Lou Fine

From Wikipedia, the free encyclopedia

Louis Kenneth Fine (born 1914, New York City; died July 24, 1971) was an American comic book artist known for his work during the 1940s Golden Age of comic books, where his quality draftsmanship became a highly influential model to a generation of fellow comics artists.

1 Golden Age comics career
2 Advertising and comic strips
3 Personal
4 Quotes
5 Reprint collections
6 Footnotes
7 References

[edit] Golden Age comics career

Hit Comics #18 (Dec. 1941). Stormy Foster, by Lou Fine.

Lou Fine, who had been partially crippled by childhood polio, studied at Manhattan's Grand Central Art School and Brooklyn's Pratt Institute. His influences included Dean Cornwell, Heinrich Kley, and famed advertising illustrator J.C. Leyendecker. In 1938, Fine, like many other comics artists of the time, found work at Eisner & Iger, one of the most prominent of the "packagers" who supplied complete comic books to publishers testing the waters of the emerging medium. Fine's first published comics art was the strip "Wilton of the West" in Fiction House's Jumbo Comics #4 (Dec. 1938), signed with the house pen name Fred Sande (which strip originator Jack Kirby had used in previous issues). Other early pseudonyms Fine employed (reflecting the fledgling Eisner & Iger's attempts to convince publishers they had a large stable of artists) were Curt Davis and Basil Berold.

Fine went on to do exquisite, much-acclaimed work for Fox Feature Syndicate, where he supplied the cover of 1939's Blue Beetle #1 and drew such features as "The Flame" in Wonderworld Comics and the later eponymous series. For publisher Everett M. "Busy" Arnold's Quality Comics, he drew features including "The Black Condor" (initially under the pseudonym Kenneth Lewis) in Crack Comics, "Doll Man" (under the pseudonym William Erwin Maxwell) in Feature Comics, "The Ray" (initially under the jokey pseudonym E. Lectron) in Smash Comics, "Uncle Sam" (for which Eisner & Iger co-founder Will Eisner received credit) in National Comics, and "Stormy Foster" in Hit Comics. Fine became particularly prominent as a cover artist.

Fine, along with Plastic Man creator Jack Cole, was a ghost-artist on Will Eisner's celebrated Sunday-supplement newspaper comic book The Spirit during Eisner's World War II military service, Fine inking over Cole's pencil work. Some of these were reprinted in Quality's Police Comics and The Spirit comic book, where Fine's work continued to appear through 1949, five years after Fine had left comics.

[edit] Advertising and comic strips

Hit Comics #5 (Nov. 1940). This cover, used in The Steranko History of Comics, Vol. 2 (1972), helped introduce Fine's art to a new generation.

Leaving comic books in 1944, Fine segued into newspapers by drawing Sunday advertising comics. He later drew the comic strips The Throp Family for Liberty Magazine (1946), Taylor Woe (1949), Adam Ames (1959) and Peter Scratch (1965). In a single return to comic books, he contributed to a toy company's custom one-shot, Wham-O Giant Comics (1967), illustrating a two-page story, "The Man From Aeons", starring a prehistoric man who, though named "Tor", was not the same-name caveman character created in the 1950s by Joe Kubert.

Fine also worked on the strip Space Conquerors in the magazine Boys' Life from the late 1960s until his death. He and writer Gill Fox, whom he had met during his time with Eisner & Iger and remained in contact with, were developing new comic strips when Fine was found dead of a heart attack at the threshold of his studio.^[1]

[edit] Personal

By the late 1960s, Fine lived in affluent Lido Beach, New York, on Long Island, owning two houses there. Friend and collaborator Gill Fox described them as, "One for his wife and one for himself. He lived alone [by then]".^[1]

[edit] Quotes

Will Eisner: "I had respect for his towering kind of draftsmanship. He was the epitome of the honest draftsman. No fakery, no razzle-dazzle — very direct, very honest in his approach".^[2]

Joe Simon: "My favorite artist was Lou Fine. He was also Jack Kirby's favorite artist. I know that Jack was a fan of and greatly influenced by Fine’s work".^[2]

Atlas Comics (retailer), "The Top 100 Artists of American Comic Books": #10 - Lou Fine: "By God, Lou Fine could draw. One of comics' first illustrative stars, he influenced and astounded such later greats as Alex Toth, Jim Steranko, and Gil Kane. His covers alone during the ' 40s stand as some of the best-designed and most exciting work ever produced for any comic book publisher".^[3]

[edit] Reprint collections

Fine's Spirit work has been reprinted in DC Comics' hardcover collections The Spirit Archives Vols. 5 to 9 (2001-2003), spanning July 1942 - Dec. 1944.