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Found 192 results

  1. Latest Comic Guest Announcement - LEE TOWNSEND Artist: 2000 AD Attending Saturday & Sunday PROBABLY best-known for his contributions to such 2000 AD strips as Bison,Synammon and Breathing Space, Lee Townsend began his comics career in 2000 providing inks to the last three issues of Gary Frank’s Image/Top Cow six-parter, Kin. The artist, who had a brief stint working in animation for Dreamworks and Disney, has since provided finishes for a variety of titles, Judge Dredd Megazine, Marvel Heroes, Marvel Rampage, Transformers: Armada and Panini UK’s Spider-Manamong them. The inker of Avatar Press’s Crossed: Wish You were Here between 2012 and 2014, Townsend also contributed to Spider-Man Annual 2015 for Panini and made a fleeting 2015 return to 2000 AD’s companion title, Judge Dredd Megazine after more than a decade. Following that Townsend illustrated a 10-issue run on The Official Ben 10 Magazinefor Egmont. These days, however, he spends most of his time producing storyboards for advertising and character designs for the Cartoon Network.
  2. Latest Comic Guest Announcement - Nigel Parkinson Attending: Saturday Only DENNIS the Menace has featured heavily in Nigel Parkinson's output since 1999, when he became one of the main artists drawing DC Thomson's archetypal badly behaved schoolboy in the pages of The Beano. Since 2012, when he also took over the comic's Minnie the Minx series, he has been the sole artist on the strip but, in a career dating back to 1980 he has illustrated stories of many other characters. For DC Thomson alone he has worked on Beaginnings, which featured the misadventures of Dennis's sister, Bea and The Bash Street Kids in The Beano, where he made his debut in 1997, 15 years after he first contributed to its companion title, The Dandy. For that comic Parkinson has drawn Owen Goal, Cuddles and Dimples, Puss'n'Boots, Marvo the Wonder Chicken and Harry Hill's Real Life Adventures in TV Land while also revamping Lord Snooty. The artist – whose art also graced the pages of such other DC Thomson weeklies asNutty, Beezer, Bunty and Tracy – began his career in 1980. Over the next 20 years he contributed to a wide variety of comics. For Fleetway he worked on Scouse Mouse Comics and Whizzer and Chips as well as on its Gerry Anderson titles,Thunderbirds the Comic, Stingray, Joe 90 and Space Precinct. His extensive credits also include two BBC titles – Beeb, for which he producedGrange Hill, and Fast Forward, for which he drew Baywatch – and IPC's Ace Ventura, Pet Detective.
  3. Artist/writer: Watchmen; Secret Service; The Originals; Give me Liberty; 2000 AD Attending: Sunday Afternoon APPOINTED Britain's first Comics Laureate in 2014, Dave Gibbons is internationally acclaimed as the creator – with writer Alan Moore – of DC’s groundbreaking 1986 series, Watchmen. An alumnus of the UK’s fanzine scene, his first work appearing in Fantasy Advertiser in 1970 with contributions to such underground comics as The Trials of Nasty Comics and cOZmic Comics following over the next couple of years, the artist very quickly graduated to professional assignments. He worked on a variety of D.C. Thomson and IPC weeklies, among them The Hotspur, The Wizard andBuster, through the Bardon Press Features agency. He also drew a black superhero comic for the emerging Nigerian market. No connection with the similarly titled Marvel series, the short-lived Powerman premiered in 1975, the same year he contributed a six-pager to Marvel’s Giant-Size Chillers #1; his first US comics work, it was also to be his last for seven years. Two years later Gibbons joined the creative team for the launch of 2000 AD, a weekly anthology through which he was to establish his reputation. Initially drawing Harlem Heroes for the self-styled Galaxy’s Greatest Comic, he went on to illustrate Ro-Busters, Judge Dredd and Rogue Trooper, as well as a reinvention of Britain’s iconic 1950s SF hero, Dan Dare. Moving over to Marvel UK in 1979, he drew the lead strips in Doctor Who Weekly and Hulk Comic. By 1982 Gibbons – who had seen some of his (mainly Doctor Who) Marvel UK work reprinted in America by the House of Ideas – had a well-earned reputation as one of the leading artists in British comics. Headhunted by DC editor Len Wein, he made a second, far more successful and long-lasting foray into the US market, at first drawing backups in The Flash and Green Lantern. Swiftly moving on to the lead feature in the latter, he also illustrated 1983’s landmark Brave and the Bold #200 and the classic For the Man who has Everything…. Written by Moore, with whom he had also worked on 2000 AD, it ran in 1985’s Superman Annual #11 and was a precursor of things to come from the duo. Premiering the following year, the Moore-written Watchmen launched the careers of its already acclaimed creators into the stratosphere. A huge commercial success, it garnered critical praise from not only the comics industry but also (and more importantly) the mainstream media. Now much in demand as a cover artist, Gibbons made his return to Marvel in 1988 with a Doctor Strange 20-pager in Marvel Fanfare #41 but the artist’s next major project was for Dark Horse. Teaming up with another industry legend, Batman: The Dark Knight Returns creator Frank Miller, he launched Give me Liberty. The 1990 four-parter kicked off the writer/artist team’s futuristic multi-chapter saga of Martha Washington, which only reached its conclusion in 2007. Having previously dabbled with writing, in 1989 he revamped Rogue Trooper for 2000 AD. He followed this by penning DC’s four-issue World’s Finest in 1990 and the following year’s Batman vs Predator four-parter for Dark Horse. His other scripting credits include 1995’s Superman: Kal one-shot, the 1996 and 1997 Super Soldier one-offs – which he also drew – for Amalgam (a DC/Marvel collaboration) and four 2003-4 issues of Captain America for Marvel. Since then Gibbons’ DC writing credits have included 2005’s The Rann/Thanagar War six-parter and the five issues of Green Lantern Corps: Recharge. Co-written with Geoff Johns, that 2005 mini set the scene for the following year's Green Lantern Corps for which Gibbons authored all but three of the first 17 issues while also scripting the five issues of Thunderbolt Jaxon for DC’s WildStorm imprint. Since 2007 Gibbons' comics output has been primarily limited to covers. He has, however, written a number of stories, among them Kamandi, the Last Boy on Earth, which DC serialised across the 12 issues of 2009's Wednesday Comics On the sequential art side, since the millennium, Gibbons has drawn various one-offs including 2001’s Just Imagine Stan Lee with Dave Gibbons Creating Green Lantern for DC and the following year’s War Stories: Screaming Eagles for DC/Vertigo. More significantly he drew and wrote The Originals, a futuristic 2004 graphic novel, for Vertigo, DC’s mature readers imprint. A year later he contributed to iBooks' Stan Lee's Alexa going on to produce Broken Sword: Shadow of the Templars, a 2009 promotional one-shot. That was for Revolution Software for which he subsequently created Broken Sword: The Smoking Mirror (2010) and Broken Sword 5: The Serpent's Curse (2014). In between he illustrated a six-parter for Marvel's creator-owned Icon imprint. Published in 2012, the Mark Miller/Matthew Vaughn-written Secret Service is Gibbons' most significant high profile project in recent years although he spearheaded Treatment, which launched from the online Madefire platform the same year. Despite the dearth of new work from him, Gibbons remains an iconic inspiration to comics creators and those with aspirations to break into the industry on both sides of the Atlantic.
  4. Latest Comic Guest Announcement - Lew Stringer Attending: Friday, Saturday & Sunday Writer/artist: Sonic the Comic; Viz; The Beano; Toxic! TODAY Lew Stringer is appreciated as much for his wealth of knowledge of British comics as he is for the stories he has written and drawn for them. Across a career that stretches back to the late 1970s when he started creating his own self-published titles, Stringer has contributed humour strips to a vast array of British comics, among them Viz, Oink!, Sonic the Comic, Toxic!, The Beano and The Dandy as well as to Geek for the Norwegian market and to Sweden’s Herman Hedning. Among his most famous creations are Combat Colin (who appeared for several years in Action Force and Transformers at Marvel UK), Tom Thug and Suburban Satanists. To that list should be added the long-lived Brickman, who Stringer introduced in one of his comiczines before he made his professional debut in 1983 in Marvel UK’s The Daredevils #7, While continuing to contribute to The Beano and other titles, the cartoonist is also now producing a regular strip for Panini’s Doctor Who Magazine.
  5. Latest Comic Guest Announcement - Chris Geary Attending: Friday, Saturday & Sunday Writer/artist: International Aces; Aces Weekly IN 2010, after three years contributing to such British small press titles as FutureQuake and Zarjaz, Chris Geary embarked on International Aces. An ambitious four-volume graphic novel series recounting the true stories of the top pilots of World War I, it was released in 2013 as was Commitment, a graphic novel/guide to risk management that he co-authored and drew. Geary is also a regular contributor to the digital comics art magazine Aces Weekly.
  6. Latest Comic Guest Announcement - Stephen Baskerville Artist: Transformers; Aces Weekly UNDOUBTEDLY best-known for his inking of numerous Transformers stories for Marvel on both sides of the Atlantic, Stephen Baskerville has worked on many other titles since he made his comics debut in 1978. It was, however, eight years after writing and drawing a story in issue #5 of the semi-underground Graphixus that his next credit – in Marvel UK’s Spider-Man and Zoids#4. From then on he began to work regularly for Marvel’s British-based offshoot, his name appearing in such titles as Thundercats and The Sleeze Brothers as well asTransformers. His first US work appeared in 1989’s G.I. Joe European Missions #10 with Web of Spider-Man, Felicia Hardy the Black Cat, Spider-Man: The Arachnis Project andSpider-Man 2099 among the titles that followed. As well as working on various Marvel-related promotional comics, he also contributed to The Night Man, Mantra, All-New Exiles and other such titles in Malibu’s Ultraverse line. Primarily known for his inking he has pencilled the occasional story throughout his career, which he brought full circle in 2011 by writing and drawing a contribution to issue #7 of Titan’s CLiNT anthology. Baskerville has drastically reduced his comics output since the turn of the century though he followed some contributions to 2000 AD with a 2012 return to Hasbro’s Robots in Disguise, reuniting with Simon Furman and Andrew Wildman for IDW’sTransformers: Regeneration One. After his involvement on the last 20 issues of that title he inked The Transformers: Drift – Empire of Stone, an IDW 2014 four-parter. He is a regular contributor to Aces Weekly (the online comic spearheaded by David Lloyd).
  7. TWO TITANS of British comics are to make their first joint appearance at London Film & Comic at Olympia over the weekend of July 29-31. Artist Carlos Ezquerra will be on hand on all three days with John Wagner, the writer with whom he created Judge Dredd and Strontium Dog, joining him on Saturday and Sunday. The legends of 2000 AD have worked in multiple genres with their credits appearing in numerous titles on both sides of the Atlantic. They are looking forward to meeting their legion of fans. Both will be happy to sign copies of their comics while Ezquerra will also be sketching.
  8. Artist: Ms Marvel; Spider-Man loves Mary Jane; Robotech: Invasion ALTHOUGH they didn't cross paths until six years after he made his professional debut, Mary Jane Watson played a significant role in Takeshi Miyazawa's career. The Canadian artist first encountered Spider-Man's girlfriend two years after he began working for Marvel, when he drew 2004's Mary Jane four-parter. He reunited with her for the four issues of the following year's Mary Jane: Homecoming and then illustrated the first 15 issues of 2006's Spider-Man loves Mary Jane. Prior to Mary Jane, Miyazawa had been producing covers and contributions to various of the House of Ideas' anthologies while, in 2004, also illustrating Uncanny X-Men #434 and issues #11 and 12 of Runaways, a series he returned to for another couple of issues in 2005 and again three years later for a three-issue run. He also drew the five issues of 2004's Robotech: Invasion for DC's WildStorm imprint. Before migrating to Marvel, the artist – who made his professional debut writing and drawing an eight-pager for the 1998 first issue of Slave Labor Graphics' Love In Tights – had drawn Fanboy Entertainment's 2000 three-parter Sidekicks as well as the Sidekicks: The Substitute one-shot that followed from Oni Press in 2002. Much of Miyazawa's output since 2007 has been confined to covers, pin-ups and contributions to Marvel anthologies but he has found time to draw 2008's Avengers Fairy Tales #3, Incredible Hercules #126 and Secret Invasion: Runaways/Young Avengers three-parter. Two years later he illustrated Black Widow & the Marvel Girls #4 and Ultimate Spider-Man #7 and 8. Taking a break from his Marvel assignments, in 2011, Miyazawa wrote and drew the two issues of Lost Planet Bound Raven. Based on Capcom's Lost Planet video game franchise, it was published by Japan's Dengeki Comics. Returning to the House of Ideas the following year he worked on Generation Hope#16 and 17 before going off to draw 2013's Code Monkey save World four-parter for Pakman Comics. After that in 2014 came a three-issue run [#6-8] on Valiant's Turok: Dinosaur Hunter and then, a year later, three issues [#13-15] of Ms Marvel. Tag-teaming with Adrian Alphona, Miyazawa is now the regular artist on Ms Marvel, which was recently been relaunched by Marvel.
  9. Artist: 2000 AD; Noble Causes: Family Secrets; Marvel Heroes Magazine Attending: Friday, Saturday & Sunday STARTING out, as many British creators do, on 2000 AD, Ian Richardson worked for the self-styled Galaxy's Greatest Comic from 2001 into 2002. At that point he landed at Image, where he drew 2002's Noble Causes: Family Secrets, which took him into 2003. It was three years before the artist, a professional musician who is often lured away from the drawing board, next worked in comics, returning to 2000 AD to contribute to a flurry of issues. After that he became involved with Platinum's Cowboys & Aliens graphic novel before embarking on a long association with Marvel Heroes Magazine published in the UK by Panini. Outside of comics he was also providing artwork for G.I. Joe Collectors' Magazine. In 2015 Richardson, who is currently producing cover art for various Zenescope titles, illustrated a brace of issues of Halo: Escalation for Dark Horse.
  10. Writer/artist: V for Vendetta; Kickback; Aces Weekly Attending: Friday, Saturday & Sunday THE MASTERMIND behind Aces Weekly, the online comic anthology he launched in 2010, David Lloyd is best-known for V for Vendetta, which he created in collaboration with writer Alan Moore. The strip was originally serialised in Warrior between 1982 and 1984 before being concluded at DC in 1989. That was almost 15 years after the British artist got his break drawing a story for The Magician Annual 1975 although that proved to be a false start – it was another three years before his career took off. Then he contributed not only to Logan's Run Annual 1978 but also to TV Comic as well as drawing the adaptation of Quatermass II for House of Hammer #23. Come 1979 he was given his first regular assignment –drawing Night Raven (a strip he co-created) – in Hulk Weekly although he moved on to a regular slot in Doctor Who Weekly later that same year. During that period he continued to provide contributions to a variety of British comics annuals, a practice he maintained even while working on Warrior​ although it faded out as US publishers came calling. His American debut was on Marvel's two-issue adaptation of Time Bandits with contributions to anthologies from Pacific, Eclipse – for which he also illustrated the first four issues of 1986's ESPers five-parter – and DC following until he returned to conclude V for Vendetta. After bouncing back to Marvel for 1991's Night Raven: House of Cards graphic novel his next major project was The Horrorist (a 1996 DC two-parter) after which came The Territory​, a 1999 four-parter for Dark Horse. Often in demand as a contributor to comics outside the mainstream superhero-centric arena, Lloyd – who has deliberately chosen to avoid that commercial genre – next illustrated Nightingale (2002) and J for Jenny (2003), two of DC/Vertigo's War Story one-shots with Kickback (a Dark Horse graphic novel he also wrote) coming in 2007. Today his focus is Aces Weekly although he does continue to produce the occasional cover.
  11. Artist: Transformers, Robocop, Doctor Who Attending: Friday, Saturday & Sunday STARTING out in 1986 producing covers for Marvel UK's Transformers weekly and shortly thereafter doing the same for Thundercats, Lee Sullivan's first story art came within a year when he became a semi-regular on Transformers. He would subsequently begin contributing to Doctor Who Magazine as well as 2000 AD. He entered the US arena in 1990, launching and drawing virtually every one of the 23 issues of Marvel's Robocop before moving on to to do much the same onTekworld, the 1994 comic featuring William Shatner's futuristic detective Jake Cardigan. Published by Marvel's Epic imprint, it ran 24 issues between 1992 and 1994. Two years later he illustrated a Doctor Who strip that ran for almost a year in Radio Times, the BBC TV listings magazine with his next comics work coming in 2001, when he became the regular artist on Thunderbirds Magazine, drawing the strips in virtually every one of the Redan monthly's 89 issues until it was cancelled in 2006. Since then he has had a lengthy run on Doctor Who: Battles in Time​ [2006-2009] and produced 2010's graphic novel adaptation of author Jonathan Stroud's The Amulet of Samarkand: Bartimaeus for Hyperion. He is currently drawing Titan's recently launched Rivers of London, a series of miniseries featuring novelist Ben Aaronovitch's Peter Grant – a London police officer who is also an apprentice wizard.
  12. Artist: Arkham Asylum: A Serious House on Serious Earth; Cages; Black Orchid; Signal to Noise; Celluloid; Violent Cases Cover artist: The Sandman; Hellblazer; The Dreaming; Black Orchid; Death: The High Cost of Living Attending: Saturday Afternoon Only A 21st century Renaissance Man, Dave McKean's talents and renown extend far beyond the world of comics to include photography, filmmaking, sculpture and music. Although he debuted with a contribution to Knockabout's Outrageous Tales From The Old Testament, the British artist's comics career really kicked into gear later in 1987 with the release of Violent Cases. Published by Britain's Titan Books, for whom the artist had already produced a handful of covers, the graphic novel was written by Neil Gaiman, a fellow Brit who would loom large in McKean's comics credits down the years. It led to McKean beginning a parallel career as a noted cover artist. Starting in 1988 with Hellblazer, he went on to produce numerous characteristic covers for a variety of DC titles, especially those that were brought under the Vertigo umbrella or were originated as part of that mature readers line. Among them wereThe Dreaming and Sandman Midnight Theatre but most prominent was The Sandman, the Gaiman-written series that became the imprint's cornerstone. McKean also provided covers for Black Orchid, the ongoing series spawned by the 1988 miniseries of the same name. Written by Gaiman and illustrated by McKean, the three-parter marked the pair's entrance into the US market but its significance was eclipsed by the publication a year later of the Grant Morrison-written Arkham Asylum: A Serious House on Serious Earth. A huge commercial and critical success, the hardcover DC graphic novel was a mould-breaker that really put the artist on the map. Although he devoted much of his time covering DC comics, the British artist was increasingly in demand by other publishers for whom he would produce covers as well as the occasional strip for an anthology. Despite all that activity, in 1990 McKean began writing and drawing a creator-owned series. Initially published by Tundra but finished at Kitchen Sink, the 10-issue Cages wasn't completed until 1996. In 1992 McKean again got together with Gaiman; this time at Dark Horse for Signal to Noise. The graphic novel was a revised and expanded version of a serial the duo had produced for The Face magazine three years earlier. The artist, who has produced many album covers for a variety of bands and solo artists, also contributed to Freak Show, a 1992 Dark Horse anthology based on The Residents album of the same name. Two years later came another Gaiman-written graphic novel. Released by Vertigo,The Tragical Comedy or Comical Tragedy of Mr Punch was followed in 1995 by Rolling Stones: Voodoo Lounge. Published under Marvel's short-lived Marvel Music label, the one-shot was written and drawn by Mackean, who reunited with Gaiman in 1996 to provide illustrations for the author's children's picture book The Day I swapped my Dad for 2 Goldfish. It was published by White Wolf while two similar books – The Wolves in the Walls and Crazy Hair – were released in 2003 and 2009, respectively, by Harper Collins, which also published 2002's Coraline and The Graveyard Book (2008), two Gaiman-authored children's novels that McKean also illustrated In 1999, Cyber Octave released The World of Buckethead one-shot. Written and drawn by McKean, the comic was part of a promotional campaign to promote the label's Monsters and Robots album by Buckethead. Six years later William Morrow released MirrorMask: The Illustrated Film Script, which was a tie-in with McKean's directorial debut, which the artist co-scripted with Gaiman. The same year The Alchemy of Mirrormask (a "making of" type book) was released. That was published by Collins Press for which McKean would subsequently illustrate 2006's The Homecoming, which featured Ray Bradbury stories. Two years later the artist returned to the master storyteller's tales to provide art for Subterranean Press's Skeletons with another Bradbury title, The Shop of the Mechanical Insects, following from the same publisher in 2009. McKean had continued to create a steady stream of covers for Vertigo but by the turn of the century The Dreaming – which ended in 2001 with #60 – was his only ongoing title for the DC imprint. By 2003, the artist (who had effectively created the Vertigo look) had all but ceased working for the label, his work outside the comics arena making more and more demands on his time. In 2011 he wrote and drew Celluloid, a graphic novel, for France's Delcourt. It was his last significant comics work although he continues to contribute to the occasional anthology while producing covers from time to time, most notably revisiting Vertigo in 2013 to cover the six issues of The Sandman: Overture. While renowned within the comics community for his unique approach to the medium, McKean has produced several books of his photographs. He has also illustrated books about his travels.
  13. Artist: Loki: Agent of Asgard; Batgirl; 2000 AD HE MAY have started out in 2005 at AP Comics, where he illustrated and provided the covers for the four issues of Dark Mists but Lee Garbett swiftly graduated from the British indie publisher to drawing a four-chapter serial in 2000 AD. Subsequently contributing to a couple of 2007 issues of Judge Dredd Megazine – the spin-off from the self-styled Galaxy's Greatest Comic – he moved on to make his US debut at DC's WildStorm imprint. There he drew The Highwaymen five-parter, moving on to a five-issue run on Midnighter in 2008 and more or less concurrently to the six-part DC/WS DreamWar. Next came a couple of 2009 issues of Batman for DC itself for which he then pencilled a five-part serial in The Outsiders. His major breakthrough followed later in the year, when he launched Batgirl, drawing a dozen of the title's first 14 issues. Garbett's next major project was a three-issue run on Spider-Man: Big Time. in 2011. His inaugural Marvel assignment, it led to a three-part in Amazing Spider-Manserial and then to the Amazing Spider-Man/Ghost Rider: Motorstorm one-shot. He rounded out the year with the four-chapter Fear Itself: The Deep. Other than four issues of Ghost Rider, the artist's time was then given over to fill-ins (for DC as well as Marvel) until late in 2012, when he migrated to Valiant. Initially he worked on X-0 Manowar, where he pencilled two four-issue runs with issues of Harbinger and Shadowman in between. In 2014 he returned to Marvel where he pencilled all but one of the 17 issues of Loki: Agent of Asgard while also drawing the five weekly issues of a Thor/Loki serial published as a sidebar to 2014's Original Sin event. Garbett is now back at DC or rather at Vertigo, its mature readers imprint, as the regular penciller on the recently launched Lucifer.
  14. Artist/designer: The Science Service; Dare; 2000 AD; Soho Dives, Soho Divas Attending: Saturday & Sunday MUCH in demand today as a designer, Rian Hughes began his comics career in 1983, producing his own small press minicomics before becoming a regular contributor to Escape Magazine, where his work continued to be featured until 1989. His first graphic novel, The Science Service was published in Belgium by Magic Strip in 1987 but by 1990 he was becoming well-known as a cover designer. Even so he continued to pursue his storytelling, most notably with the Grant Morrison-written Dare. A controversial reimagining of Dan Dare (the archetypal Pilot of the Future from the 1950s Eagle), the strip was serialised between 1990 and 1991 across the first seven issues of Revolver and Crisis #55-56. After it came a series of Tales from Beyond Science, which featured in various issues of 2000 AD between 1992 and 1994. Since then the artist has concentrated almost exclusively on his advertising work although his presence is still to be seen on the design of myriad comicbook covers and logos as well as a variety of lettering fonts. Hughes, whose impact on the look of the comics industry has been phenomenal, occasionally still returns to storytelling, contributing to such anthologies as Raymond Chandler’s Marlowe the Graphic Novel (iBooks; 2003), Project: Romantic(Adhouse Books; 2006) and Nelson (2011; Blank Slate Books). More recently he provided strips for 2014 issues of Batman: Black and White for DC and for DC/Vertigo's Vertigo Quarterly CMYK. Soho Dives, Soho Divas, a 2013 book of his illustrations, showcases the retro influence of much of Hughes' art. However, he is also an innovator as exemplified byOn the Line. The pioneering strip, which he created using Adobe Illustrator, ran inThe Guardian newspaper for two years from 2005.
  15. Artist: Iron Man; 2000 AD; Warhammer Monthly Attending: Saturday & Sunday Three years after a brief flirtation with the then still extant underground comics scene (he wrote and illustrated a contribution to 1981’s Knockabout Comics #3) Kev Hopgood resurfaced drawing mainstream comics. Like many of his peers the British artist contributed to 2000 AD (for which he worked on and off until 1995) but also illustrated stories for Marvel UK where his art graced the pages of Spider-Man and Zoids as well as such titles as Mighty World of Marvel, Thundercats, Action Force and Doctor Who. Hopgood made his US debut in 1988 with issue #4 of G.I. Joe European Missions,continuing to contribute to that Marvel title until the following year. Marvel US came calling again in 1992 at which time he became the regular penciller on Iron Man. He stayed on that series for just over two years during which time he co-created War Machine. Stories for the Warhammer Monthly anthology (published by Games Workshop’s Black Library imprint for which he also drew three Darkblade graphic novels) followed but by 2000 he was all-but out of comics. He resurfaced in 2008 to draw two Warhammer 40,000 minis for BOOM! Studios but then chose to concentrate on illustrating children's books and educational books. That was until 2014, when he contributed briefly to 2000 AD's companion title, Judge Dredd Megazine​.
  16. Artist: George R.R. Martin's Doorways Attending: Friday, Saturday & Sunday FROM 1996 until 2008, Stefano Martino worked for such European publishers as Sergio Bonelli and Aleta Ediciones on a variety of titles, Zone X, Nathan Never,Legs Weaver and Jonathan Steele among them. The Italian artist made his US debut in 2008 with the third issue of IDW's Doctor Who going on to produce fill-ins such other IDW titles as Doctor Who: The Forgotten and Angel before taking on George R.R. Martin's Doorways, a 2010 four-parter. From then on his US comics work became even more sporadic, essentially consisting of a Warlord of Mars fill-in for Dynamite and single issues of The Ravagers andCatwoman for DC. The decrease was in part because Martino, who'd relocated from Italy to Spain, was increasingly focusing his attention on albums for the European market. Over the last six years or so Martino has illustrated among other titles two volumes of Soleil's Nosferatu and several Nathan Never and Agenzia Alfa albums for Bonelli Editore.
  17. Artist: G.I. Joe; Transformers; Borderlands; Smallville Attending: Friday, Saturday & Sunday PRIOR to 2010 when he worked on IDW's G.I. Joe: Operation Hiss four-parter, Agustin Padilla had illustrated G.I. Joe: Origins #6 and Star Trek: Alien Spotlight – Cardassians for the San Diego-based publisher, which gave the Spanish artist his first US credit with 2009's G.I. Joe: Rise of Cobra – Setting the Stage one-shot. After Hiss Padilla moved on to G.I. Joe: A Real American Hero for a five-issue run. After that he illustrated DC's Bruce Wayne: The Road Home – Oracle (a 2010 one-shot), contributed to the second of the two issues of Marvel's X-Men: Curse of the Mutants: X-Men vs Vampires and then drew the Captain America Theater of War: Prisoners of Duty one-shot for the House of Ideas. Moving back to IDW in 2011, Padilla drew G.I. Joe: Cobra Civil War #0. The one-shot, which set the scene for an epic multi-part saga that swept across the core titles in the line of comics featuring the Hasbro action figures, was followed by the first three issues of G.I. Joe: Snake Eyes. Along the way, the Spanish artist continued to work sporadically for DC and Marvel. He also drew SSX, a one-shot published by EA Games to promote the game of the same name. After that it was back to IDW where he embarked on the five issues ofDungeons & Dragons: The Legend of Drizzt – Neverwinter Tales while simultaneously illustrating a three-issue run on Green Arrow for DC for which he then drew the final two issues of the Flashpoint: Wonder Woman and the Furies three-parter. A flurry of work for Marvel (including Amazing Spider-Man: Webslinger, a Walmart promotional four-pager) followed in 2012 but then IDW came calling again, this time with two simultaneous four-issue projects: Borderlands and The Transformers Prime: Rage of the Dinobots. Subsequently the Spanish artist would work on eight-issue sequels to both: first Transformers Prime: Beast Hunters in 2013 and then the following year Borderlands: The Fall of Fyrestone (subsequently retitled Borderlands: Tannis and the Vault). In between, with Beast Hunters at an end, Padilla – who'd drawn another promotional one-shot, the 16-page Harley Davison/Iron Man) as he embarked on that eight-parter – took to working for DC's digital arm. His involvement inAdventures of Superman, Smallville: Chaos (for which he illustrated all 12 chapters) and Infinite Crisis: Fight for the Multiverse along with the Borderlandssequels took him into 2015, since when his comics output has been limited to the occasional cover.
  18. Artist: The Mighty Crusaders; Batman and the Outsiders Attending: Friday, Saturday & Sunday STARTING out in 2007 with the inaugural issue of the relaunched Batman and the Outsiders, Julian Lopez spent the first four years of his career at DC. By late 2008, the Spanish artist had drawn not only six of the first nine issues of the Bat-title but also fill-ins on Wonder Woman and Superman as well. After that he moved on to a three-issue run on Titans which he followed with 2009's Faces of Evil: Kobra one-shot and then the Oracle: The Cure three-parter. Next came a contribution to Action Comics #880 with the first issue of 2009's World's Finest four-parter coming along shortly after. In 2010 and after pencilling a 10-pager for Adventure Comics #8, Lopez took on The Mighty Crusaders, working on four of the six issues of the title, an immigrant from Archie Comics and published by DC under its short-lived Red Circle imprint. Since completing Mighty Crusaders, Lopez has been working on covers while focussing on Hoy Me Ha Pasado Algo muy Bestia (literally Today happened to me something very Beast). Published in Spain only recently by Norma Editorial, it is a graphic novel adaptation of a 2012 prose novel by Spanish author Daniel Estorach Martin.
  19. RICK LEONARDI FIRST UK APPEARANCE Artist: Spider-Man 2099; Cloak and Dagger; Green Lantern vs Aliens; Painkiller Jane; Nightwing; Star Wars: General Grievous Attending: Friday, Saturday & Sunday A LITTLE more than a decade after he began drawing comics professionally, Rick Leonardi and writer Peter David introduced a new futuristic rendition of Marvel's web-slinger in Spider-Man 2099. Initially, the artist – who pencilled the first 25 issues of the 1992 title – had started out illustrating fill-ins as many newcomers do. Commencing in 1981 with Thor #303 Leonardi went on to issues of Spectacular Spider-Man and Amazing Spider-Manbefore taking on 1982's Vision and the Scarlet Witch four-parter and then the following year a miniseries that would establish a strong link with duo that had made their MU entrance just a year before. Although he didn't create the characters, his work on the four issues of 1983's Cloak and Dagger, the similarly titled six-parter that came along two years later and his run of five issues on the ongoing [The Mutant Misadventures of] Cloak and Daggerseries launched earlier in 1990 has led to fans forever associate Leonardi with the pair. In between the two Cloak and Dagger minis, Leonardi was responsible for the design of Spider-Man's black costume, evolving Mike Zeck's original concept sketch into the outfit that debuted in 1984's Amazing Spider-Man #252. Alongside and post those two Cloak and Dagger titles the artist continued to produce infrequent fill-ins including, in 1986 making his DC debut on New Teen Titans #22. Three years later he embarked on a 12-chapter Colossus strip in Marvel Comics Presents, returning to the anthology in 1992 to pencil the six episodes of a Doctor Strange/Ghost Rider serial. From there, after a diversion to contribute a Predator serial in the first two issues of Dark Horse's Dark Horse Comics, Leonardi moved on to Spider-Man 2099, following his 25-issue stint on that title with Spider-Man 2099 meets Spider-Man, a 1995 one-shot. After that came the 1996 first issue of Fantastic Four 2099. Later in '96, Leonardi – whose earlier fill-ins had included issues of various of Marvel's mutants title (X-Men, New Mutants, Cable and Excalibur among them) – provided illustrations for all three volumes of X-Men: Mutant Empire and for The Ultimate X-Men for Byron Preiss Multimedia. The five issues of 1997's Painkiller Jane (an Event Comics mini) came next with two related one-shots – Harris'sVampirella/Painkiller Jane and Painkiller Jane/Hellboy for Event – following hot on its heels. Then, in 1998, the artist returned to Marvel for the six issues of Rampaging Hulk. The following year he pencilled the X-Men: True Friends three-parter after which he drew the four-issues of Green Lantern vs Aliens, published by Dark Horse in 2000. In 2001 came Marvel's Leonardi-pencilled Sentry/Spider-Man one-shot after which the artist migrated over to DC where, after (among other things) a three-issue run onBirds of Prey, he became regular penciller on Nightwing. He illustrated 11 issues of that series before moving on to seven issues of Batgirl, which took him into 2004. Following a one-off reunion with Spider-Man 2099 (in the one and only issue of 2005's Spider-Man Family anthology), Leonardi – who had drawn a number of Star Wars fill-ins over the previous five or six years – then swung back to Dark Horse for the Star Wars: General Grievous four-parter. Prime among the one-offs illustrated by Leonardi over the next year or so were 2005's Elektra on the Rise and Giant-Size X-Men #4 for Marvel and DC'sSuperman Returns Prequel (2006). Then, in 2007, came a five issue run on DC'sJLA: Classified followed by four issues of Superman. Remaining at DC. the artist next illustrated 2008's Adam Strange Special and then two of the four issues of DC Universe: Decisions. After that came all but three of the 12-issues of 2009's Vigilante and then, a year later, Dark Horse's Aliens vs Predator: Three World War six-parter. The five issues of Star Wars: Darth Vader and the Lost Command followed in 2011. In 2012, Leonardi drew the two issues of Watson & Holmes, relaunching that New Paradigm Studios title in 2013, when it ran for a further four issues. The next year he pencilled a fill-in issue of the 2014 incarnation of Spider-Man 2099 after which he returned to DC, where he has drawn the two issues of Convergence Batgirl as well as the three of 2015's Justice League: Gods & Monsters – Wonder Woman and, most recently, the similarly titled one-shot that followed that miniseries. Despite occupying much of his time with activities outside the comics bubble, Leonardi's talents have been in constant demand by Marvel and DC. He has carved himself a solid reputation across a career that stretches back over 35 years.
  20. GEORGES JEANTY Artist: Buffy the Vampire Slayer; Bishop: The Last X-Man; Weapon X; Gambit; The American Way Attending: Friday, Saturday & Sunday TODAY he's probably best-known for his lengthy association with Dark Horse's Buffy the Vampire Comic but, aside from a brief spell in 1994 when he worked for Jim Shooter's post-Valiant Defiant Comics (for which he drew the five issues of Dogs of War), Georges Jeanty spent virtually the first five years of his professional career working on the margins of the comics industry. After starting out in 1993 illustrating the first (and only) issue of Paradigm for Caliber's Gauntlet Comics imprint, he moved on to London Night Studios and a parade of "bad girl" comics that included Femme Macabre, Killjoy, Morbid Angeland Tommi Gunn as well as various Razor titles. While working on those titles, Jeanty, who'd also branched out to produce similar material for other publishers, was approached by DC in late '97 and commissioned to work on Green Lantern #91. From there he moved on to pencil a five-issue run on Superboy after which came three 1998 one-offs (Tangent Comics: Tales of the Green Lantern, Superman The Man of Tomorrow #1,000,000 and Green Lantern 3-D #1), a brace of fill-ins, 1999'sTeam Superman #1 (and only) and a 10-pager for DC One Million 80-Page Giant#1,000,000. After that Jeanty was off to Marvel for the most high profile assignment of his career to date. Bishop: The Last X-Men garnered the artist a great deal of attention from fans. He drew all but one of the first 15 issues of the series (which ended with #16). Then, with a fill-in on Gambit under his belt, he moved on to illustrate four of the six issues of 2001's Gambit & Bishop: Sons of the Atom. Next came six 2002 issues of Deadpool followed by Weapon X #½ (a promotional comic for Wizard: The Guide to Comics). After that he launched Weapon X¸ pencilling 15 of the first 22 issues of the series, which premiered in 2002. That took him into 2004 at which pointed he took on the launch of another new title. Gambitonly lasted 12 issues with Jeanty illustrating all but two of them. Then, in 2005, the artist returned to DC where he drew a handful of fill-ins and three straight issues of Majestic. That run was actually for DC's WildStorm imprint for which Jeanty would then pencil The American Way, a 2006 eight-parter. Next the artist migrated to Dark Horse where he began an association with screenwriter and film and television director/producer Joss Whedon that continued for eight years. Starting off in 2007 with the first issue of Buffy the Vampire Slayer Season Eight, Jeanty went on to illustrate 41 issues of the TV spin-off as well asBuffy the Vampire Slayer: Magical Mystery Tour (a 2011 one-shot) over the next seven years. In 2014, a year after he'd parted company with Buffy, the artist embarked on another Whedon title. A tie-in with the Firefly TV show, Serenity: Firefly Class 03-K64 – Leaves on the Wind was a six-parter that preceded Jeanty's return yet again to DC for which he'd already been producing the occasional story.Aside from five issues of Batwoman, the artist has since drawn only the occasional fill-in for DC. In fact his most recent story was actually for Aftershock Comics; he pencilled an eight-pager for 2016's Aftershock Genesis #1.
  21. Latest Comic Guest Announcement - Rich Buckler FIRST APPEARANCE OUTSIDE AMERICA Attending: Friday, Saturday & Sunday Writer/artist/editor: Deathlok; Fantastic Four; Superman vs Shazam!; All-Star Squadron; Spectacular Spider-Man; World's Finest; Red Circle Comics WHILE he is renowned for his ground-breaking creation of Deathlok the Demolisher, Rich Buckler had been working in comics for years before his 1974 introduction of the futuristic cyborg in Marvel's Astonishing Tales #25. Buckler – who had been producing work for fanzines and organising conventions in his native Detroit from the age of 15 – made his professional debut as an 18-year old with a four-pager for King Features' Flash Gordon #10. That was in 1967 but it would be another four years before the artist's career really kicked into gear. Although he wrote and drew a seven-page contribution to a 1970 issue of Warren'sEerie [#29], Buckler had to wait until 1971 for regular assignments to start coming his way. Initially hired by DC to illustrate strips for House of Secrets and The Unexpected and subsequently by Skywald to contribute to Hell-Rider, he ended the year drawing a back-up in DC's Superman and beginning a five-part Rose & Thorn feature in the back of Superman's Girlfriend, Lois Lane. Then, in 1972, he added a four-issue run on the Robin strip in the back of Batmanbefore moving across to Marvel. There he initially pencilled four issues of The Avengers, two of Astonishing Tales and one of Fear. While remaining at the House of Ideas throughout the following year (primarily as a cover artist although he filled-in on a handful of titles, Daredevil and Jungle Action among them), Buckler did spread his wings to contribute to an issue of Gold Key's Twilight Zone anthology, make a one-off return to Eerie and provide a Hawkman back-up in Detective Comics #434 for DC. At the beginning of 1974, the artist embarked on his first major assignment. As regular penciller of Fantastic Four, he drew 21 issues across the next two-and-a-half years but still found time not only to produce covers and provide contributions to various anthologies but also to orchestrate Deathlok's debut. As already mentioned, Buckler introduced his innovative hero in 1974's Astonishing Tales 25, continuing to work on the concept (with co-writer Doug Moench on board early on) until the title itself was cancelled two years later with #36. Incredibly prolific, the artist also produced a four-issue run on Thor alongside his cover work and various one-offs and fill-ins. While still concentrating on Fantastic Four and his other Marvel work, in 1975 he once again took to producing back-ups and the odd fill-in for DC. He also created Demon Hunter, a character he introduced in the one and only issue of his own 1975 Atlas/Seaboard comic. Two years later he reworked the supernatural hero, bringing him into the Marvel Universe as Devil-Hunter in Marvel Spotlight #33 and then, reinventing him yet again as Bloodwing, who appeared in the first (and as it happened last) issue of Galaxia Magazine (published in 1981 on the artist's own Astral Comics label). From 1976 when his Fantastic Four stint was over, Buckler focused on cover art (often inking artists he had admired growing up) while also drawing an occasional story for Marvel and DC for which he not only illustrated 1978's tabloid-sizedSuperman vs Shazam! (aka All-New Collectors' Edition C-58) but also a five-issue run on Secret Society of Super-Villains in 1977 and five issues of Justice League of America four years later. Additionally for the latter –while becoming virtually a resident contributor to World's Finest Comics (with Buckler-drawn strips appearing in 19 issues of that anthology between 1979 and 1982) – he also launched All-Star Squadron, illustrating the first five issues of that 1981 title. By early 1983 Buckler – who'd illustrated The Incredible Hulk newspaper strip during 1979 – was working for neither Marvel nor DC. Instead he'd migrated to Archie Comics, which was re-establishing its superhero-centric Red Circle imprint. Although the revival was short-lived, Buckler was involved across the line, editing, writing, drawing and/or providing covers for many of the comics published before a second revamp was implemented in 1984. At that point the artist returned to DC, where he again took to drawing fill-ins before, in 1985 pencilling a four-issue run on Tales of the Teen Titans. After that he bounced back to Marvel to draw five straight issues of Spectacular Spider-Man. Continuing to be in demand for his covers (including for Solson for which he'd authored How to become a Comic Book Artist and How to Draw Superheroes in 1986), it wasn't until 1988 that the artist took on his next major project. That was the 12 issues of The Saga of the Sub-Mariner. In 1989, midway through that series, he made a four-issue return to The Avengers, after which he revisited Fantastic Fourfor a seven-issue run alongside which he pencilled a Havok seven-parter serialised inMarvel Comics Presents. Then came 1990's The Saga of the Original Human Torch but that Marvel four-parter was the last of Buckler's significant works. After it and throughout the '90s the artist continued a steady stream of stories but it was primarily fill-ins for not only Marvel but also for DC's Milestone imprint, Topps, Malibu, Continuity, Now Comics and Tekno Comics. Since the turn of the century the artist has dramatically changed direction, establishing himself as a surrealist painter of some repute. As a result his comics output has been reduced to almost nothing. Even so over the course of his career Buckler has produced an enormous body of work, one that has seen him draw virtually all of Marvel and DC's major characters and many of their minor ones as well.
  22. SERGIO MORA ARTIST: Medikidz; Rogues!: Odd Parenthood; Unleashed ATTENDING: Friday, Saturday & Sunday ALTHOUGH he often draws superheroes, Sergio Mora isn't illustrating the adventures of any of the big guns at Marvel or DC or, indeed, at any other US publisher. Instead the Spanish inker is employed by Medikidz, an organisation that features its own quintet of super-powered heroes in comics aimed at teaching youngsters about medical conditions, investigations, diagnoses, medicines and surgical procedures. Beyond Medikidz, Mora has drawn a handful of comics for the US market. In 2015 and in conjunction with Nacho Tenorio (with whom he'd previously teamed on the 2012 second volume of Zenescope's Mankind: The Story of All of Us) he workedAlice Cooper #6 for Dynamite and then on Amigo's Rogues!: Odd Parenthood five-parter. In between he collaborated with Tenorio (his partner in Third Guy Studios) on 1900and its sequel subtitled Orígenes (Origins) published in Spain by Grapa! as well as on two historical comics – The Sinking of the Lusitania and Alice Milligan and the Irish Cultural Revival – for Northern Ireland-based Creative Centenaries. Most recently, Mora inked Amigo's Tenorio-pencilled Unleashed, a 2016 four-parter.
  23. ARTIST: Dark Shadows; Army of Darkness: Ash gets Hitched; Unleashed ATTENDING: Friday, Saturday & Sunday IT ALL started with Dark Shadows for Nacho Tenorio. The Spanish artist, who came on board Dynamite's TV/movie spin-off with 2012's #8, illustrated all but two of the last 16 issues of the comic, which ended in 2013 with #23. Following what was his professional debut, Tenorio – who'd also contributed to the 2012 second volume of Zenescope's Mankind: The Story of All of Us – stayed with Dynamite into 2015, initially drawing the last three issues of Ash and the Army of Darkness he moved on to the Army of Darkness: Ash gets Hitched four-parter that followed it. Then, after a single 2015 issue of Alice Cooper, Tenorio joined forces with his Third Guy Studios associate, inker Sergio Mora (with whom he'd previously teamed on Zenescope's Mankind comic and on Alice Cooper) to illustrate Amigo Comics' four-part Rogues! Odd Parenthood. In between he and Mora worked on 1900 and its sequel subtitled Orígenes (Origins) published in Spain by Grapa! as well as on two historical comics – The Sinking of the Lusitania and Alice Milligan and the Irish Cultural Revival – for Northern Ireland-based Creative Centenaries. Most recently, Tenorio illustrated Amigo's Mora-inked Unleashed, a 2016 four-parter.
  24. KEV HOPGOOD Artist: Iron Man; 2000 AD; Warhammer Monthly Three years after a brief flirtation with the then still extant underground comics scene (he wrote and illustrated a contribution to 1981’s Knockabout Comics #3) Kev Hopgood resurfaced drawing mainstream comics. Like many of his peers the British artist contributed to 2000 AD (for which he worked on and off until 1995) but also illustrated stories for Marvel UK where his art graced the pages of Spider-Man and Zoids as well as such titles as Mighty World of Marvel, Thundercats, Action Force and Doctor Who. Hopgood made his US debut in 1988 with issue #4 of G.I. Joe European Missions,continuing to contribute to that Marvel title until the following year. Marvel US came calling again in 1992 at which time he became the regular penciller on Iron Man. He stayed on that series for just over two years during which time he co-created War Machine. Stories for the Warhammer Monthly anthology (published by Games Workshop’s Black Library imprint for which he also drew three Darkblade graphic novels) followed but by 2000 he was all-but out of comics. He resurfaced in 2008 to draw two Warhammer 40,000 minis for BOOM! Studios but then chose to concentrate on illustrating children's books and educational books. That was until 2014, when he contributed briefly to 2000 AD's companion title, Judge Dredd Megazine​.
  25. IAN RICHARDSON Artist: 2000 AD; Noble Causes: Family Secrets; Marvel Heroes Magazine STARTING out, as many British creators do, on 2000 AD, Ian Richardson worked for the self-styled Galaxy's Greatest Comic from 2001 into 2002. At that point he landed at Image, where he drew 2002's Noble Causes: Family Secrets, which took him into 2003. It was three years before the artist, a professional musician who is often lured away from the drawing board, next worked in comics, returning to 2000 AD to contribute to a flurry of issues. After that he became involved with Platinum's Cowboys & Aliens graphic novel before embarking on a long association with Marvel Heroes Magazine published in the UK by Panini. Outside of comics he was also providing artwork for G.I. Joe Collectors' Magazine. In 2015 Richardson, who is currently producing cover art for various Zenescope titles, illustrated a brace of issues of Halo: Escalation for Dark Horse.
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