|
Joe Sinnott (born October 16, 1926) 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 (and briefly in the late 1980s), initially over the pencils of Jack Kirby. During his 60 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 ''Thor''. Marvel impresario Stan Lee in the mid-2000s cited Sinnott as the company's most in-demand inker, saying jocularly, "()encilers used to hurl all sorts of dire threats at me if I didn't make certain that Joe, and only Joe, inked their pages. I knew I couldn't satisfy everyone and I had to save the very most important strips for (). To most pencilers, having Joe Sinnott ink their artwork was tantamount to grabbing the brass ring."〔"Introduction by Stan Lee" in 〕 Sinnott, who as of 2012 continues to ink the ''The Amazing Spider-Man'' Sunday comic strip, had his art appear on two US Postal Service commemorative stamps in 2007. ==Early life and career== Born in Saugerties, New York, Joe Sinnott was one of seven children to Edward and Catherine McGraw Sinnott; his siblings were Frank, Anne, Edward, and three who predeceased him, Jack, Richard and Leonard).〔(Joe Sinnott ) (official site). .〕 He grew up in a boarding house that catered primarily to schoolteachers, some of whom inspired in the young Sinnott a love of drawing.〔Lasiuta, p. 9〕 His childhood comics influences include the comic strip ''Terry and the Pirates'' and the comic book characters Batman, Congo Bill, Hawkman and Zatara. Following the death in action of his brother Jack, a member of the United States Army's Third Division, in 1944, Sinnott acceded to his mother's wishes not to be drafted into the Army himself, and he enlisted in the Navy in the autumn of that year.〔 After serving with the Seabees in Okinawa during World War II,〔 driving a munitions truck, he was discharged in May 1946.〔 After working three years〔 in his father's cement-manufacturing plant,〔 he was accepted into the Cartoonists and Illustrators School (later the School of Visual Arts) in New York City in March 1949, attending on the GI Bill.〔Lasiuta, p. 11〕 Sinnott's first solo professional art job was the backup feature "Trudi"〔Sometimes misspelled "Trudy"; spelling per splash page, "Trudi" story "The Heavyweight", in ''Mopsy'' #12 (cover-dated Sept. 1950)〕 in the St. John Publications humor comic ''Mopsy'' #12 (Sept. 1950). Later, during a two-week school vacation in August 1950,〔Lasiuta, p. 13〕 he married his fiancée Betty Kirlauski〔 (March 7, 1932 - November 1, 2006),〔Lasiuta: "Dedication by Mark Sinnott", p. 6〕 to whom he remained married for 56 years until her death.〔 Cartoonists and Illustrators School 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.〔Irving, p. 27〕 Sinnott recalled in 1992 "taking the Long Island Rail Road every weekend and working all day Saturday and Sunday." He said in 2003, "Tom was paying us very well. I was still attending school and worked for Tom at nights and () weekends,"〔Per ("Joe Sinnott Timely/Marvel/Atlas Credits" ) at AtlasTales.com, Sinnott worked uncredited with Gill on at least Atlas Comics' ''Red Warrior'' #1 (Jan. 1951) and ''Kent Blake of the Secret Service'' (May 1951 - Jan. 1952). (Archived ) from the original on January 2, 2011.〕 with night work added after he tired of commuting to Long Island and "began working () my room on 75th Street for $7 a week."〔 Sinnott in 1992 recalled his earliest work for Gill being the Western comic ''Red Warrior'' and later including ''Kent Blake of the Secret Service'', both for Atlas Comics, a predecessor of Marvel Comics. "Tom would do all of the heads. We'd do everything else. We'd do the backgrounds and the figures, but since they were Tom's accounts, he'd do the heads so it looked like his work. I did this for about nine months. It was great learning," he said,〔"The Joe Sinnott Interview" p. 21〕 adding, "I can never have enough good to say about Tom Gill. He gave me my start."〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Joe Sinnott」の詳細全文を読む スポンサード リンク
|