Jim Steranko : Dragon*Con 2011

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As an illustrator, musician, art director, magician, fire-eater, designer, escape artist, filmmaker, pop-culture lecturer, and publisher, Steranko has cut a ferocious path through the entertainment arts.

The more than 100 innovations he created as artist-writer on Marvel’s S.H.I.E.L.D., Captain America , and X-MEN revolutionized the comics form and, as an illustrator, he painted a multitude of book covers, record jackets, and movie posters, including 30 Shadow paperbacks. He has shown his work at more than 200 exhibitions worldwide, including the Louvre in Paris and the Smithsonian Institution in Washington . His two volumes of The History of Comics have sold more than 100,000 copies and as editor-publisher of the international entertainment magazine PREVUE, he conducted hundreds of star interviews and penned more than three million words. As a filmmaker, he has collaborated with Steven Spielberg, George Lucas, and Francis Ford Coppola on some of their most popular movies.

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  1. christopher walker

    September 28, 2011 at 7:16 pm

    loved the interview with Steranko! I have met him a few times before, and he is a true legend in the art world, he is also the inspiration for our photo shoots for the Phantom O Ghost Who Walks website!
    I’m glad Ange got to interview him, I have met her a few times before at the shows, and she does really great interviews! Great going guys keep up the great work!

  2. Ange Alex

    September 28, 2011 at 7:19 pm

    Phantom! Thank you!!! Missed you at this years Dragon*Con but know I will see you again around! Thanks for the continued support!

  3. Ben Robinson

    October 7, 2011 at 10:25 am

    Steranko is one of my all time heroes and I wish to meet him one day as I think I could have quite a convo with him. He knew Walter Gibson, the creator of The Shadow, and I was the last to interview Gibson before his death in May of 1985. Steranko’s work on the Coppola movie Bram Stoker’s Dracula is simply one of the finest representations of mystery and magic ever caught on film and the reason it is so effective is because Steranko understands the subconscious and the exacting representations needed to apply to getting the “feeling” across to the viewer in the dark theatre.

    And, I would like to ask him, if his notion of weaponry is his, or he copped it from another source.