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#1 JACK KIRBY



With all due respect to the gentlemen listed below, the gap between Jack Kirby and the rest of the field might just as well be an ocean. Jack's accomplishments are legion. Not only a great artist and cartoonist, but a breathtaking visual stylist who created a large portion of the storytelling language every comic artist uses today. He is the unquestioned king of invention; not just characters, but devices, stories, races, worlds, genres, and even companies flowed from his fingers. For over 50 years his exuberance, his vitality, and his sheer will helped him carry an industry on his shoulders. Very few people in any creative field are acknowledged as the obvious and unchallenged master of their domain. Kirby is one of them.
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#2 WILL EISNER



Will Eisner is simply the most mature, thoughtful, and articulate creator that American comics have yet produced. With a career begun at the advent of comics and continuing with vibrant, fascinating work still being done today, Eisner is a wishful example for future comic creators to follow. After an early career employing future greats (Jack Kirby, Lou Fine, Reed Crandall) with Eisner / Iger studio and creating some of comics' greatest strips (Blackhawk, The Spirit) Will retired from commercial comics for over 20 years. When he returned he expanded and enriched his ouvre with a series of personal, heartfelt graphic novels about subjects as varied as religion, tenement life, the comics industry and the politics of life on other worlds. If even a handful of well rounded, accomplished creators would put away the trappings of adolescence and follow his lead toward serious minded treatment of a variety of subjects, comics could begin the long march to acceptance as a literary form.

SEE: The Spirit (pre-war era); A Contract with God; The Dreamer
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#3 NEAL ADAMS



Neal Adams changed the look of the comic industry forever. By applying techniques and production philosophies of the commercial art world, he spawned a generation of imitators and a radical shift in style. The line of demarcation is so obvious, in fact, that comics history could rightfully be divided into the Kirby era and the Adams era. Among the artists who can trace their lineage wholly or partly to the Adams legacy are: Frank Brunner, Mike Nasser, Bill Sienkiewicz, Mike Ploog, Val Mayerik, Mike Golden, and many others. Although Neal's career has been spotty in the years since, his impact in the late 60's is unparalleled, and the repercussions of his influence are still in evidence today.

SEE: Avengers 93-95; Batman #252; consistent high quality 1966-72!
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#4 CARL BARKS



One of comics' great all around storytellers, Barks had a long and successful career doing one of the toughest things of all: entertaining children and adults with the same stories. Along the way he created some wonderful and enduring characters, not the least of which is the inimitable Uncle Scrooge.

SEE: "Christmas on Bear Mountain" and other Scrooge stories in Walt Disney's Comics and Stories, and in Gladstone reprints.
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#5 HARVEY KURTZMAN



If the only thing Harvey Kurtzman had ever done was Hey Look! he'd still be on this list. The one page vignettes he did in 1948 and 49 are flat-out among the funniest things ever done in comics. But Kurtzman did much more. How about crafting some of the finest war stories of all time, producing visually astounding covers, creating Trump, Help!, and Mad magazines, and doing it all in a unique, amusing, and incisive style? Kurtzman's cartooning is brilliant, but his writing and editing (whereby he laid out most artists' stories) are legendary, and rightly so.

SEE: "The Big If", Frontline Combat #5; Two-Fisted Tales #26, cover; Mad 1 - 28; "Sounds from Another World", Weird Science #14 (1st)
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#6 WALLY WOOD



One of comicdom's greatest successes, Wally Wood is also among its most terrible tragedies. For over 20 years Woody was among comics' most versatile and sought after artists. Science-fiction, war, romance, superheroes, comedy: Wood did everything with total command and total class. He produced some of comics' all-time greatest work at EC and Warren, helped re-launch Marvel, and created the THUNDER Agents, but his vision of "real" success eluded him. Disillusioned, bitter, and in ill health he eventually committed suicide rather than face his final days. If only he could have let people closer and allowed them to help, or if he could have taken to heart what generations of fans have always known: he was truly one of the greats.

SEE: "There Will Come Soft Rains", Weird Fantasy #17; THUNDER Agents #1; "My World", Weird Science #22; Weird Science #10, cover; Daredevil #7; many great works in the 50's & 60's
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#7 FRANK FRAZETTA



Although his comics career is relatively short, Frank Frazetta's towering presence and staggering technique beg his inclusion. After Jack Davis, Frazetta is probably comics' best known graduate to the mainstream, and the one who compares most favorably with the great strip artists and illustrators of the past. After a few years mastering the pen and ink medium, Frank left comicbooks behind, shifted gears to painting and...well, the rest is history. His legacy leaves us to wonder what might have been had he applied himself to a career telling stories with lots of little pictures instead of one big one.

SEE: Covers for Famous Funnies; Thun'da #1; "Squeeze Play", ShockSuspenStories #13; Weird Science-Fantasy #29, (cover); many great magazine and book covers
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#8 STEVE DITKO



If you enjoyed Steve Ditko's essential superhero and horror work in the 50's and 60's, you could easily be blindsided by his highly political and didactic work on 70's strips such as Mr. A and Avenging World. The rigid and intense worlds of these later stories stand as a fascinating contrast to the freewheeling mix of action and suspense in his early career. Although his popularity among younger fans has waned strongly over recent years, the man who created Spider-Man, Dr. Strange, Captain Atom, and the polemics of Mr. A or Static has given us more to talk about than a hundred overstylized, overwrought modern "stars".

SEE: Amazing Spider-Man #33; Avenging World #1; Strange Tales #115 1966-72!
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#9 BERNARD KRIGSTEIN



More than anyone, Bernard Krigstein stepped outside the world of illustration and commercial art and brought a fine artist's sensibility to the medium. With each job in his relatively short career, Krigstein tried something new - not just visually, but philosophically. His domain was the possibilities of the form and their application as a true art. Krigstein is responsible for perhaps comics' most famous story: "Master Race" from EC's Impact #1. No other individual artistic accomplishment has incited so much worthy debate, or elicited such deep thought as this gem of intellectual storytelling.

SEE: "Flying Machine", Weird Science-Fantasy #23; "The Catacombs", Vault of Horror #38
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#10 LOU FINE



By God, Lou Fine could draw. One of comics' first illustrative stars, he influenced and astounded such later greats as Alex Toth, Jim Steranko, and Gil Kane. His covers alone during the 40's stand as some of the best-designed and most exiting work ever produced for any comic book publisher. Ah, but there was much more: beautiful stories for (among others) Dollman and Black Condor, plus a wartime run on Eisner's Spirit, before putting comics behind in favor of strips and commercial illustration. Lou packed a lot of drawing into his heyday, all of it unforgettable.

SEE: Selected wartime Spirit sections; covers too numerous to mention for Quality Comics (see the Gerber Photo Journal Guide to Comics)
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#11 ALEX TOTH



Alex Toth is a thinker. His intelligence as well as his drawing elevate him above a host of other artists more technically accomplished. Traced in a direct line from Noel Sickels through Roy Crane and Milton Caniff, Toth was never satisfied just to copy. He added to this school of design by subtracting more unnecessary detail than even they thought possible. As a result he created essential, elemental, perfectly balanced stories which remain some of the finest designed of all time.

SEE: "Thunderjet", Frontline Combat #8; "F-86 Sabre Jet", Frontline Combat #12; "The Crushed Gardinia", Who is Next #5 (#1)
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#12 AL WILLIAMSON



It's hard to believe Al Williamson, the "young turk" of EC Comics has been in the business for over 45 years. Now among the longest serving comics veterans, Al has retained the highest level of quality in his work whether pencilling or inking. His lush, expressive style compares favorably to his hero Alex Raymond, and is near the pinnacle of realism practiced in the 50's by Frazetta, Angelo Torres, and Roy Krenkel.

SEE: "Relic:", Epic Illustrated #27; "Cliff Hanger", Somerset Holmes 1-6; "Space Borne", Weird Science #16; "I, Rocket", Weird Fantasy #20; "Food for Thought", Incredible Science-Fiction #32
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#13 GIL KANE



Gil Kane is a master of structures. Drawing, design, layout, anatomy; whatever Gil applies himself to is built on a solid foundation of thought and study. Where artists such as Neal Adams and Reed Crandall lavish attention on surfaces, Gil is obsessed by what's underneath. His drawing of the figure in action takes a back seat to none, including master anatomist Burne Hogarth. His combination of art and storytelling worked in a wide variety of genres and styles, including: westerns, sword and sorcery, suspense and of course superheroes. After sixty years in the business, Gil's work is still as vibrant and valid as it was when he began.

SEE: His Name is Savage; Tales of Suspense #88 - 91; Superman Special #1 (1983)
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#14 JOE KUBERT



Has there ever been a more surehanded and confident stylist in comics than Joe Kubert? An utterly unique talent, Joe's bread and butter over the years has been his breathtaking command of inking and finishes. His technique is so instinctive, so organic that it's almost impossible to break down and study in any meaningful way. When you look at a Kubert drawing you simply throw your hands up and admire an absolute master who has been at the top of his game for over 50 years.

SEE: Fax From Sarajevo; "Enemy Ace" stories in Star Spangled War Stories; hundreds of covers for various DC titles
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#15 BARRY WINDSOR-SMITH



No detail is too small to escape the notice of Barry Smith. A gesture, the subtlety of a shadow, the curl of a lip; any of these may be used to enhance a story, create a mood or enrich a moment. His fine artist's eye for observation and application creates a a verisimilitude rarely matched by even the best of the men on this list. On the flip side, Smith never skimped on drama or theatricality. His vision of Conan, while not the broad shouldered brute of Howard's stories, was snarlingly tough. The pleasure in looking at Barry's work is appreciating the surface, then peeling away the layers to find deeper and deeper nuance in every viewing.

SEE: "Red Nails", Savage Tales #1 (reprinted numerous times); Storyteller #1-9; Conan #24; Avengers #100
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#16 JOHN ROMITA SR.



A great penciller, inker, designer, and art director, John Romita has done it all. While swimming in the middle of one of the great talent pools of all time, Romita did work that was at once the lushest and classiest of the lot. Had he limited himself simply to inking, he would have pushed Joe Sinnott for honors as the best embellisher of the Marvel era. He designed characters such as the Kingpin, Punisher and Wolverine, and he held sway as art director when Marvel welcomed the likes of Frank Miller, Bill Sienkiewicz, Jim Starlin, George Perez and others. He is, simply put, among the most important talents Marvel has ever had.

SEE: Amazing Spider-Man #109; Captain America #114, 138
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#17 JIM STERANKO



Like Neal Adams, Jim Steranko influenced a generation of comic artists with his bravura layouts and sleek, stylized drawing. Jim exploded onto the scene in the later sixties, rounding up influences as diverse as Bernard Krigstein, Peter Max, and Salvador Dali. His layouts, while wild, always enhanced the story, a fact sorely missed by many of his more recent devotees. Among those who fell under his sway (and understood the reasons behind it) are Paul Gulacy and Jim Starlin. While Steranko hasn't worked regularly in comics for over 25 years, his name, rightfully so, is still mentioned as a modernist who was far ahead of his time.

SEE: Nick Fury, Agent of SHIELD #5; Chandler (Byron Priess Graphic Novel)
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#18 JOHN BUSCEMA



John Buscema has been unfairly labeled over the years as nothing more than a Kirby clone. This, of course, ignores his fine career before becoming a member of the Marvel staff, and his outstanding stint on Conan, a job even King Kirby could not have excelled at. Buscema is a special artist in his own right, at once naturalistic yet superheroic; capable of broad action and subtle drama. Many people fail to realize that he simply learned a little more power and impact at the behest of Lee and Kirby. Like most of the men this high on the list, John could (and did) do everything: superheroes, westerns, romance, sword and sorcery. There are very few like him left.

SEE: Savage Sword of Conan #5; Avengers #78-81; Silver Surfer #4; Life Stories of the American Presidents (Dell Giant, 1957)
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#19 JACK COLE



Jack Cole's inventive, exuberant style was of its time. Take the wry, tough, cockiness of a Warner Brothers gangster picture, then sidle across the lot to Termite Terrace and mix in the anarchic chaos of a Bob Clampett or Tex Avery and you might have something near the career of Jack Cole. He was one of the few men equally comfortable with serious and humorous drawing, and among the only to successfully combine the two. The result was a wild ride with Plastic Man, a series patently deserving of a high quality reprint library. Alas, something went terribly wrong, as Cole committed suicide at his apogee of achievement, the sale of a daily syndicated comic strip. To this day the reasons remain a mystery.

SEE: Silver Streak #6 (cover); Police Comics #11
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#20 REED CRANDALL



This paragraph is not nearly long enough to explain the allure of Reed Crandall. A multi talented draftsman, Reed could do everything: staging, layout, drawing, rendering, inking, and designing, all with consummate dash. His subject matter ran the gamut; science fiction, horror, crime, suspense, historical drama; each done with an assuredness borne out of total professionalism and class. The discovery of a Crandall story in an issue of Classics Illustrated or Treasure Chest was a gem that could brighten any fan's face.

SEE: "Sea Food", Piracy #2; "From Here to Insanity", Crime SuspenStories #18; "Swamped", Haunt of Fear #27
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#21 JOHNNY CRAIG



Johnny Craig is a man who has never gotten his due. Although his reputation rests primarily on his 7 or 8 years with EC, those years where crammed with a plethora of explosive, dynamic, beautifully designed pages which leave an indelible impression. His greatest strength was the noir thriller, which he executed sharply in the lead slot of Crime SuspenStories for many issues. The yarns of James M. Cain and Cornell Woolrich were perfectly suited to his style. In his slot as the lead man for Vault of Horror, he produced sleek, perfectly rendered stories, and created Drusilla, comics' sexiest recurring horror star until the advent of Vampirella. Take a good, critical look at Johnny Craig. You will not be disappointed.

SEE: "Touch and Go", Crime SuspenStories #17; "And All Through the House", Vault of Horror #35
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#22 FRANK MILLER



Another of the "experimenters" on this list, Frank has made it part of his job to push the barriers of storytelling and style. As result he has remained fresh and influential throughout his 20 year career. It seemed obvious from the beginning that Frank was destined to be something more than just another hack. He spent hours sketching New York, drinking in the ambiance of the city, and it showed when he got his first break at Marvel. The city itself became a character in Daredevil, and Frank used it to great effect. He exploded conventional layouts, employing some of the strategies of Steranko, Krigstein, Will Eisner and others who wanted to drag the medium to its full potential. He has also reinvented his style regularly (Daredevil, Ronin, The Dark Knight Returns, Sin City) to suit the tenor of his stories. While perhaps not a true "original", he has helped refine and hone great ideas to razor sharpness.

SEE: Daredevil #191; The Dark Knight Returns #1-2; Ronin #1; Sin City (any)
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#23 MAC RABOY



Of all the great war-era cover artists on this list (Kirby, Fine, Schomburg, et al) Mac Raboy may be the top of the heap. Take a gander at just about any issue of Master Comics in 1942, '43 or '44 and you're likely to see not just a gem, but one of the great comic covers of all time. His command of lighting and effects may be his greatest attribute, and helped give his work a sleek, polished look which many attempted to duplicate. (Wally Wood appears to have appropriated his multiple light-source fecundity years later.) If you can find the reprints, Raboy is a man to see.

SEE: Covers for Master #27, 30, 32, 40, 45; interior, Master #27
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#24 BASIL WOLVERTON



Amusingly, astonishingly, and utterly singular, Basil Wolverton created some of the most bizarre and fascinating drawings done not just in comics, but in cartooning of any kind. A master of the absurd, he is, with Robert Crumb, comics' most individual "cartoon" style artist. It is unfair, however, to label him as just a "cartoon" artist. He produced some of the most surreal and disorienting science fiction stories ever, and his so called "bigfoot" work exhibits a total mastery of drawing and rendering, just as Crumb's does. His influence reached far, and can be seen in a generation of underground and aboveground artists such as Will Elder, Gilbert Sheldon, and of course, Crumb.

SEE: Powerhouse Pepper #1-5 (Plus assorted appearances in Timely books and reprints); Target #7 (cover and interiors); Basil Wolverton in Space (trade paperback from Dark Horse, 1997, reprints many "Spacehawk" strips, plus other Wolverton gems)
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#25 GENE COLAN



Stan Lee didn't tab Gene "The Dean" for nothing. Versatile in the extreme, Gene adapted his highly individual style to a variety of subjects and always came out looking great. Who as an editor would have thought that Colan's style would have suited the likes of Iron Man? But suit it he did, becoming the most acclaimed artist on the strip, as well as on Daredevil, and running the top tier on Captain America and others. In addition, Gene tackled science fiction, war, romance, and suspense with equal elan. Although health problems have dimmed his edge in recent years, Gene nonetheless still consistently turns out high-calibre work .

SEE: Tomb of Dracula #20 -40; Tales of Suspense #70-72; Nathanial Dusk #1-4; "Ragamuffins", Eclipse Monthly; "Conflict", Blazing Combat #4
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#26 JACK DAVIS



Jack Davis is easily comics' most famous graduate. While not known to the general public by name, his commercial illustrations for Time, TV Guide, Raid, and innumerable ad campaigns have made his art among the most widely viewed of the last 40 years. Known as a caricaturist and humorist through Mad, Davis also drew some of the mouldiest, most fetid horror stories ever to invade the dreams of children. His stint at EC was one of the great marriages between publisher and artist of all time.

SEE: "I Touched a Flying Saucer", Panic #4; "Foul Play", Haunt of Fear #19; "Death of Some Salesman", Haunt of Fear #15
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#27 JOHN SEVERIN



If you listed the three "best" artists in the field of war, western and historical comics, John Severin's name could appear on each of those lists. While not among the most dynamic of artists, his feel for the subject matter and consummate draftsmanship elevated hundreds of stories to classic status. At the same time, John was a wonderful humorist, a dead-on caricaturist, and an all-time first team inker. His use of duo-shade, and his wonderful graphic techniques have created some of comics most beautiful stories.

SEE: Various stories in Cracked magazine; "The Trap", Two-Fisted Tales #26; "The Trench", Blazing Combat #4
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#28 GEORGE PEREZ



George's place this high on the list may surprise some people, but he has already logged (gasp!) 25 years experience, and continues to do essential work and improve with age. Perhaps the last in a line of "classic" 60's style comic artists, George has followed the tradition of outstanding illustrators such as Murphy Anderson, Gil Kane, John Buscema and John Romita. His dedication and enthusiasm have helped him remain a star with much of the youth culture while many of his early contemporaries appear dated.

SEE: Avengers #1-10 (3rd series); Titans #50; Crisis on Infinite Earths #8; Incredible Hulk: Future Imperfect #1-2
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#29 DAVE STEVENS



What can you say about the man who helped bring Bettie Page back to national attention? His drawing is polished, detailed, precise and meticulous, without ever appearing labored or overwrought. Dare we say that his technique occasionally rivals the likes of Frazetta, Foster, or Alex Raymond? Why not? The past shouldn't have a monopoly on greatness.

SEE: The Rocketeer Graphic Novel; various covers for Pacific and Eclipse comics
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#30 BRIAN BOLLAND



Another modern artist whose exceptional technique dominates his image. While a good, if unspectacular storyteller, it's primarily Bolland's sharp drawing and breathtaking inks which have catapulted him to superstardom. His command and control of precise and detailed finishes puts most "renderers" to shame, and is in a league with greats such as Russ Heath, Dave Stevens, and Craig Russell.

SEE: Batman: The Killing Joke; Camelot 3000 #1-12; innumerable covers for DC and Vertigo
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