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the trains sitting in the yard. This panel had the Human Torch flying above it. I did what I thought was a great job and proudly brought it back into Chic's smokey Queens apartment the next day. Well, he took one long hard look at it, said it was no good and that it looked like a photo, and gave me five bucks. He told me to go home. You got to remember, this was the most exciting thing to happen to me ever and I got shot down in about ten seconds. I left ... pissed and upset. ... e was a nice guy that gave me a shot, more than most would, and he didn't like what I did, so I did not get the job. That's it. I did not know him well, but he was nice about it in my five minutes of dealing with him. He was talented and I was a kid, wanting so hard to break in. That's how it goes sometimes.
418:; all I could murmur was, 'You're kidding?' ... Stan was exceedingly pleased with my rendition of Jack's work, and from that time on I would finish one job to have another waiting. There were times I'd be working on three stories at once; working 12 to 16 hours a day was not unusual. The page rate for inking was not that great, but being able to work on Jack's pencils was a substantial bonus.
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page for Marvel that Frank
Robbins had roughed out. He told me he would give me ten bucks to finish drawing a train yard and some other backgrounds on the page and told me to bring it back the next day. That afternoon I went to the Coney Island train yard and sat on the platform above and drew all
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I first started working on comics when I was in the eleventh grade at the High School of Art and Design in New York City. At that time, I was taking illustration and cartooning as a major, and a friend told me about a guy that needed background help. I called the guy, Chic Stone, and made an
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was editing a Kirby pencil job. Looking over his shoulder I was totally awestruck by the magnificent penciling. Stan looked at me and asked, 'Chic, would you like to ink this?' My knees turned to
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Just before 1964 I was pounding the pavement, going from one publisher to another, picking up jobs at random. At the time I was penciling
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Later in the decade, Stone returned to freelancing for DC Comics, penciling an occasional
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superhero lines. This work includes a story written by future Marvel editor-in-chief
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appointment to meet him at his Queens home. When I got there, he handed me an
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First Comics News - Inkwell Awards 2024 Lifetime
Achievement Awards Announced
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Other work around this time includes a run of the character
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451:#200 (March 1968). He additionally pencilled numerous stories for
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In the late 1970s and 1980s, Stone began a long association with
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story — including the lead tale in the anniversary-issue
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Shortly thereafter, Stone began inking industry legend
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via
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851:. "Words about Pictures" (column), Hembeck.com.
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367:#2). He also inked Kirby on early issues of
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779:Who's Who of American Comic Books 1928-1999
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830:"Chic Stone Speaks", pp. 13-14. Reprinted
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745:#14 (February 1997), p. 13. Reprinted in
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520:'Digs' The Drag-U-La!") appeared in DC's
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526:#64 (April 1966), and elsewhere.
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304:Mechanics Illustrated
260:The American Salesman
182:Early life and career
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702:Jack Kirby Collector
679:Lambiek Comiclopedia
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380:Journey into Mystery
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288:Modern Teen
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637:References
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560:Black Hood
556:Dick Ayers
540:Red Circle
516:-kit ad ("
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352:pencils).
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283:California
244:Kid Komics
211:Boy Comics
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141:Jack Kirby
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514:model car
510:Nightmare
328:DC Comics
279:Hollywood
160:Biography
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962:July 30,
885:Archived
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591:Invaders
490:, and a
432:Avengers
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349:Superboy
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610:Awards
506:Psycho
502:horror
463:Dynamo
448:Batman
443:Batman
416:Jell-o
393:Batman
365:Annual
340:Batman
230:Comics
217:. For
209:, and
148:inkers
137:artist
117:Awards
624:Audio
558:on a
467:NoMAN
436:X-Men
377:" in
370:X-Men
97:Inker
964:2012
861:2010
786:2013
755:ISBN
542:and
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465:and
375:Thor
338:(on
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