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From Marvel to Lincoln-16—and Lani.

Geof Isherwood is one of those rare and versatile artists who combines classical discipline with a detailed eye for action and compelling storytelling.

 Born in 1960 in Quantico, Virginia, Geof grew up on Maryland's eastern shore, in Delaware and New Jersey, before his family permanently settled in Montreal, Quebec in 1971.

From the age of nine, Geof set his sights on becoming a comic book artist. While in school, he drew his own primitive series of comics about barbarians, superheroes and his teachers, which he then colored, stapled into book form and shared with his classmates.

 

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Geof painting, 1977. Photo by GB Isherwood

 

At the age of 17, Geof was awarded a scholarship to the Banff School of Fine Arts in Alberta, Canada. In 1977, he started a strip about a barbarian called Bloodwolf for his college newspaper. That same year, he paid his first visit to Marvel Comics in New York City, examples of his art in hand. There, Marie Severin and Dave Cockrum encouraged him to persevere in his anatomy, page layout and other aspects of comic book drawing. 

 

In 1982 he completed a Fine Arts degree at Montreal's Concordia University and soon thereafter landed work with Marvel Comics, penciling a black and white short story for Bizarre Adventures. In fall of 1982, he pencilled and inked an 8-page story for DC's New Talent Showcase No. 2. In late spring 1983 he met with Marvel editor Ralph Macchio who elected him to pencil Daredevil No. 203, following up with Power Man and Iron Fist No. 107. Geof next met with Marvel editor Larry Hama who elected him as permanent inker for Conan the King No. 23 (Marc Silvestri, pencils). After inking a number of these books, Geof became the permanent inker on Conan the Barbarian (Val Semeiks, pencils). 

 

 

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Geof, circa 1980.

 

From 1983 to 1998, Geof worked on Namor, The Sub-Mariner,  Silver Surfer, Cosmic Powers Unlimited, all of the Conan books, 
Doctor Strange Doctor Strange Annual No. 3
featured the debut 
of Geof's own supervillain Kyllian Kells; Daredevil, G.I. Joe, 
The 'Nam, Power Man/Iron Fist, Swords of the Swashbucklers, 
Peter Parker The Spectacular Spider-Man, Web of Spider-Man, 
Thor, X-Men Annual, Tales of Vishanti, Tales of Asgard, 
the graphic novel Revenge of the Living Monolith, 

as well as DC's Suicide Squad and Barry Windsor-Smith's Storyteller. 

A few years ago, Geof learned that he is related to the American illustrator Edwin Tunis, his maternal grandfather's cousin. Geof was fascinated and amused to notice remarkable similarities between his and Tunis's pen and ink line drawings.

 

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DR STRANGE is one of the many 
popular titles Geof drew for Marvel.

 

Since 1999, Geof began adding movies to his assignment repertoire. From storyboarding to concept illustrations, he has enjoyed playing witness to a rather unique mingling that might loosely be described as 'Hollywood-meets-Quebec'. Having the opportunity to work with such directors as Bryan Singer, Richard Donner and  Darren Aronofsky has added a three-dimensional facet to Geof's creative perspective. 

 

 "Isherwood era un artista que había medrado aprendiendo de los clásicos, de Neal Adams en los escorzos, de John Buscema en la narratividad, de Barry Smith en la limpieza de sus tintas, y de John Byrne en el diseño de personajes, pero que también ha bebido de los nuevos estilemas habituales en los años noventa."

hhttp://www.tebeosfera.com/Libris/REH/autores/Geof/Isherwood.htm

 

 

ISH AT THE   M O V I E S

 

"Fastest pen in the industry!"

Since 1999, Geof Isherwood has included a number of film-related assignments in his creative repertoire. Known for his on-the-spot narrative problem solving skills and the vivid accuracy of his concept illustrations, 'Ish' has worked with such film industry legends as Richard Donner, Bryan Singer, Darren Aronofsky, Renny Harlin, Graham 'Grace' Walker, Patrick Tatopolous, David Snyder and Chazz Palmintieri.
 
 

NEWSARAMA: 
How was it working with Darren Aronofsky?

GI:
He was very specific. When we would sit down, he'd have like an overhead blueprint diagram to show where the actors would be and the camera positions. He had a shot list because he shot it in a very specific way. He was limiting himself to certain camera angles to create a specific look for the movie so I would follow that.

Click here to continue
the Newsarama interview...

 

 

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Copyright of Geof Isherwood's original creations and reproductions thereof, remain with the artist, and may not be used for commercial purposes without permission.