• Devil-Dog Dugan 01 Devil-Dog Dugan 02 Devil-Dog Dugan 03 Tales of the Marines 04 Marines at War 05

    Marines at War 06 Marines at War 07


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Devil-Dog Dugan #1-3 (-Nov. 1956), continued as Tales of the Marines #4 (Feb. 1957) continued as Marines at War #5-7 (April-Aug. 1957).

Joe Sinnott born October 16, 1926, Saugerties, New York, United States) is an American comic book artist. Working primarily as an inker, Sinnott is best-known for his long stint on Marvel Comics' Fantastic Four, from 1965 to 1981 (with a brief return in the late 1980s), initially over the pencils of industry legend Jack Kirby.

During his nearly sixty years as a Marvel freelancer and then salaried artist working from home, Sinnott inked virtually every major title, with notable runs on The Avengers, The Defenders and The Mighty Thor.

At the Cartoonists and Illustrators School (later the School of Visual Arts) in New York City, co-founder Burne Hogarth suggested that Sinnott's style might be suitable for comic books and instructor Tom Gill asked Sinnott to be his assistant on Gill's freelance comics work. With classmate Norman Steinberg, Sinnott spent nine months drawing backgrounds and incidentals on, initially, Gill's Western-movie tie-in comics for Dell Comics. Sinnott recalled in 2003, "Tom was paying us very well. I was still attending school and worked for Tom at nights and [on] weekends. ... He was mainly drawing Westerns, like Red Warrior and Apache Kid for Stan Lee", editor-in-chief of the successive companies, Timely and Atlas, that became Marvel Comics. "I have to give all the credit to Tom for giving me my start in comics".

Sinnott's first solo professional art job was the backup feature "Trudi" in the St. John Publications humor comic Mopsy #12 (Sept. 1950). Later, during a two-week school vacation in August 1950, he married his fiancée Betty , to whom he remained marriDevil-Dog Dugan #2ed for 56 years.

Branching out professionally, Sinnott in 1951 met with editor Stan Lee at the company that would evolve into Marvel Comics, at the time transitioning between the names Timely Comics and Atlas Comics. Sinnott was ghost artist on a Tom Gill-credited story for the company's Kent Blake of the Secret Service comic, and reasoned, he later recalled, "'Gee, Stan can't turn me down because he's accepting all the work we bring in'. So I went over to see Stan and he gave me a script right away...." Due to creator credits not generally being given at the time, sources differ on Sinnott's first Atlas assignment, often given as the four-page Western filler "The Man Who Wouldn't Die" in Apache Kid #8 (Sept. 1951).

Regardless, Sinnott would go on to draw a multitude of stories in many genres for the company throughout the decade. "I used to go up [to the office, at the Empire State Building] and sit in a little reading room with four or five other artists. It got so that every week I went up, the same guys would be in the room. Bob Powell, Gene Colan, people like that. I got to talking to them. Syd Shores was [freelancing] there, too", The pattern, Sinnott recalled, was for assistant art director Bob Brown to call each in turn to meet with Lee for "maybe ten or fifteen minutes.... There'd be a stack of scripts on the left side of his desk, typed on legal yellow paper. He'd take one off the top and didn't know what he'd be handing you. It could be a war story or a Western or anything. You took it home and were expected to do a professional jJoe Sinnotob on it".

During a 1957 economic retrenchment when Atlas let go of most of its staff and freelancers, Sinnott found other work in the six months before the company called him back. Like other freelancers there, he had taken sporadic cuts in his page-rate even before the company implosion. "I was up to $46 a page for pencils and inks. and that was a good rate in 1956, when the decline started. I was down to $21 a page when Atlas stopped hiring me".

He began doing such commercial art as billboards and record covers, ghosting for some DC Comics artists, and a job for Classics Illustrated comics. A friend at Watson-Guptill Publications connected him with a writer with whom Sinnot collaborated on an unsold Navy-frogman comic strip. Former EC Comics artist Jack Kamen, now the art director of Harwyn Publishing's 12-volume, 1958 Harwyn Picture Encyclopedia for children, had Sinnott join a roster of contributors that included such celebrated EC artists as Reed Crandall, Bill Elder, George Evans, Angelo Torres and Wally Wood. Sinnot also began a long association with publisher George Pflaum's Treasure Chest, a Catholic-oriented comic book distributed in parochial schools. With Bob Wischmeyer, a Treasure Chest writer-editor, Sinnott collaborated on an unsold college-athlete comic strip Johnny Hawk, All American.

In 1965 Joe began working regularly with Jack Kirby on the Fantastic Four.

Sinnott went into semi-retirement in the early 1990s but continues to ink The Amazing Spider-Man Sunday strip, do recreations of comics covers and commissioned artwork.

From Wikipedia, the free encyclopedia.

Marines at War #7