Here’s the unpublished Silver Surfer Graphic Novel 2-page spread I mentioned yesterday that has the same composition as the Our Fighting Forces spread. Pretty safe to assume Lee rejected this because of it’s violence. Marvel must have returned the penciled art to Jack and I guess Jack had Royer ink it for some reason? Or is this Giacoia on inks? Could this possibly be Kirby inks?
Maybe Jack considered selling this page off so he had it inked, or maybe it was done specifically for the Jack Kirby Masterworks portfolio (1979) which is where this image was published? If anyone knows the history behind this piece, please share.
I love the defiance of the guy pumping his fists at the firing squad on the second page. I think Jack would have done a lot more of this type of material if not for the Comics Code. This is one of Jack’s more powerful pages, It’s inclusion in the Silver Surfer Graphic Novel would have given that book an added level of realism.
One of Jack’s most violent images. From Our Fighting Forces # 160 (Oct 1975), pages 2 – 3. Inked by Mike Royer.
Not great scans, but here are the individual pages.
Very similar composition to an unpublished Silver Surfer graphic novel page (1977) I’ll show you tomorrow.
Classic Captain America # 100 (Apr 1968) splash. Kirby/Shores. The reprint of this book blew me away in the late 1970s. I think it might have been one of the few comics I bought off the rack a the local 7-11, or maybe I got it in a pile of books from a local flea Market.
Here is the reprint, Marvel Super Action # 1 (May 1977).
Captain America # 207 (Mar 1977), cover. Giacoia inks. Pretty unique composition. Half the page featuring a profile, the other half characters in silhouette. Great example of Jack having the freedom to experiment, or was this based on a layout from the NYC Marvel offices Jack had to work from?
Thor # 155 (Aug 1958), page 15. Kirby/Colletta. A lot of white-out on Mangog’s costume. Maybe fixed to make sure it was consistent throughout the whole book. You gotta love a splash where half the image is a gigantic rock. Definitely gave Lee plenty of room to add dialogue.
Boy Explorers sketch, published in Jack Kirby’s Heroes and Villains. (1994)
Scan of the cover for Silver Star # 4 (Aug 1983). Kirby/Thibodeaux. Definitely a strange composition, the title covering the antagonists face, but you gotta give it to Jack, even in the early 80s he’s still experimenting.
Black Panther # 10 (June 1978), page 1. Royer inks.
Spectacular Sky Masters strip. Kirby/Wood (11/01/58). Prime example of Kirby/Wood tech. Jack’s imaginitive designs embellished to perfection by the master of SF inking.
Production notes in bottom left, doesn’t look like Jack’s handwriting to me. Not sure what those penciled dimensions on the bottom of the page are for or that 51.5/41.7 at the left. Maybe something to do with the dimensions of the strip? You can also see splashes of white-out on the borders of the artboard and at the bottom of the page. Woody probably touched up the panel borders when a black line or some lines crossed the border, and the splotches at the bottom may have been from him testing the consistency of the white-out before using it on the art — sometimes it’s good to stir white-out up a bit to elimiate water that collects at the top of the bottle, and get a nice thickness.
Amazing so many great comics artists from the 20th century used a tool designed to block out mistyped words to create artistic masterpieces.
Woody was particularly good at using white-out the way a painter would use a typical fine art brush and paint. I encourage you to try it some time, it’s a very difficult medium to work with — it tends to chip, and as you can see in the image above it’s more like milk than paint — but the great comics inkers all mastered it’s use, especially Woody who’s inking set the standard with his legendary EC work.
If you want to check out news on Woody’s work or chat with fellow Wood fans, check out the Wallace Wood Estate Facebook page.
Hope you enjoyed the Kirby/Sinnott FF retrospective. Only a show at a museum displaying a selection of the original art and an archive with all the artwork at HQ could really do their run justice, but it was fun to do my best with the scans I had, and hint at the great artwork those two produced.
Now back to jumping around Jack’s whole career. Here’s some Forever People # 1 art (Mar 1971). Looks like the bottom part of the image was pasted on, you can see the edge of the artboard, to the left of Beautiful Dreamer. Then you cans see the board was cut around the edges right next to the figures of the rest of the Forever People on that 3-wheeler. I’d love to take a closer look at this to see for sure what’s going on there. Looks like at least two, maybe three pieces pasted together.
Great example of Kirby trying to direct the letterer at the DC NYC offices — Jack has a strong idea of where he wants the text to be and what he wants it to say. Much different than in the 60s at Marvel where I’d guess Lee was in charge of the copy on the covers, and even at Marvel in the 70s, Jack just tended to suggest a caption in the margins.
Maybe the Kirby historians have addressed this before, but I wonder how Jack got Frank Giacoia to ink this? Jack was in California. Did he mail it to Frank, Frank inked it then Frank sent it to DC? Or maybe Jack did this while he was still in New York, and later on he cut the Forever People image out pasted that onto a new board and the Superman figure was added?