Arthur Adams (comics)

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Arthur Adams
Russ Manning Award
1986 Longshot
Eisner Award for Best Single Issue/One-Shot
1988 Gumby Summer Fun Special

Arthur Adams (born April 5, 1963) is an American

Eisner Award for Best Single Issue
.

In 1994, Adams joined a group of creators that included

crossover stories with other comics characters, such as Gen13/Monkeyman and O'Brien (1998), and Savage Dragon
#41 (September 1997).

Because of his reputedly tight, labor-intensive penciling style, which was initially influenced by

The Official Handbook of the Marvel Universe and his own published sketchbook series, Arthur Adams Sketchbook. He has done design work for toys and video games, and miniature busts have been produced based on his renditions of notable characters. In the early 2000s he was commissioned to create artwork for the drum kit used by System of a Down drummer John Dolmayan
.

He is one of the most popular and widely imitated artists in the comics industry, whose drawing style has been credited as an influence upon artists such as Joe Madureira and Ed McGuinness, as well as the artists associated with the founding and early days of Image Comics, such as J. Scott Campbell.

Early life

Arthur Adams was born on April 5, 1963

paleontologist.[1][5][6][7] His interest in professional paleontology waned, however, when he realized that the extreme climates of the environments in which he would be required to work were not appealing to him.[7]

Adams' desire to draw drawing comics professionally was cemented in high school, when he bought Marvel Comics' Micronauts #1, which was illustrated by Michael Golden,[5] the first artist Adams noticed significantly.[1][7] He relates:

I was collecting comic books from the mid-70s, and then I discovered Michael Golden working on Micronauts. And I don't know exactly what it is about the very first issue of Micronauts. Something about it just blew me away. That was the book that made me say, 'Yeah, this is what I'm going to do for my career, for the rest of my life. I'm going to find a way to draw comic books, man!'[5]

Adams would subsequently seek out work by other artists, such as

community theater for two years. He quit acting when he turned 19, in order to concentrate on drawing.[5][6]

Career

Early work

Cover to Marvel Comics' Longshot #1 (September 1985) by Adams

Adams initially created a portfolio of pinups and monster splash pages, and added story sequences when he began attending

comics conventions at age 17.[1]
At one of them, Adams met someone who, after seeing Adams' artwork, asked Adams for a submission for a comic book fanzine he was putting together called High-Energy. Adams submitted the horror story "One-Eyed Jack", which saw print High-Energy #1 (cover dated Spring 1982). Though it was an unpaid work, it was Adams' first published work, though he has lightheartedly decried its quality, saying, "It was pretty bad."[1][5]

Adams' first paid work was a Farrah Foxette pinup that he copied from Farrah Fawcett's iconic 1976 swimsuit poster, which he submitted to the letters page of the DC Comics series Captain Carrot and His Amazing Zoo Crew! That series' editor, Roy Thomas, paid Adams $10 to publish the piece as a fan pinup.[1][2]

At a

Creation Convention in San Francisco, Adams received career advice from Steve Leialoha and Chris Claremont, and also met another aspiring illustrator, Mike Mignola, with whom Adams became friends, and later, business partners. Because of the popularity of the X-Men, Adams included a Wolverine story in his portfolio, although he was only a casual fan of the X-Men himself. He would later become closely associated with the X-Men in his early career. After showing his portfolio to editor Bob Schreck at a Creation Convention, he gained permission to set up a table, doing drawings for fans for $5 – $10. He began submitting samples to Marvel Comics when he was 18, taking a job at a pizzeria after graduating high school.[1][5]

Adams' first professional job came about after he met

Bizarre Adventures. Though Adams completed the story, the series was canceled before his story was published,[8][9] and Adams returned to submitting samples while working at the pizzeria. Adams later dismissed the story as poorly drawn. He also drew "Away Off There Amid The Softly Winking Lights", a story in the 1984 Pacific Comics anthology Three Dimensional Alien Worlds.[8]

Longshot and X-Men

Al Milgrom, who was ending his career as a Marvel editor to go freelance, found Adams' samples as he was cleaning out his office for its future occupant, editor Carl Potts. Potts and his assistant editor, Ann Nocenti, sent Adams a Defenders script, from which Adams did layouts of 10 to 15 pages. Adams stated that while his action scenes were not rendered very well, the editors praised his casual, character-based scenes. Nocenti described to Adams the concept for a miniseries she was writing, Longshot,[1][10] which had been turned down by every other artist she offered it to. Adams, now a couple of months before his twentieth birthday, did a series of preliminary design drawings, basing the main character's appearance and hairstyle on that of singer Limahl, and the female lead, Ricochet Rita, on Nocenti herself. The series was freelance-edited by Louise Simonson, and without a firm schedule, which provided Adams the time he needed to complete it.[11] This was due in part to his problems with perspective and other things he was not accustomed to drawing, such as windmills, babies and people smiling, and in part because he had to redraw the first half of it, as Ann Nocenti's story was so dense that the pages featured up to 20 panels.[1][2][5][9] As a result, Adams took eight months to draw the first issue.[1][5][12] This problem was addressed by editor Elliot Brown, who showed Adams how to compose panels depicting multiple actions.[5] Simonson would later introduce Adams to Marvel editor-in-chief Jim Shooter, who furthered Adams' understanding of storytelling clarity by sitting down with him and showing him the panel-to-panel structure in an old Marvel book. He would take two years to draw all six issues of the miniseries. Longshot #1 was published with a cover date of September 1985.[1][5][8] Reviewing the first issue for Amazing Heroes, R.A. Jones, who criticized the writing, stating:

Longshot does have one major saving grace, and that is the penciling of Arthur Adams. I'm going to once again go out on my prophetic limb and predict that Art will soon become a fan favorite. He has a dynamic style that grabs your attention and won't let go. To be sure, he exhibits some of the weaknesses of any young artist, the occasional awkward pose or crude drawing--but as a first effort this is incredibly impressive. In fact, this limited series should be worth buying simply to watch the progress Adams makes from issue to issue.[8]

Adams' association with the X-Men franchise early in his career included a number of posters, including this iconic 1986 image of Wolverine, inked by Terry Austin, which also became a bestselling retailer standee.[5]

Nocenti's position as editor on the X-Men books led to Uncanny X-Men writer Chris Claremont's discovery of Adams' work, and in turn to Adams' frequent association with that franchise during the 1980s, which began with New Mutants Special Edition #1 and Uncanny X-Men Annual #9, which were part of the "Asgardian Wars" storyline,[7] and which Adams began drawing before Longshot #1 was published.[5] Nocenti also asked Adams to produce a cover for Heroes for Hope, a 1985 book intended to benefit famine relief in Africa, which was written and illustrated by dozens of creators, including writers Harlan Ellison and Stephen King, and artists John Byrne, Charles Vess and Bernie Wrightson. Nocenti asked Adams to pattern the cover after Paul Smith's 1983 cover of Uncanny X-Men #173, whose focus was Wolverine charging the viewer. This in turn led to Bob Budiansky, who was in charge of producing Marvel's posters, asking Adams to produce a Wolverine poster with the same type of pose. The image, inked by Terry Austin, became not only a bestselling poster, but an iconic life-size standee for comics shops, and led to two other posters by Adams, a 1987 X-Men poster featuring most of the characters that had ever been a member of that team, and "Mutants", a modification of Adams' 1988 Marvel Age Annual #4 cover that featured most of the characters appearing in all the X-Men-related books at the time, also with a charging Wolverine in the center. By 1986, Adams' professional career had been cemented,[2][5] and he moved out of his parents' home and into the same Oakland, California apartment building where fellow artists Mike Mignola and Steve Purcell lived.[1] Adams and Nocenti reunited for a story in Web of Spider-Man Annual #2 (1986) in which Warlock of the New Mutants encounters Spider-Man.[13]

His work on the X-Men franchise would continue with a number of covers for The New Mutants and The Uncanny X-Men in 1986 and 1987, respectively. He also drew all but three of the first 23 covers and interior frontispieces to Classic X-Men from 1986 to 1988. His interior X-Men-related work included a two-issue run on X-Factor and the one-shot Excalibur: Mojo Mayhem, both in 1989, and three Uncanny X-Men Annuals, in 1986, 1988, and 1990. It was in drawing the 1988 annual that Adams says he felt like a professional comic book artist for the first time, as he first felt confident that he knew what he was doing.[12]

Diversification and experimentation

Adams did work for publishers other than Marvel during the 1980s, as when he drew several pages of

Eisner Award for Best Single Issue.[16] Adams would later illustrate a second Gumby book, Gumby's Winter Fun Special, which was written by Steve Purcell.[7]

Adams was one of 54 artists profiled in Ron Goulart's 1989 book, The Great Comic Book Artists, Volume 2, whose front and back covers Adams illustrated.[8]

1990s monster and creator-owned work

Adams' 1990s Marvel work included a 1990 three-issue run on

Walter Simonson, who also was the regular artist on the title, decided to write a story for Adams to draw in order to catch up on his deadlines. Simonson asked Marvel's Marketing Department who the four top-selling characters were, and was told they were Wolverine, Ghost Rider, Spider-Man, and the Punisher. Adams disliked the Punisher, and especially disliked drawing guns, because he felt he was not good at it, and suggested the Hulk. When Simonson asked him what he liked to draw, Adams indicated that he was a fan of the classic elements of the book, such as the Mole Man and the Skrulls, which Simonson incorporated into the story.[18] The three-issue arc, which is cited by Adams as one of his favorite works,[1][5] was later referenced by late night talk show host Conan O'Brien in the "Fan Corrections" segment of a 2012 episode of Conan.[19] Adams did more work for the X-Men franchise, such as the 1997 intercompany crossover one-shot Gen13/Generation X.[1][5] His 1990s Marvel work also included providing designs for a line of Hulk action figures.[20]

Adams became acquainted with Randy Stradley and other staff members of

G-Force, which he designed to be a Japanese version of the Fantastic Four, and in the story, had that group mention that they had fought the Shrewmanoid, a villain Adams later created for Monkeyman & O'Brien. Toho, the production company that produces the Godzilla films, would later introduce a version of that team in the 1993 film Godzilla vs. Mechagodzilla II. A book on the making of that film features a cover illustration of Godzilla that was copied from the Color Special, which amused Adams. Adams would follow these with other Godzilla works, such as "King Kong vs. Godzilla", a story that appeared in the anthology Urban Legends #1 that is notable for being the only work of his to date that he wrote, penciled, inked and lettered, and "Tramplin' Tokyo", an Alan Moore story he drew for Negative Burn #18 (December 1994). In 1995 he drew Godzilla vs. Hero Zero, and wrote issues 5–8 of Target: Godzilla! When Adams learned that Dark Horse would acquire the rights to the Universal Monsters, Adams lobbied to them to illustrate a comics sequel to the 1954 film Creature from the Black Lagoon, but Dark Horse wanted to produce an adaptation of the film first, and told Adams that if he illustrated that, that he would be able to illustrate a future sequel. The 50-page adaptation was published in 1993, but the line's low sales cost Dark Horse money, and it was canceled after four books, precluding the sequel that Adams wanted to draw.[7]

Legend
imprint

In the early 1990s, Adams and Mignola were contacted by

Wildstorm Productions
.

In 1996 Dark Horse Comics published Art Adams' Creature Features,

Geoff Darrow
.

1999–2010s

Drum kit used by System of a Down drummer John Dolmayan, featuring artwork by Adams and other commissioned artists.[25] Adams' art is on the drum just above and to the left of center.

In 1999, Adams returned to Wildstorm to draw an eight-page flashback sequence in issue #4 of Alan Moore's series,

romantic influence, with greater amounts realism and fine hatching, which Adams refers to as "noodling". Adams says he was inspired by sources such as Paolo Eleuteri Serpieri, Warren Publishing's Vampirella, and the character designs in Capcom video game character books when he drew "Jonni Future", and refrained from using straight edges or templates in order to achieve a more elegant, hand-drawn appearance. He regards "Jonni Future" as his best work.[5]

In the early 2000s Adams was commissioned to create artwork for the drum kit used by System of a Down drummer John Dolmayan, an avid comic book collector and vendor. Dolmayan commissioned Adams to illustrate a scene of giant women fighting robots and Godzilla for one drum, while the art for other drums in the kit, which depicted other characters and scenes, were produced by Simon Bisley, Kevin Eastman, and Tim Vigil.[25]

Throughout the 2000s, Adams provided cover images for various

Ultimate X #1-5, his first work for the Ultimate Marvel line of comic books.[27]

2010s–present

In 2014, Adams illustrated variant covers for each of the eight issues of Marvel Comics miniseries Original Sin, composing them as eight pieces of a single, interlocked image, which depicts all of the major characters of the Marvel Universe.[28] It was the single piece that took the longest for Adams to complete, at 10 weeks.[4]

Outside the field of comics, Adams has provided illustrations for various magazines, such as PlayStation Magazine, as well as toy designs, video games,[5] and X-Men-themed cans of Chef Boyardee pasta.[1][29][30] A recreation of Barry Windsor-Smith's classic cover to Avengers #100 that Adams drew on a whim was later used by Marvel Comics as a variant cover to an actual issue, and in July 2019, as the image of a 500-piece jigsaw puzzle licensed by Aquarius.[31][32][33]

Adams at the 2018 Phoenix Comic Fest

On November 30, 2011, Gumby Comics/Wildcard Ink published a single volume collecting Adams' previous two specials featuring Gumby. The book was initially called Gumby's Arthur Adams Specials, but was eventually published with a sticker covering Adams' name on the cover, effectively renaming the book Gumby's Spring Specials. According to Rich Johnston of Bleeding Cool, this was done on Adams' request, who wanted nothing to do with the publisher, and took action to keep his name off the book's cover.[34] The book is nonetheless sold by merchants such as Mile High Comics under its originally intended name.[35]

In 2016 Adams provided the illustrations for a satirical piece in GQ magazine that imagined a number of controversial public figures as comic book supervillains, including Donald Trump, Vladimir Putin, Sepp Blatter, Martin Shkreli, and Kris Jenner.[36][37] Later that year, Dynamite Entertainment announced it that would be producing limited edition poly-resin busts of female characters for its Women of Dynamite line, based on Adams' renditions of those characters and sculpted by Jason Smith. The first bust was a Red Sonja bust debuting in November, followed by a Vampirella bust in February 2017.[38] In the late 2010s, Adams illustrated cover runs on Guardians of the Galaxy (Vol 4) and X-Men Blue.[4]

In February 2020, Marvel released Marvel Monograph: The Art Of Arthur Adams, a 120-page omnibus collection of Adams' art.[39]

In April 2022, Adams was reported among the more than three dozen comics creators who contributed to

2022 Russian invasion of Ukraine. Adams would provide one of the covers to the softcover edition of the book.[40][41][42]

Though his work for Marvel takes priority for him, he also makes a significant amount of his income from private commissions, which he produces when time permits.[6] In a 2017 interview he stated that if he did interior work again, it would more likely be on a creator-owned project, like Monkeyman And O'Brien.[43]

Technique and materials

Adams was heavily influenced by the work of Paolo Eleuteri Serpieri, among other sources, in illustrating "Jonni Future", which he considers his best work.[5]

Adams' art style is noted for its high level of detail, and he has a reputation of being a "tight"

The New Mutants work.[2]

Adams prefers to work from a plot rather than from a full script, a result of

Number 2 pencil. He drew the first three chapters of "Jonni Future" at twice the printed comic size, and also drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he is not accustomed to.[1][5]

In the early part of his career, Adams' pencils were embellished by inkers such as

felt-tip pen. He prefers pens to brushes because pens feel "looser", and cited this as his reason for using felt-tip pens when he inked "Jonni Future".[5]

Although Adams has experimented with painting with watercolor and oil paints (his 1989 covers for Appleseed were rendered with a combination of ink, watercolor and color pencil), his color work is so sporadic that he says he has to relearn what he has forgotten in the interim each time, and is usually dissatisfied with the results.[1][5] Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally.[6]

Adams has explained his view on illustrating covers by saying, "My job is to make the characters look as good as I can in the context of what they’re asking for. So I always just try to represent the characters to the best of my ability and sell the book."[4] When asked for his favorite cover work, he named X-Men Blue #9 (October 2017), featuring Polaris, which was a homage to Jim Steranko's cover of X-Men #50 (November 1968).[44]

Adams does not have a favorite character to draw, having remarked in a 2015 interview, "I'm just happy that they pay me to draw."

Colossus, X-23, and Jean Grey.[44] He dislikes drawing the Punisher, because he believes that he is not adept at drawing guns.[18]

Influence

J. Scott Campbell (left) is one of the artists who was influenced by Adams (right), seen here during an appearance at Campbell's booth at the 2017 New York Comic Con.

Adams is one of the most popular and widely imitated artists in the American comics industry.

crosshatching over brushwork in rendering, and the depiction of cybernetic limbs and other reflective surfaces seen in those artists' styles as being derived from Adams' work, in particular his run on Longshot. Callahan also points out that the detailed webbing for which Todd McFarlane became known during his run on Spider-Man had previously been used by Adams on the cover of Longshot #4, although Callahan notes that Adams did not necessarily originate these elements, but was influenced himself by Michael Golden and Micronauts, he states that Adams popularized them. Adams' conception of Spider-Man with a large-eyed mask, detailed "spaghetti"-style webbing, and more contorted poses while web-swinging can be seen in Web of Spider-Man Annual #2, published in June 1986 (approximately 1½ years before Todd McFarlane's first published Spider-Man work, The Amazing Spider-Man #298). Noting also that Adams' Longshot pencils were inked by Whilce Portacio and an uncredited Scott Williams, Callahan refers to that book as "early Image, in primal form".[46] Artists whose work has been viewed as imitative of Adams' style, or who have named Adams as an influence include Joe Madureira,[49][50] J. Scott Campbell,[5][51][52][53] Ed McGuinness,[54] Aaron Kuder,[55][56] Shelby Robertson,[57] Olivier Coipel,[58] and Nick Bradshaw.[59][60]

Personal life

Adams is married to fellow comics artist Joyce Chin, whom he met at the 1996 San Diego Comic-Con.[61] Chin has inked Adams' pencils, and Adams has inked Chin's, as on Xena: Warrior Princess #4 (January 2000).[5][62] As of 1997 they lived in Portland, Oregon.[7] They later moved to San Francisco, California,[1] before settling in Walnut Creek.[61]

When asked to name a favorite comic, Adams has named Ultimate X-Men #41 by writer Brian Michael Bendis and artist David Finch, which depicts Wolverine as he befriends a teenaged boy hiding in cave after his out-of-control emerging powers have killed hundreds of people, including those closest to him. Adams said of the story, "It's a standalone story, it's Bendis, it's one of my favorite comics of all time."[44]

His favorite Godzilla film is

Monster Zero.[7] His favorite color is green.[45]

Regarding religion, Adams has stated that he does not believe in "any particular god".[5] He does not drive.[63]

Awards

Bibliography

Interior work

Cover work

References

  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad Cooke, Jon B.; Knutson, Jon B. (January 2002). "The Art of Arthur Adams". Comic Book Artist. No. 17. Raleigh, NC: TwoMorrows Publishing. Archived from the original on November 3, 2013. Retrieved December 12, 2023.{{cite news}}: CS1 maint: multiple names: authors list (link)
  2. ^
    Fictioneer Books
    . pp. 16–27.
  3. ^ "Arthur Adams (b. 1963)". Grand Comics Database. Archived from the original on December 12, 2023. Retrieved December 12, 2023.
  4. ^ a b c d e Hassan, Chris (August 15, 2017). "(Interview) X-Men: Blue cover artist Arthur Adams talks strange commissions at Boston Comic Con". AIPT. Archived from the original on December 12, 2023. Retrieved December 12, 2023.
  5. ^
    ISBN 978-1-893905-54-2
    .
  6. ^ a b c d e f Siuntres, John (September 11, 2013). "Word Balloon Podcast Greg Pak, Cincy Comicon Panels with Art Adams and Ethan Van Sciver". Word Balloon Comic Books Podcast. Archived from the original on January 3, 2014. Retrieved January 3, 2014. Interview begins at 1:19:55.
  7. ^ a b c d e f g h i j k l m n o p DeAngelo, Danny (November/December 1997). "Art Adams: King of the Monster Artists". G-Fan. pp. 22–25.
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    CBR.com. Archived
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  10. ISBN 978-0-7566-4123-8
    . Ann Nocenti wanted to introduce a character who was a clean slate. One with no history, no past, and no prejudices. A man without a memory. With Arthur Adams and Whilce Portacio providing the art, Nocenti wrote the six-issue limited series Longshot.
  11. ^ Ash, Roger (August 2008). "Ann Nocenti and Arthur Adams Bet on a Longshot". Back Issue! (29). Raleigh, North Carolina: TwoMorrows Publishing: 26–31.
  12. ^ a b "Art Adams interview". "The Mutant Report". Volume 3. Marvel Age #71 (February 1989). Marvel Comics. pp. 12–15.
  13. ISBN 978-0-7566-9236-0
    . Talented writer Ann Nocenti and influential artist Arthur Adams crafted an offbeat tale when the New Mutants' eccentric member cybernetic alien Warlock decided to take a trip to New York City.
  14. ISBN 978-0-7566-6742-9
    . Batman celebrated the 400th issue of his self-titled comic with a blockbuster featuring dozens of famous comic book creators and nearly as many infamous villains. Written by Doug Moench, with an introduction by novelist Stephen King ... [it was] drawn by George Pérez, Bill Sienkiewicz, Arthur Adams, Joe Kubert, Brian Bolland, and others.
  15. ISBN 978-1465424563
    . Despite decades of publication, Action Comics had not received its own annual until this issue by scribe John Byrne and artist Arthur Adams.
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  20. ^ Wizard #57 (May 1996). p. 61.
  21. ^ Adams, Arthur. "Attack of the Shrewmanoid", Monkeyman and O'Brien #1, July 1996, Dark Horse Comics
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  29. ^ Weiland (2014); The referenced exchange occurs at the 19:22 mark.
  30. ^ "Merchandising". arthuradamsart.com. Retrieved August 22, 2015.
  31. ^ Adams, Arthur (November 28, 2020). "(Untitled)". Instagram. Archived from the original on December 24, 2021. Retrieved November 29, 2020.
  32. ^ "AQUARIUS Marvel Avengers Puzzle (500 Piece Jigsaw Puzzle) - Officially Licensed Marvel Merchandise & Collectibles". Amazon. July 15, 2019. Archived from the original on November 29, 2020. Retrieved November 29, 2020.
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  35. ^ "Gumby's Arthur Adams Specials Collection TPB". Mile High Comics. n.d. Archived from the original on September 4, 2012. Retrieved December 12, 2023.
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  37. ^ "A Field Guide to the New Age of the Super-Villain!". GQ. February 23, 2016. Archived from the original on December 12, 2023. Retrieved December 12, 2023.
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  40. Comics Beat. Archived
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  59. ^ Ching, Albert (February 28, 2012). "Artist Nick Bradshaw's Path to Wolverine and the X-Men". Newsarama. Archived on May 5, 2017.
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  62. ^ "5 Minutes With: Joyce Chin". Dynamic Forces. Archived from the original on February 15, 2005. Retrieved February 9, 2011.
  63. ^ Johnston, Rich (March 23, 2019). "Joyce Chin Admitted to Chicago Hospital With Arthur Adams, Not at C2E2". Bleeding Cool. Retrieved March 23, 2019.
  64. San Diego Comic-Con International. 2013. Archived
    from the original on October 30, 2013. Retrieved December 21, 2013.
  65. San Diego Comic-Con International. December 6, 2012. Archived
    from the original on January 3, 2022. Retrieved April 8, 2022.
  66. ^ Johnston, Rich (January 29, 2003). "Waiting For Tommy XXIII: Interview with Grant Morrison". Waiting For Tommy. Dynamic Forces. Archived from the original on December 30, 2013.

External links

Wikimedia Commons has media related to Arthur Adams (comics artist).
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