For my entire run coloring for King I worked “old school.” Here’s the process…
King Features down in Florida does the color separations, so my job was to provide them with a color guide.
Here’s the color palette I used.
Using watercolor, I colored the black and white art and then put in the color indications using the numbers from the color palette. The actual watercolors didn’t have to be exact, that’s what the numbering was for.
And here’s what the finished version looked like.
It’s a very conscious decision to keep the coloring simple and not over render so the color is not competing with the clean line of the artwork. Here’s some more examples of my work…
And as of November of 2021, a little over 30 years total, I’m calling it a day. It’s been a good run, but time commitments with my current work schedule just made it impossible to continue.
Wrapping up with a pic the great Dick Hodgins Jr. (1931-2016) sent me awhile back. Something I’ll always treasure.
Jay Kennedy was the Comics Editor up at King Features from 1988 up until his untimely death in 2007 at the age of 50.
I first met Jay back in 1989. I was fresh out of the Joe Kubert School and he was interviewing applicants for a colorist position that had just opened up at King Features. Suffice it to say Jay saw some potential and ended up hiring me.
Jay was in his early 30’s when he started at King and signaled a changing of the guard in the Comics Art department. He seemed to have a very clear vision in what he wanted to accomplish at King. A fan of the medium, and underground comics in particular, he wanted to bring that sensibility to the comics page. For a field so entrenched in the mainstream it was quite the juggling act. I never fully appreciated his skill at this until after the fact. Over the years I saw him help bring a number of strips on board to King, among them such hits as Baby Blues, Mutts and Zits. And in a field that was dominated by men, he also championed women cartoonists, including Hilary B. Price’s Rhymes with Orange, Sandra Bell-Lundy’s Between Friends, Rina Piccolo’s Tina’s Groove, as well as Six Chix, which had a rotating series of strips all created by women.
Back around 1995 when they were shopping around for a new artist for Flash Gordon I started drawing up samples – and Jay promptly rejected those initial pages of mine. I tried my hand at it again months later and to my surprise Jay not only hired me as the artist but as the writer as well!
Suffice it to say it was an amazing opportunity for a cartoonist still learning the ropes. That first year I did the strip Jay was very hands on. He’d make me do changes to everything from the artwork to word balloon placement. Jay could be rather blunt giving a critique, but it was never mean-spirited. It all had to do with telling a better story. After that first year I was on my own.
In memory of Jay Kennedy King Features established the Jay Kennedy Memorial Scholarship Fund which is awarded yearly and “designed to acknowledge excellence among college-aged aspiring cartoonists”. The award is presented at the annual NCS Reuben Awards dinner.
Jay Kennedy was also the author of The Official Underground and Newave Comix Price Guide (Boatner Norton Press, 1982). It was the first price guide for the underground comix of the 1960s and 1970s. Much of the information in the book was based on Kennedy’s personal collection of more than 9,500 comix.
“The owners of the original Palm restaurant decided to permanently close the space after renovating it proved to be too costly. The Palm had been a fixture at 837 2nd Avenue in Manhattan since 1926. The restaurant is known for it’s caricature-covered walls.
Artists hand-sketched the cartoons in exchange for meals throughout the years. Many worked at nearby King Features Syndicate, a comic company. The famed walls were restored in 1995.
Today, Palm restaurants worldwide are run by direct descendants of the founding owners. It was impossible, they said in a statement, to take the original artwork with them.”
When I worked at King Features back in the late 80s, King Features was at 216 East 45th Street. At the end of the block where 45th met 2nd Avenue was the Palm.
Along with restaurants like the now defunct Pen and Pencil (another steakhouse where cartoonists hung out), The Palm was part of New York’s legendary Steak Row.
Here’s a little fun fact, steakhouses were in abundance in the area because in the early part of the 20th century the slaughterhouses were located just down the street along the East River where the UN now stands. But I digress…
The first time I ever went to the Palm was when I was working on staff up at King Features as their colorist. My boss at the time, Frank Chillino, told me that Joe D’Angelo (King Feature’s president at the time) just had lunch recently with some cartoonists at the Palm and they had added some new cartoons to the walls. My job was to go over there, bring some paint, and add some color to them. I got there before the restaurant was open for business and carefully added color between the lines of permanent marker the cartoonist had drawn – and for the life of me I can’t remember which characters they were.
What I do remember was looking at those beautiful walls filled with cartoons…
I got to have lunch there once, and on King Features’ dime, with fellow Comic Art Department staff member Jerry Craft. Not being a steak connoisseur (hotdog anyone?) I was completely out of my league in the restaurant but soaked up the atmosphere as it was one of those New York and cartooning institutions.
That little piece of comic history is gone now. Glad I was at least a part of it in some small way.
Update October 2021: Jump ahead 6 years and I’m at JFK in New York City. At the Palm Restaurant in the terminal I notice drawings strangely reminiscent to the old illustrations that were destroyed from the Palm in midtown NYC.
Looks like they had someone reproduce them in some manner, but looking up close I’m not exactly sure of the method. Curiouser and curiouser…
As many of you have already heard, I’m the new artist of the Sally Forth comic strip. My name has been on the dailies since March 11th, and even though I drew the strip for this past Sunday (3/31/2013), that was the last one overseen by cartoonist Craig MacIntosh and bears his name.
Back story: A few years ago I connected with Craig and began working as his assistant inking and coloring the Sally Forth Sunday pages. When Craig decided to retire last year I worked up some samples (under Craig’s watchful eye) which were then submitted to King Features Syndicate. After navigating the proper channels the word was given from on high – editorial approval – and I was given the green light
I can’t say enough about how great it was working with Craig. He’s the consummate professional who makes the incredibly stellar work he does look easy – a great friend and mentor.
I was a fan of the Sally Forth comic strip long before coming on board, so I truly lucked out as far as being able to collaborate with Francesco. In addition to being a 15-year veteran on the strip, he knows the characters inside and out – which as far as I’m concerned makes the humor strike closer to home.
Warning: Unabahed plug time.
If Sally Forth isn’t in your local paper, you can check it out online at…
A yearlong subscription to all of King Features’ comics (new and vintage) plus a year’s archive for every single strip is a pittance at $19.99 a year. Unsure? Try a 7 day trial subscription for free.