jim steranko website

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. He is an illustrator and graphic designer. I have only scratched the surface of what an important person Mr Steranko is to the industry, to find out more check out The Drawings of Steranko website. Long before cool was cool, Steranko set the comic book industry ablaze with a late '60s style and confident swagger that is still reverberating within the business today. [11] Among others, his work has been shown in the following locations: Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance. ", "Comics Loses One of its Major Visionaries: Byron Preiss", "The Great Steranko's Finished Masterpiece! Steranko also had short runs on X-Men (#50–51, Nov.–Dec. [Alex] Toth is one of the few guys who can simplify an illustration to a minimum of lines with a maximum of impact. Happy birthday to superstar Jim Steranko from his friends at SYFY WIRE! 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. [11] 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. Lee phoned him about a month later, after the two had cooled down.[35]. Early life. "At Interview with THE Artist ... Jim Steranko: ' ... local boy makes good. Own Want. Born 1938 in Pennsylvania, Mr Steranko was drawing from a very young age. That time Jim Steranko slapped Bob Kane at San Diego Comic-Con . In 1969 Mr Steranko formed his own publishing company, Supergraphics, and in 1970 and 1972 published The Steranko History of Comics volume 1 and 2 respectively. [48][49], Steranko wrote, drew, and produced the illustrated novel Chandler: Red Tide in 1976, for Byron Preiss Visual Publications / Pyramid Books.

Radio programs, Saturday movie matinées and serials, and other popular culture also influenced him.[10][11]. Stan brought Steranko into his office, and Jim left with the 'S.H.I.E.L.D.' She looked like a character who had just stepped out of a James Bond poster.[33]. A curated monthly periodical featuring our most interesting articles and more. Outside of comics Mr Steranko has also shared his talents as a concept artist for film, including Steven Spielberg’s Raiders of the Lost Ark and Francis Ford Coppola’s Bram Stoker’s Dracula. Supergraphics projects included the proposed Talon the Timeless, illustrations of which appeared in a portfolio published in witzend magazine #5,[47] 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. '", https://en.wikipedia.org/w/index.php?title=Jim_Steranko&oldid=982977856, Creative Commons Attribution-ShareAlike License, In addition to himself being inducted into the. assignment. [61], 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". All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension."[31]. [36] 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, ... [he] is working on a brand-new feature, which will shortly be spotlighted in Marvel Super-Heroes. [23][50][51] A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. 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. He slept on a couch in the nominal living room until he was more than 10 years old. Stan is a great editor. Steeped in cinematic techniques picked up from that medium's masters, Jim synthesized ... an approach different from anything being done in mainstream comics, though it did include one standard attraction: lots of females in skintight, sexy costumes. She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. I learned a lot from it and eventually went on to create a few comics of my own. Then, in a rarity for comics artists, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. 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.

Volume 2 (Marvel Publishing, 2009; ISBN 978-0-7851-3503-6), used the published final panel, although the appendix included the original art, showing the page as initially drawn. He was inducted into the comic-book industry's Will Eisner Comic Book Hall of Fame in 2006. He is cited as one of the prime architects of Marvel Comics, for which he generated 150 original storytelling innovations that changed the direction of the medium. "[37] The referred-to project never appeared. For more information, please see our. But if you know, you know, and nothing more need be said. 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. 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.

He is cited as one of the prime architects of Marvel Comics, for which he generated 150 original storytelling innovations that changed the direction of the medium. for Marvel Comics. And he's still the best-dressed man in comics. Steranko's father, one of nine siblings, began working in the mines at age 10, and as an adult became a tinsmith. He is an illustrator and graphic designer. Steranko in 1978 described some influences and their impact on his creative philosophy: Early influences were Chester Gould's [comic strip] Dick Tracy (not particularly in my drawing style but in subject matter and an approach to drama), Hal Foster, and Frank Robbins' [comic strip] Johnny Hazard. Colin Solan-December 28, 2019 0. Madame Hydra shouted about Cap, when she first appeared in, DeFalco "1960s" in Gilbert (2008), p. 137, CS1 maint: BOT: original-url status unknown (, promotes the subject in a subjective manner, Learn how and when to remove this template message, Countess Valentina (Val) Allegro De Fontaine, Nick Fury, Agent of S.H.I.E.L.D. 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. His first published penciled work was in Spyman #1 (1966), which he wrote the story “The Birth of a Hero”. If you're a publisher and you want my work, you get it my way or you don't get it at all.

Sol agreed, and took it in to Stan. Fans seem to have a lot less [of an] opinion of Robbins for some reason, just because they're more enamored of lines. Each instance uses Steranko's original telephone panel, not the redrawn published version. [11] 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"[11]) and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. [11] Interested in writing and drawing for comic books, he visited DC Comics as a fan and was treated to a tour of the office by editor Julius Schwartz, who gave Steranko a copy of a script featuring the science-fiction adventurer Adam Strange. [46] 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. [40], Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", Our Love Story #5, Feb. 1970)[41] 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. Steranko has won awards in fields as varied as magic, comics and graphic design. [4] One example is a silent, one-page seduction sequence with the Countess in Nick Fury, Agent of S.H.I.E.L.D. Steranko recalled in 2003, "It was the first full script I'd ever seen, complete with panel descriptions and dialogue. ", "Face Front! [12], By his account, Steranko learned stage magic using paraphernalia from his father's stage magician act, and in his teens spent several summers working with circuses and carnivals, working his way up to sideshow performer as a fire-eater and in acts involving a bed of nails and sleight-of-hand. [30] 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. 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 [copy 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! ... With each passing issue Steranko's efforts became more and more innovative. When reprinted in Nick Fury, Agent of S.H.I.E.L.D. Entire pages would be devoted to photocollages of drawings [that] ignored panel boundaries and instead worked together on planes of depth. Steranko was born in Reading, Pennsylvania.According to Steranko's authorized biography, his grandparents emigrated from Ukraine to settle in the anthracite coal-mining region of eastern Pennsylvania.


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