Figure drawing by Leonardo da Vinci.

In art, a figure drawing is a study of the human form in its various shapes and body postures - sitting, standing or even sleeping. It is a study or stylized depiction of the human form, with the line and form of the human figure as the primary objective, rather than the subject person. It is a composed image of the subject in a stationary position. A life drawing is a work that has been drawn from an observation of a live model.

The term can also refer to the act of producing such a drawing. Figure drawing is arguably the most difficult subject an artist commonly encounters, and entire courses are dedicated to the subject.

The human figure is one of the most enduring themes in the visual arts, and the human figure can be the basis of portraiture, cartooning and comic book illustration, sculpture, medical illustration, and other fields. Figure drawing can be done very simply, as in gesture drawing, or in greater detail, using charcoal, pencil or other drawing tools. If pigment is used, the process may be called figure painting.

Approaches[link]

Art students drawing from a nude model.

Artists take a variety of approaches to drawing the human figure. They may draw from live models, from photographs or other reference material^[1][2], from skeletal models, or from memory and imagination. Most instruction focuses on the use of models in "life drawing" courses. The use of photographic reference—although common since the development of photography—is often criticized or discouraged for its tendency to produce "flat" images that fail to capture the dynamic aspects of the subject. Drawing from imagination is often lauded for the expressiveness it encourages, and criticized for the inaccuracies introduced by the artist's lack of knowledge or limited memory in visualizing the human figure; the experience of the artist with other methods has a large influence on the effectiveness of this approach.

In developing the image, some artists focus on the shapes created by the interplay of light and dark values on the surfaces of the body. Others take an anatomical approach, beginning by approximating the internal skeleton of the figure, overlaying the internal organs and musculature, and covering those shapes with the skin, and finally (if applicable) clothing; study of human internal anatomy is usually involved in this technique. Another approach is to loosely construct the body out of geometric shapes, e.g., a sphere for the cranium, a cylinder for the torso, etc. then refine those shapes to more closely resemble the human form.

For those working without visual reference (or as a means of checking one's work), proportions commonly recommended in figure drawing are:

• An average person is generally 7-and-a-half heads tall (including the head). This can be illustrated to students in the classroom using paper plates to visually demonstrate the length of their bodies.
• An ideal figure, used for an impression of nobility or grace, is drawn at 8 heads tall.
• A heroic figure used in the depiction of gods and superheroes is eight-and-a-half heads tall. Most of the additional length comes from a bigger chest and longer legs.

Note that these proportions are most useful for a standing model. Poses which introduce foreshortening of various body parts will cause them to differ.

Media[link]

Sitting woman, 17th century figure drawing in black crayon, School of Rembrandt

The French Salon in the 19th century recommended the use of Conté crayons, which are sticks of wax, oil and pigment, combined with specially formulated paper. Erasure was not permitted; instead, the artist was expected to describe the figure in light strokes before making darker, more visible marks.

Figure drawing by Lovis Corinth.

A popular modern technique is the use of a charcoal stick, prepared from special vines, and a rougher form of paper. The charcoal adheres loosely to the paper, allowing very easy erasure, but the final drawing can be preserved using a spray-on "fixative" to keep the charcoal from rubbing off. Harder compressed charcoal can produce a more deliberate and precise effect, and gradated tones can be produced by smudging with the fingers or with a cylindrical paper tool called a stump.

Graphite pencil is also commonly used for figure drawing. For this purpose artists' pencils are sold in various formulations, ranging from 9B (very soft) to 1B (medium soft), and from 1H (medium hard) to 9H (very hard). Like charcoal, it can be erased and manipulated using a stump.

Ink is another popular medium. The artist will often start with graphite pencil to sketch or outline the drawing, then the final line work is done with a pen or brush, with permanent ink. The ink may be diluted with water to produce gradations, a technique called ink wash. The pencil marks may be erased after the ink is applied, or left in place with the dark inks overpowering them.

Some artists draw directly in ink without the preparation of a pencil sketch, preferring the spontaneity of this approach despite the fact that it limits the ability to correct mistakes. Matisse is an artist known to have worked in this way.

A favored method of Watteau and other 17th and 18th century artists of the Baroque and Rococo era was to start with a colored ground of tone halfway between white and black, and to add shade in black and highlights in white, using pen and ink or "crayon".

History[link]

The human figure has been the subject of drawings since prehistoric times. While the studio practices of the artists of antiquity are largely a matter of conjecture, that they often drew and modeled from nude models is suggested by the anatomical sophistication of their works. An anecdote related by Pliny describes how Zeuxis reviewed the young women of Agrigentum naked before selecting five whose features he would combine in order to paint an ideal image.^[3] The use of nude models in the medieval artist's workshop is implied in the writings of Cennino Cennini, and a manuscript of Villard de Honnecourt confirms that sketching from life was an established practice in the 13th century.^[3] The Carracci, who opened their Accademia degli Incamminati in Bologna in the 1580s, set the pattern for later art schools by making life drawing the central discipline.^[4] The course of training began with the copying of engravings, then proceeded to drawing from plaster casts, after which the students were trained in drawing from the live model.

In the late 18th century, students in Jacques-Louis David's studio followed a rigorous program of instruction. Mastery in drawing was considered a prerequisite to painting. For about six hours each day, students drew from a model who remained in the same pose for one week.^[5] Before the late 19th century, women were generally not admitted to figure drawing classes.^[6]

Contemporary studio instruction[link]

Nude study, Annibale Carracci.

Figure drawing instruction is an element of most fine art and illustration programs. In a typical figure drawing studio classroom, the students sit around a model either in a semicircle or a full circle. No two students have exactly the same view, thus their drawing will reflect the perspective of the artist's unique location relative to the model. The model often poses on a stand, to enable students to more easily find an unobstructed view. Depending on the type of pose, furniture and/or props may be used. These are typically included in the drawing, to the extent that they are visible to the artist. However, backgrounds are commonly ignored unless the objective is to learn about placement of figures in an environment. Individual models are most common, but multiple models may be used in more advanced classes. Many studios are equipped to allow a variety of lighting arrangements.

When taught at the college level, figure drawing models are often (but not always) nude (aside from small jewelry or other inconspicuous items). While posing, the model is usually requested to remain perfectly still. Because of the difficulty of doing this for an extended period of time, periodic breaks for the model to rest and/or stretch are usually included in longer sessions and for more difficult poses.

At the beginning of a figure drawing session, the model is often requested to make a series of brief poses in rapid succession. These are called gestures poses, and are typically one to three minutes each. Gesture drawing is a warm-up exercise for many artists, although some artists sketch out the gesture as the first step in every figure drawing.^[7] These broad strokes are not just done by the flick of a wrist, but by using the whole arm to capture the motion of the model. It also helps to keep the artist focused on the model instead of the paper. When it comes to the human body, artists are painfully critical; the proportions of a still life do not have to be drawn perfectly to look authentic, but even the slightest error in human proportions will be easily detected.

Since the purpose of figure drawing classes is to learn how to draw humans of all kinds, male and female models of all ages, shapes, and ethnicities are usually sought, rather than selecting only beautiful models or those with "ideal" figures. Some instructors specifically seek to avoid the sort of models preferred by fashion photographers, seeking more "realistic" examples and to avoid any implication of sexual objectification. Instructors may also favor models of particular body types based on the unique contours or surface textures they provide. The variety of models hired may be limited by the need for them to hold a pose for extended periods (eliminating restless children and frail older persons), and concerns of modesty and legality when models pose nude (restricting the use of minors).

See also[link]

• Drawing
• Figure painting
• Model (art)
• Sculpture

References[link]

Literature[link]

• State University of New York at Binghamton. 1974. Strictly academic : life drawing in the nineteenth century : a loan exhibition organized by the University Art Gallery, State University of New York at Binghamton. Binghamton: The Gallery.
• Brigitte Tast Modell Gehen (1992), ISBN 3-88842-601-4

External links[link]

• Directory of Figure Drawing Open Studios, Workshops, and Continuing Education Classes in the United States and Canada
• Database of Figure Drawing Open Sessions in North America
• Images of figure drawings
• The Structure of Man 96 hours figure drawing videos for Artists

Michael Hampton
Background information
Birth name	Michael Hampton
Born	(1956-11-15) November 15, 1956 (age 55)
Genres	R&B, Funk, Psychedelic soul
Occupations	Musician, record producer
Instruments	Guitar,
Years active	1974–present
Labels	Westbound, Ace, Casablanca Records, Warner Bros. Records, CBS Records, P-Vine Records, Capitol Records, Arista Records, Atlantic Records, A&M records
Associated acts	Parliament-Funkadelic, 420 Funk Mob, Kiddo

Michael Hampton (born November 15, 1956 in Cleveland, Ohio) is a funk/rock guitarist. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic.^[1]

Hampton started his professional career when he was recruited as a seventeen-year-old guitar prodigy by the band Funkadelic, which found itself in need of a lead guitarist after original guitarist Eddie Hazel left the band. Hampton impressed Funkadelic's George Clinton by performing a note-for-note rendition of Hazel's ten-minute solo "Maggot Brain". He made his debut with the band's album Let's Take It to the Stage in 1975, which is dominated by his guitar. Hampton's playing included fuzzy, Hendrix-inspired licks and wailing harmonics.^[2] Due to his young age, Hampton was nicknamed 'Kidd Funkadelic'.

Hampton became a fixture in Funkadelic, and he continued his role as lead guitarist even during Hazel's sporadic returns to the band. Hampton's performances of "Maggot Brain" — which had become more improvised — became regular features of live Parliament-Funkadelic shows, and the song became his signature concert performance. The bonus-EP of Funkadelic's One Nation Under a Groove (1978) included a live version of the song featuring Hampton. The 12" single version of the title track was the first notable Funkadelic song to feature Mike Hampton on lead guitar. One of his most celebrated performances is the lead guitar solo on the Funkadelic hit single "(Not Just) Knee Deep" from 1979, as well the title track to the Brides Of Funkenstein's second album Never Buy Texas From A Cowboy.

In 1981 Clinton was forced to disband the P-Funk musical empire due to financial and legal difficulties. In 1993, he performed on the album Under the 6 with Slavemaster. Hampton performed on the albums released under Clinton's name, which featured many other P-Funk mainstays as well, and he became a member of the P-Funk All-Stars. In 1998, he released his first solo album entitled Heavy Metal Funkason through the P-Vine label in Japan. As of 2007, Hampton continues to perform with the All-Stars, and his performance of "Maggot Brain" remains a staple of their concerts.

References[link]

External links[link]

• Official website
• Allmusic guide entry for Michael Hampton

v t e Parliament-Funkadelic Rock and Roll Hall of Fame inductees Jerome "Bigfoot" Brailey • George Clinton • Bootsy Collins • Ray Davis • Ramon "Tiki" Fulwood • Glen Goins • Michael Hampton • Clarence "Fuzzy" Haskins • Eddie Hazel • Walter "Junie" Morrison • Cordell "Boogie" Mosson • "Billy Bass" Nelson • Garry Shider • Calvin Simon • Grady Thomas • Bernie Worrell Related articles Parliament • Funkadelic  • House Guests • Godmoma • Kiddo • Original P • The Pacemakers • The Parliaments • Zapp  • List of P-Funk members • Pedro Bell • Armen Boladian • Children of Production • Bill Laswell • Overton Loyd • P-Funk • P-Funk Earth Tour • P-Funk Mothership • P-Funk mythology • P-Funk projects • Uncle Jam Records • Red Hot Chili Peppers Parliament discography Osmium • Up for the Down Stroke • Chocolate City • Mothership Connection • The Clones of Dr. Funkenstein • Live: P-Funk Earth Tour • Funkentelechy Vs. the Placebo Syndrome • Motor Booty Affair • Gloryhallastoopid • Trombipulation Funkadelic discography Funkadelic • Free Your Mind... and Your Ass Will Follow • Maggot Brain • America Eats Its Young • Cosmic Slop • Standing on the Verge of Getting It On • Let's Take It to the Stage • Tales of Kidd Funkadelic • Hardcore Jollies • One Nation Under a Groove • Uncle Jam Wants You • Connections & Disconnections • The Electric Spanking of War Babies • Live: Meadowbrook, Rochester, Michigan – 12th September 1971 • By Way of the Drum • Toys • U.S. Music With Funkadelic George Clinton and Parliament-Funkadelic Computer Games • Urban Dancefloor Guerillas • You Shouldn't-Nuf Bit Fish • Some of My Best Jokes Are Friends • R&B Skeletons in the Closet • The Mothership Connection - Live from Houston • The Cinderella Theory • Live at the Beverly Theater • Hey, Man, Smell My Finger • Dope Dogs • Mothership Connection Newberg Session • T.A.P.O.A.F.O.M. • Live 1976–1993 • How Late Do U Have 2BB4UR Absent? • George Clinton and His Gangsters of Love Bootsy Collins Stretchin' Out in Bootsy's Rubber Band • Ahh... The Name Is Bootsy, Baby! • Bootsy? Player of the Year • This Boot is Made for Fonk-N • Ultra Wave • The One Giveth, the Count Taketh Away • What's Bootsy Doin'? • Jungle Bass • Blasters of the Universe • Lord of the Harvest • Keepin' Dah Funk Alive 4-1995 • Fresh Outta 'P' University • Live in Louisville 1978 • Play With Bootsy • Live In Concert 1998 • Live in Oklahoma 1976 • Christmas Is 4 Ever • Tha Funk Capital of the World Eddie Hazel Game, Dames and Guitar Thangs • Rest in P The Horny Horns A Blow for Me, a Toot for You • Say Blow by Blow Backwards • The Final Blow Bernie Worrell All the Woo in the World • Funk of Ages • Pieces Of Woo: The Other Side  • Blacktronic Science • Free Agent: A Spaced Odyssey The Brides of Funkenstein Funk or Walk • Never Buy Texas from a Cowboy • Live at the Howard Theatre Parlet Pleasure Principle • Invasion of the Booty Snatchers • Play Me or Trade Me Clarence "Fuzzy" Haskins A Whole Nother Thang (1976)  • Radio Active (1978)  • A Whole Nother Radio Active Thang (1994) Ruth Copeland Self Portrait (1970)  • I Am What I Am (1971)  • Take Me To Baltimore (1976) Mutiny Mutiny on the Mamaship (1979)  • Funk Plus the One (1980)  • A Night Out With the Boys (1983)  • Aftershock 2005 (1996) Other spinoffs Quazar (1978)  • Sweat Band (1980) • Federation of Tackheads (1985)  • Lifestyles of the Roach and Famous (1988) Out of the Dark (1993) • Heavy Metal Funkason (1998) Filmography The Night Before • PCU • Parliament-Funkadelic: One Nation Under a Groove • George Clinton: The Mothership Connection Category

Dr. Christopher Alexander "Chris" Warner is a fictional character on the New Zealand soap opera Shortland Street who has been portrayed by Michael Galvin since the show's first episode, making him the longest running original character.

Chris made his first appearance in the show's first episode and immediately became known to viewers as a playboy and womanizer, after indulging in an affair with a married aerobics instructor. The character then went on to marry 4 times and father 6 children, whilst participating in over 20 romance storylines. Chris departed in 1996 but returned 4 years later and by 2009 was the shows longest standing character. Besides storylines that involve romance, Chris has also been the centre of several highly rated dramas such as his near death at the hands of brother-in-law Dominic (Shane Cortese) and the return of his drug addict brother Guy (Craig Parker).

Chris has been a relatively successful character with many reviewers and critics praising Galvin and landing him with a nomination for "Best Actor" at the Qantas Awards in 2008.

Creation and Casting[link]

Michael Galvin auditioned for the role in 1992 alongside his flatemate Marton Csokas,^[2] he won the role with Csokas later going on to play Leonard Dodds. Galvin predicted the show would only last 6 months.^[3] Galvin stayed on the soap for several more years but began to tire of the role and quit, stating; "after four years on Shortland Street there was so much of me in Dr Warner I wasn’t sure where he ended and I began."^[4]

With declining ratings throughout 2000, producers decided to reinvent the show,^[5] which meant 14 characters were written off and many more introduced. The revitalized show also saw the hospital set receive a makeover. To top it off, the reinvention also saw fan favorites; Chris and Rachel return after 4 years^[6] and 2 years, respectively. Galvin was at first hesitant to accepting the role as it was an entirely new cast, but remembering the good times he had on the show, he accepted.^[7] However Galvin had to reaudition to prove he could still play the part.^[6]

It was announced to the public in October 2000 that Chris and Rachel would return and be significantly different than when they left.^[8] Chris' storyline featured Chris purchasing the clinic and shifting it to the public sector. Chris made his return on 22 December 2000. Following the show's 20th anniversary, Galvin announced he would be happy to stay with the show for as long as they would have him.^[9]

Storylines[link]

In May 1992, Chris had an affair with Jill (Suzy Aiken) whilst in a relationship with Alison Raynor (Danielle Cormack) who he ended up getting engaged to. However he called off the wedding to reconcille with ex wife - Melanie Kirk (Tina Regtien). The reconciliation was short and Chris ended up back with Alison, however the night before their wedding Chris was drugged by Darryl (Mark Ferguson). He ended up missing the wedding and losing Alison. He started to date Katherine (Margaret Umbers) but discovered she was a murderer and had a brief flirtation with Jo (Greer Robson). The flirtation led to a car crash that caused Chris to temporarily become addicted to painkillers. Chris briefly dated Rebecca (Luisa Burgess) but ended up falling in love with Tiffany Pratt (Alison James). The two married and Chris left with brother - Guy (Craig Parker) and niece - Tuesday (Kelly Tate) to live in America in 1996. The following year Chris and Tiffany divorced when she discovered him in bed with Alison. He and Alison ended up marrying offscreen.

Chris returned in late 2000 and purchased the clinic to transition it to the public sector. He revealed that he cheated on Alison and they had divorced. He became engaged to Samara (Jodie Rimmer) but realized she was a fraud and ended up in a relationship with Rachel McKenna (Angela Bloomfield). A one night stand with nurse - Toni Thompson (Laura Hill) resulted in Chris becoming a father to Harry (Joshua Thompson) in mid 2002. His relationship with Rachel suffered with her alcoholism and he turned to Donna (Stephanie Tauevihi). The arrival of Chris' illegitimate half brother Dom (Shane Cortese) ended his and Donna's relationship and it turned out Dom was not Chris' brother at all. Chris and Toni reunited in Fiji and after Dom nearly murdered Chris, he ended up marrying a pregnant Toni. The baby miscarried and while the couple briefly separated, Chris had an affair with the prostitute Greta Saunders (Meryl Maine), who tried to poison Toni. Chris developed an anxiety disorder but an affair with Justine Jones (Laurie Foell) cured it, but ended up ending his marriage to Toni, losing her to brother - Guy.

Toni kidnapped Harry and after returning 6 months later, Chris and Toni eventually reconciled, only for Toni to die of illness. Chris briefly dated both Brooke Freeman (Beth Allen) and Libby Jeffries (Fleur Saville) before finding love with Gabrielle Jacobs (Virginie Le Brun) in 2009. The relationship broke down however and Chris discovered he had a teenaged son named Phoenix (Geordie Holibar) with Alison after they split up. Chris ended up nearly dying in a fire after starting an affair with Rachel once again. The two moved in together and briefly separated when Chris had an affair with a returned Gabrielle in 2011. In 2012 Chris was stalked and manipulated for months by Phoenix's teacher Hayley (Michelle Blundell) and when she ended up dead, it appeared as though Chris had killed her and he was arrested.

Character development[link]

Characterisation[link]

Galvin described Chris as; "Highly successful in his professional life and not so successful in his personal life. He is generous and kind, but is also a snob. He always tries to learn from his mistakes but never does."^[10] However he also called Chris "positive" and noted Chris' high expectations.^[9] Galvin believed Chris' egotism and elitism lead him to look down on the world and have constant frustration.^[9] Throughout 1993 and 1994, Chris' characterisation was seen to be alot more arrogant and bitter in a purposeful attempt to flip the character around in a drug addiction storyline, that would see Chris weak and vulnerable.^[11]

"Dr. Love"[link]

When viewers were introduced to Chris in the first episode that aired in May 1992, the character's personality was already highly on show, with his first scene featuring Chris having sex with a married aerobic instructor. Because of this, Chris was already known as a "playboy" by both the characters onscreen and the audience.^[11] His multiple affair's, marriages and mindless flings over the next few years caused Chris to affectionately become known as "Dr. Love" both on and off screen.^{[12][13][14][15]} The scene was credited as defining the character and the fast paced soap itself.^[16]

Galvin enjoyed the label and offered his character advice saying; "I would tell him the next time he want's to sleep with someone he's not in a relationship with, he should slow down and count to 10."^[17] Angela Bloomfield (Rachel McKenna) found the label humorous, stating; "I'm so happy I don't have to jump around and kiss half the cast on screen."^[18] Gerald Urquhart (Luke Durville) also teased Chris' introduction to the show saying; "Thirty seconds on screen and you've had your first kiss. It took me four years,"^[19] Although the character patricipated in primarily romance and relationship based storylines, Galvin was hesitant to acknowledge himself as a "sex symbol".^[9]

In his first 20 years on the show, Chris had been married 3 times and fathered 6 children.^[17] Chris' first real love interest was Alison Raynor who he ended up marrying after both characters had departed the show.^[20] However before he married Alison, Chris had also dated several other characters including Rebecca Frost and had married and divorced; Tiffany Pratt.^[20] Several years into his return, Chris slept with his sons nanny played by Siobhan Marshall, something Galvin lists as Chris' greatest accomplishment.^[2] He went on to date several more characters and eventually marry Toni Thompson, who he again cheated on.^[20]

Reception[link]

Popular both with fans and critics alike, Michael Galvin has got praise throughout his time on the show getting nominated for Best Actor at the 2008 Qantas TV and Film Awards^[21] and numerous nominations in the TV Guide Best on the Box Awards. Reviewer Hugh Sundae of the New Zealand Herald praised Galvins acting in the 90 Minute episode saying he was "good" and "consistent".^[22] For marketing for Galvin's play "Station to Station", Chris was described as; 'perennially popular'.^[12] In 2002, Chris was named the 10th best character to ever feature on the show.^[23] In 2012, the character was named as one of the standout characters of the show's first 20 years.^[24]

Chris received negative backlash upon his return in 2000 for not showing the same characteristics as he had when he left and for being "boring" and no longer a "rouge".^[25] He and wife Toni, won "Best couple" in the Throng Shortland Street Fan Awards 2006.^[26] Chris' major storyline of 2010, his relationship with Rachel, had mixed reception upon airing with some fans finding it "boring" and other saying they "love" the storyline.^[27]

Galvin enjoyed the storylines where he acted alongside his good friends, which included Tim Balme (Greg Feeney), Shane Cortese (Dominic Thompson) and Craig Parker (Guy Warner).^[10] Coincidentally all the storylines involving Galvin's friends revolved around their respective characters antagonizing Chris.^[10] Galvin's least favourite storyline for Chris revolved around the hospital's musical production where Chris had to rap. The episode aired on 12 September 2001 and was subsequently the lowest rated episode of the show to ever air.^[18] Galvin also found the storyline of Chris' father Bruce's death difficult to film due to his own fathers ill health^[10] and disproved of the teenage suicide storyline that aired in 1992 due to its graphic nature.^[18]

Due to the characters longevity on screen, Chris has earned himself comparison to Coronation Street's Ken Barlow.^{[28] [29][30]}

References[link]

Jim Lee
Jim Lee at the CBLDF Drink and Draw at San Diego Comic Con 2007.
Born	(1964-08-11) August 11, 1964 (age 47) Seoul, South Korea
Nationality	Korean-American
Area(s)	Writer, Artist, Publisher
Notable works	All Star Batman and Robin Batman: Hush Superman: For Tomorrow WildC.A.T.s X-Men vol. 2
Awards	Harvey Award, 1990 Inkpot Award, 1992 Wizard Fan Award, 1996, 2002, 2003

Jim Lee (Korean 이용철; born August 11, 1964) is a Korean-American comic book artist, writer, editor and publisher. He first broke into the industry in 1987 as an artist for Marvel Comics, illustrating titles such as Alpha Flight and Punisher War Journal, before gaining a great deal of popularity on The Uncanny X-Men. X-Men #1, the 1991 spinoff series premiere that Lee penciled and co-wrote with Chris Claremont, remains the best-selling comic book of all time, according to the Guinness Book of World Records.

In 1992 Lee and several other artists formed their own publishing company, Image Comics, to publish their creator-owned titles, with Lee publishing his titles through his studio, Wildstorm Productions, such as WildC.A.T.s and Gen¹³. Eschewing the role of publisher in order to return to illustration, Lee sold Wildstorm in 1998 to DC Comics, where he continued to run Wildstorm as a DC imprint until DC ended Wildstorm in 2010, as well as illustrating successful books set in DC's main fictional universe, such as the year-long "Batman: Hush" and "Superman: For Tomorrow" storylines. On February 18, 2010, Jim Lee was announced as the new Co-Publisher of DC Comics with Dan DiDio, both replacing Paul Levitz.

He has received a Harvey Award, Inkpot Award and three Wizard Fan Awards in recognition for his work.

Early life[link]

Lee was born in Seoul, South Korea, on August 11, 1964. At the age of four he and his family emigrated to the United States, and grew up in St. Louis, Missouri,^[1][2] where he lived a typical middle-class childhood.^[2] Lee's St. Louis Country Day School classmates predicted in his senior yearbook that he would found his own comic book company.^[1][2] Despite this, Lee seemed resigned to following his father's career in medicine, attending Princeton University to study psychology, with the intention of becoming a medical doctor.^[2][3]

Career[link]

Rise to fame at Marvel Comics[link]

In 1986, as he was preparing to graduate, Lee took an art class that reignited his love of drawing, and led to his rediscovery of comics at a time when seminal works such as Frank Miller's The Dark Knight Returns and Alan Moore and Dave Gibbons' Watchmen spurred a renaissance within the American comics industry.^[2] After obtaining his psychology degree,^[3] he decided to postpone his medical degree, and earned the reluctant blessing of his parents by allotting himself one year to succeed, vowing that he would attend medical school if he did not break into the comic book industry in that time. He submitted samples to various publishers, but did not find success until he met editor Archie Goodwin at a New York comic book convention. Goodwin invited Lee to Marvel Comics, where the aspiring artist received his first assignment by editor Carl Potts, who hired him to pencil the mid-list series Alpha Flight, seguéing from that title in 1989 to Punisher: War Journal.^[2][4] Lee's work on the Punisher: War Journal was inspired by artists like Frank Miller, David Ross, Kevin Nowlan, and Whilce Portacio, as well as Japanese manga.^[4]

In 1989, Lee filled in for regular illustrator Marc Silvestri on Uncanny X-Men #248 and did another guest stint on issues #256 through #258 as part of the "Acts of Vengeance" storyline, eventually becoming the series' ongoing artist with issue #267, following Silvestri's departure. During his stint on Uncanny Lee first worked with inker Scott Williams, who would become a long-time collaborator. During his run on the title, Lee co-created the character Gambit with long-time X-Men writer Chris Claremont.

Lee's artwork quickly gained popularity in the eyes of enthusiastic fans, which allowed him to gain greater creative control of the franchise. In 1991, Lee helped launch a second X-Men series simply called X-Men (volume 2), not only as the artist, but also as co-writer with Claremont. X-Men #1 (vol 2) is still the best-selling comic book of all-time with sales of over 8.1 million copies (and nearly $7 million), according to a public proclamation by the Guinness Book of World Records at the 2010 San Diego Comic-Con.^[5][6] The sales figures were generated in part by publishing the issue with five different variant covers, four of which showed different characters from the book that formed a single image when laid side by side, and a fifth, gatefold cover of that combined image, large numbers of which were purchased by retailers, who anticipated fans and speculators who would buy multiple copies in order to acquire a complete collection of the covers.^[7] Lee designed new character uniforms for the series, including those worn by Cyclops, Jean Grey, Rogue, Psylocke and Storm. He also created the villain Omega Red.

Stan Lee interviewed Jim Lee in the documentary series The Comic Book Greats.

Image Comics and WildStorm, return to Marvel[link]

Enticed by the idea of being able to exert more control over his own work, in 1992, Lee accepted the invitation to join six other artists who broke away from Marvel to form Image Comics, which would publish their creator-owned titles.^[3] Lee's group of titles was initially called Aegis Entertainment before being christened Wildstorm Productions, and published Lee's initial title WildC.A.T.s, which Lee pencilled and co-wrote, and other series created by Lee in the same shared universe. The other major series of the initial years of Wildstorm, for which Lee either created characters, co-plotted or provided art for, included Stormwatch, Deathblow and Gen¹³.

In 1993, Lee and his close friend, Valiant Comics publisher Steve Massarsky, arranged a Valiant-Image Comics crossover miniseries called Deathmate, in which the Valiant characters would interact with those of Wildstorm, and of Lee's fellow Image partner, Rob Liefeld. The miniseries would consist of four "center books", (each one denoted by a color rather than an issue number), two each produced by the respective companies, plus a prologue and epilogue book. Wildstorm produced Deathmate Black, with Lee himself contributing to the writing. He also illustrated the covers for that book, the Deathmate Tourbook and the prologue book, as well as contributing to the prologue's interior inks. The assignment was given to Valiant creators against their better judgment, in particular Editor-in-chief Bob Layton, who complained about Image's inability to meet their deadlines. Deathmate Black, in particular, came out a few months after Valiant's Blue and Yellow installments, which had come out on time, and Liefeld's Deathmate Red was so late that Layton flew to California to procure that chapter personally, and ink it himself in an Anaheim hotel room. Layton sees Deathmate's lateness as one of Valiant's "unmitigated disasters", and views that project as the beginning of the speculator collapse of the 1990s.^[8]

Wildstorm would expand its line to include other ongoing titles whose creative work was handled by other writers and artists, some of which were spinoffs of the earlier titles, or properties owned by other creators, such as Whilce Portacio's Wetworks. As publisher, Lee later also expanded his comics line creating two publishing imprints of Wildstorm, Homage and Cliffhanger (that years later merged and were replaced by a single Wildstorm Signature imprint), to publish creator-owned comics by some selected creators of the US comics industry.

Lee and Rob Liefeld, another Marvel-illustrator-turned-Image-founder, returned to Marvel in 1996 to participate in a reboot of several classic characters; the project was known as Heroes Reborn. While Liefeld reworked Captain America and The Avengers, Lee plotted Iron Man and wrote and illustrated The Fantastic Four. Halfway through the project, Lee's studio took over Liefeld's two titles, finishing all four series.

Lee returned to Wildstorm, where he would publish series such as The Authority and Planetary, as well as Alan Moore's imprint, America's Best Comics. Lee himself wrote and illustrated a 12-issue series called Divine Right: The Adventures of Max Faraday, in which an internet slacker inadvertently manages to download the secrets of the universe, and is thrown into a wild fantasy world.

Move to DC Comics[link]

Because he felt his role as publisher interfered with his role as an artist, Lee left Image Comics and sold Wildstorm to DC Comics in late 1998, enabling him to focus once again on art.^[2][3] In 2003 he collaborated on a 12-issue run on Batman with writer Jeph Loeb.^[9] "Hush" became a runaway sales success. He followed this up in 2004 by illustrating "For Tomorrow", a 12-issue story in Superman by writer Brian Azzarello, although this did not replicate the earlier success. In 2005, Lee teamed with Frank Miller on the new series All Star Batman and Robin, the Boy Wonder, a series plagued by delays. Lee himself took full responsibility for the delays, explaining that his involvement with the DC Universe Online video game were the cause, and not Miller's scripts, which had been completed for some time.^[10][11][12]

Lee continued to run Wildstorm as Editorial Director, sometimes working on both DC and Wildstorm properties simultaneously. In September 2006, Jim Lee returned to WildC.A.T.s with Grant Morrison as the writer, pencilling both WildC.A.T.s and All Star Batman and Robin, both of which were characterized by publication delays. The gap between All-Star Batman and Robin #4 and #5 was one year, and to date, only one issue of WildC.A.T.s (Vol. 4) has been published. Lee drew alternative cover art for the Infinite Crisis series.

In February 2006 it was announced that Lee would be involved with the concept art for the upcoming DC Comics MMORPG, DC Universe Online.^[3] In 2008, Lee was named the Executive Creative Director of the forthcoming game, which at that time was expected to be released in 2009.^[13]

In 2009 Lee provided artwork for the album booklet for Daughtry's 2009 album Leave This Town.

In February 2010 Lee was named alongside Dan DiDio as Co-Publisher of DC Comics.^[14][15][16] According to Lee, this does not indicate another move away from the creative side of comics, as he will not only have greater creative involvement in the entire DC line, but was to be illustrating a new monthly title, Dark Knight: Boy Wonder, a re-branded conclusion to the story he and Frank Miller began in All Star Batman and Robin the Boy Wonder.^[2][17] He also was to supply the painted art over Giuseppe Camuncoli's layouts in Batman: Europa #1, a 2011 miniseries^[18] inspired by Lee's time living in Italy,^[19] though as of June 2011, neither of these projects have materialized. DC announced they were ending the Wildstorm imprint in September 2010.^[20]

In September 2011, DC Comics instituted a program called The New 52, in which the publisher cancelled all of its superhero titles and relaunched 52 new series with #1 issues, wiping out most of the then-current continuity. Lee and writer Geoff Johns, DC Comics' Chief Creative Officer, are the architects of the relaunch, which was initiated with a new Justice League series, written and illustrated by Johns and Lee, respectively. The series' first story arc was a new origin of the Justice League, which depicted the return of DC's primary superheroes to the team.^[21]

Technique and materials[link]

Lee is known to use F lead for his pencil work.^[22][23] While inking his own pencils on Punisher: War Journal, Lee began using a crowquill nib for the first time.^[4]

In talking about the artist's work ethic, Lee has said, "Sometimes I wonder if we ever really improve as artists or if the nirvana derived from completing a piece blinds us enough to love what we have created and move on to the next piece. If we could see the work as it is, with years of reflection in the here and now, how many images would end up in the trash rather than on the racks?"^[24]

Awards[link]

• 1990 Harvey Award for Best New Talent^[25]
• 1992 Inkpot Award^[26]
• 1996 Wizard Fan Award for Favorite Penciller^[27]
• 2002 Wizard Fan Award for Favorite Penciller (For Batman)^[28]
• 2003 Wizard Fan Award for Favorite Penciller^[29]

Bibliography[link]

Lee at San Diego Comic Con 2009

Comics work (interior pencil art) includes:

DC[link]

• All-Star Batman and Robin #1-10 (2005–08)
• Coup d'état: Sleeper (Authority) (2004)
• Batman #608-619 (2002–03)
• Batman: Gotham Knights (Batman Black and White) #1 (2000)
• Flinch #1 (1999)
• Justice League #1-6, 9- (2011–Present)
• Justice League of America, vol. 4, #0 -one page only- (2006)
• Just Imagine Stan Lee with Jim Lee creating Wonder Woman (2001)
• New 52 (Free Comic Book Day) #1 (among other artists, 2012)
• 100 Bullets #26 (among other artists) (2001)
• Orion (Tales of the New Gods) #12 (2001)
• Robotech #0 (2002)
• Superman, vol. 2, #204–215 (2004–05)
• Superman/Batman #26 (2-pages, among other artists) (2006)
• Weird War Tales, one-shot (2000)

Image[link]

• Darker Image (Deathblow) #1-2 (1993)
• Deathblow (full pencils): #1-3; (along with Trevor Scott): #0 (1993–96)
• Deathmate #Black (among other artists) (1993)
• Divine Right #1–12 (1997–99)
• Gen¹³ #0, 4-7 (1994)
• Grifter/Shi, 2-part miniseries, #1 (along with Travis Charest) (1996)
• Cover to Invincible#51
• Moonlight and Ashes: Fire From Heaven, 2-part miniseries, #2 (1996)
• Savage Dragon #13 (1994)
• StormWatch #47 (1997)
• WildC.A.T.s (full pencils): #1-13; (among other artists): #32, 50 (1992–98)

Marvel[link]

• Alpha Flight #51, 53, 55-62, 64 (1987–88)
• Daredevil Annual #5 (1989)
• Fantastic Four, vol. 2, #1–6 (1996–97)
• Iron Man, vol. 2, #6 (among other artists) (1997)
• Marvel Comics Presents (Namor) #33 (1989)
• Punisher Annual #2 (1989)
• Punisher: War Journal #1–13, 17-19 (1988–89)
• Solo Avengers (Mockingbird) #1 (1987)
• Stryfe's Strike File #1 (among other artists) (1993)
• Uncanny X-Men #248, 256–258, 267–277 (1990–91)
• X-Men, vol. 2, #1–11 (1991–92)

Marvel/Image[link]

• WildC.A.T.s/X-Men: The Silver Age (1997)

References[link]

External links[link]

Wikimedia Commons has media related to: Jim Lee

• Jim Lee at the Comic Book DB
• Jim Lee on deviantART
• Jim Lee on Myspace
• Jim Lee on Twitter
• Jim Lee's channel on YouTube
• Sun of Gelatometti - A blog of multiple artists, including Jim Lee
• Audio Interview - Comic Geek Speak - April 27, 2007