of The Silver Age of Comic Book Art, singles out Carmine Infantino’s Flash as the embodiment of the design of the era: “as sleek and streamlined as the fins Detroit was sporting on all its models.” Other notable artists of the era include Gene Colan, Steve Ditko, Gil Kane, Jack Kirby, Joe Kubert, and Curt Swan.
Two artists that changed the comics industry dramatically in the late 1960s were Neal Adams, considered one of the country’s greatest draftsmen, and Jim Steranko. Adams’ breakthrough was based on layout and rendering. Best known for returning Batman to his somber roots after the campy success of the Batman television show, his realistic depictions of anatomy, faces, and gestures changed comics’ style in a way that Strausbaugh sees reflected in modern graphic novels.
The cover of Nick Fury: Agent of S.H.I.E.L.D. #7 (December 1968) by Jim Steranko. His art owes a large debt to Salvador Dal.
One of the few writer-artists at the time, Steranko made use of a cinematic style of storytelling. Strausbaugh credits him as one of Marvel’s strongest creative forces during the late 1960s, his art owing a large debt to Salvador Dal. Steranko started by inking and penciling the details of Kirby’s artwork on Nick Fury, Agent of S.H.I.E.L.D. beginning in Strange Tales #151, but by Strange Tales #155 Stan Lee had put him in charge of both writing and drawing Fury’s adventures. He exaggerated the James Bond-style spy stories, introducing the vortex beam (which lifts objects), the aphonic bomb (which explodes silently), a miniature electronic absorber (which protected Fury from electricity), and the Q-ray machine (a molecular disintegrator)ll in his first 11-page story.
Top 20 comics
As of 2008, the collecting of Silver Age
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