Design a Typographic Playbill Poster in Illustrator WHAT WE’RE CREATING: Hello designers! Renee here with a new Illustrator tutorial. We’ll be creating a playbill poster advertising a performance of Romeo & Juliet.

We’ll use lots of fun fonts and ornaments, plus we’ll get a look at using Illustrator’s text wrap option. You can also enjoy a fantastic sample freebie pack from our current bundle, including some great vectors and font ornaments. HAVE YOU SEEN OUR NEW YOUTUBE VIDEO CHANNEL?

2017 - Playbill Advertising Contract. Northern Sky will distribute playbills at all performances, June 2017 – October 2017. Preferred Format: Print Quality PDF with no crop marks or Adobe InDesign CS5 or lower with supporting images and fonts. Accepted Formats: Adobe Illustrator CS5 or lower, Adobe. Now you can get professional quality program printing services and cheap printing prices on dance recital, beauty pageant, sporting, wedding, funeral, conference, convention, and trade show event program booklets and cinema and theater playbills delivered to your doorstep in 4 to 7 business days after proof approval.

We hope that you enjoy the video version of this tutorial below. If you’re interested in getting these videos direct to your inbox, please do. Follow along with this tutorial: Download the freebies This freebie pack includes bonus vectors and ornaments from Latino Type, Make Media Co, Type Mates and Type Sketchbook.

Plus, we’re super excited to be able to share an entire font of dividers from the Jabana Extras, courtesy of the fine folks at Type Mates! This freebie pack is the tiniest sample of the resources available in for just $29 (an unbelievable 99% off). This bundle features an incredible variety of unique, world-class fonts that are guaranteed to take your work to the next level. Now here’s the trick that trips a lot of people up when drawing and combining shapes in Illustrator. Although we’ve united all of the shapes, this shape is still made up of multiple paths. To have it act as one single, solid piece, we need to create a Compound Path. To make a Compound Path, you first have to ungroup any groups in the selection.

My usual routine is to press cmd/ctrl + shift + g several times to ungroup any possible groups in my selection. Then, press cmd/ctrl + 8 (or go to Object >Compound Path >Make) to create a Compound Path. After doing this to our currently selected piece, click on the outlined orange copy we created earlier and do the same thing – press cmd/ctrl + shift + g several times, then press cmd/ctrl + 8. Now that both of our pieces are compound paths, we can subtract one from the other. Select both the orange words and the fat words on top, then in your Pathfinder palette, click the second icon under Shape Modes, Minus Front. Lock the Main Content layer and select the Color Fills layer. Press cmd/ctrl + f to paste in place on the Color Fills layer.

Now we’ll outline everything by pressing cmd/ctrl + shift + o. We want the empty spaces of our vectors. To get that, we’ll delete the outside paths, leaving only the inner paths. Select your Group Selection tool by clicking and holding down on the Direct Select tool (white arrow) in your toolbar until the flyout menu appears. Select the white arrow with the plus sign next to it. Zoom in to your top border (use z to access your zoom tool or press cmd/ctrl + the plus sign).

Click once on the outermost path of the diamond sections. Select the next three diamonds and change them to Dark Red.

We want to make the middle diamond a brighter red, but we won’t be able to until we separate it from the other two diamonds. To do this, use your Group Select tool to select just the larger, middle diamond.

Press cmd/ctrl + c to copy it, then press delete/backspace to delete it. Press cmd/ctrl + f to paste it in place. Now we can change the color of just the middle diamond to the standard bright red in the Swatches palette – 0/100/100/0. Let’s add names to our flags. Lock your Color Fills layer and select the Main Content layer.

Select your Pen tool (p). Click once at the left bottom of the flag area to create your first point.

Then, click again in the middle bottom of the flag and drag to the right as you click to create a curve. Finally, click once to add a point on the bottom right of the flag area. To make adjustments to the curves of the points, hold opt/alt and click on a point and drag out with your mouse. You’ll see your curves change as you move your mouse. For this path, we just want to mimic the shape of the bottom of the flag section. Step 7: Background Words Lock the Main Content layer. Create a new layer and name it Wrapped Text.

Drag this layer just above the Background layer. Use your Type tool to click in the top left corner of the artboard, just below the border and drag down and to the right to create a text box. Stop just above the theatre info line. The left and right sides of the text box should line up with the left and right edges of the title (Romeo & Juliet). I’ve selected the opening monologue from the play as our background text since it gives the full story in just a few words. I’ve replaced line breaks with ellipses and paragraph breaks with double ellipses since I want my text to flow across the text box without breaks.

The text to paste into the text box: Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents’ strife. The fearful passage of their death-mark’d love, And the continuance of their parents’ rage, Which, but their children’s end, nought could remove, Is now the two hours’ traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend. Now this just happens to have lined up my text perfectly so that it ends in the right spot. If that doesn’t happen for you, don’t worry!

You can fiddle with font sizes and tracking or move your text wrap shapes around to adjust where the words fall. Alternatively, you could also add a little ornament at the end if you need to fill some space. Have fun with it!

I don’t know about you, but I had way more fun creating this playbill than I probably should have for such a tragic love story.

Notable works / () Awards Alley Awards • Best Cover (1967) • Best Full-Length Story (1968, with Bob Haney) • Best Pencil Artist (1969) Shazam Awards • Best Individual Story (1970 and 1971, with Dennis O'Neil) • Best Pencil Artist (Dramatic Division) (1970) Neal Adams (born June 15, 1941) is an and known for helping to create some of the definitive modern imagery of the characters and; as the co-founder of the studio; and as a advocate who helped secure a pension and recognition for creators and. Adams was inducted into the 's in 1998, and the ' in 1999.

Contents • • • • • • • • • • • • • • • • • • • • Early life [ ] Neal Adams was born on, New York City, New York, and attended the high school in, graduating in 1959. Career [ ] Early work [ ] After graduation in 1959, he unsuccessfully attempted to find freelance work at, and turned then to, where he wanted to work on the publisher's fledgling line, edited. At the suggestion of staffers, Adams drew 'three or four pages of [the superhero] the ', but did not receive encouragement from Simon.

Sympathetic staffers nonetheless asked Adams to draw samples for the Archie teen-humor comics themselves. While he did so, Adams said in a 2000s interview, he unknowingly broke into comics: I started to do samples for Archie and I left my Fly samples there. A couple weeks later when I came in to show my Archie samples, I noticed that the pages were still there, but the bottom panel was cut off of one of my pages. I said, 'What happened'.

They said, 'One of the artists did this transition where Tommy Troy turns into the Fly and it's not very good. You did this real nice piece so we’ll use that, if it's OK.' I said, 'That's great. That’s terrific.'

That panel ran in Adventures of the Fly #4 (Jan. Afterward, Adams began writing,,, and humorous full-page and half-page gag fillers for Archie's Joke Book Magazine. In a 1976 interview, he recalled earning '[a]bout $16.00 per half page and $32.00 for a full page. That may not seem like a great deal of money, but at the time it meant a great deal to myself as well as my mothers. As we were not in a wealthy state. It was manna from heaven, so to speak.' A recommendation led him to artist, who was beginning the syndicated newspaper, and he worked as Nostrand's assistant for three months, primarily drawing backgrounds at what Adams recalled as $9 a week and 'a great experience'.

Having 'not left Archie Comics under the best of circumstances', Adams turned to for the industry. After a rocky start freelancing, he began landing regular work at the agency, which specialized in comic-book styled advertising. Fincon Accounting Keygen. Helped by artist, who critiqued the young Adams' samples, Adams brought his portfolio to the agency, which initially 'didn't believe I had done those particular samples since they looked so much like Elmer Wexler's work. But they gave me a chance and.

I stayed there for about a year'. Ben Casey [ ]. Premiere of the strip, November 26, 1962. Art by Adams. In 1962, Adams began his comics career in earnest at the newspaper. From a recommendation, writer Jerry Caplin, a.k.a. Jerry Capp, brother of creator, invited Adams to draw samples for Capp's proposed, based on the popular television medical-drama series.

On the strength of his samples and of his 'Chip Martin, College Reporter' advertising comic-strip pages in magazine, and of his similar ads, Adams landed the assignment. The first daily strip, which carried Adams' signature, appeared November 26, 1962; a color Sunday strip was added September 20, 1964.

Adams continued to do Johnston & Cushing assignments during Ben Casey's 3 1/2-year run. Comics historian Maurice Horn said the strip 'did not shrink from tackling controversial problems, such as heroin addiction, illegitimate pregnancy, and attempted suicide. These were usually treated in fashion.

But there was also a touch of toughness to the proceedings, well rendered by Adams in a forceful, direct style that exuded realism and tension and accorded well with the overall tone of the strip'. In addition to Capp, Jerry Brondfield also wrote for the strip, with Adams stepping in occasionally. The series, which ran five seasons, ended March 21, 1966, with the final comic strip appearing Sunday, July 31, 1966.

Despite the end of the series, Adams has said the strip, which he claimed at different points to have appeared in 365 newspapers, 265 newspapers, and 165 newspapers, ended 'for no other reason that it was an unhappy situation': We ended the strip under mutual agreement. I wasn't happy working on the strip nor was I happy giving up a third of the money to [the TV series' producer,] Productions. The strip I should have been making twelve hundred [dollars] a week from was making me three hundred to three-fifty a week. On top of that, I was not able to express myself artistically when I wanted to.

But we left under very fine conditions. I was even offered a deal in which I would be paid so much a month if I would agree not to do any syndicated strip for anyone else, in order that I might save myself for anything they have for me to do. Adams' goal at this point was to be a commercial illustrator. While drawing Ben Casey, he had continued to do storyboards and other work for ad agencies, and said in 1976 that after leaving the strip he had shopped around a portfolio for agencies and for men's magazines, 'but my material was a little too realistic and not exactly right for most. I left my portfolio in an advertising agency promising they were going to hold on to it.

In the meantime I needed to make some money. And I thought, 'Why don't I do some comics?' ' In a 2000s interview, he remembered the events slightly differently, saying 'I took [my portfolio] to various advertising people. I left it at one place overnight and when I came back to get it the next morning it was gone. So six months worth of work down the drain.' He worked as a for a few weeks in 1966 on the comic strip (1965–1967), a serial created by writer, brother of Al Capp and Jerry Capp, and artist.

Comics historians also credit Adams with ghosting two weeks of dailies for 's, but are uncertain on dates; some sources give 1966, another 1968, and Adams himself 1963. As well, Adams drew 18 sample dailies (three weeks' continuity) of a proposed dramatic serial, Tangent, about construction engineer Barnaby Peake, his college-student brother Jeff, and their teenaged sibling Chad, in 1965, but it was not syndicated. Adams later said that Elliot Caplin offered Adams the job of drawing a comic strip based on author 's, but that Adams, who opposed the, where the series was set, suggested longtime artist, who landed that assignment.

Silver Age splash [ ]. 1967): One of Adams' earliest covers, and his first for his signature character, already shows a mature style and a design innovation for the time. It won the 1967 for Best Cover. Turning to, Adams found work at 's black-and-white -comics, under editor. Adams debuted there as and of writer Goodwin's eight-page anthological story 'Curse of the Vampire' in #14 (April 1967). He and Goodwin quickly collaborated on two more stories, in #9 (May 1967) and Creepy #15 (June 1967), and Adams as well reapproached.

With DC stalwart now concentrating on the comic strip The Green Berets, Adams, despite his opposition to then-current U.S. Military involvement in Vietnam, saw an opening: I really didn’t like most of the comics [at DC] but I did like war comics. So I thought, 'You know, now that Joe is not working there, they've got and they are plugging other people in where Joe used to be. Maybe I could kind of shift into a Joe Kubert kind of thing and do some war comics, and kind of bash them out [quickly]'.

So I went over to see [DC war-comics editor] and I showed him my stuff, and I did have that feeling that they were missing Joe — a guy who could draw and do that rough, action stuff. So he gave me some work'. Adams made his DC debut as penciler-inker of the 8½-page story 'It's My Turn to Die', written by, in the anthology series #182 (July 1967).

He did a smattering of additional horror and war stories, respectively, for the two publishers, and then, after being turned down by DC's editor, approached fellow DC editor in the hopes of drawing for Boltinoff's Batman team-up title. Boltinoff instead assigned him to #101 (July–August 1967) and its full-length story 'Jerry the Asto-Nut', written. It became the first of a slew of stories and covers Adams would draw for that series and, two licensed titles starring fictional versions of the TV, film and nightclub comedians. During this period near the end of the industry revival historians call the, Adams was soon assigned his first covers, illustrating that of the flagship #356 (Nov. 1967) and the same month's #79 (Nov. 1967), featuring Superman and a mysterious new costumed character, Titanman. Also that month, Adams drew his first superhero story, teaming with writer on the lighthearted backup feature 'The ' in #369, the flagship Batman title.

Shortly afterward, he drew Batman himself, along with the supernatural superhero the, on the cover of The Brave and the Bold #75 (Jan. 1968) — the first published instance of Adams' work on what would become two of his signature comics characters. The first instance of Adams drawing Batman in an interior story was 'The Superman-Batman Revenge Squads' in #175 (May 1968). Another signature character, in what would prove Adams' breakout series, was the supernatural hero, who had debuted in DC's #205 (Nov. Adams succeeded co-creator artist with the following issue's 17-page story 'An Eye for an Eye', written by Arnold Drake, with inking Adams' pencils. Adams went on to draw both the covers and stories for issues 207-216 (Dec. 1969), and taking over the scripting with #212 (June 1968).

The series became a fan sensation, winning many awards and being almost immediately inducted into the Hall of Fame, with Adams himself receiving a special award 'for the new perspective and dynamic vibrance he has brought to the field of comic art'. Adams concurrently drew covers and stories for The Spectre #2-5 (Feb.-Aug. 1968), also writing the latter two issues, and became DC's primary cover artist well into the 1970s. Adams recalled that Infantino 'was appointed art director, and decided I was going to be his spark plug.

I also thought it was a good idea, and was promised a number of things which were never fulfilled. But I thought it would be an adventure anyway, so I knuckled down to things like 'Deadman', The Spectre and whatever odd things would come my way. I was also doing large amounts of covers'. Adams was called upon to rewrite and redraw a story which had been written by then-newcomers and. The story, titled 'Titans Fit the Battle of Jericho!' , would have introduced DC's first superhero but was rejected by publisher Carmine Infantino. The revised story appeared in Teen Titans #20 (March–April 1969).

Adams' art style, honed in advertising and in the school of dramatic-serial comics strips, marked a signal change from most comics art to that time. Comics writer and columnist wrote in 2009 that, at and Neal Adams were the most prominent new artists of the late '60s to enter a field that had been relatively hostile to new artists. And breaths of modernism, referencing advertising art and as much as comics.

Despite vastly different styles, both favored designs that drew on depth of focus and angularity that put the reader in the center of the action while slightly disorienting them to increase the tension, and placed special emphasis on lighting and body language as emotion cues. Not that these things were unknown in comics by any stretch, but publishers traditionally deemphasized them.

[As well, b]oth were hugely influential on how a new generation of artists thought about what comics should look like, though Adams was arguably more influential; his approach was more visceral and, more importantly, he ran a studio in Manhattan [] where many young artists started their professional careers. First Marvel Comics work [ ]. X-Men #63 (Dec. Cover art by Adams and. While continuing to freelance for DC, Adams in 1969 also began freelancing for, where he penciled several issues of the - team title and one story for a anthology title. The Marvel ' column of #87 (June 1969) described Adams as having 'one foot planted in our Marvel doorway. We're guessing your ecstatic comments, when you see the way he illustrated our latest X-Men bombshell, will transform him into a Marvel madman from head to toe.'

Such freelancing across the two leading companies was rare at the time; most DC creators who did so worked. Adams recalled in 1976: The first time I got away from DC was when I went to Marvel to do the X-Men. It didn't stop me from working at DC; they were a little annoyed at me, but that was a calculated plan. If people saw that I would do such a thing, then other people might do it. Beyond that, it seemed like working for Marvel might be an interesting thing to do. It was, as matter of fact.

I enjoyed working on the X-Men. [The company was] more friendly, a lot more real and I found myself delighting in the company of, and. I found them to be people who were not as oppressed as the people at [i.e., DC Comics] were. He teamed with writer on X-Men, then on the verge of cancellation, starting with issue #56 (May 1969). Adams penciled,, and, according to Thomas, did most of the plotting, including the entire plot for issue #65.

In that issue, his final work on the series, Adams and writer, in one of that creative team's earliest collaborations, revived the character. While working on the series, Adams was paired for the first time with, with whom he would collaborate on several acclaimed Marvel comics; the duo's work here netted them for Best Pencil Artist and Best Inking Artist, respectively. Thomas won that year for Best Writer. Though the team failed to save the title, which ended its initial run with #66 (March 1970), the collaboration here and on the ' arc of #93-97 (Nov. 1971 - May 1972) produced what comics historians regard as some of Marvel's creative highlights of the era. Adams also wrote and penciled the horror story 'One Hungers' in #2 (Dec. 1969), and co-wrote with Thomas, but did not draw, another in #2 (Dec.

Thomas and Adams collaborated again along with scripter and penciler to introduce the series ' and its central character,, in vol. 2 #18 (May 1973). Batman [ ] Continuing to work for during this sojourn, while also contributing the occasional story to 's black-and-white magazines (including the -scripted 'Goddess from the Sea' in #1, Sept. 1969), Adams had his first collaboration on with writer. The duo, under the direction of editor Julius Schwartz, would revitalize the character with a series of noteworthy stories reestablishing Batman's dark, brooding nature and taking the books away from the look and feel of the 1966-68.

Their first two stories were 'The Secret of the Waiting Graves' in #395 (Jan. 1970) and 'Paint a Picture of Peril' in issue #397 (March 1970), with a short Batman backup story, written by, coming in-between, in Batman #219 (Feb. Adams introduced new characters to the Batman mythos beginning with co-created with writer in Detective Comics #400 (June 1970). O'Neil and Adams' creation was introduced in the story 'Daughter of the Demon' in Batman #232 (June 1971) and the character would later appear in the 2005 film and be portrayed by actor. The same creative team would revive in Batman #234 (Aug. 1971) and revitalize the in 'The Joker's Five-Way Revenge!'

In Batman #251 (Sept. 1973), a landmark story bringing the character back to his roots as a homicidal maniac who murders people on a whim and delights in his mayhem. Green Lantern/Green Arrow and 'relevant comics' [ ].

Green Lantern/Green Arrow#76 (April 1970). Cover art by Adams. Batman's enduring makeover was contemporaneous with Adams and O'Neil's celebrated and, for the time, controversial revamping of the longstanding DC characters and.

Rechristening Green Lantern vol. 2 as Green Lantern/Green Arrow with issue #76 (April 1970), O'Neil and Adams teamed these two very different superheroes in a long story arc in which the characters undertook a social-commentary journey across America. A few months earlier, Adams updated Green Arrow's visual appearance by designing a new costume and giving him a distinctive goatee beard for the character in The Brave and the Bold #85 (Aug.-Sept 1969). A major exemplar of what the industry and the public at the time called 'relevant comics', the landmark run began with the 23-page story 'No Evil Shall Escape My Sight' and continued to '.And through Him Save a World' in the series' finale, #89 (May 1972).

It was during this period that one of the best known O'Neil/Adams stories appeared, in, when it was revealed that Green Arrow's ward was addicted to. Wrote historian, These angry issues deal with,,, and.

The drug abuse problem was dramatized in an unusual and unprecedented way by showing Green Arrow's heretofore clean-cut boy companion Speedy turning into a heroin addict. All this endeared DC to the dedicated college readers of the period and won awards for both artist and writer. Sales, however, weren't especially influenced by the praise, and by 1973 the crusading had ceased.

I remember dropping in on [editor] Julius Schwartz about this time and asking him how relevance was doing. 'Relevance is dead', he informed me, not too cheerfully. After Green Lantern was cancelled, the adventures of both super-heroes continued in the pages of #217-219 and #226 (1972–74).

Other work for DC [ ] After Green Lantern/Green Arrow, Adams' contributions to DC, apart from his work on, were sporadic, limiting to draw a back-up story in #254 (1972) and sharing credits with pencilling the in #102 (1972). Adams also drew a few stories for and and covers for and as well. Adams worked on the first. Several of the Superman figures were redrawn by him.

The last complete story that Adams drew at DC before opening his own company,, was the oversize (1978) which Adams has called a personal favorite. After this, Adams' production for DC and Marvel was mainly limited to new covers for reprint editions of some of his work, such as Green Lantern/Green Arrow, The Avengers:, X-Men: Visionaries, Deadman Collection and The Saga of Ra's al Ghul, which were variously published as reprint or collections. In 1990, he designed a new costume for DC's character and drew a miniposter included in the first issue of the Robin limited series. Deadly hands of kung fu. Cover art by Adams. Wellcome L00s-2010s [ ] In 2005 Adams returned to Marvel (his last collaboration for this publisher had been in 1981 drawing a story for the magazine) to draw an eight-page story for the #3.

The following year Adams (among other artists) provided art to Special #1. In 2010, Adams returned to DC Comics as writer and artist on the miniseries Batman: Odyssey. Originally conceived as a 12-issue story, the series ran for six issues, being relaunched with vol. 2, #1 in October 2011. A total of seven issues were published for the second series until its end in June 2012. Apart from those assignments for DC, Adams penciled vol.

2, #16.1 (Nov. 2011) for Marvel Comics.

In May 2012, Marvel announced that Adams would work on the X-Men again with The First X-Men, a five-issue miniseries drawn and plotted by him and written. Adams produced short stories for vol.

2013) and Detective Comics vol. 2 #27 (March 2014).

In February 2016, Adams revisited some of his most notable covers done for DC Comics in the 1960s and 1970s, replacing the original characters with some of the ones. Later that same year, Adams wrote and drew the six-part Superman: Coming of the Supermen miniseries. As of 2017, Adams is writing and drawing a Deadman limited series. Film, TV and theater [ ] Adams' pencil drawings on his later Batman stories were frequently by, with whom Adams formed, a company that primarily supplied for. In the early 1970s, Adams was the art director, costume designer, as well as the poster/playbill illustrator for, a by director and playwright Lenny Kleinfeld under the Bury St. In 1980 Neal Adams directed and starred in 'Nannaz,' later released by under the title 'Death to the Pee Wee Squad.' The film co-starred Adams' children Jason and Zeea as well as fellow comics professionals,,, and.

In late 2013 Adams appeared in the TV documentary Superheroes: A Never-Ending Battle. Creators' rights [ ]. Main article: During the 1970s, Adams was politically active in the industry, and attempted to unionize its creative community. His efforts, along with precedents set by ' creator-friendly policies and other factors, helped lead to the modern industry's standard practice of returning original artwork to the artist, who can earn additional income from art sales to collectors. He won his battle in 1987, when Marvel returned original artwork to him and industry legend Jack Kirby, among others.

Adams notably and vocally helped lead the lobbying efforts that resulted in creators and receiving decades-overdue credit and some financial remuneration from DC. Inker recalled in the 2000s the unique place Adams held in the industry when McLeod entered the comics industry in 1973: told me I really ought to meet Neal Adams, whom he had met at DC.... At that time, Neal held a position of respect in the industry that no one in comics since then has achieved.

He was the single most respected artist in the business.... Neal looked at one of my samples and asked me what kind of work I was looking for. I said, 'Anything that pays.' (By that time, I was down to my last $10....) He just picked up the phone and called the production manager at Marvel and said, 'I've got a guy here who has some potential as, well, some potential as an artist, but I think he has a lot of potential as a letterer.' I was immediately hired at Marvel in the production department on Neal's recommendation, and they still didn't even want to see my portfolio. If I was good enough for Neal, I was good enough for them. Neal Adams in 2015.

In 1978, Adams helped form the, which over three dozen comic-book writers and artists joined. Also during the 1970s, Adams illustrated paperback novels in the series for. With the of the early 1980s, he began working for (where he produced the poorly received ) and other publishers, and founded his own as an offshoot of Continuity Associates. His comic-book company's characters include,, Skeleton Warriors, CyberRad, and. He and fellow artist entered into a dispute over rights to Ms. Mystic, a character they had worked on jointly in 1977, which Adams had published under the Pacific Comics and Continuity Comics imprints, leading to a lawsuit against Adams in in 1993. The case was dismissed in 1997, citing the.

Dina Babbitt and work related to the Holocaust [ ]. Adams and promoting They Spoke Out: American Voices Against the Holocaust at the, May 21, 2011. In collaboration with, director of the Institute for Holocaust Studies, Adams has championed an effort to get the, which is operated by the government of, to return the original artwork of.

In exchange for his sparing her mother and herself from the gas chambers, Babbitt worked as an illustrator for doctor, who wanted detailed paintings to demonstrate his pseudoscientific theories about racial inferiority. Using text from Medoff, Adams illustrated a six-page graphic documentary about Babbitt that was inked by and contains an introduction.

However, Adams deemphasizes any comparison between the Babbitt case and his struggle for creator rights, saying that her situation was 'tragic' and 'an atrocity.' In 2010, Adams and Medoff teamed with to produce They Spoke Out: American Voices Against the Holocaust, an online educational motion comics series that tells stories of Americans who protested Nazis or helped rescue Jews during the Holocaust. Each standalone episode, which runs from five to ten minutes, utilizes a combination of archival film footage and drawn by Adams (who also narrates), and focus on a different person. The first episode, 'La Guardia's War Against Hitler' was screened in April 2010 at a festival sponsored by the, and tells the story of the forceful stand New York City Mayor took against Nazi Germany. La Guardia's actions stood in contrast to the relative passivity of President, who historians such as David S. Wyman believe did not do as much as he could have to save European Jewry, a point underlined in the episode 'Messenger from Hell'. Other episodes include 'Voyage of the Doomed', which focuses on the, the ship that carried more than 900 German-Jewish refugees but was turned away by Cuban authorities and later the Roosevelt administration, and 'Rescue Over the Mountains', which depicts, the young journalist who led an underground rescue network that smuggled Jewish refugees out of.

Awards and honors [ ]. Adams with his son at a signing for Batman: Odyssey #1 at, July 10, 2010.

Adams' first Deadman cover won the for Best Cover. A Batman/Deadman team-up in The Brave and the Bold #79 (Sept. 1968), by Adams and writer, tied with another comic for the for Best Full-Length Story; and in, Adams won the Alley Award for Best Pencil Artist, the feature 'Deadman' was elected to the Alley Award Hall of Fame, and Adams received a special award 'for the new perspective and dynamic vibrance he has brought to the field of comic art'. He also won in 1970 for Best Individual Story ('No Evil Shall Escape My Sight' in vol. 2, #76, with writer ), and Best Pencil Artist (Dramatic Division); and in 1971 for Best Individual Story (' in vol. 2, #85, with O'Neil).

Adams won the 1971 for Favorite Pro Artist, as well as the 1971 Goethe Award for Favorite Comic-Book Story for '“No Evil Shall Escape My Sight'” (written by ) in #76. He won an in 1976 and was voted the 'Favourite Comicbook Artist' at the 1977 and the 1978. In 1985, DC Comics named Adams as one of the honorees in the company's 50th anniversary publication.

Adams was inducted into the 's in 1998, and the ' in 1999. Advocacy of Expanding Earth hypothesis [ ] Adams believes the through a process called. Adams holds the work of Australian geologist in high esteem, but considers the term 'Expanding Earth' a misnomer.

While Carey did advocate an expanding Earth in the mid-20th century, his model was rejected following the development of the theory of. Adams advocates his ideas in a DVD documentary he wrote and produced, clips of which are available on his channel. Adams appeared on the several times to discuss his claims. He was also interviewed by on a podcast in 2006, and afterward continued the debate on Novella's blog. Columnist Jeff Ogrisseg wrote a three-part feature promoting Adams's ideas, which was roundly criticized by Novella for being an example of 'outright promotion of as if it were news.' Adams also used the concept as the basis for his Batman: Odyssey series, in which the planet's expansion has produced a, the inside of which is inhabited by and versions of the main characters.

Personal life [ ] Adams and his wife Marilyn live in New York and have three sons: Jason, Joel and. Jason Adams works in toy and fantasy sculpture, while Joel and Josh Adams illustrate comics and do design work on TV shows. Josh Adams illustrated a pinup of Batman in Batman: Odyssey #1 (Sept. Bibliography [ ].

• (June 10, 2005)... Iola, Wisconsin. Archived from on October 29, 2010. Bela Bartok Romanian Folk Dances Pdf Download.

• ^ Schepens, Beth (2003).. Archived from on January 31, 2009. • Duncan, Randy; Smith, Matthew J., eds. Santa Barbara, California:.

CS1 maint: Extra text: authors list () • ^ The Neal Adams Treasury. Detroit, Michigan: Pure Imagination. • Kimball, Kirk (n.d.).. Dial B for Blog. From the original on April 18, 2016. Retrieved February 11, 2012. From the original on November 28, 2011.

Retrieved June 17, 2010. • ^ Neal Adams interview (n.d.).. Archived from on November 16, 2009. • Heintjes, Tom (n.d.)..

Hogan's Alley (online magazine), via MSNBC.com. Archived from on November 16, 2009. Additional, November 16, 2009.

• ^ Adams, Neal (1976). The Neal Adams Treasury. Detroit, MI: Pure Imagination. • These would later include the one-page 'Flash Farrell Gets the Picture at Goodyear Aerospace'. See ' #39 (Nov. 1965) at the • ^ Horn, Maurice, ed.

100 Years of American Newspaper Comics. New York, New York and Avenel, New Jersey:. Pp. 53–54, Ben Casey (entry).. CS1 maint: Extra text: authors list () • Mendez, Prof. Archived from on November 16, 2009. Retrieved January 1, 2009.

Additional, November 16, 2009. • ^ Mendez, at (archived November 16, 2009 [Date mismatch]). Archived from the November 13, 2006. Additional, November 16, 2009. • 'Neal Adams interview'.. December 1978.

Archived from on May 26, 2010. • Adams, Neal (1976). The Neal Adams Treasury. Detroit, MI: Pure Imagination. From the original on September 23, 2010. Retrieved June 17, 2010.

• Adams, Neal (1976). The Neal Adams Treasury. Detroit, MI: Pure Imagination.

Pp. 22–27 and inside back cover.. • Arndt, Richard J.

(2005 version with five interviews). Accessed October 11, 2009. Link updated November 16, 2009.. • McAvennie, Michael; Dolan, Hannah, ed.

DC Comics Year By Year A Visual Chronicle. London, United Kingdom:. Adams commandeered his first DC work as a penciler/inker with 'It's My Turn to Die' a nine-page back-up tale written by Howard Liss for Our Army at War #182 in July [1967].The following month, The Adventures of Jerry Lewis #101 perfectly illustrated how Adams was equally adept at delivering the art of laughter.

In his first full-length story for DC, he provided writer Arnold Drake's space odyssey 'Jerry the Astro-Nut' with a photo-realistic flare not seen in comics. CS1 maint: Extra text: authors list () • (July 3, 2005)... From the original on January 11, 2012. Retrieved January 11, 2012.

Adams took over Jerry’s art (and covers) with #101. • McAvennie '1960s' in Dolan, p.

129: '1968 was the year when Neal Adams and Batman's fates became forever intertwined.Adams tackled his first interior with Batman on Leo Dorfman's script for 'The Superman-Batman Revenge Squads' story in World's Finest Comics #175.' • McAvennie '1960s' in Dolan, p. 125: 'In a story by scribe Arnold Drake and artist Carmine Infantino, circus aerialist Boston Brand learned there was much more to life after his death.In addition, Neal Adams, the artist who succeeded Infantino with the second issue, would soon become an industry legend.' 'Adams, Neal (1941- )'.

Comic Book Encyclopedia. New York, New York:.

• Adams, Neal (1976). The Neal Adams Treasury. Detroit, MI: Pure Imagination. • Cronin, Brian (2009).... • Mendez, at (archived November 16, 2009 [Date mismatch]). Archived from the July 9, 2007. Additional, July 16, 2009.

• (October 14, 2009)... From the original on November 16, 2009. • (April 14, 2008).. Online (column). From the original on November 24, 2009. • Adams, Neal (1976). The Neal Adams Treasury.

Detroit, MI: Pure Imagination. From the original on November 16, 2009. • Schumer, Arlen (Winter 1999)... Raleigh, North Carolina: (3). From the original on June 15, 2010. Retrieved May 12, 2013.

• O'Neill, Patrick Daniel (August 1993). ' '60s Mutant Mania: The Original Team'.: X-Men Turn Thirty. Grand Comics Database. •; Gilbert, Laura, ed. Marvel Chronicle A Year by Year History.

London, United Kingdom:. Writer Dennis O'Neil revealed that it was not Xavier who had perished but a shape-shifter called the Changeling. This epic tale provided an appropriately grand finale for the work of legendary artist Neal Adams.'

CS1 maint: Extra text: authors list () • For example: Hill, Shawn,, Comics Bulletin, February 15, 2006, re: the 'Kree-Skrull War' arc: 'This story set the standard for years to come, even if it has since been surpassed'; and Sanderson, Peter. Marvel Universe.

New York, New York: Harry N. Abrams, 1998,,, p. 127: 'Running nine issues, much of it spectacularly illustrated by Neal Adams, the Kree-Skrull War had no precedent in comics. With this story The Avengers unquestionably established its reputation as one of Marvel's leading books'; and Stiles, Steve,, re: X-Men: 'Even knowing that the book was slated for the axe, Adams poured out some of the finest, most innovative work of his career'. 16 November 2009 at •;; Adams, Neal; (2000).

Avengers: The Kree-Skrull War. Marvel Comics. Marvel: Five Fabulous Decades of the World's Greatest Comics. New York, New York:. This wild tale.attempted to tie together more than thirty years of the company's stories.More than any previous work, 'The Kree-Skrull War' solidified the idea that every comic book Marvel had ever published was part of an endless, ongoing saga. • Sanderson '1970s' in Gilbert (2008), p.

150: 'Unprecedented in Marvel history, this epic spanned nine issues of The Avengers. The saga began in The Avengers #89.' • Sanderson '1970s' in Gilbert (2008), p. 159: 'Roy Thomas conceived the initial idea of an alternate-future Earth sequel to H. Wells' classic science fiction novel The War of the Worlds.Neal Adams plotted the first story with a script by Gerry Conway and art by Adams and Howard Chaykin.'

• McAvennie '1970s' in Dolan, p. 143: 'Artist Neal Adams and writer Denny O'Neil rescued Batman from the cozy, campy cul-de-sac he had been consigned to in the 1960s and returned the Dark Knight to his roots as a haunted crime fighter. The cover of their first collaboration, 'The Secret of the Waiting Graves', was typical of Adams' edgy, spooky style.' •; Manning, Matthew K. The Batman Vault: A Museum-in-a-Book with Rare Collectibles from the Batcave. Philadelphia, Pennsylvania:. Editor Julius Schwartz had decided to darken the character's world to further distance him from the camp environment created by the 1966 ABC show.

Bringing in the talented O'Neil as well as the innovative Frank Robbins and showcasing the art of rising star Neal Adams.Schwartz pointed Batman in a new and darker direction, a path the character still continues on to this day. • ^ Goulart, Ron (1986). Ron Goulart's Great History of Comic Books. Chicago, Illinois:. • Greenberger and Manning, p. 177 'Adams helped darken Gotham City in the 1970s [and] the scene was set for a new host of major villains. One of the first was Man-Bat, who debuted in the pages of 1970's Detective Comics #400.'

• McAvennie '1970s' in Dolan, p. 145: 'Writer Denny O'Neil once stated that he and artist Neal Adams 'set out to consciously and deliberately to create a villain.so exotic and mysterious that neither we nor Batman were sure what to expect.' Who they came up with was arguably Batman's most cunning adversary: the global eco-terrorist named Ra's al Ghul.' • Manning, Matthew K.; Dougall, Alastair, ed. Batman: A Visual History.

London, United Kingdom:. Two-Face was reintroduced for the Bronze Age in this collaboration by writer Dennis O'Neil and artist Neal Adams. CS1 maint: Extra text: authors list () • Greenberger and Manning, p. 161 and 163 'In 1973, O'Neil alongside frequent collaborator Neal Adams forged the landmark 'The Joker's Five-Way Revenge' in Batman #251, in which the Clown Prince of Crime returned to his murderous ways, killing his victims with his trademark Joker venom and taking much delight from their sufferings.' • McAvennie '1970s' in Dolan, p. 156: 'After decades as an irritating prankster, Batman's greatest enemy re-established himself as a homicidal harlequin in this issue.this classic tale by writer Denny O'Neil and artist Neal Adams introduced a dynamic that remains to this day: the Joker's dependence on Batman as his only worthy opponent.' • McAvennie '1970s' in Dolan, p.

139: 'Real-world politics have always gone hand-in-hand with comics and their creators' own personal perspectives. Yet this was never more creatively expressed than when writer Denny O'Neil and artist Neal Adams paired the liberal Green Arrow with the conservative Green Lantern.' • McAvennie '1960s' in Dolan, p. 134: 'Artist Neal Adams targeted the Emerald Archer for a radical redesign that ultimately evolved past the surface level.the most significant aspect of this issue was Adams' depiction of Oliver Queen's alter ego. He had rendered a modern-day Robin Hood, complete with goatee and mustache, plus threads that were more befitting an ace archer.'

• Delaney, Samuel R. Silent Interviews: On Language, Race, Sex, Science Fiction, and Some Comics.

Middletown, Connecticut:. 'Green Arrow'. In Dougall, Alastair. The DC Comics Encyclopedia. London, United Kingdom:. • McAvennie '1970s' in Dolan, p.

146: 'It was taboo to depict drugs in comics, even in ways that openly condemned their use. However, writer Denny O'Neil and artist Neal Adams collaborated on an unforgettable two-part arc that brought the issue directly into Green Arrow's home, and demonstrated the power comics had to affect change and perception.' • McAvennie '1970s' in Dolan, p. 170: 'Many talents from both Marvel and DC contributed to this landmark publication - in addition to inker Dick Giordano, Neal Adams provided several re-drawings of Superman while John Romita Sr. Worked on numerous Peter Parker/Spider-Man likenesses.' • McAvennie '1970s' in Dolan, p. 178: 'Writer/artist Neal Adams proclaimed that Superman vs.

Muhammad Ali was 'the best comic book' he and co-writer Denny O'Neil had ever produced.' • Schumer, Arlen (1999).. Comic Book Artist Special Edition. Raleigh, North Carolina: TwoMorrows Publishing (1).

From the original on July 4, 2013. Retrieved July 4, 2013.

Arlen Schuer: Do you feel Superman vs. Muhammad Ali is the best comic you ever did? Neal Adams: I would have to say yes. I've been asked lots of times, but I must admit, even I enjoy reading this book over and over again. • Trumbull, John (July 2015).

'DC Comics Deluxe Reprint Series of 1983 to 1988'.. Raleigh, North Carolina: TwoMorrows Publishing (81): 89–95. • Manning, Matthew K. '1990s' in Dolan, p. 247: 'When DC editorial made the decision to modify the classic costume of the iconic Boy Wonder, they called upon several artists to put their own spin on it. It was legendary artist Neal Adams who delivered the winning concept.' • Manning '1990s' in Dolan, p.

248: 'Complete with a Neal Adams poster stapled to its spine, the first issue [of Robin] featured an apprehensive Robin doubting his place by Batman's side.' • ^ at the • Segura, Alex (April 2, 2010)... From the original on August 21, 2010. • Manning '2010s' in Dougall (2014), p.

313: 'Writer/artist Neal Adams returned to the character of Batman with this series that took place in its own slightly altered continuity' • Phegley, Kiel (April 2, 2010).. Comic Book Resources. From the original on April 20, 2010. • Hudson, Laura (July 19, 2011)...

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Comic Book Resources. From the original on May 16, 2011. • Lamar, Cyriaque (May 14, 2012)... From the original on August 20, 2012. Retrieved August 19, 2012. • Johnston, Rich (May 14, 2012)...

From the original on August 19, 2012. Retrieved August 19, 2012. • Manning '2010s' in Dougall (2014), p. 339 • Manning '2010s' in Dougall (2014), p.

341 • McGuirk, Brendan (November 15, 2015).. Comic Book Resources. From the original on March 3, 2016. • Beedle, Tim (January 29, 2016).. From the original on June 26, 2016. • Yehl, Joshua (November 13, 2015)...

From the original on January 19, 2016. • Nolan, Liam (July 12, 2017).. Comic Book Resoruces. From the original on August 21, 2017. • Johnston, Rich (August 2, 2017)..

Bleeding Cool. From the original on August 21, 2017. • Miner, Michael (February 26, 2009)... Archived from the original on June 7, 2010. CS1 maint: BOT: original-url status unknown () Additional.

• ^ Spry, Jeff (February 2014). 'Neal Adams: Up Close and Personal'. Bleeding Cool.

• 'Marvel Returns Art to Kirby, Adams'. The Comics Journal. Seattle, Washington: Fantagraphics Books (116): 15. • 'Neal Adams Receives Art Without Signing Marvel's Short Form'. The Comics Journal. Seattle, Washington: Fantagraphics Books (116): 15–16.

From the original on November 16, 2009. • (October 1978). 'Birth of the Guild: May 7, 1978'. The Comics Journal. Fantagraphics Books (42): 21–28. May 28, 2005. Archived from on January 14, 2012.

Retrieved January 14, 2012. • Markstein, Don (2009)... From the original on August 27, 2015.

In Skateman, Adams created what is one [of] the least-acclaimed heroes of all time. The Comics Journal. Seattle, Washington: Fantagraphics Books (162): 7–11. October 1993. Retrieved January 14, 2012. Continuity Graphic Associates, Inc., (Dist.

Court, SD New York 1997). • ^ (August 8, 2008)... Archived from on January 14, 2012. Retrieved August 9, 2008.

• Rafael Medoff; Neal Adams; Joe Kubert; Stan Lee (August 8, 2008). Comics for a Cause. Archived from (PDF) on January 14, 2012. Retrieved August 10, 2008. • (1998).: America and the Holocaust, 1941-1945. • Chandler, Doug.

'A New Medium for Holocaust Studies',, Vol. 46, April 16, 2010 •.. From the original on March 13, 2016. Retrieved May 26, 2011.

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Hahn Library Comic Book Awards Almanac. From the original on July 9, 2012. Archived from on April 4, 2012. Eagle Awards. Archived from on February 6, 2011. • Marx, Barry, and Hill, Thomas (w), Petruccio, Steven (a), Marx, Barry (ed). 'Neal Adams The Advent of Realism' Fifty Who Made DC Great: 38 (1985), DC Comics •.

Retrieved January 30, 2013. 'Neal Adams Growing Earth' • 'Neal Adams - Science: Part 07 - Proton Created Before Your Eyes!' Retrieved January 30, 2013. • O'Brien, Jeffrey M. (March 2001)... San Francisco, California (9.03).

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Retrieved June 17, 2010. • Fowler (1990), pp. 281 & 320-327; Duff (1993), pp. 609-613; Stanley (1999), pp. (2005), 'Blueschists, eclogites, and decompression assemblages of the Zermatt-Saas ophiolite: High-pressure metamorphism of subducted Tethys lithosphere',, 90: 821,: • Van Der Lee, Suzan; Nolet, Guust (1997), 'Seismic image of the subducted trailing fragments of the Farallon plate',, 386 (6622): 266,: •.

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Retrieved February 10, 2013. • Hudson, Laura & Wolkin, David (13 October 2014).. Retrieved 7 July 2015. Batman (or as we dubbed him in his shirtless days, Nude Bruce) is forever telling a mysterious Exposition Hostage a long series of a stories that jump forward and backward in time to other stories that seem to have little or no connection to each other, and often involve Adams’ deeply held pseudo-scientific belief that the earth is actually hollow and expanding.

For the purposes of the comic, the hollow center of the Earth is where Neanderthal Batman lives. /Associated Press. July 20, 2008.

From the original on October 6, 2014. Archived from on March 17, 2011.

Retrieved November 30, 2011. • at the External links [ ] Wikimedia Commons has media related to. • • at the Comic Book DB • at the Grand Comics Database • • at the Lambiek Comiclopedia • • at Mike's Amazing World of Comics • at the Unofficial Handbook of Marvel Comics Creators • - The Paracast April 22, 2007 •.

Official transcript, chat. April 26, 2002. Archived from on October 31, 2002. Preceded by artist 1967–1969 Succeeded by n/a Preceded by artist 1968–1970 Succeeded by Preceded by The artist 1969–1970 Succeeded by Preceded by Bob Brown artist 1970–1971 Succeeded by Bob Brown Preceded by artist 1970–1974 Succeeded by Irv Novick Preceded by artist 1970–1972 Succeeded by (in 1976) Preceded by Sal Buscema artist 1971–1972 Succeeded.