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Artist Spotlight George Evans

Artist Spotlight: George Evans


COMICS’ HIGH-FLYING AVIATION ARTIST
by Steve Stiles

In the course of an impressive career spanning half a century, George Evans has established himself as one of the comics field’s finest illustrative talents. During that time span, Evans has worked for almost every major publisher in the industry, which includes an impressive tenure at E.C. Comics. Many feel that Evans, an airplane buff, created the best aviation stories in comics, a claim amply proven by the stories and covers he provided for the last of the great aviation titles, Aces High.

George Evans was born in Harwood, Pennsylvania, on February 5, 1920. His lifelong interest in aviation began when he was nine years old and had stumbled across an issue of a pulp called Sky Birds. The magazine belonged to a friend’s uncle, who struck a bargain with the young Evans: all he had to do to get the magazine was to go out on the streets and scrounge around for discarded cigarette butts. When he had collected enough to fill a can and had stripped them for the tobacco, Sky Birds would be his (this was during the Depression). While his friend’s uncle was hooked on nicotine, Evans was now hooked on aviation pulps. When he was 15 he had his first drawing (and poem) published in another pulp, Daredevil Aces, and went on to sell more art to other pulps as well.

When World War II broke out, Evans tried to join the Air Force but was turned down due to less than 20-20 vision. He wound up as an aircraft mechanic at Shaw Field in South Carolina, where he was often able fly in those planes he had worked on (which must’ve been a terrific incentive for good work!).

After studying art at the Scranton Art School, Evans entered the Army. After the war, and with the pulp magazine field withering on the vine, Evans sought work in the comics field, landing a staff artist position at Fiction House, publisher of pulps and a comic line that included Wings Comics, Jungle Comics, Fight Comics, and -most popular of all with collectors-Planet Comics (the first issue is valued at $9,000 in the 1999 Overstreet Price Guide). Evans drew several minor features in Air Heroes, as well as writing text for filler articles. In 1949 the Fiction House job abruptly evaporated -the in-house staff had a reputation of being a zany, fun-loving bunch and evidently management felt they were too fun loving. The staff was laid off and the company then relied solely on free-lance talent.

Evans had met the teenage Frank Frazetta while at Fiction House and had become friends with another young artist, Al (Star Wars) Williamson, who advised him to look for employment at Fawcett (Captain Marvel Adventures, Whiz Comics). Evans busied himself drawing various features, including two science fiction titles, the adaptations of the film When Worlds Collide and TV’s Captain Video (the latter now worth $800.). Evans liked working at Fawcett and might’ve settled in for a long stay but was undone by external circumstances: Fawcett, dismayed by low sales and high paper costs, as well as a wearing legal battle with National over supposed copyright infringement, decided to drop its comics line and concentrate on magazines and paperbacks. By 1953 Evans was again looking for new work.

Thanks to another tip from Williamson, Evans sought work at Entertaining Comics (“They had, I guess, the best people on staff because they were paying a few dollars more per page than other companies and they had good stories to work on.”) As E.C.’s Al Feldstein liked to work for his artists’ strengths, Evans’ first assigned story, “Roped In,” (Tales from the Crypt #32) was an aviation tale of sorts: three unscrupulous businessmen, having trapped an innocent associate in a frame-up, are themselves trapped when their four-seater airplane is caught in a gigantic spider’s web.

Evans enjoyed the family atmosphere and friendly competition at E.C. and turned in outstanding work for almost all their titles, rendering his realistic art with finely detailed, crisp brushwork. Feldstein tended to give the artist stories with urban settings, tales about typical middle-class folk who happen to lapse into spousal homicide, serial killing and various ingenious and lethal double-crosses. Evans worked well in that genre, providing striking and powerful covers for Crime SuspenStories and Shock SuspenStories, covers that truly demonstrated the theme of “Jolting Tales of Tension.”

Evans also turned in some fine stories for Frontline Combat and Two-Fisted Tales, all aviation yarns, but was unhappy with editor Harvey Kurtzman’s practice of laying out each and every panel to an exacting degree, a policy Evans found restrictive.

After the televised Kefauver hearings and Fredric Wertham’s comics-bashing book Seduction of the Innocent, horror comics continued to be under fire. E.C. publisher Bill Gaines decided to fold all of E.C.’s “New Trend” titles, with the exception of Mad, explaining at a staff meeting that “They say we’re hurting kids and I don’t want to hurt kids.”(Whether or not the demise of the horror comics affected juvenile delinquency rates in the United States is highly debatable.)

Gaines’ next move was a new line, his “New Direction” comics. One of them, Aces High, featured stories of aerial combat in the days when men still fought in fabric and wood craft like Fokkers and Spads. Although the stories were more fiction than fact, Evans was in his element and, as might be expected, was the real star of the title that included fine work by Jack Davis, Bernie Krigstein and Wally Wood, doing the lead story and cover (which he colored himself) for each issue. The comic seemed made for a man of George Evans’ talents and interests but, unfortunately, the New Direction for Aces High and such titles as Impact, M.D., Piracy, Extra and Valor, seemed to be down, and none of them would last beyond 1956.

With E.C. gone, Evans began drawing for Classics Illustrated, which was a haven of sorts for some E.C. artists like Joe Orlando, Graham Ingels and Reed Crandall (and rather a bonus for Classics Illustrated, which usually featured pedestrian artwork). Evans illustrated comic book adaptations of Joseph Conrad’s Lord Jim, Shakespeare’s Romeo and Juliet, Alexandre Dumas’ The Three Musketeers and other major literary works until 1962 (Classics Illustrated itself would only last until April 1971).

During the early 60s Evans found work at Gold Key Comics and later illustrated stories for Jim Warren’s magazines, Creepy, Eerie and Blazing Combat. He had attempted to find work at DC Comics but evidently editor Bob Kanigher had little love for former E.C. cartoonists; “He looked at my portfolio and said, ‘Oh, you’re one of those [expletive deleted] from E.C. who ruined the whole industry and now you think you’re going to move in here and we’re going to pay you?’ So I picked up my stuff and walked out.”

Some time later Evans got a better reception from another DC editor, Murray Boltinoff, and turned out a steady stream of stories for DC’s war and supernatural titles. In the late 60s he made his first excursion into the syndicated comics world by working as the artist for George Wundar’s Terry and the Pirates dailies (another aviation strip!). Wunder would pencil in the heads and indicate with notes as to whatever else was happening (“office,” “airport,” “riot scene”) in each panel. Eventually Evans took on the inking chores as well, working on the job until 1972. During the 70s Evans would continue working for DC, supplementing his freelancing with jobs at the high-paying National Lampoon (“and other accounts galore”). In 1980 Al Williamson had tired of working on his Secret Agent Corrigan (originally Secret Agent X-9) and asked George to step in. Evans first daily hit newspapers on February 4, 1980 and he carried on with Corrigan until choosing to retire from the strip in 1996.

George Evans’ final Secret Agent Corrigan strip – February 10, 1996

George Evans still continued to work on occasional jobs in a shrinking field now dominated by the super hero genre; despite the high caliber of his work, there seemed little call for his style – which was ultimately the comics field’s loss. In his last years Evans relaxed with his hobby, participating in The Pulp Era Amateur Press Society with “A Pulp Addict’s Ramblings”, which was devoted to (what else?) aviation pulp magazines!

After a brief illness, the artist died asleep in his home on June 22, 2001. He was 81.


The preceding article originally appeared online at ChannelSpace, a site devoted to collecting, in their Comics “MicroChannel.”

As a fan of George Evans’ work I was eventually able to send him the piece and Mr. Evans was kind enough to supply me with the corrections to some howling bloopers while mercifully refraining from cutting me off at the knees! I’m glad to have the opportunity to present the amended biography here on Jim Keefe’s site.

Steve Stiles

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For more on George Evans check out the following links.

Secret Agent Corrigan

Far Lands Other Days
Written by E. Hoffman Price – Illustrated by George Evans

Wings Comics – Jane Martin

The Artists of EC Comics
George Evans cameo.


And here’s a news segment from 1990 covering a comic book convention in Greensboro, North Carolina featuring legendary artists George Evans, Al Williamson and Dave Stevens.

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And last but not least, I’m not the only one blogging about George Evans.
Here’s just a sampling – enjoy!

smurfswacker.blogspot.com

pappysgoldenage.blogspot.com

todaysinspiration.blogspot.com

flimsyrationales.blogspot.com

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Artists - Cartoonists Flash Gordon George Evans

Flash Gordon Year One – Learning Curve


In 1995 I was hired as the writer and artist of the Flash Gordon comic strip (my first Sunday page appeared January 21, 1996). It was my first big freelance gig, and as with all freelance work, you have whatever skills you’ve attained up to that point and then you learn on the job. My first year doing Flash Gordon it was very much about getting a feel for the characters and getting the look right.

Nightfall on Mongo was my second story that first year and I opted for werewolves as being the antagonists. I mean, who doesn’t like werewolves, right?

Drop panel from 5/26/1996

Flash comes upon Thorne, the wounded survivor of a downed craft.

Click on image to see larger.
I based Thorne’s look off of Kurt Russell.

One thing in this story that sticks out like a sore thumb to me now is the environment and wardrobe. Instead of an alien world Flash might as well be in upstate Minnesota. Also, I modified a helicopter by taking off the propellers so that it would look like a small spacecraft  – instead it just ended up looking like a helicopter without propellers…

Original art – Click on image to see larger.

Realizing I needed some strong feedback to strengthen my work, I sent pages to a couple of syndicated artists I was corresponding with at the time – George Evans and Bud Blake. Shown below are the critiques I got.

George Evans (1920-2001)
Bud Blake (1918-2005)

As far as critiques go, friends and family tend to pull punches – professionals get the job done. I had the basics down storytelling-wise, but both George and Bud showed me that I needed to amp things up. I can’t stress enough how invaluable their input was.

I’d like to add that for George and Bud to take the time to sketch up short tutorials and mail them out to me was beyond generous – especially with the ever present syndicate deadlines they were under.

As far as my learning curve went, the next story I did I purposely retold Flash Gordon’s origin in order to give myself a refresher course on all things Mongo-esque.


More Flash Gordon Flashbacks to follow…

And if you’d like to see more of my work on Flash Gordon,
King Features is currently re-releasing the strips at FlashGordon.com.
Hope you check them out!

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George Evans

Far Lands Other Days – by George Evans

The following artwork is from the book, Far Lands Other Days (1975). It collects short stories written by Weird Tales alumnus, E. Hoffman Price and is illustrated by George Evans.

cover


My introduction to this book was when I first visited George Evans and he showed me around his studio. He handed it to me as an example of some of the work he had done and I was instantly bowled over by the illustrations within.

I was already a fan of Evans’ artwork, but never before had I seen his work so beautifully reproduced. The full page illustrations (more than 30!) showcased his drawing skill much more than the space limitations of his comic strip work ever did. Here are some examples…

(Click on images to see larger.)

fl.04

fl.01

fl.05

fl.02

fl.03


Years later I was lucky enough to come across a copy of Far Lands Other Days at the San Diego Comic-Con. Suffice it to say that I’m sure the dealer, with how quick I agreed to the first price he uttered, is still kicking himself that he didn’t go higher…

Bios from inside front and back covers.
Bios from inside front and back covers.

At the time I bought this, lushly illustrated volumes like this seemed rare. Fortunately, thanks to publishers like Flesk, IDW and Fantagraphics there has been a resurgence of late.

Here’s hoping it continues…

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George Evans

Jane Martin by George Evans

Appearing in Fiction House’s Wings Comics in the 1940s, Jane Martin’s adventures started as a nurse during WWII – in the years to follow she would add ace pilot, spy and intrepid reporter to her repotoire.

Written by F E Lincoln (perhaps a “house name” and not a real person), a number of artists worked on the feature, one of which was George Evans.

Spotlighted below is a page by Evans, followed by a commission piece he did over fifty years later.

Detail from previous image.

To check out some of Jane Martin’s adventures, check out the following blogs…

Artwork by George Evans:
itsthatnosydame.blogspot.com

Artwork by Fran Hopper:
timebulleteer.wordpress.com


Jane Martin’s Golden Age Appearances: Wings Comics #1-59, 61-111

For more on Wings Comics check out the Grand Comics Database.

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George Evans

Secret Agent Corrigan by George Evans

Taking over after Archie Goodwin and Al Williamson’s run, George Evans’ first daily for Secret Agent Corrigan hit newspapers on February 4, 1980. He had ghosted for Williamson occasionally, but now he was at the helm as writer and artist. Evans continued on the strip for the next sixteen years.

I was first introduced to George Evans’ artistry while working on staff at King Features Syndicate. Ignorant of the huge body of work he had done, I was immediately drawn to the action-packed and beautifully illustrated job he was doing on the strip.

Secret Agent Corrigan May 20, 1992
Secret Agent Corrigan March 11, 1992
Secret Agent Corrigan April 20, 1994

Striking up a correspondance with him, he was more than willing to try to assist a newcomer like myself that was just breaking into the field. The following is a Flash Gordon Sunday page I sent George for critique with the latter being his suggestions on tracing paper.

Click on image to see larger.
George Evans

Because of the decline of adventure strips in newspapers, George Evans’ work on Secret Agent Corrigan didn’t reach the wider audience that would have appreciated it. Maurice Horn lamented this fact in his book, 100 Years of American Newpaper Comics:

“It is unfortunate that because of (Secret Agent Corrigan’s) limited circulation, few people are able to read and appreciate one of the genuinely interesting action strips still extant, a strip carried on in dashing style by Evans.”


Upon Evans’ retirement from the strip in 1996, King Features discontinued the strip.
The last daily saw print on February 10, 1996.

February 10, 1996
February 10, 1996

It wouldn’t be the last time Evans drew Secret Agent. In the summer of 2000 I started a storyline where Secret Agent and Flash Gordon would eventually cross paths (the two strips both originally drawn by Alex Raymond). The climactic page where they meet I handed over to Evans.

And here’s how it appeared in print.

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For more Secret Agent Corrigan by George Evans check out IDW’s Secret Agent Corrigan Volume 6. I highly recommend it!