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Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | Summing up this initial stint in comics, Steranko said in 1979, | 1 |
Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | Steranko has won awards in fields as varied as magic, comics and graphic design. A partial list includes: | 0 |
Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | 1 |
Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | His most famous comic book work was with the 1960s superspy feature "Nick Fury, Agent of S.H.I.E.L.D." in Marvel Comics' "Strange Tales" and in the subsequent eponymous series. Steranko earned lasting acclaim for his innovations in sequential art during the Silver Age of Comic Books, particularly his infusion of surrealism, pop art, and graphic design into the medium. His work has been published in many countries and his influence on the field has remained strong since his comics heyday. He went on to create book covers, become a comics historian who published a pioneering two-volume history of the birth and early years of comic books, and to create conceptual art and character designs for films including "Raiders of the Lost Ark" and "Bram Stoker's Dracula". | 0 |
Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | Summing up this initial stint in comics, Steranko said in 1979, | 1 |
Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | Comics historian Mark Evanier notes that the influential comic-book creator Jack Kirby, who "based some of his characters ... on people in his life or in the news", was "inspired" to create the escape artist character Mister Miracle "by an earlier career of writer-artist Jim Steranko". | 0 |
Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | 1 |
Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | Jim Steranko:545617 | 0 |
"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | 1 |
"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | Steranko in 1978 described some influences and their impact on his creative philosophy: | 0 |
"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | 1 |
"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations: | 0 |
"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | 1 |
"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations: | 0 |
Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | 1 |
Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | Jim Steranko:545617 | 0 |
Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | 1 |
Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | Comics historian Mark Evanier notes that the influential comic-book creator Jack Kirby, who "based some of his characters ... on people in his life or in the news", was "inspired" to create the escape artist character Mister Miracle "by an earlier career of writer-artist Jim Steranko". | 0 |
Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | 1 |
Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | Steranko has won awards in fields as varied as magic, comics and graphic design. A partial list includes: | 0 |
She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | 1 |
She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | Steranko recalled beginning school at age 4. Later, "Because my father had tuberculosis (and I tested positive), I began third grade at what was called an 'open-window' school, a facility across the city that had a healthy program for kids with special problems. I was bused to school for four years, then dropped into standard junior high." There, being smaller and younger than his classmates, he found himself a target for bullies and young gang-members until he studied boxing and self-defense at the local YMCA and began to successfully fight back. His youngest brother was born when Steranko was 14, "severing even the minimal interaction between me and my parents." | 0 |
She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | 1 |
She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | 0 |
She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | 1 |
She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | Steranko has won awards in fields as varied as magic, comics and graphic design. A partial list includes: | 0 |
When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | 1 |
When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | Up through his early 20s, Steranko performed as an illusionist, escape artist, close-up magician in nightclubs, and musician, having played in drum and bugle corps in his teens before forming his own bands during the early days of rock and roll. Steranko, whose first band, in 1956, was called The Lancers, did not perform under his own name, claiming he used pseudonyms to help protect himself from enemies. He also claims to have put the first go-go girls onstage. The seminal rock and roll group Bill Haley and his Comets was based in nearby Philadelphia and Steranko, who played a Jazzmaster guitar, often performed in the same local venues, sometimes on the same bill, and became friendly with Haley guitarist Frank Beecher, who became a musical influence. By the late 1960s, Steranko was a member of a New York City magicians' group, the Witchdoctor's Club. | 0 |
When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | 1 |
When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | He was inducted into the comic-book industry's Will Eisner Comic Book Hall of Fame in 2006. | 0 |
When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | 1 |
When reprinted in "Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?" (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in "Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2" (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version. | He has "amassed an enormous portfolio of more than sixty projects (which he called the 'Theater of Concepts') designed to be seen in multimedia form". | 0 |
Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | 1 |
Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations: | 0 |
Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | 1 |
Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | Steranko in 1978 described some influences and their impact on his creative philosophy: | 0 |
Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | 1 |
Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | 0 |
Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in "Nick Fury, Agent of S.H.I.E.L.D." #2, described by Robin Green in "Rolling Stone": | 1 |
Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | Steranko recalled beginning school at age 4. Later, "Because my father had tuberculosis (and I tested positive), I began third grade at what was called an 'open-window' school, a facility across the city that had a healthy program for kids with special problems. I was bused to school for four years, then dropped into standard junior high." There, being smaller and younger than his classmates, he found himself a target for bullies and young gang-members until he studied boxing and self-defense at the local YMCA and began to successfully fight back. His youngest brother was born when Steranko was 14, "severing even the minimal interaction between me and my parents." | 0 |
Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | 1 |
Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | Jim Steranko:545617 | 0 |
Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | 1 |
Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | Jim Steranko:545617 | 0 |
Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | 1 |
Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | 0 |
Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | 1 |
Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism". | 0 |
Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | 1 |
Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | Up through his early 20s, Steranko performed as an illusionist, escape artist, close-up magician in nightclubs, and musician, having played in drum and bugle corps in his teens before forming his own bands during the early days of rock and roll. Steranko, whose first band, in 1956, was called The Lancers, did not perform under his own name, claiming he used pseudonyms to help protect himself from enemies. He also claims to have put the first go-go girls onstage. The seminal rock and roll group Bill Haley and his Comets was based in nearby Philadelphia and Steranko, who played a Jazzmaster guitar, often performed in the same local venues, sometimes on the same bill, and became friendly with Haley guitarist Frank Beecher, who became a musical influence. By the late 1960s, Steranko was a member of a New York City magicians' group, the Witchdoctor's Club. | 0 |
In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | "Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | 1 |
In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations: | 0 |
In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | 1 |
In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | Steranko had begun drawing while very young, opening and flattening envelopes from the mail to use as sketch paper. Despite his father's denigration of Steranko's artistic talent, and the boy's ambition to become an architect, Steranko paid for his art supplies by collecting discarded soda bottles for the bottle deposit and bundled old newspapers to sell to scrap-paper dealers. He studied the Sunday comic strip art of Milton Caniff, Alex Raymond, Hal Foster, and Chester Gould, as well as the characters of Walt Disney and Superman, provided in "boxes of comics" brought to him by an uncle. Radio programs, Saturday movie matinées and serials, and other popular culture also influenced him. | 0 |
In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | 1 |
In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: | His most famous comic book work was with the 1960s superspy feature "Nick Fury, Agent of S.H.I.E.L.D." in Marvel Comics' "Strange Tales" and in the subsequent eponymous series. Steranko earned lasting acclaim for his innovations in sequential art during the Silver Age of Comic Books, particularly his infusion of surrealism, pop art, and graphic design into the medium. His work has been published in many countries and his influence on the field has remained strong since his comics heyday. He went on to create book covers, become a comics historian who published a pioneering two-volume history of the birth and early years of comic books, and to create conceptual art and character designs for films including "Raiders of the Lost Ark" and "Bram Stoker's Dracula". | 0 |
Summing up this initial stint in comics, Steranko said in 1979, | Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of ," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in "Strange Tales" #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish of the issue placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene "ever" in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. | 1 |
Summing up this initial stint in comics, Steranko said in 1979, | In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism". | 0 |
Summing up this initial stint in comics, Steranko said in 1979, | Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in "Tower of Shadows" #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. | 1 |
Summing up this initial stint in comics, Steranko said in 1979, | Supergraphics projects included the proposed "Talon the Timeless", illustrations of which appeared in a portfolio published in "witzend" magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine "Comixscene", which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into "Mediascene" (beginning with issue #7, Dec. 1973) and ultimately into "Prevue" (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994. | 0 |
Summing up this initial stint in comics, Steranko said in 1979, | Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's "The Tempest"; "Dark Moon Rise, Hell Hound Kill" (#3), a "Hound of the Baskervilles" homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. | 1 |
Summing up this initial stint in comics, Steranko said in 1979, | In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism". | 0 |
Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in "Strange Tales" #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue. | 1 |
Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism". | 0 |
Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | "Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his "Comix: A History of Comic Books in America", "the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period". Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the "Avengers" TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension." | 1 |
Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | Comics historian Mark Evanier notes that the influential comic-book creator Jack Kirby, who "based some of his characters ... on people in his life or in the news", was "inspired" to create the escape artist character Mister Miracle "by an earlier career of writer-artist Jim Steranko". | 0 |
Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in "Strange Tales" #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well. | 1 |
Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", "Our Love Story" #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with "Doc Savage" #2–3, "Shanna the She-Devil" #1–2, and "Supernatural Thrillers" #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic "Nick Fury and his Agents of S.H.I.E.L.D." #2 (April 1973). | Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations: | 0 |
In 1973, Steranko became founding editor of Marvel's official fan magazine, "FOOM", which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters. | Supergraphics projects included the proposed "Talon the Timeless", illustrations of which appeared in a portfolio published in "witzend" magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine "Comixscene", which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into "Mediascene" (beginning with issue #7, Dec. 1973) and ultimately into "Prevue" (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994. | 1 |
In 1973, Steranko became founding editor of Marvel's official fan magazine, "FOOM", which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters. | For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | 0 |
In 1973, Steranko became founding editor of Marvel's official fan magazine, "FOOM", which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters. | Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | 1 |
In 1973, Steranko became founding editor of Marvel's official fan magazine, "FOOM", which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters. | In 2003, Steranko was interviewed by the History Channel for the documentary titled "Comic Book Superheroes Unmasked". | 0 |
Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | 1 |
Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism". | 0 |
Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | In 1973, Steranko became founding editor of Marvel's official fan magazine, "FOOM", which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters. | 1 |
Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | Comics historian Mark Evanier notes that the influential comic-book creator Jack Kirby, who "based some of his characters ... on people in his life or in the news", was "inspired" to create the escape artist character Mister Miracle "by an earlier career of writer-artist Jim Steranko". | 0 |
Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, "The Block", distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled "The Steranko History of Comics", a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one "The Spirit" story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books. | In 1973, Steranko became founding editor of Marvel's official fan magazine, "FOOM", which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters. | 1 |
Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, "The Block", distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled "The Steranko History of Comics", a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one "The Spirit" story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books. | Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations: | 0 |
Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, "The Block", distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled "The Steranko History of Comics", a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one "The Spirit" story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books. | Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | 1 |
Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, "The Block", distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled "The Steranko History of Comics", a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one "The Spirit" story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books. | For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | 0 |
Supergraphics projects included the proposed "Talon the Timeless", illustrations of which appeared in a portfolio published in "witzend" magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine "Comixscene", which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into "Mediascene" (beginning with issue #7, Dec. 1973) and ultimately into "Prevue" (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994. | Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | 1 |
Supergraphics projects included the proposed "Talon the Timeless", illustrations of which appeared in a portfolio published in "witzend" magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine "Comixscene", which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into "Mediascene" (beginning with issue #7, Dec. 1973) and ultimately into "Prevue" (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994. | In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism". | 0 |
Supergraphics projects included the proposed "Talon the Timeless", illustrations of which appeared in a portfolio published in "witzend" magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine "Comixscene", which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into "Mediascene" (beginning with issue #7, Dec. 1973) and ultimately into "Prevue" (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994. | Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | 1 |
Supergraphics projects included the proposed "Talon the Timeless", illustrations of which appeared in a portfolio published in "witzend" magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine "Comixscene", which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into "Mediascene" (beginning with issue #7, Dec. 1973) and ultimately into "Prevue" (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994. | In 2003, Steranko was interviewed by the History Channel for the documentary titled "Comic Book Superheroes Unmasked". | 0 |
Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, "The Block", distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled "The Steranko History of Comics", a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one "The Spirit" story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books. | 1 |
Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | James F. Steranko (; born November 5, 1938) is an American graphic artist, comic book writer/artist, comics historian, magician, publisher and film production illustrator. | 0 |
Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | 1 |
Steranko wrote, drew, and produced the illustrated novel ' in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller "Outland" for "Heavy Metal" magazine. His only major work for DC Comics appeared in "Superman" #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its "Hercules: The Thracian Wars" title and "Ryder on the Storm". In 2012, he did poster art for RZG Comics and a variant cover for DC's ' #1. Steranko drew the 1970s variant cover for "Action Comics" #1000 (June 2018). | Jim Steranko:545617 | 0 |
For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | In 2003, Steranko was interviewed by the History Channel for the documentary titled "Comic Book Superheroes Unmasked". | 1 |
For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of "The Shadow". When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead. | 0 |
In 2003, Steranko was interviewed by the History Channel for the documentary titled "Comic Book Superheroes Unmasked". | He has "amassed an enormous portfolio of more than sixty projects (which he called the 'Theater of Concepts') designed to be seen in multimedia form". | 1 |
In 2003, Steranko was interviewed by the History Channel for the documentary titled "Comic Book Superheroes Unmasked". | Steranko has won awards in fields as varied as magic, comics and graphic design. A partial list includes: | 0 |
He has "amassed an enormous portfolio of more than sixty projects (which he called the 'Theater of Concepts') designed to be seen in multimedia form". | For the movie industry, Steranko has done sketches for movie posters, and was a conceptual artist on Steven Spielberg's "Raiders of the Lost Ark" (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's "Bram Stoker's Dracula" (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series "Justice League Unlimited". | 1 |
He has "amassed an enormous portfolio of more than sixty projects (which he called the 'Theater of Concepts') designed to be seen in multimedia form". | Steranko also had short runs on "X-Men" (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and "Captain America" (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief "Captain America" run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... is working on a brand-new feature, which will shortly be spotlighted in "Marvel Super-Heroes". And talk about a secret – he hasn't even told "us" what it is!" The referred-to project never appeared. | 0 |
Pope John Paul II appointed Filoni as apostolic nuncio to Iraq and Jordan on 17 January 2001, naming him titular Archbishop of Volturnum. He received episcopal consecration from Pope John Paul II on 19 March 2001. He chose "Lumen Gentium Christus" as his episcopal motto. | He came close to being killed in Baghdad on 1 February 2006, when a car bomb exploded next to the nunciature. He served in Iraq and Jordan until 25 February 2006 when he was named Apostolic Nuncio to the Philippines. | 1 |
Pope John Paul II appointed Filoni as apostolic nuncio to Iraq and Jordan on 17 January 2001, naming him titular Archbishop of Volturnum. He received episcopal consecration from Pope John Paul II on 19 March 2001. He chose "Lumen Gentium Christus" as his episcopal motto. | Pope Francis named Cardinal Luis Antonio Tagle to succeed Filoni as Prefect of the Congregation on 8 December 2019. | 0 |
Archbishop Filoni defended the freedom of the Catholic Church in Iraq under the regime of Saddam Hussein and – in line with the Pope's position – opposed the US invasion of the country in 2003. He remained in Baghdad as American bombs fell, which he called "nothing exceptional". When Mario Vargas Llosa visited him in Baghdad in 2003, he described Filoni as "small, astute, tough as nails, talkative and an expert on emergencies", who described sadly how, just as predicted, it was "incredibly difficult to administer the peace". After the fall of Saddam he recognized the new-found freedom enjoyed by the people, but he warned against the lack of security and the slow development of the economy. He expressed mixed feelings towards the new constitution, which he described as both a "positive step towards normalization in the country" and "contradictory in some areas", and supported the peaceful coexistence between Christians and Muslims. | He came close to being killed in Baghdad on 1 February 2006, when a car bomb exploded next to the nunciature. He served in Iraq and Jordan until 25 February 2006 when he was named Apostolic Nuncio to the Philippines. | 1 |
Archbishop Filoni defended the freedom of the Catholic Church in Iraq under the regime of Saddam Hussein and – in line with the Pope's position – opposed the US invasion of the country in 2003. He remained in Baghdad as American bombs fell, which he called "nothing exceptional". When Mario Vargas Llosa visited him in Baghdad in 2003, he described Filoni as "small, astute, tough as nails, talkative and an expert on emergencies", who described sadly how, just as predicted, it was "incredibly difficult to administer the peace". After the fall of Saddam he recognized the new-found freedom enjoyed by the people, but he warned against the lack of security and the slow development of the economy. He expressed mixed feelings towards the new constitution, which he described as both a "positive step towards normalization in the country" and "contradictory in some areas", and supported the peaceful coexistence between Christians and Muslims. | Pope Francis raised him to the rank of Cardinal Bishop effective 28 June 2018. | 0 |
He came close to being killed in Baghdad on 1 February 2006, when a car bomb exploded next to the nunciature. He served in Iraq and Jordan until 25 February 2006 when he was named Apostolic Nuncio to the Philippines. | Archbishop Filoni defended the freedom of the Catholic Church in Iraq under the regime of Saddam Hussein and – in line with the Pope's position – opposed the US invasion of the country in 2003. He remained in Baghdad as American bombs fell, which he called "nothing exceptional". When Mario Vargas Llosa visited him in Baghdad in 2003, he described Filoni as "small, astute, tough as nails, talkative and an expert on emergencies", who described sadly how, just as predicted, it was "incredibly difficult to administer the peace". After the fall of Saddam he recognized the new-found freedom enjoyed by the people, but he warned against the lack of security and the slow development of the economy. He expressed mixed feelings towards the new constitution, which he described as both a "positive step towards normalization in the country" and "contradictory in some areas", and supported the peaceful coexistence between Christians and Muslims. | 1 |
He came close to being killed in Baghdad on 1 February 2006, when a car bomb exploded next to the nunciature. He served in Iraq and Jordan until 25 February 2006 when he was named Apostolic Nuncio to the Philippines. | Pope Benedict XVI appointed Archbishop Filoni Substitute for General Affairs on 9 June 2007, effective 1 July. During his four years as Substitute, it was Filoni's job to organise the activities of the Curia and the care of official translations of papal documents and correspondence; encryption dispatches messengers to be sent to the Registry of the papal letters, the resolution of legal issues, personnel management in the Curia and nunciatures, protocol and etiquette for visiting heads of state, information and media management, and Vatican archive management. He was also responsible for organizing the activities of nuncios around the world in their activities concerning the local churches. | 0 |
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