his studio, the Charles William Harvey Studio, where Wood met Charlie Stern, Harvey Kurtzman (who was working for Timely/Marvel) and Volition Elder. At this studio Wood learned that Will Eisner was looking for a Spirit background artist. He immediately visited Eisner and was hired on the spot.

Over the adjacent yr, Forest too became an assistant to George Wunder, who had taken over the Milton Caniff strip Terry and the Pirates. Woods cited his "starting time job on my own" as Chief Ob-stacle, a continuing serial of strips for a 1949 political newsletter. He entered the comic book field past lettering, as he recalled in 1981: "The first professional person job was lettering for Pull a fast one on romance comics in 1948. This lasted about a yr. I besides started doing backgrounds, so inking. Most of information technology was the romance stuff. For complete pages, it was $5 a folio ... Twice a week, I would ink x pages in 1 day".[seven]

Artists' representative Renaldo Epworth helped Wood state his early on comic-book assignments, making it unclear if that connectedness led to Wood's lettering or to his comics-art debut, the x-page story "The Tip Off Woman" [sic] in the Play tricks Comics Western Women Outlaws No. 4 (cover-dated January 1949, on sale late 1948). Wood'due south next known comic-volume fine art did not appear until Fox's My Confession No. vii (August 1949), at which time he began working almost continuously on the company'south similar My Experience, My Secret Life, My Honey Story and My True Beloved: Thrilling Confession Stories. His first signed work is believed to be in My Confession #8 (October 1949), with the name "Woody" one-half-hidden on a theater marquee. He penciled and inked two stories in that issue: "I Was Unwanted" (9 pages) and "My Tarnished Reputation" (ten pages).

Wood began at EC co-penciling and co-inking with Harry Harrison the story "Likewise Busy For Love" (Modern Love #five), and fully penciling the lead story, "I Was Just a Playtime Cowgirl", in Saddle Romances No. 11 (April 1950), inked by Harrison.[viii]

1950s [edit]

Working from a Manhattan studio at West 64th Street and Columbus Avenue, Wood began to attract attention in 1950 with his science-fiction artwork for EC and Avon Comics, some in collaboration with Joe Orlando. During this menses, he drew in a wide diverseness of subjects and genres, including adventure, romance, state of war and horror; message stories (for EC's Shock SuspenStories); and eventually satirical humor for author/editor Harvey Kurtzman in Mad including a satire of the lawsuit Superman's publisher DC filed against Helm Curiosity'southward publisher Fawcett called "Superduperman!" battling Helm Marbles.[9]

Woods was instrumental in disarming EC publisher William Gaines to outset a line of science fiction comics, Weird Science and Weird Fantasy (later on combined under the unmarried title Weird Scientific discipline-Fantasy). Wood penciled and inked several dozen EC science fiction stories. Wood likewise had frequent entries in Two-Fisted Tales and Tales from the Catacomb, equally well as the later EC titles Valor, Piracy, and Aces High.[8]

Working over scripts and pencil breakdowns past Jules Feiffer, the 25-year-former Wood drew two months of Volition Eisner's Sunday-supplement newspaper comic book The Spirit, on the 1952 story arc "The Spirit in Outer Space". Eisner, Forest recalled, paid him "about $xxx a week for lettering and backgrounds on The Spirit. Sometimes he paid $forty when I did the drawings, too".[x]

Books illustrated by Wood

Feiffer, in 2010, recalled Wood's studio, "which was at that fourth dimension in the very slummy Upper West Side [of Manhattan] in the [West] 60s, years before it was [the] Lincoln Center [area]. It was a cartoonist and science-fiction writers' ghetto – just a huge room where the walls were knocked downwardly, night, smelly, roach-infested, and all these cartoonists and writers bent over their tables. One was [science-fiction author] Harry Harrison."[xi]

Between 1957 and 1967, Wood produced both covers and interiors for more than lx issues of the science-fiction digest Galaxy Science Fiction, illustrating such authors equally Isaac Asimov, Philip K. Dick, Jack Finney, C.G. Kornbluth, Frederik Pohl, Robert Silverberg, Robert Sheckley, Clifford D. Simak and Jack Vance. He painted six covers for Galaxy Science Fiction Novels between 1952 and 1958. His gag cartoons appeared in the men'southward magazines Dude, Gent and Nugget. He inked the first eight months of the 1958–1961 syndicated comic strip Sky Masters of the Infinite Force, penciled by Jack Kirby.[12]

Wood expanded into book illustrations, including for the picture-encompass editions (though not the dust-jacket editions) of titles in the 1959 Aladdin Books reissues of Bobbs Merrill's 1947 "Childhood of Famous Americans" serial.[thirteen]

Silverish Age and Statuary Age [edit]

Wood additionally did art and stories for comic-book companies large and small – from Marvel (and its 1950s iteration Atlas Comics), DC (including Firm of Mystery and Jack Kirby's Challengers of the Unknown), and Warren (Creepy, Eerie, 1984), to such smaller firms as Avon (Eerie, Foreign Worlds), Charlton (War and Attack, Jungle Jim), Play a trick on (Martin Kane, Private Middle), Gold Fundamental (Thou.A.R.S. Patrol Total State of war, Fantastic Voyage), Harvey (Unearthly Spectaculars),[14] King Comics (Jungle Jim), Atlas/Seaboard (The Destructor),[15] Youthful Comics (Capt. Science) and the toy company Wham-O (Wham-O Giant Comics).[8] In 1965, Wood, Len Brown, and possibly Larry Ivie[16] created T.H.U.N.D.East.R. Agents for Belfry Comics.[17] He wrote and drew the 1967 syndicated Christmas comic strip Bucky's Christmas Antic.[18] During the 1960s, Forest did many trading cards and sense of humour products for Topps Chewing Mucilage, including concept roughs for Topps' famed 1962 Mars Attacks cards prior to the concluding fine art past Bob Powell and Norman Saunders.[nineteen]

Daredevil #vii (April 1964): Wood'south best-known work for Curiosity, debuting Daredevil's mod red costume.

For Curiosity during the Argent Age of Comic Books, Wood's work every bit penciler-inker of Daredevil #v–8 and inker over Bob Powell of issues #9-eleven established the title grapheme'due south distinctive red costume (in issue #seven).[20] Wood and Stan Lee introduced the Stilt-Man in Daredevil #8 (June 1965).[21] When Daredevil guest-starred in Fantastic Four #39–40, Wood inked that grapheme, over Jack Kirby pencils, on the covers and throughout the interior.[22]

Wood penciled and inked the first 4 x-page installments of the company's "Dr. Doom" characteristic in Astonishing Tales #one–four (Aug. 1970-February. 1971),[23] and both wrote and drew anthological horror/suspense tales in Tower of Shadows #5–8 (May–Nov. 1970), equally well as desultory other piece of work.[24]

In circles concerned with copyright and intellectual property issues, Wood is known equally the creative person of the unsigned satirical Disneyland Memorial Orgy poster, which first appeared in Paul Krassner's magazine The Realist.[25] The poster depicts a number of copyrighted Disney characters in various unsavory activities (including sexual practice acts and drug apply), with huge dollar signs radiating from Cinderella's Castle. Wood himself, every bit late as 1981, when asked who did that drawing, said only, "I'd rather not say anything most that! It was the most pirated cartoon in history! Everyone was press copies of that. I understand some people got busted for selling it. I always thought Disney stuff was pretty sexy ... Snow White, etc."[26] Disney took no legal action confronting either Krassner or The Realist but did sue a publisher of a "blacklight" version of the poster, who used the image without Krassner's permission. The case was settled out of court.

At DC Comics, he and Jim Shooter launched the Captain Activeness comic book series in 1968.[27] The following year, Forest briefly served equally inker of the Superboy series.[28] Discovering from Roy Thomas that Jack Kirby had returned to DC in 1970, Wood chosen editor Joe Orlando in an attempt to get the assignment to ink Kirby's new piece of work, merely that role was already filled by Vince Colletta.[29] That same yr, Wood was a ghost artist for an episode of Prince Valiant.[30] Forest worked on various serial for DC between 1975 and 1977, producing several covers for Plop! [31] and inking the pencil artwork of Steve Ditko and Jack Kirby on Stalker [32] and The Sandman respectively.[eight] He worked on the Hercules Unbound serial every bit well, providing inks for José Luis García-López[33] and Walt Simonson.[34] Wood penciled and inked All Star Comics and contributed to the creation of Power Daughter[35] past exaggerating the size of her breasts.[36] Agile with the 1970s University of Comic Book Arts, Wood contributed to several editions of the almanac ACBA Sketchbook. In one of his terminal assignments, Wood returned to a character he helped define, inking Frank Miller'southward cover of Daredevil #164 (May 1980). His last known mainstream credit was inking Wonder Adult female #269 (July 1980).[viii]

Over several decades, numerous artists worked at the Forest Studio. Assembly and assistants included Dan Adkins,[37] Richard Bassford, Howard Chaykin,[38] Tony Coleman, Nick Cuti,[39] Leo and Diane Dillon, Larry Hama,[40] Russ Jones, Wayne Howard,[41] Paul Kirchner, Joe Orlando, Pecker Pearson, Al Sirois, Ralph Reese,[42] Bhob Stewart, Tatjana Wood,[4] and Mike Zeck.

Publisher [edit]

In 1966, Wood launched the contained mag witzend (originally to be titled et cetera, a proper name which had to exist withdrawn when Forest was told another magazine had already used this) ane of the first alternative comics, a decade before Mike Friedrich'southward Star Reach or Flo Steinberg's Big Apple Comix for which Wood drew the cover and contributed a story. Wood offered his fellow professionals the opportunity to contribute illustrations and graphic stories that detoured from the usual conventions of the comics industry. Afterwards the fourth effect, Forest turned witzend over to Bill Pearson, who continued every bit editor and publisher through the 1970s and into the 1980s. Wood additionally nerveless his feature Sally Forth, published in the U.Southward. servicemen's periodicals Armed forces News and Overseas Weekly in 1968–1974, in a series of four oversize (ten"x12") magazines. Pearson, in 1993–95, reformatted the strips into a series of comics published by Eros Comix, an banner of Fantagraphics Books, which in 1998 nerveless the unabridged run into a single 160-page book.[43]

In 1969, Wood created another independent comic, Heroes, Inc. Presents Cannon, intended for his "Sally Along" military machine readership as indicated in the ads and indicia. Artists Steve Ditko and Ralph Reese and writer Ron Whyte are credited with primary writer-creative person Wood on three features: "Cannon", "The Misfits",[44] and "Dragonella". A second magazine-format issue was published in 1976 by Wood and CPL Gang Publications. Larry Hama, 1 of Woods'south assistants, said, "I did script well-nigh three Sally Forth stories and a few of the Cannon's. I wrote the primary Sally Along story in the first reprint book, which is really dedicated to me, mostly because I lent Woody the money to publish information technology".[45]

In 1980 and 1981, Forest did two bug of a completely pornographic comic volume, titled Gang Blindside. It featured two sexually explicit Sally Forth stories, and sexually explicit versions of Disney'south Snow White and the 7 Dwarfs, titled So White and the Six Dorks; Terry and The Pirates, titled Perry and the Privates; Prince Valiant, titled Prince Violate; Superman and Wonder Adult female, titled Stuporman Meets Corrigendum Woman; Wink Gordon, titled Flasher Gordon; and Tarzan titled Starzan. A third volume, published in 1983, independent three more sexually explicit parodies of Alice in Wonderland, titled Malice in Blunderland; a 2nd Flash Gordon sendup titled Flesh Fucker Meets Women's Lib!; and The Wizard of Oz, titled The Blizzard of Ooze.

"Panels That E'er Piece of work" [edit]

Wood struggled to be as efficient as possible in the often low-paying comics industry.[46] Over time he created a series of layout techniques sketched on pieces of paper which he taped upwards most his drawing table. These "visual notes," nerveless on three pages,[47] reminded Forest (and select administration he showed the pages to)[48] of various layouts and compositional techniques to go along his pages dynamic and interesting.[46] (In the same vein, Woods also taped upwardly another note to himself: "Never draw anything you tin re-create, never copy anything you tin trace, never trace anything y'all tin cut out and paste up.")[47]

In 1980, Wood's original, iii-page, 24 panel (not 22) version of "Panels" was published with the proper copyright notice in The Wallace Wood Sketchbook (Hunker/Forest 1980).[49] Around 1981,[47] Forest's ex-banana Larry Hama, by then an editor at Curiosity Comics, pasted up photocopies of Wood's copyrighted drawings on a unmarried page, which Hama titled "Wally Forest's 22 Panels That Always Piece of work!!" (Information technology was subtitled, "Or some interesting ways to get some multifariousness into those boring panels where some dumb writer has a bunch of lame characters sitting around and talking for page after page!") Hama left out two of the original 24 panels every bit his photocopies were likewise faint to make out some of the lightest sketches.[49] Hama distributed Wood'south "elegantly simple primer to basic storytelling"[50] to artists in the Marvel bullpen, who in turn passed them on to their friends and assembly.[48] Eventually, "22 Panels" made the rounds of merely about every cartoonist or aspiring comic volume artist in the industry and achieved its own iconic status.[50]

Wood's "Panels That Always Work" is copyright Wallace Forest Properties, LLC as listed by the United states of america Copyright Office which assigned the work Registration Number VA0001814764.[51]

Homages and tributes to "22 Panels" [edit]

In 1986 Tom Christopher, who had been given a copy by Larry Hama at the DC office in 1978 light boxed the pages, incorporating a non-linear dialogue and asked Par Holman to ink it. Par inked and lettered the piece and the completed art was distributed through Clay Geerdes' Comics World Co-Op, whose members produced mini and digest sized comics. In 2006, writer/creative person Joel Johnson bought the Larry Hama paste-up of photocopies at auction and made it available for wide distribution on the Cyberspace.[48] In 2010 Anne Lukeman of Kill Vampire Lincoln Productions produced a brusque motion picture adapting the "22 Panels That Always Work" into a film noir-fashion experimental slice chosen 22 Frames That Always Work.[52] Artist Rafael Kayanan created a revised version of "22 Panels" that used actual fine art from published Forest comics to illustrate each frame.[53] In 2006, cartoonist and publisher Cheese Hasselberger created "Cheese's 22 Panels That Never Work," featuring bizarre situations and generally poor storytelling techniques.[54] In 2012, Michael Avon Oeming created a Powers-themed update/homage to "22 Panels," making it available for distribution.[55] In July 2012, Cerebus Television receiver producer Max Southall brought together materials and released a documentary[56] that featured Dave Sim's homage to Wallace Wood and a focus on his 22 Panels, including a tribute that features a creation using the motif of i of them, depicting Daredevil and Woods himself, in Wallace Wood style – and the Wallace Wood Estate's official print of the panels.

Personal life and concluding years [edit]

Wood was married three times. His first matrimony was to creative person Tatjana Wood, who after did extensive work as a comic-book colorist. Their marriage ended in the late 1960s. His second marriage, to Marilyn Silverish, as well ended in divorce.[iv]

For much of his developed life, Wood had chronic, unexplainable headaches. In the 1970s, following bouts with alcoholism, Wood had kidney failure. A stroke in 1978 caused a loss of vision in one middle. Faced with failing health and career prospects, he shot and killed himself in Los Angeles on November two, 1981.[one] [iv] Toward the end of his life, an embittered Forest would say, co-ordinate to i biography, "If I had it all to do over over again, I'd cutting off my easily."[57]

In 1972, EC editor Harvey Kurtzman, who worked closely with Wood during the 1950s, said:

Wally had a tension in him, an intensity that he locked away in an internal steam boiler. I recollect information technology ate away his insides, and the work really used him up. I think he delivered some of the finest work that was always drawn, and I remember it's to his credit that he put so much intensity into his work at smashing sacrifice to himself.[58]

Biographies, criticism, collections [edit]

Wally'due south Globe: The Brilliant Life & Tragic Expiry of Wally Forest, the World's 2nd All-time Comic Book Artist by Steve Starger & J. David Spurlock, is a comprehensive biography. It was published in 2006 by Vanguard, which as well publishes collections of Wood's comic book piece of work, including Wally Wood: Strange Worlds of Science Fiction, Wally Forest: Eerie Tales of Criminal offense & Horror, Wally Wood: Cartel-Devil Aces, Wally Woods: Jungle Adventures, Wally Wood: Torrid Tales of Romance, new editions of The Wizard King books, and the Wally Wood Sketchbook.

In 2017 and 2018, Fantagraphics Books published The Life and Legend of Wallace Forest, a set of two hardcover books (ISBN 978-1-60699-815-i, ISBN 978-1-68396-068-3), mainly compiled by his former banana Bhob Stewart over a 30-year period. It is a revised, expanded, and uncensored version of his previous Wood book Against the Grain: Mad Artist Wallace Forest (TwoMorrows, 2003). Information technology features personal recollections of Wood'southward friends, colleagues, and assistants, including John Severin, Al Williamson, Paul Krassner, Trina Robbins, Larry Hama, and Paul Levitz; previously unpublished artwork and photographs; and a detailed examination of his life and career. It was Stewart'south terminal publishing project, but he did non live to see information technology in print.[59]

Awards [edit]

  • National Cartoonists Society Comic Book Division awards, 1957, 1959, and 1965.[60]
  • Alley Award, Best Pencil Artist, 1965[61]
  • Alley Laurels, Best Inking Work, 1966[61]
  • All-time Foreign Cartoonist Accolade, Angoulême International Comics Festival, 1978
  • Jack Kirby Hall of Fame, 1989[61]
  • The Will Eisner Award Hall of Fame, 1992[61]
  • The Inkwell Awards Joe Sinnott Hall of Fame Honor, 2011.[62] [63]

Bibliography [edit]

DC Comics [edit]

  • All-American Men of War #29–thirty (1956)
  • All Star Comics #58–63 (inker); #64–65 (plotter/artist) (1976–1977)
  • Amazing World of DC Comics #13 (inker) (1976)
  • Angel and the Ape #2–6 (inker) (1969)
  • Anthro #vi (inker) (1969)
  • Helm Action #one (artists) #2–three, 5 (inker) (1968–1969)
  • Challengers of the Unknown #2–8 (inker) (1958–1959)
  • DC 100 Page Super Spectacular #five (inker) (1971)
  • DC Special Series #11 (The Flash) (inker) (1978)
  • Falling in Honey #108 (1969)
  • Ghosts #2 (inker) (1971)
  • Girls' Love Stories #143, 150 (1969–1970)
  • Light-green Lantern #69 (inker) (1969)
  • Hercules Unbound #i–viii (inker) (1975–1976)
  • House of Mystery #180, 183–184, 189 (inker); #199, 251 (artist) (1969–1977)
  • Firm of Secrets #91, 96 (1971–1972)
  • Isis #ane (inker) (1976)
  • Limited Collectors' Edition #C-34 (inker) (1975)
  • Meet Angel #7 (inker) (1969)
  • Our Ground forces at State of war #249 (writer/artist) (1972)
  • Our Fighting Forces #10 (1956)
  • Plop! #14 (artist); #sixteen (inker); #23 (writer/artists) (1975–1976)
  • Richard Dragon, Kung-Fu Fighter #4–8 (inker) (1975–1976)
  • Sandman #6 (inker) (1975)
  • Showcase #12 (Challengers of the Unknown) (inker) (1958)
  • Stalker #1–4 (inker) (1975)
  • Foreign Adventures #154 (inker) (1963)
  • Super-Team Family #1, three (The Flash and Hawkman squad-up) (inker) (1976)
  • Superboy #153–155, 157–161 (inker) (1969)
  • Swing with Scooter #30–31, 33 (inker) (1970–1971)
  • Teen Titans #19 (inker) (1969)
  • The Unexpected #122, 137 (inker); #138 (creative person) (1970–1972)
  • Weird Mystery Tales #23 (1975)
  • The Witching Hour #15 (1971)
  • Wonder Adult female #195, 269 (inker) (1971–1980)
  • Young Beloved #84 (inker) (1971)

EC Comics [edit]

  • Aces High #1–5 (1955)
  • Confessions Illustrated #1 (1956)
  • The Crypt of Terror #18 (1950)
  • Gunfighter #xiii–14 (1950)
  • The Haunt of Fear #15–xvi, four–5, 24 (1950–1954)
  • Mad #i–20, 23–49, 57–70, 72–86, 90 (1952–1964)
  • Modern Love #v–8 (1950)
  • A Moon, a Girl ... Romance #10–12 (1949–1950)
  • Piracy #ane–2 (1954–1955)
  • Saddle Romances #x–11 (1950)
  • Shock SuspenStories #2–15 (1952–1954)
  • Tales from the Catacomb #21, 24–27 (1950–1952)
  • 3 Dimensional EC Classics #one (1954)
  • Two-Fisted Tales #18–28, 30–35, 41 (1950–1955)
  • Valor #1–2, 4–5 (1955)
  • Vault of Horror #12–14, 39 (1950–1954)
  • Weird Fantasy #xiii–17, 6–14, 17 (1950–1953)
  • Weird Science #12–13, v–22 (1950–1953)

Marvel Comics [edit]

  • Astonishing Tales #ane–iv (Doctor Doom) (1970–1971)
  • Avengers #xx–22 (inker) (1965)
  • Captain America #127 (inker) (1970)
  • Cat #1 (inker) (1972)
  • Daredevil #5–11 (1964–1965)
  • Journeying into Mystery #39, 51 (1956–1959)
  • Journey into Unknown Worlds #51 (1956)
  • Kull the Conquistador #one (inker) (1971)
  • Marvel Spotlight #1 (Reddish Wolf) (inker) (1971)
  • Marvel Tales #152 (1956)
  • Mystic #52 (1956)
  • Strange Tales #134 (Human being Torch and the Affair) (inker) (1965)
  • Tales of Suspense #71 (Atomic number 26 Man) (inker) (1965)
  • Tower of Shadows #v–8 (writer/creative person) (1970)
  • Unknown Worlds of Science Fiction #i (writer) (1975)
  • Western Gunfighters #22 (1956)

Belfry Comics [edit]

  • Dynamo #1–4 (1966–1967)
  • T.H.U.N.D.E.R. Agents #1–xx (1965–1969)

Warren Publishing [edit]

  • 1984 #1–two, 5 (1978–1979)
  • Blazing Gainsay #three–iv (1966)
  • Comix International #1 (1975)
  • Creepy #38, 41, 55, 75, 78, 91 (1971–1977)
  • Eerie #5, 11, 14, sixty–61, 131 (1966–1974)
  • Famous Monsters of Filmland #58 (1969)
  • Galactic Wars Comix #1 (1978)
  • Monster Globe #ane (1964)
  • Vampirella #9–10, 12, 19, 27, Almanac #1 (1971–1973)
  • Warren Presents #i, 3 (1979)

Footnotes [edit]

  1. ^ a b "Wallace Woods". Lambiek Comiclopedia. 2014. Archived from the original on June 5, 2014.
  2. ^ a b Stewart, Bhob, ed. (2003). Against the Grain: Mad Creative person Wallace Wood. Raleigh, N Carolina: TwoMorrows Publishing. ISBN978-1893905283.
  3. ^ Evanier, Mark (2002). Mad Art : A Visual Commemoration of the Fine art of Mad Magazine and the Idiots Who Create It. Watson-Guptill Publications. p. 47. ISBN978-0823030804.
  4. ^ a b c d McLauchlin, Jim (July 2010). "Tragic Genius: Wally Wood". Wizard (228). Archived from the original on December 30, 2013.
  5. ^ David Saunders: WALLACE Wood
  6. ^ Nadel, Dan. "Wally Wood Should Have Browbeaten Them All," Comics Comics (Feb 18, 2010).
  7. ^ Wallace Wood interview, originally published in The Buyer's Guide No. 403 (Baronial 1, 1981), reprinted in Comic Volume Artist No. 14 (July 2001); p. 18 of the latter.
  8. ^ a b c d e Wallace Wood at the Grand Comics Database and Wally Wood at the Yard Comics Database
  9. ^ Daniels, Les (1995). "The Comics Code Crunch". DC Comics: Sixty Years of the Globe's Favorite Comic Book Heroes. New York, New York: Bulfinch Press. p. 115. ISBN0821220764. In the fourth outcome [of Mad] (April–May 1953), writer Harvey Kurtzman and creative person Wallace Wood brand light of the lawsuit betwixt Superman and Helm Marvel.
  10. ^ Wood interview, Comic Book Artist No. xiv, p. 19
  11. ^ Transcript of March 24, 2010, Feiffer interview at the Museum of Comic and Drawing Art, published as "Backing into Jules Feiffer: An Exclusive Q&A", p.two, FilmFestivalTraveler.com, Apr 18, 2010. WebCitation annal.
  12. ^ Evanier, Marker (2008). Kirby: King of Comics. New York, New York: Abrams Books. p. 106. ISBN978-0810994478. The artwork was exquisite, in no small part considering Dave Wood had the idea to hire Wally Wood (no relation) to handle the inking.
  13. ^ Guthridge, Sue. Tom Edison, Male child Inventor. Illustrated by Wood. New York : Aladdin Books ; London : Collier Macmillan, 1986, c1959
  14. ^ Wells, John (2014). American Comic Book Chronicles: 1965-1969. TwoMorrows Publishing. pp. 99–100. ISBN978-1605490557.
  15. ^ Arndt, Richard J. (April 2018). ""Prissy" Is the Discussion: A Few Words on Archie Goodwin". Back Upshot!. Raleigh, North Carolina: TwoMorrows Publishing (103): 12.
  16. ^ Ivie, Larry, "Ivie League Heroes", Comic Volume Artist No. 14 (July 2001), pp. 64–68
  17. ^ Markstein, Don (2010). "T.H.U.N.D.E.R. Agents". Don Markstein's Toonopedia. Archived from the original on June 22, 2014. The series was created by Wallace Wood, whose art had been seen throughout the comics industry since 1947 ... Woods was mainly responsible for the overall look of the series.
  18. ^ Starger, Steve and J. David Spurlock, Wally's World (Vanguard Productions, 2007), p. 177. ISBN 1-887591-80-Ten
  19. ^ Truitt, Brian (July 23, 2012). "Mars Attacks once again, l years later". United states Today. Archived from the original on June 22, 2014.
  20. ^ Daniels, Les (1991). "The Marvel Age (1961–1970)". Marvel: V Fabulous Decades of the World'southward Greatest Comics. Abrams Books. p. 120. ISBN9780810938212. The complicated red-and-yellow costume that [Pecker] Everett created for the original Daredevil cover was changed by artist Wally Wood to simpler carmine tights. The more devilish new costume is the one that ultimately lasted.
  21. ^ DeFalco, Tom; Gilbert, Laura, ed. (2008). "1960s". Marvel Chronicle A Year by Year History. London, United Kingdom: Dorling Kindersley. p. 108. ISBN978-0756641238. The Stilt-Man sprang into action in Daredevil #8. Created past Stan Lee and Wally Wood, his limited powers made him a joke among other criminals.
  22. ^ Per Stan Lee in letters page, Fantastic 4 N#42 (Sept. 1965)
  23. ^ Sanderson, Peter "1970s" in Gilbert (2008), p. 146: "Curiosity's second dissever book of 1970 gave ii longtime Curiosity stars their own series. Stan Lee and Jack Kirby collaborated on the first installment of the new series starring Ka-Zar ... Marvel's greatest villain, Dr. Doom, also received his own series, scripted past Roy Thomas and drawn ... [by] Wally Woods."
  24. ^ Wood inked The Avengers #20–22 and the "Atomic number 26 Man" characteristic in Tales of Suspense #71, both over penciler Don Heck, as well as the "Homo Torch" feature in Foreign Tales #134, over Powell, in 1965; Captain America #127, over Factor Colan, in 1970; Kull the Conqueror #one, over Ross Andru, and "Red Wolf" in Marvel Spotlight #1, over Syd Shores, in 1971; and The Cat #1, over Marie Severin, in 1972. He inked Kirby on the covers of Avengers #twenty–21 and The X-Men #fourteen. The Grand Comics Database too cites "additional inks ... uncredited" on the Kirby layouts and George Tuska pencil and ink work of the "Captain America" feature in Tales of Suspense #71.
  25. ^ Krassner, Paul, and Wally Wood "The Disneyland Memorial Orgy", The Realist Archive Project: The Realist #74, May 1967, pp. 12–xiii. WebCitation annal. Credits listed at archive's May 1967 Contents Page. WebCitation archive.
  26. ^ Comic Book Artist No. 14, p. 20
  27. ^ McAvennie, Michael; Dolan, Hannah, ed. (2010). "1960s". DC Comics Year By Twelvemonth A Visual Chronicle. London, U.k.: Dorling Kindersley. p. 131. ISBN978-0-7566-6742-ix. Writer Jim Shooter and artist Wally Wood helmed November [1968]'due south Captain Action #ane, based on Platonic'due south popular action figure.
  28. ^ Levitz, Paul (2010). "The Silverish Age 1956–1970". 75 Years of DC Comics The Fine art of Modern Mythmaking. Cologne, Germany: Taschen. p. 325. ISBN9783836519816. In 1969, Superboy ... swerved radically from the complacent Super-house style once author Frank Robbins came aboard ... Overnight the comic was reinvented with realistic teen angst, natural dialogue, and a sex appeal that was only aided past the inks of good-girl creative person Wally Wood. Under his brush, Lana Lang never looked hotter.
  29. ^ Ro, Ronin (2004). Tales to Amaze: Jack Kirby, Stan Lee and the American Comic Book Revolution. Bloomsbury. p. 151. ISBN1582343454.
  30. ^ "Hal Foster". Lambiek Comiclopedia. November 25, 2011. Archived from the original on Oct 25, 2013. Hal Foster grew older, also – subsequently all, he was already 44 when he started Prince Valiant! He decided to start working with assistants. Three artists worked with him: Gray Morrow, Wally Wood and John Cullen Murphy.
  31. ^ McAvennie "1970s" in Dolan, p. 156: "From the lavish covers of Basil Wolverton and Wally Wood to ane-page gags and stories also peculiar for fifty-fifty the likes of a Mad magazine, Plop! lived ... by its own macabre rules."
  32. ^ Ross, Jonathan (2011). "Introduction". The Steve Ditko Omnibus Volume One Starring Shade, the Changing Homo. DC Comics. p. 11. ISBN978-1401231118. I'll brand do with re-reading these wonderful four issues in which Ditko'due south beautiful pencils are ennobled past the incomparable Wally Wood'due south inks.
  33. ^ Nolen-Weathington, Eric (2005). Modern Masters, Volume 5: José Luis García-López. Raleigh, North Carolina: TwoMorrows Publishing. pp. 27–28. ISBN978-1893905443.
  34. ^ Nolen-Weathington, Eric; Ash, Roger (2006). Modern Masters, Volume 8: Walter Simonson. Raleigh, Due north Carolina: TwoMorrows Publishing. p. 25. ISBN978-1893905641.
  35. ^ Markstein, Don (2010). "Power Girl". Don Markstein's Toonopedia. Archived from the original on June 22, 2014.
  36. ^ Evanier, Marking (July 4, 2012). "Foto File". News From ME. Archived from the original on July xiii, 2012. Fans noticed that her chest seemed to grow from issue to issue. I was around once when Woody was asked nearly this. He said that it was his intention to add about a half-inch to her bustline every issue and see how long it would be before someone told him to finish. Wood only did 8 or nine issues and I retrieve someone told him to cease around his sixth
  37. ^ Adkins in Cooke, Jon B. (February 2000). "Dan Adkins' Strange Tales". Comic Book Artist. Raleigh, Northward Carolina: TwoMorrows Publishing (seven). Archived from the original on October 21, 2007. Reprinted in Cooke, Jon, ed. (2009). Comic Book Artist Collection, Volume 3. Raleigh, Due north Carolina: TwoMorrows Publishing. p. 38. ISBN978-1893905429.
  38. ^ Greenberger, Robert (2012). The Art of Howard Chaykin. Mount Laurel, New Jersey: Dynamite Entertainment. pp. 26–28. ISBN978-1606901694.
  39. ^ Wahl, Andrew (July 23, 2009). "CCI: Nicola Cuti Earns Inkpot Honor". Comic Book Resources. Archived from the original on September 19, 2016. Before long, Cuti would autumn in with the legendary Wally Wood, with whom he would share a studio in Long Island.
  40. ^ Salicrup, Jim; Zimmerman, Dwight Jon (September 1986). "Larry Hama (part two)". Comics Interview. Fictioneer Books (38): 36–45.
  41. ^ "Wayne Howard". Lambiek Comiclopedia. Oct two, 2015. Archived from the original on September 15, 2016. He joined Wally Forest's studios in Long Island, New York, around 1969.
  42. ^ "Ralph Reese". Lambiek Comiclopedia. 2016. Archived from the original on March 5, 2016. From the age of 16, Ralph Reese assisted Wallace Forest on a number of projects, including the DC serial Superboy and a serial of Topps trading cards.
  43. ^ Markstein, Don (2007). "Sally Forth". Don Markstein'due south Toonopedia. Archived from the original on June 22, 2014.
  44. ^ Wally Wood'southward "Misfits" at An International Catalogue of Superheroes.WebCitation archive.
  45. ^ JoeGuide.com: "Larry Hama: Writer & Artist", no appointment. Original link dead as of at to the lowest degree Feb 4, 2010. Archived Jan ane, 1996, at the Wayback Machine.
  46. ^ a b Evanier, Mark (July two, 2010). "Today'due south Video Link". News From ME. Archived from the original on June 25, 2014.
  47. ^ a b c Hama, quoted in Johnson, Joel. "Wally Forest'southward 22 Panels That Ever Work: Unlimited Edition," Joel Johnson's web log, August eighteen, 2006. WebCitation annal.
  48. ^ a b c Johnson.
  49. ^ a b Wallace Wood Sketchbook (Crouch, 1980). [1].
  50. ^ a b McDonald, Heidi. "Wally Wood's 22 Panels That Always Work: Unlimited Edition", The Vanquish, August 21, 2006. WebCitation archive.
  51. ^ "Panels That Always Work". United states of america Copyright Office. due north.d. Archived from the original on Baronial twenty, 2018.
  52. ^ Beschizza, Rob. "22 movie making techniques that always work...", BoingBoing, July one, 2010. WebCitation archive.
  53. ^ Thompson, Steven. "Woods'south 22 Panels Revisited", Hooray for Wally Wood, November three, 2010. WebCitation archive.
  54. ^ "Cheese's 22 Panels That Never Work!" HouseOfTwelve.com. Accessed Baronial 2, 2011.
  55. ^ Bare-faced, Chris. "Mike Oeming's homage to Wally Wood'southward 22 Panels That Always Piece of work," Comic Book Resource: "Robot half dozen" (June 1, 2012).
  56. ^ "CerebusTV #36 (Wally Wood episode)". Cerebus.tv. July 2012. Archived from the original on Baronial 28, 2014.
  57. ^ Stewart, Bhob, ed. (2003). Against the Grain: MAD Artist Wallace Wood. Raleigh, Northward Carolina: TwoMorrows Publishing. p. 321. ISBN978-1-893905-23-eight.
  58. ^ EC Lives! The 1972 EC Fan-Aficionado Convention Book (privately published)
  59. ^ "Written report to Readers: The Life and Fable of Wallace Forest Volume two". The Comics Journal. March 19, 2018. Retrieved October 26, 2018.
  60. ^ "Division Awards Comic Books". National Cartoonists Society. 2013. Archived from the original on December sixteen, 2013. Retrieved December sixteen, 2013.
  61. ^ a b c d Bails, Jerry, and Hames Ware. Wood, Wally (entry), Who'southward Who of American Comic Books, 1928–1999. Accessed April five, 2011. WebCitation archive.
  62. ^ "2011 Inkwell Awards Winners". Inkwell Awards. Archived from the original on October 8, 2014.
  63. ^ YouTube – J. David Spurlock – Heroes Convention 2011 – Posthumous acceptance on behalf of Wally Wood

References [edit]

  • Stewart, Bhob, and Catron, J. Michael, editors, The Life and Fable of Wallace Wood Vol. 1 ISBN 978-i-60699-815-1 and Vol. 2 ISBN 978-ane-68396-068-3
  • Gilbert, Michael T. "Total Control: A Brief Biography of Wally Wood", Alter Ego vol. 3, No. 8 (Jump 2001). WebCitation archive.
  • Wood, Wally. The Curiosity Comics Art of Wally Wood. New York: Thumbtack Books, 1982, hardcover. ISBN 0-942480-02-three

External links [edit]

  • Wallace Woods Estate
  • Study to Readers: The Life and Legend of Wallace Wood Book 2 at The Comics Journal
  • Complete list of Wood'southward manufactures for MAD Magazine
  • Wally Wood at Observe a Grave
  • The Wally Wood Messages and photo anthology. WebCitation archive.
  • Stiles, Steve "Wallace Wood: The Tragedy of a Master S.F. Cartoonist", SteveStiles.com, n.d. WebCitation annal.
  • "Comic Book Creators Trading Cards #iii: Wally Wood" IsThisTomorrow.com, n.d. WebCitation annal.
  • Wally Woods (1927–1981) American Art Archives. WebCitation archive.
  • "Wood", BPIB.com (fan site), n.d. WebCitation annal.
  • "Wally Wood". SplashPages.com. Archived from the original on December 5, 2007. Includes "Online checklist: Catalogues, Programs, Sketchbooks, Etc." at the Wayback Machine (archived December five, 2007)
  • Wallace Forest at Mike'southward Amazing World of Comics
  • Wallace Wood at the Unofficial Handbook of Marvel Comics Creators
  • Works past Wally Woods at Project Gutenberg
  • Works by or most Wally Wood at Net Archive
  • Merry Marvel Marching Society recording includes voice of Wallace Wood
  • Wallace Wood at the Internet Speculative Fiction Database
  • Wallace Wood at Library of Congress Authorities, with 16 itemize records

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Source: https://en.wikipedia.org/wiki/Wally_Wood

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