LAST STANDING: THE LAST SUPERMAN STANDING Alfred John Plastino might not be as famous as the creators of , Joe Palooka, , and other classic daily and THE STORY Sunday newspaper strips, but he worked on many of them. And of ALAL PLASTINOPLASTINO his era, Plastino was the last surviving penciler/ of Superman comic books. In these pages, the artist remembers both his struggles and triumphs in the world of cartooning and beyond. A near-century of history and insights shared by Al, his family, and contemporaries , , , and — along with successors , , and —paint a layered portrait of Plastino’s life and career.

From the author and designer team of : A Life In Comics. Foreword by .

STORY EDDY ZENO

An illustrated biography EDDY ZENO

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EDDY ZENO

Plastino.indd 1 9/3/14 1:52 PM Contents

Foreword By Paul Levitz...... 4 Introduction...... 6 Globs Of Clay, Flecks Of Paint ...... 8 Harry “A”...... 16 The War Years...... 24 Ten Cents For Toilet Paper...... 28 The Big Three...... 32 The “Most Plastino” Hero...... 44 Man Of Action...... 50 Painting, Punching, And Pirates…, Precision, And Pantomime...... 54 Special Projects...... 64 The Artist’s Super Power...... 70 Paint Over The Pump – Draw Around The Balloons...... 72 Legacy...... 76 Last Superman Standing...... 84 Appendix...... 90 My Pal, Al...... 106

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Plastino.indd 5 9/3/14 1:52 PM 8 • Al Plastino: Last Superman Standing Globs of Clay, Flecks of Paint

Frank man artist developed the habit of way up to a $100-a-week job as lfred “Al” Plastino’s father, racing between United Feature the floor manager for Long’s Hat AFrancisco (Frank) Plastino, Syndicate and National Periodi- Company. A century note every was born on December 3, 1890. cal Publications (the company seven days was a lot of money He died in 1985 with a full head today known as DC Comics) to during the Depression. of hair. Growing up in Calabria, garner assignments. To this day Alfred’s dad always had a car. Italy (in the southern boot), it is impossible for him to walk One in particular was the first ’36 he came to the United States slowly. Ford with a V-8 engine. When he between the ages of 12 and 14 Growing up, father and first drove down the street in it, Al atop “Tony” while on vacation. He years of age. Frank learned to son went hunting and fishing everyone stopped to cheer—au- was 17 years old, the year was 1938, read and write in English when together. Al continued to enjoy tos of any kind were rare in the and he was already working in the Al was around 3 years old. The those endeavors as an adult – neighborhood at that time. nascent industry. son didn’t grow up speaking Ital- each brought welcome breaks Long’s Hat Company even- ian, but he could speak in broken from the grind of the drawing tually closed due to the Great English whenever he wished to board. To them he would add the Depression, but Frank did not mimic the family dialect. sport of golf, but not until turn- hesitate. He immediately began Frank was a really nice guy ing nearly 30. his own small business, F & J, (the same way Al describes his Like many, the elder Plastino on Alton Avenue near Fordham own son today). He was 5’3”, well went through Ellis Island upon Road in the Upper Bronx. This dressed, meticulously clean, and arriving in America. He settled in was in roughly 1934 or 1935. He full of energy. Always scurrying, Danbury, Connecticut before mi- bought out his partner a couple Alfred had to run to keep up grating to . From a stint of years later and opened a fac- with him. That is how the Super- shining shoes, Frank worked his tory in . It was then that the elder Plastino mastered the business of making custom hats. Everyone wore one in those days, and he eventually became known as “The Hatter of Manhattan.” From detectives in the NYPD to Mayor Fierello La Guardia, Frank would soon be fashioning hats for the nation’s leaders, beginning with President Harry S. Truman, followed by Dwight D. Eisenhower. Another U.S. President, however, almost put Al’s dad out of business. In 1960 Frank had the honor of crafting the Alfred wrote: “Here is a [1944] pencil sketch top hat John F. Kennedy was to of my father at work in his hat factory in wear to his January 20, 1961, NYC­—I was working for Steinberg Studio on inauguration. Preferring no head Army field manuals for the Pentagon USG covering, however, the president- part time­—­and working for United Feature elect kept if off for much of the Syndicate free lance.” ceremony.

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Enter the Comic Book Trade In 1939, as high school architecture. But there was a esides Al Plastino, Nick graduation approached, Al was decision to make. Though he BCardy, and Paul Winchell, preparing to attend college really wanted to go to Cooper many well-known comic book at Cooper Union on East 8th Union for its prestigious art Al noted that he penciled this self-portrait in creators and other celebrities Street: “Lincoln made a speech program, Al made the fateful pencil when he was “about 20 years old.” attended the School of Industri- there. You’d walk in and smell decision not to attend college. al Art. Alumni graduating be- the paint and hear the pianos. After deciding to stay with tween 1937 and 1947 included It’s so artistic, it makes you his part-time job at Youth First two pages from the Rocketman story female comic book pioneering cry.” Five hundred applicants Today, Alfred saw a newspaper in Scoop Comics No. 3 (March 1942). Note artist Barclay, along with took the entrance exam and ad: “Black and White Artist how Alfred snuck his art credit onto the Chic Stone; Carmine Infantino; young Plastino was one of 50 Wanted.” Since he was learning splash page by showing the diminutive bad ; Joe Giella; Sy Bar- who passed. Separate tests took to render without color for the guy handling stolen bills with “Al” and ry; ; John Romita, Sr.; one and a half days and includ- magazine, he traveled to 23rd “Pla” on opposite ends. In addition, and singer Tony Bennett, who ed design, sculpting with clay, Street and 7th Avenue where he “Harry A. Chesler Features Syndicate N.Y.” is also a well-known painter. drawing from a live model, and “saw all of these guys drawing is captioned at lower right.

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comics.” At first he was less he was given the most basic There are two ways to look than impressed, but then a large of tasks, including ruling the at the “cheap as hell” comment man sporting an unlit cigar in pages and erasing pencil marks by the often-humorous artist. his mouth came out to greet after they were inked. Alfred First, when fellow comic- young Al. It was Harry Chesler, was extremely excited to be book creators and owner and head of the Chesler working in the shop and learn- Carmine Infantino spoke about Studio. Scanning Alfred’s port- ing from professionals: “[At Chesler generously giving them folio (which mostly showcased first] I didn’t mind how much $1.00 a day or $5.00 a week, his Youth Today magazine I was making because I started they were a few years younger work), Chesler said, “Hey kid. to get interested in it all.” than Plastino. He was think- Throw that stuff away and come make money with me.” After talking to a few guys in the stu- dio, Plastino decided to work there while simultaneously con- tinuing with the magazine. It was the beginning of a lifelong philosophy: “Always have at least two accounts.” That guar- anteed a fallback plan if laid off at one place. But perhaps most important to Al was his inde- pendence. Having more than one employer meant no one would ever have such control over him that he couldn’t say, “I quit,” if the need arose. The Shop n 1933, the first official IAmerican comic books were merely reprints of newspaper comic strips. However, as the format gained in popularity, the relative lack of material Being a quick study, Plastino ing of making a living; they The next two pages from the Scoop Comics available combined with the soon began drawing directly weren’t. Also, Joe and Carmine No. 3 Rocketman story. Note its confining expense to reproduce them for Jack’s independent pulp were alluding to the boss him- panels and horror aspects. necessitated the emergence of magazine (mostly science self, who wanted to make sure publishing original stories. By fiction) projects. He didn’t actu- they had transportation money February 1935, National/DC’s ally illustrate for Harry Chesler and was most kind. Alfred New Fun Comics No. 1 was the for a long time: “I was pencil- was speaking of the art direc- first to devote an entire issue ing, then watching, watching, tor, whom he described as a to never-before seen stories. watching. Jack Binder gave me wheeler-dealer. Regardless, the As the medium continued to $5.00 a week; he was cheap as feisty Plastino was better than gain in popularity, comic art hell. I penciled and Jack, or most, even at a young age, for production shops emerged to others, probably, would ink. seeking a fair wage — a trait fill the ever-increasing need for Then they gave me an exercise that would help him in coming original art. on how to use a brush. There years to be a good provider for While still in high school were about 20 guys working his family. Al began visiting the Chesler there. One of the biggest things Upon graduation from the Studio a few times per week. I noticed was that they were not School of Industrial Art, Plas- Eventually he met the art direc- using models, props, or pho- tino became a full-time artist tor, Jack Binder. Learning the tographs as reference. Instead at the studio. Though the hours business from the ground up they were using their minds.” were from 9:00–5:00, Alfred

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rarely made it there on sched- stitution. Harry Chesler joked art director so I would get in ule. Since he was running late, with him about this routine. early. That didn’t work, either.” he usually ate breakfast down- Ad-libbing a nickname for the The building had an eleva- stairs in the same building young artist, he’d say, “‘Plasty, tor operator named Tony. Al before going to the sixth floor I don’t mind you eating on my laughed when he recalled to begin his day. Thus, when he time, but I’ll be damned if I’m Chesler absentmindedly walk- Signed cover by Plastino for finally arrived upstairs, it was paying you to take a s--- on my ing into the empty lift and Vol. 4, No. 1 (June 1943), . also time for his morning con- time.’ Eventually, he made me loudly exclaiming, “Uh, uh…” while going up and up with no one to run it: “[Another time] about eight of us guys were on it and the elevator went out. We tried to jump when we hit bot- tom. BOOM! We blew out the lights when we hit the spring.” It was Jack Binder who taught Plastino how to turn his brush to vary the thickness or thinness of a line. Practicing at home, eventually Alfred was permitted to use his new- found techniques at the shop: “Chesler finally gave me stuff to [both] pencil and ink.” By then he was earning $40/week while the top artists at the shop were making $60. The assignments at the Chesler Studio were usually given verbally rather than as a complete script. Either Harry or Jack gave his idea for a story. The delineators were usually given a description of what should be on the opening page and an idea about where the story should go. The rest was left for them to plot. They were not given strict deadlines for when the stories needed to be completed; however, it was un- derstood that every employee should produce as many pages as possible per week since they were being paid a salary and not by the page. Some of the artists that Al came to know at the Chesler Studio included Charles Biro, Mac Raboy, Raphael Astarita, and Ruben Moreira. The senior artists were given the window tables while Plastino and his young cohorts were situated in

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“That Was the Turning Point to accomplish his goal was to that could shoot between the of My Whole Life” design retractable wings. The props. At the time, people said he notion of a flying sub Army became so intrigued that the design wouldn’t work but I Twas not new. ’s they gave Alfred eight draft ex- was worried about the turrets comic book machine may have emptions to design a prototype. shooting the tail off. Now it is a been named after a 1910 British He remembered: “I wrote common design… These crazy, silent film titled, Aerial Subma- to the President of the United new, inventive ideas come from rine. Though he liked what he States, FDR [Roosevelt]. That’s people like me who don’t know saw from Everett, Alfred went how the plane story started.” any better. Al in Washington, D.C., 1942. in a different direction. After all, As noted, by watching his older “A bunch of guys on the in real life submarines couldn’t brothers, especially Angelo, block would run around and soar, but since the early 1920s Plastino learned to design and were excited, saying, ‘I got mine planes that could take off and carve wooden model airplanes [their draft notice].’” Al received land on the surface of water had as a boy. They were hewn from his when he was 19 years old. been in existence. pure balsa wood; pre-formed Reporting for a physical, he Amphibious planes were store models did not yet exist. It stood next to the tallest, broad- praised for their military usage was a time to let his creativity, est guy he could find. Al was in air-sea rescues, patrolling for coupled with a sincere desire to 5’9” and skinny, weighing ap- enemy subs, and for being able help the country’s war efforts, proximately 110 lbs. He figured to touch down on the variable carry him. The artist exclaimed, the contrast in body types would terrain of Alaska and Canada. “That was the turning point of get him declared not physically Unfortunately they were heavier my whole life.” fit. Turns out the big guy failed and slower than aircraft meant Continuing: “I got really but Al was declared 1-A (draft to land on solid ground only. serious about the plane and eligible). A busted eardrum PT (patrol torpedo) boats were thought it might actually work. I left from his school days was small, fast, well-armed craft that studied the power of the engines missed: “The ear was bleed- carried two to four torpedoes and used a push motor; most ing after a teacher slapped me and were very prominent during other planes used pull motors. I upside the head for talking in World War II. Plastino sought thought it would act line.” It was later caught, how- to marry the two by creating a like an Everglade ever, when he went for a second plane that could quickly convert boat. It had Army physical after the Battle of to a gunboat. One way turrets the Bulge (Dec. 1944–Jan. 1945). The Draft Board asked if there was any reason he should not be conscripted. He told Plastino’s 1941 design for his combination them that the President had attack bomber and PT boat, including encouraged him to continue close-up of gun turret. working on his amphibious plane, which led to the first of his eight deferments. Three times he ended up waving good- bye to the guys on the block; on each occasion, the Board intervened. Plastino believes having two brothers already in

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the military may have played a as a civilian: ‘If you become role, along with the originality, a lieutenant, then I can send imagination, and artistic talent you to Timbuktu.’ There were the young man showed. thousands of what we called When he penned his letter paper lieutenants in Washington to Roosevelt, it was actually during the war. A regular Army the President’s secretary who sergeant at the Pentagon had sent a beautifully worded reply more power than these guys. instructing him to go to the He said he would like to see me Inventor’s Council, located at in uniform but suggested I wait 90 Church Street. The Inven- a while and look around first. tor’s Council acknowledged the I was a young guy and could do in his assigned basement cor- “Aerial subs” from Marvel Mystery Comics value of his idea but added they always enter later if that’s what I ner, Plastino seized the opportu- No. 15 (Timely, Jan. 1941), likely during could not use it. They suggested wanted. Major Shively gave me nity to learn how to incorporate the time when Al was assisting Bill Everett. going to Grumman (Aircraft the choice.” silkscreen printing (serigraphy) ( detail of the original art to pg. 6, Engineering Corporation). The Alfred decided not to enlist, into poster production. Still a as seen in Fire & Water: Bill Everett, The Grumman Company opened its yet working in the Pentagon relatively primitive process at the Sub-Mariner, and the Birth of doors in 1929 and was now to- was its own form of service. He time, he mastered the stencil- by Blake Bell, , 2010.) tally given over to the war effort. was unsure if he started there ing process in which ink was Plastino’s idea was given some in 1942 or the following year, pressed through a mesh screen attention but they didn’t have but he still has one of the first to reproduce his drawings. Color time to help him overcome its things he did for the military, an was dropped out and an arc light inherent problems. He was told, original poster dated 1943. He hardened the sensitized emul- “The wings are short and push was given an SP4 designation sion that was used. One poster’s back; it would need jet engines and paid $38 a week. message conveyed that war plans WW II painting of Alfred’s bomber/PT boat to fly.” (Practical jet fighters were Initially, there was no super- begin on paper, so don’t waste it. with wings retracted into fuselage racing still a few years away.) Folding visor. Searching for something to Another showed how sleeping away from a targeted Japanese war ship. wings tend to be even heavier and need more structural sup- port if they retract. Another obstacle for which he had not accounted: “Water has to be able to come out of the plane.” Thus, Grumman sent Alfred to the Pentagon to see if the flying PT boat’s initial promise could be salvaged. Young Plastino reported to Washington, D.C. with a shoe- box containing blueprints and his gray-painted model. What most impressed the Pentagon’s engineers was the ingenious sys- tem of gears used to bring out the hidden wings. Yet in the end nothing came of it, the exemp- tions ended, and Al returned home. He explained what hap- pened next: “After the Pentagon, I got a draft notice telling me to report for duty [back in Wash- ington] in three days. I still have the telegram. A Major Shively asked me to stay in Washington

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“The Studio Was Another World” other. We hadn’t yet started our contained coin slots [that gave lastino likely met Jack studio. They might have tried way to] beans and hot dogs for PSparling at Fawcett out a few guys for a while before 25 cents or chicken pot pies for Publications. One day Jack came having me take a whack at it.” two nickels more. The Daily in the art room for a visit. He was Living at home once again News and the Mirror were each stepping down as the newspaper and drawing there as well, two cents, the Journal America strip artist on the Hap Hopper, Alfred was eager to rent a was five, and the Herald Tribune Washington Correspondent studio with Jack. It got him into was seven cents, I believe. Those feature, and inquired whether Manhattan, which he adored: were great days.” The artist in studio (at 43rd St. and his new friend might like to do hot dogs were a nickel and a Al described his colleagues: Lexington Avenue, City, 1948). the dailies. dollar got a parking spot next “The then were real Al jumped at the chance, to the news building. Plastino characters. Many were work- and thus began his long owned a ’38 Ford convertible ing half bombed. One night we involvement with United Feature with no heater, and in the winter picked up Gus Edson (he did Syndicate. Some sources claim he had to drain the water out at The Gumps) off the sidewalk in that Plastino’s stint on Hap night and put fresh water in the the middle of the night, wearing Hopper commenced in 1943 but next morning (no antifreeze). a tuxedo in the rain. We brought the artist is certain he did not “The city was cleaner then,” he him into the Cavalier Hotel. contribute to the strip while at said. “Guys with old-fashioned It was two dollars a night. The the Pentagon: “It started after I brooms and pushcarts swept next morning, Edson got mad got back to New York. Sparling the streets. The Horn and at us for putting him in a dump; The Kreml man always has “keen and well- was still at Vanderbilt Avenue Hardart Automat restaurant he was insulted he was in such a groomed” hair! Unfinished commercial art. and we took a liking to each at the corner of 42nd and 3rd cheap place. I was mad: ‘You son

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Right: Plastino’s attached note said, restaurant for him — it didn’t gave me the idea “Scratch Board illustration for trade mag. work out — but he was a good and tried to help, but it flopped. 1947.” Signed “AP.” soul. For years, Mario helped I worked up some other kids [with disabilities]. He’d take things, but it is very tough them to a little lake and help to try and sell a new them do things like crabbing.” script idea. “Also, when I The Expanding Artist had the studio, I hough he never kept a ledger worked for Harry Tof his work, Plastino recalled Childs, draw- several assignments from the late ing pages to 1940s, extending into the 1950s. sell US Royal “I did everything. Portraits, black Air Tires for and whites, watercolors, a beer bikes. They ad, and one for Kreml Hair Tonic appeared for the Daily News. I did love in comic story covers for Publica- books at the tions. Most were accepted; only time. I did “He was a one was rejected. I did the only quite a few nice guy that I met pulp watercolor cover. Normally, of them.” a couple of times. He the red, blue, and yellow colors In addition spoke with a British-type had to be exaggerated in oils be- to illustrat- accent. In fact, his kid called me cause the printing was so terrible. ing for Norman Steinberg and for the first time tonight because But the editor liked it and said Harry Childs, Alfred worked for he didn’t know much about the he’d give it a try. another advertising studio: “Not strip. He’s 68 and said his dad “We had an agent — a big, tall in Montclair [], but died when he was about 85.” In woman. Dow was in love with in Upper Montclair,” he said in spite of its alterations, Barry her. I still laugh when I picture his most hoity-toity voice. Noble ended two years later. The her sitting on the john with a big By 1947 Hap Hopper, Wash- year was 1949 and Al Plastino hat on, talking to us through the ington Correspondent was no was becoming ensconced at DC door. She got us some ad work longer doing well and there came Comics as one of the premier but it didn’t pan out. a change. The strip was renamed Superman illustrators. “I was young and tried to Barry Noble, and a private soak up everything at the studio. investigator became the featured Reference in addition to the artist’s per- “Who’s that keen-looking man?” Once I tried to sell a strip about character. “A Canadian wrote sonal account: Kealy, Jim, and Eddy Zeno. “My A finished panel ad for Kreml hair tonic, a country lawyer, an Abe Lincoln Barry Noble [Charles Verral],” Al Attitude Was, They’re Not Bosses, They’re signed by Al. type. It was called Justin Case. recalled on September 12, 2013. Editors.” Alter Ego Vol. 3, No. 59, June 2006.

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Destiny Waiting them, and bring a sample of your was up and flying. t was the pivotal Norman work.” Al asked with whom he After a time, Plastino wanted ISteinberg who rescued Alfred should speak and was told to see to purchase a new car. He threw from wartime conscription and Managing Editor . a to Jack Schiff: “How later helped get him the job for Plastino showed up at DC un- secure is this job?” Schiff’s re- which he will always be remem- announced. When he referenced sponse: “I can’t tell you that, kid.” bered. Co-creators Mr. Steinberg, he was welcomed Alfred bought the vehicle any- and were blacklisted into Schiff’s office and asked to way: a Nash Rambler, circa 1950. from National (DC Comics) after see what he’d brought. Curious Cost: $2,100. He instructed the The Silver Age Plastino: photo taken circa filing an unsuccessful lawsuit in himself whether he could do it, automobile dealer to not cash the 1963 in his Wyckoff, NJ home studio/garage. 1947 to try and regain ownership Alfred had prepared a Superman check until the following week. From the Kennedy Library collection. of Superman. Steinberg knew sample page: “My brushwork was “On the following Monday Harry Donenfeld, one of the okay, but kind of corny in a way.” l walked across the street from publishers. Hearing of his need Schiff apparently liked what my studio into Chase Bank,” for additional help and know- he saw, but he didn’t hire Al just Alfred noted. “I knew the guys ing that Plastino had previously yet — there was still payment to who worked there: ‘Hey Al, what About to shoot a love scene with drawn for comic books, Steinberg negotiate. “ was did you buy?’ I said, ‘A car. Why “Miss Heartache:” panel from informed the young man: “If you getting $55 a page,” the artist do you ask?’ ‘Because we cashed “Superman, Stunt Man!” are interested, go up there, talk to recalled. “They said he’d been your check last Friday.’ ‘Friday? I there [almost] ten years and only have no money for it.’ ‘We know; offered me $35. I said no.” Then we covered the check [amount] there was a lull. When finally for you.’ That’s how it was in given a trial Superman story to those days.” illustrate, Plastino was told: “If we like what you do now, we’ll give The Post-Shuster Big Three: you $50 a page.” He then received Boring, Plastino, and Swan one last instruction: “It has to lastino was impressed with look like Wayne Boring’s work.” PWayne Boring’s art: “They (Given some of Boring’s original gave me some of his pencils to art to take with him for reference, ink early on. This helped give those pages, and many other me a feeling of how Wayne originals, were lost in a basement drew Superman.” He occasion- flood when Alfred later moved to ally saw the older man (born .) in 1905) in the art room at DC, Plastino doesn’t remember his though not too often since most first solo story for the company, of the guys worked from home. which was likely “Superman, The two illustrators got along Stunt Man!” in No. fine, with Al adding: “Wayne 120 (May 1948). This coincided had really tight pencils.” with “The Un-Super Superman” Nevertheless, Alfred had in the May–June 1948 issue of mixed feelings while in the senior World’s Finest (No. 34) and was illustrator’s shadow. Viewing the immediately followed by “The tale of “The Three Supermen Oracle from ” in from !” (Superman No. Superman No. 53 (July 1948). Al 65, July–Aug. 1950) from today’s

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weren’t giving him his money’s worth. Swan’s headaches began dissipating when he began stand- ing up to the editor. In the book Superman at Fifty! The Persistence of a Legend! (edited by Dennis Dooley and Gary Engle, Octavia Press, 1987), Curt wrote, “I did speak briefly to Wayne Boring about it when I took over drawing the syndicated Superman strip in the late ‘50s or early ‘60s, a couple of years before they killed it. He knew how dif- ficult Weisinger could be on the subject of Superman’s looks. ‘Just hang in there,’ Wayne told me, ‘and don’t take any s---.’” Alfred had his own perspective when dealing with Mort, but the results were the same: “My attitude was, they’re not bosses, they’re editors. “Wayne was on the way out; they were feeding him less and less work. He had the newspaper strip. Then Curt Swan took over [the dailies but not the Sundays Wayne Boring’s powerful Superman for a few years]. There wasn’t as pictured above Mr. Boring loading up his much of a difference between drawing board for vacation. Photo from Curt Swan’s style and mine as Coronet (magazine, June 1954). there was between mine and perspective, Plastino noted: good idea man, unlike Mort, who Wayne Boring’s. Curt’s style was “That is crap because I was still was a great idea man. He would more realistic and calm. I added influenced by [him]. But at least just say, ‘Here is the story, Al.’ He more jazz, where Curt’s was more you can follow the story. My wouldn’t give directions, per se. kind and a little monotonous faces were lousy but they were I started working with Mort a because he would have no big consistent.“ Asked when he broke little later.” Though he could not changes between panels. But he from following Boring’s lead, Al remember when the relationship was a good artist.” reported, “No one said change it. began in earnest, there exists a Al added that Swan was a Wayne’s work was really clean- note for Plastino to call Weisinger nice guy with whom he enjoyed cut and professional, though the regarding his cover preliminary conversing when they hap- characters were a little stiff. It for Superman No. 60. With an pened to be visiting the DC almost hurt me to draw like him. indicia dated Sept.–Oct. 1949, offices at the same time. He felt I tried to keep the look consistent this means the artist and editor that Swan doing pencils only but it gradually did change.” had dealings no later than spring — and not inking himself — Because Jack Schiff was han- of that year. helped lead to his early demise dling Wayne Boring’s work, he In approximately 1951, fellow (Curt passed away in 1996). was also Alfred’s first boss at DC illustrator Curt Swan was getting Al noted that controlling both Comics. The goal was to maintain terrible migraine headaches from tasks kept him from working Superman’s artistic continuity. Al: Weisinger’s frequent demands to himself to death. One time, “Jack was one of the editors for correct the art by adding more when asked Superman. He was a mild guy, detail. In addition, Mort commit- him to let someone else embel- very shy and gentle, nothing like ted other forms of verbal bullying lish his pages, Al turned in such Mort Weisinger. Jack was not a when he thought the artists sketchy work that no one could

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the city that had Alfred’s published art to the right of the been miniaturized by the villain underlying /Colletta version, revealed and thus escaped the in the Collector Vol. 12, No. 42 destruction of Superman’s native (Spring 2005, TwoMorrows Publishing). planet. But I had a lot of fun Panel from No. 135. inventing all that tiny futuristic architecture, not to mention the view from inside the bottle — with the ‘giant’ figures peering in. I’ve always regretted that Al Plastino and I never got to play golf together, another passion that we shared.” Co-Creating a Character: the Artist’s Point of View n Action Comics No. 252 (May I1959) Alfred drew the lead tale with a fairly notable villain, , facing the Man of Steel, with script by Robert Bernstein. It was the second story, however, at less than eight pages (a third of the final page contained an ad), in which Binder and Plastino had on a particular character hap- work: “They gave me Kirby’s another bona fide hit. That’s when pened to be in the office, Alfred originals. It was a pain in the Kal-El’s super-powered cousin, would sometimes be asked to butt to paste over Kirby’s heads Kara Zor-El, found her way to draw the heads over another pen- in Jimmy Olsen. The paste-on Earth. ciler/inker team’s covers or inte- paper was very thin. I would put Names were never attached to riors. For Action Comics No. 252, the original page on a light box Curt Swan and his version of the Man of the scripts Al received: “Otto was it appears that Plastino was asked and lay the paste-on paper over Steel. Photo from Profiles, Vol. 1, a different guy, much nicer than to redraw the faces of the original art so I could see the No. 2 (Spring 1969). Jack [his brother]. Mort talked to and Superman on penciler Curt me about the idea of Supergirl. Swan and inker Stan Kaye’s cover. I wasn’t aware that He had likely done the same was that involved in creating for Adventure No. 247’s Legion these characters. It was just part of Super-Heroes front wrap: “A of the job. I went home and later story would come in; the heads brought in a sketch to show Mort. weren’t right. But it went both I made her blonde and as attrac- ways. One time, Schaffenberger tive as I could, putting a black wig redrew my heads on . on her for the disguise. I wanted What are you gonna do?” to maintain the same type of The practice persisted for a costume but gave her a skirt to time after Mort Weisinger retired be more girlish. No need to make and artist/writer Jack Kirby was her big and muscle-y. She had recruited by DC. Jack’s initial the power already.” (Al’s children assignment under Editorial later disclosed that wife Ann Director Carmine Infantino’s Marie was his original model for helm was Superman’s Pal, Jimmy Supergirl.) Olsen, beginning with No. 133 (Oct. 1970). Carmine upheld the Pasting Over Jack Kirby’s Heads tradition of a “house t was a strange editorial policy: look” for Superman, and Plastino Iif the freelance artist of choice remembered going in to do the

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Though team logo “AP” on the batter’s sleeve made it from preliminary to finished cover (Superman No. 60, Sept.-Oct. 1949), the stadium background did not. Al had a handwritten note at the bottom to: “Call Mort [Weisinger] – 10:30.”

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body. I would draw out the body, ilton was adept at conveying a then take it away and draw the sense of the epic, Binder excelled head. Then I would cut it out and at imagining new heroes and vil- paste it in.” lains in shorter-written tales. This later became the regular artist was combined with Weisinger who redrew the faces on both losing the pulse of comic book Superman and Olsen. readers. The editor’s plot sugges- tions became repetitious by the The Speaks mid to latter 1960s. Kal-El losing ne of the oddest and most his powers (“The Demon Under Oimaginative series-within- the Red Sun!”); Superman robots/ a-series started with “Tales of androids heroically sacrificing Green Kryptonite No. 1” in themselves to save their master Superman No. 173 (Nov. 1964), (“The School for Superman As- where the kryptonite itself was sassins!”); and bringing the narrator. Conceived by Otto Zone villains out of purgatory to Binder, Alfred illustrated that one temporarily do good (“The Man along with the final installment, Who Destroyed Krypton!”) were “Menace of Gold Kryptonite! rehashed ideas seen, respec- Tales of Kryptonite No. 4,” in Su- tively, in Superman Nos. 184 (Feb. perman No. 179 (August 1965). 1966), 188 (July 1966), and 205 Curt Swan and (Apr. 1968). illustrated the middle two in Superman Nos. 176 and 177, Superman: A Triumphant 20 Years respectively. The K-rock changed he full-length novels not- from green to red to gold in the Twithstanding, there were course of four stories, fragment- additional triumphs between ing from a statuette given to Plastino and Otto Binder, along Superman’s father, Jor-El, when with writers , Edmond Krypton exploded. Meandering Hamilton, Jerry Coleman, Jerry its way to Earth to torment Super- Siegel, and a young . boy, the meteorite lay fallow in the For example, Superman No. 61 arctic for years before endanger- (Feb.–March 1950) was revelato- respectively). Beyond distorted Alfred loved creating this background-rich, ing the adult Man of Tomorrow. ry to Kal-El when he uncovered Bizarro affection, Al illustrated a sequestered view of the Besides being the stories’ narrator his Kryptonian origins. Nineteen grand romance turned tragic in for a 2008 commission. — in another interesting take, it issues later, for a short time an Superman No. 165 (Nov. 1963). did not want any harm to come amnesiac with inferior powers Divergently, he portrayed the to Kal-El. Plastino and Swan drew was thought to be Superman’s earliest showdowns between the stone with the hint of a “” older brother (Superman No. 80, Supes and the villainous energy- embedded in its facets. Jan.–Feb. 1953). Adventure Com- draining (Action Comics In May 1964 the art team of ics No. 271 (April 1960) detailed No. 340, Aug. 1966, and No. 361, Curt Swan and George Klein was events that led to a young Lex March 1968). Despite these and moved to other Weisinger-edited Luthor losing his hair and blam- many other artistic opportunities books such as World’s Finest ing for his own experi- to shine, Alfred and most of his Comics and, with the death of ment gone awry. Al was asked contemporaries held the belief artist John Forte, to Adventure to pencil and ink Lois Lane and that the stories were nothing Comics less than two years later. Lana Lang’s initial meeting in special. To him they were simply In addition, writer Edmond No. 9 (Jul.–Aug. 1957). part of the job. Hamilton retired from DC in He drew Bizarro’s first adult ap- 1966. Otto Binder and Al Plastino pearance in comic books, a two- Presidential Link: filled the vacuum by assuming parter that culminated with him From Father to Son script and art chores on the full- falling for an imperfect duplicate n addition to canonical intro- length Superman “novels.” But of Lois (Action Comics Nos. Iductions of new characters and there was a problem. While Ham- 254–255, July and August 1959, story elements, Alfred illustrated

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Closure on the World’s Finest Team that smug look. Boltinoff wanted going to kill Boltinoff. Murray edrawing Jack Kirby’s (with to tell me that I was going to didn’t say a word to me. His eyes Rinker ’s) work for him now. He wanted to were coming out of his head. heads in Superman’s Pal, Jimmy discuss Superboy. When you go I said I wouldn’t work for him Olsen was not what kept Alfred into the office, you go into a big if I had to sell pencils. When I involved with DC Comics from room with other artists, doing told him I quit, Whit said, ‘How 1968 to 1972. Rather, it was his corrections, waiting for editors would you like to work with me four-year run on the Batman to look at the story, etc. I was on Batman?’” daily and Sunday syndicated talking with the guys when Bolt- (Alfred did part of the Drawing in his Shirley, Long Island studio: strip, another career high mark. inoff opened his door and called, featured tale in Superboy #149 from the Nov. 21, 2008 Arts & Living section How did Al end up working ‘Hey you.’ When I didn’t look up, [July 1968] before resigning of The Press of Manorville and the Moriches. on the Dark Knight detective he said it again: ‘Hey, you. You in the middle of the story, ac- The photo accompanied an article by half of the “World’s Finest” team? over there, what the hell’s your cording to the Grand Comics Jennett Meriden Russell. He explained: “I was drawing name?’ He talked down to every- Database. The year prior, he Superboy when Mort Weisinger body. Who did he think he was? had guest-illustrated World’s was the editor. Mort had a lot of He was just an editor, not God. Finest Comics #165, and two other things going on and was Most were scared of him, but issues later a reader’s letter of passing the editorial work over what was there to be afraid of? I praise appeared: “Dear Editor: to . I liked his went in his office, shut the door, Who’s the new artist who did brother [Henry], but not him. and had it out with him. Whit He was a little bit of a guy but Ellsworth heard the commotion stout; his expression reminded and came in; he thought I was me of Edward G. Robinson — Tugging at fun – 1993 signed rendering of the World’s Finest duo.

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the March WF? I must congrat- were handled by DC Comics’ Al remembered his time on The “most Plastino” hero in visage and ulate him for capturing the true creative people. what was formally titled Batman pose: 1969 Batman dailies Batman. Let’s see more of his When Joe Giella decided to with the Boy Wonder: work in the future.” Perhaps fan return to inking comic books in “Whit was transferred to the reaction to Al’s foray in World’s 1968, Al took over as the strip’s west coast. From there, he would Finest played a part in his being primary artist. His first Sunday send me scripts in the mail. He assigned the Gotham Detec- was dated March 17, 1968; the would also call me on the phone tive’s strip for the papers.) following Monday was his debut and send letters saying what a Whitney “Whit” Ellsworth daily. The Sunday strip ended great job I was doing. He was was the editorial director of DC July 13, 1969, but the dailies a good guy, easy to work with. prior to producing the Adven- continued to be illustrated by Whit understood artists because tures of Superman television Plastino through January 1, 1972. he ran the DC show for a long series from 1953 to 1957. Serv- E. Nelson Bridwell took over time. I never had any problems ing as the company’s liaison writing chores from Ellsworth, with him. on other Hollywood projects and Nick Cardy assisted Al “Don’t forget I had two ac- before and after the TV show, toward the end. A new creative counts — except when I did Ellsworth was a special con- team took over the strip on Janu- Batman. Batman was a crazy sultant to the Batman televi- ary 3, 1972. It was completely setup. I would pencil and ink sion series in 1965–1966 and revamped with Bruce Wayne and two weeks of dailies [12 total] wrote the Batman newspaper appearing sans se- the first week and two Sundays strip from 1966 until July 1970. cret identities (along with a new the second week. That’s the way Distributed by the Ledger named Galexo). That we kept it up. The newspaper Syndicate, the strip’s storylines version closed in 1974. scripts weren’t as precise as the

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Parallel Careers portraits going; I was painting a something in a week for me?’ hile working in the portrait of Mr. Singer, who was The inside of his cellar was like Wstudio he shared with the head of General Comics.” the inside of a yacht. It had Dow Walling and Jack Sparling, Assignments for General two giant portholes. You look Plastino continued illustrating Comics, Inc. included promo- at the bar window and you see newspaper strips after Barry tional 8- and 16-page stories. the back of the ocean with the Noble ended in 1949. In addition Alfred’s artwork also appeared curtains.” Alfred went back to to his sporadic jobs with United in a magazine called Young the studio, tacked up four large Feature Syndicate, Al recalled Catholic. One of the oddest canvases, and painted “sky here, Accompanying note from Al: advertising gigs and other en- commissions of the industri- sky over here, sky over here…I “About Golf! Age 57—” deavors: “I did a lot of stuff for A ous man’s career was done for a put the dryer on and some guy & P Stores [a supermarket chain couple whose son was coming helped me out, to put them on that, at the time, was the nation’s home from the Navy. Plastino: the wall.” largest] and stuff like that. Then “She had the money; he [the Continuing with his life’s I did commercial comics. I had husband] said, ‘Can you do philosophy of maintaining two

Arnold Palmer’s superhero caddies: donated drawing for charity auction held at Rock Hill Golf and Country Club (on Long Island).

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Newspaper Highlights continued to lend a hand with than he did. For instance, John fter Hap Hopper, which the strip on and off until 1967. Dirks, son of Rudolph Dirks, Aevolved into Barry Noble, He assisted on Joe Palooka in had taken over The Captain Alfred pinch-hit on the Casey 1959. Batman’s already covered and the Kids strip from his Ruggles strip for United Feature tenure lasted from 1968 till famous dad years earlier. When Syndicate from 1949-1950 (and 1972. It has been rumored that he found out golfing buddy Al- for one additional month in Alfred assisted fred had gotten the job drawing 1952). Ruggles’ creator, War- on Terry and the Pirates, circa Peanuts: “John Dirks got angry: ren Tufts, was a purist and 1972–1973. That would have ‘Why didn’t they call me to do demanded so much of himself been for the Tribune-News it?’ I said, ‘John, they didn’t that he had a hard time meet- Syndicate and not United call me. When I heard them ing deadlines. He needed other Feature. talking, I came in the next day Panel from the Casey Ruggles strip dated assistants, too, including Al’s Ferd’nand extended from with a sample.’ I made things Sunday, May 7, 1950. Ruggles reminded Al comic book cohort Alex Toth, 1970 until Al’s retirement in happen.” of a Western version of Gordon. along with buddies Ruben 1989. Nancy ran concurrently Moreira and Nick Cardy. for part of that sequence, from Painting Though it was a Western strip, 1982–1984. There was even an lfred said that Raeburn Alfred noted that it was done odd stint ghosting top feature AVan Buren “…painted with in the tradition of Flash Gor- Peanuts, about which creator ink…” on Abbie an’ Slats. don. He was not particularly Charles Schulz didn’t know at Rae Van Buren started as impressed. the time (explored later in this a sketch artist at the Kansas It was a couple of years later chapter). But these opportuni- City Star but moved to New that Al began to make enough ties didn’t just fall from the York City in 1913. His first Big as a freelance artist to think sky. In a profession where Apple roommates were actor of supporting a family. The many often missed deadlines, William Powell, artist Thomas syndicate portion of his income Plastino never procrastinated. Hart Benton, and caricatur- was more consistent and, in He would be the first to submit ist Ralph Barton, all Missouri addition, he had negotiated mock-ups, even when other transplants. Van became a better pay. The timeline com- newspaper artists claimed they highly successful magazine Another fragmented Hap Hopper daily strip menced with Abbie an’ Slats were more established and illustrator before accepting the from Alfred’s archives (dated Feb. 24, 1947). from 1955–1959, though he had greater right to the work Abbie an’ Slats drawing chores

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What if Lois Lane and Lana Lang had people started to ask, ‘Do It was former assistant, Moe can’t work every day.’ He said, appeared in Abbie an’ Slats as “Van Buren you have an assistant? Who is Leff, who took over the artistic ‘You can make more money.’ I women?” Al experimenting at DC Comics drawing your women, Al?’ No- chores and with whom Alfred said, ‘I got enough money. Why (Showcase No. 9, June/July 1957). body helped me.” For a short worked. “Moe had a studio in a don’t you play golf?’ ‘No, I’m too time Plastino brought some- hotel; he had two rooms,” said busy.’ He wouldn’t listen. Moe Joe Palooka DVD with a daily beneath thing unique to comic books, Al. “He and his brothers would died too young. He was only 57. featuring the heavyweight champ. Though not only to Showcase but also come in to discuss storylines “Ham Fisher did noth- credited to creator Ham Fisher, the art was to Superman and Action Com- while I listened. So they would ing – Moe Leff did everything. produced by assistant Moe Leff. ics. He offered remnants of a call me in to help them with When Ham Fisher top magazine illustrator’s style Sunday pages because his broth- suicide, no one got paid for from an earlier age. er worked at United Feature. a year because the estate was [Joe Palooka was a McNaught up for grabs. Moe was getting Punching Syndicate feature.] $4,000 a week. Joe Palooka was rom Moe Leff on Joe “The brothers put in long the biggest thing… the biggest FPalooka, Alfred was remind- hours. Moe was a strong man strip in the Daily Mirror! Movies ed about the dangers of a life out but he would work all the time. I were made of him. Now he’s of balance. would hear him moaning in the forgotten. Nobody knows who Joe Palooka’s originator, Ham next room and told him to get he is anymore.” Joe Palooka was Fisher, took his own life in 1955. out of the business. I said, ‘You a reluctant heavy weight box-

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used to hold my breath when I would do the chin. If you didn’t get the line exactly right, it’s like her jaw was broken. Sometimes I’d turn the paper upside-down to draw the jaw line. Even the spikes of Nancy’s hair, Ernie counted them. They had to stick out at just the right angle — like a sunburst. “When I sent him a [try- out] sample it was done on thin, single-ply paper. Bush- the other guys don’t like it.’ So miller said [in the raspiest, I looked at it, and I said, ‘Yeah huskiest voice Plastino could I think it’s pretty cute. It’s fresh. muster to imitate his old boss], It’s different.’ He said, ‘What do ‘It’s good but next time don’t you think?’ and I said, ‘Yeah, I use toilet paper.’ [laughs] But I think it’s [good].’ Boy, was that enjoyed it. Aunt Fritzi was gor- a decision they made!…. They geous, and I had fun with that.” made a fortune on that. They’re Illustrating mostly Sundays still making a fortune on the while another artist (Mark reruns.” Though his line grew Lasky) drew the dailies, Al cartoonist Jerry Scott. Al re- Upper left: Linus by Plastino, not Schulz. increasingly shaky after open- remembered the fellow using a called, “I was only in my sixties Above: from one assistant to the other, heart surgery, Charles Schulz lot of whiteout and having dif- but they said they were going Nancy and Sluggo gifted by Alfred to Mort lived until February 12, 2000. ficulty mastering the sweep and to go in a different direction Walker’s longtime helper on Beetle Bailey, The final new strip (a Sunday) smoothness of the line. and give the whole thing to a cartoonist Bill Janocha. of this American institution ap- “When I was writing Nancy, younger guy. It’s the only time I peared the following day. I came up with the gag first and was sort of let go. There was a lot Precision worked backward. Ernie’d send of writing. I said, ‘What the hell? a daily for an idea: ‘Can you Are you going to write a book?’ I lfred was immensely chal- make a Sunday out of that?’ I hated to see it. It was doing fine. Alenged by the precision said, ‘Sure.’” I didn’t mind being retired from of , whom he Ernie Bushmiller died on Au- Nancy, but didn’t agree with the likened to a “German mechanic” gust 15, 1982. A young woman way she was being drawn. The on Nancy with his deceptively had just been put in charge of new artist only drew three-quar- Stating it was the most difficult thing he simple line. the syndicated strips at United ter shots of Nancy and Sluggo. ever had to draw, Plastino got Nancy’s “I’m not bragging,” said Feature. By the next year, she I can’t explain it. He gave her a chin just right in the Sunday panel below Al. “I dare anybody to try it. I decided to replace Alfred with broken jaw.” (August 5, 1984).

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Portrait of the Artist side by side. “Raymond won a Mac Raboy, he was a fantastic as a Young Man prize with this painting,” said artist, but his figures were stiff.” he first project discussed Al. “He also played the cello. To Thad Plastino as its subject repay him for the painting, my Flying Hero but was produced by another father made a beautiful felt hat s an offshoot of his love for artist. Raymond Perry (1876– for him. The painting is big. It’s a Adesigning airplanes, Plas- 1960) was an old-time illustra- life-size head, done in oils. Ray- tino devised a flying Superman tor and at DC Comics. mond did some side stories and toy in 1954 — and the Kellogg Working for the company since coloring. I would sometimes just cereal company showed inter- Photo detail of Al Plastino from a 34th the early days, he was also sit at his desk and watch him Street Armory cartoonists’ demonstration known for producing oil or paint. He painted other people (NYC, 1949). watercolor portraits of some of in the office, using really crisp the staff and freelancers at the brush strokes. He was a member company. Alfred posed for him of some well-known artist club not long after he began illustrat- [Perry belonged to both the ing Superman (circa late 1940s). Salmagundi Club and American Portrait of the young artist – Ray gifted the young artist with Watercolor Society]. As great a oil painting by Raymond Perry done in the the painting, consisting of full painter as Raymond was, he had est. Though he was told to use DC offices, circa late 1940s. face and profile images placed a harder time in comics. [Like] one kind of paper, it required two different thicknesses to adequately stay aloft. Shot into the air with a rubber band, the cape unfurled from Superman’s back, and it spun down like a helicopter. The original remains in a postmarked, wax-sealed en- velope Alfred mailed to himself to retain copyright. In spite of his foresight, the following year a flying Superman was available from Kellogg’s as a 10-cent mail- in premium (plus one boxtop). Theirs was plastic, though the cape/wings were an extremely thin and fragile type. They took Alfred’s basic idea and he got nothing for it. The artist called it a hard lesson learned. (Inci- dentally, the Transogram toy company in 1954 offered a flying Superman made of hollow, lightweight plastic that looked quite different than the Plastino/ Kellogg’s figure.)

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Pulp Covers rrow Publications was “A[located] right there next to DC,” Al recalled. “I did around four pulp covers, love story covers.” When Plastino met his future wife at a diner in 1956 and asked her to model for him, Ann Marie said she’d have to ask her mother (see Chapter 7). With mom’s permission, she became the young woman being kissed by a lieutenant on a Leading Love cover. Al modeled the officer after himself: wish fulfillment that helped lead to their falling in love and marrying the following year. Perhaps those special cir- cumstances are what led artist Alfred to try something daring commercially: “Pulp maga- zines had to exaggerate their colors because the printing was cheaply done. Everything had to be vivid, so the originals looked off. The regular covers were done in oil. They had to be big and gaudy. The covers were all done on speculation, with no direction given. If they liked it, they bought it.” Composing his “lieutenant kissing the beautiful ” scene, the artist thought the beauty of it demanded some- thing softer — an out-of-the box solution. Thus, “I did the only pulp cover done in watercolors that was ever used.” Topps Gum Cards lastino got his friend and Plongtime Tarzan artist John Above: Leading Love pulp magazine cover, June issue (circa 1949 or Celardo a job at Topps illustrat- 1950), oils by Al. ing Land of the Giants but John didn’t return the favor when Al Left: Alfred’s “lieutenant kissing the beautiful girl… the only pulp cover needed help finding work later: done in watercolors that was ever used.” The models were he and future “I hated asking anybody to help wife Ann Marie Perkins. A couple of years later the by-then Mrs. Plastino me, anyway. I found my own would be his model for Supergirl too. jobs. One of them was Doctor Dolittle. I used color photos from the movie for reference. Rex Har- rison was the star. Each card was

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Art Lesson No. 1: great music.” Asked if he had ing and tell immediately if it has A Professional’s Formula composed songs, Al replied, been copied from a photograph: lfred gave an art lesson by “Not really,” but he espoused “Folds look crazy.” An artist Aphone on November 18, that he can identify good music learns to simplify and takes out 2010. He began with musical based on this formula. the folds in clothing that look composition: “It’s not just the Actors practice their tech- wild. The same with an ear: notes. That’s only one of three nique in front of a mirror. They “The way shadows play upon an things that are important.” decide how to emote while ear can make it look crazy, too. Singing part of Beethoven’s 5th learning their lines. Similarly, “Go from light to dark as Looking a bit like fellow School of Industrial Symphony: “Duh-duh-de-duh, “Artists make faces to their the layers of a watercolor are Art alumnus Tony Bennett, Alfred captioned duh-duh-de-duh”, he added, reflections” as they learn to craft placed. Go from dark to light in of his photo, “Age, I think about 68 – .” “The tone and the cadence are expression. an oil painting. Black is never the other ingredients that make Plastino can look at a draw- an end to itself in portraying shadow. It is in addition to reds and browns. Sepia is the under- pinning to many an oil painting. “In Shirley [New York] they call big houses manors. Tony Bennett and the owner of one were first cousins. The singer used to entertain there. I did a watercolor of an old water pump in the back of the manor. How the hell can you work around the pump? First I had to paint the pump with a certain paint that acts like rubber ce- ment. Then I put in the back- ground. It’s the only way the background would look right — to paint over the pump like it’s not even there. When you’d rub off the rubber cement, it leaves a white area to be painted back in. The tip came from an art magazine. A plumber looked at it and told me the pump was broken on top. I purposely like it that way, even if it wouldn’t work. The left background is cattails. I added the pail because it needed something. The white flecks were to break it up.” “I did a watercolor of an old water pump in Alfred mused about ama- the back of the manor.” teurs having no set path while

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people handled the pages; there was also grease on the hands. Then I rubbed down the entire page with a piece of cotton. That way, the ink would take better.” Al feathered with a brush when a soft effect was desired, as with watercolors: “You’re trying to wipe out most of the ink by flattening out the hairs of the brush. Rub it over an area. You can feather with a pen, too. [But] everything needed to be sharp and crisp in comics – this is not where I feathered. ” Plastino was asked if the cover for a DC comic book was prepared before the story, or whether the story was complet- ed prior to creating the cover: “No one ever gave me a cover to do first. They were done after finishing the inside art. I’d pick out a scene or something and make a concept cover sketch in Mort’s office or in the art room. He would okay it. Then I’d go home and draw it. Mort didn’t give me too much hassle with the art. He never said to change an angle or something, but he might say to play up a character more.” Alfred’s last covers at DC were drawn in September 1957. It was likely after that when Weisinger began soliciting cover images before the matching tell me when they needed it by. story guys. He simply did Culmination of the work in progress (see interior story was written. Those deadlines didn’t bother me. what was given to him, even photo, previous page): Al’s cover recreation Discussing the fact that artist “Once in a while the editors if he thought it was silly. “I of Action Comics No. 146 (July 1950). Image Vince Colletta (who embel- wanted a panel changed. I told was too keyed up on doing courtesy of collector Dan Makara, who lished Jack Kirby’s pencils) them I wasn’t going to change the work and getting it done.” wrote, “I think I chose the Action 146 cover sometimes erased entire any panels. ‘They’re fine. This is The only exception was when because it was a great shot of Superman characters from panels, Plastino what you wanted and this is what he told editor Weisinger that in action and the great expressions of the said, “Sure. He had lots of tricks. you got.’ If you didn’t hold your he thought putting capes on three being rescued. It’s my favorite period Everyone had tricks. The script ground like this, they would have the super-powered animals of Al’s work; the cover says 1950 all over it.” might call for many things to eaten you alive….Sometimes I (, Streaky, and , happen, which sounds nice but might cut down the dialogue to to name three) was stupid. “But is too complex to draw. I might make a better picture.” Did the Mort knew what he was doing simplify things and just draw writers mind their scripts being because he brought back sales the main points in a panel. changed? Al responded, “The on the Superman titles and Mort would sometimes tell me writers were treated like dirt. made them popular again.” they had a rush job. He’d say, Mort was the boss. He could ‘We need something quick.’ I’d change anything.” Referenced from the artist’s personal tell him to calm down and to Alfred never talked to the account.

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Pro-Speak Al like then? What was he like and ran it from one side of the lastino’s longevity precludes in high school? street to the other. They hooked Pmany of his peers from Nick Cardy: The School of it up near the light and the man writing or speaking about him Industrial Art was in an old, old would walk down the street. because they are no longer building, between 8th and 9th Someone would snatch his hat with us: however, we are lucky Avenue right near Times Square off his head and run off. The guy enough to have a handful of on 40th Street, an antique. I would chase him; he’d give it to them. In addition, a few comic don’t think they had too much another fellow, and another, and book successors share their money. They had narrow stair- another. In the long run, you Al Plastino – photo from the same session impressions of his legacy. ways that two alongside each saw a big batch of hats hanging as page 74. other could barely get by. Four on these lines. [laughter] Nick Cardy (1920-2013) or five classrooms would be I think Al’s parents lived ollowing are extended com- together. Each class had sliding uptown in the Bronx. I met his Fments from an interview doors. At each section of the father once when I went with cited earlier in the book. The sliding doors was a room. So him. His mother died when he conversation took place by phone when you wanted to combine was very young, so his father on February 1, 2010, between them into an auditorium, you had a woman living there who Mr. Cardy and Mel Higgins and just opened a door. We were was a foster mother. She was was transcribed by a bunch of rowdy… well, not very heavy. She never spoke to Eddy Zeno. rowdy, but the way kids were anyone. She just did her job. I Mel Higgins: I in those days. A lot of the guys lived on Third Street between Fabulous Nick Cardy art. Cover know what he’s like were from the East Side. They Avenue A and 1st Avenue. We detail, No. 37 now but what was were just rough kids who liked did a lot of walking. We walked (Jan.-Feb. 1968). to play. If you played hooky, way down to the end of the you could go to the Paramount Bowery where they had the fish- Theater. [laughs] In the class, erman’s wharf. Years later, when the teacher had us start draw- Al got a car, with one or two of ing and stuff like that. I don’t his friends, we would drive up know how it came about but the near or somewhere school wanted us to do a mural. up there. There was a farm that If we did a project, Al was one we went by. The guy gave per- of the fellows in the project. I mission for them to do shoot- don’t think we ever finished it. ing. I never did that; I just did a Even so, they had a big medal watercolor or something. and I won the award when I was Al was very conservative. graduating. He wasn’t playful. Things that In about the ‘30s, around I remember were that some 1933 because I was born in guys would always joke around. 1920 and must have been about I don’t remember Al joking 13 – in the springtime men around. I may be wrong because started wearing straw hats. On this goes back to the way I feel, opposite sides of a block they but I think he had this disposi- had lampposts. They’d get a tion that wasn’t explosive at all, group of about three or four like with some kids that try to boys who took a clothesline play games, are confrontational,

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and try to push you around. He Mel: When Plastino was see what the first color of paint just did his job. With me, Al’s young, he was very sickly and was, the undercoat, and what always been very good, very spent a lot of time in bed. That’s was the pencil. And in the weak kind. I liked him. But some- when he really started to draw. spots you could see that. And I times the way he does things Nick: Another thing that did some of that in the paint- isn’t my way. Al and I did, now that I think ings, only my way. I would do Mel: Did you like the teach- about it, we used to go to the it with acrylics and then put oil ers that you and Al had in high Metropolitan Museum of Art. or glazes over that. I don’t know school? Al did a painting of a woman if Al does any of that. He does Nick: The teachers were sitting by the beach; it’s a copy mainly watercolors. good. I had [one] that was close of a Renoir. But he made it had a studio. to 5 feet tall, narrow in build, smaller because in those days, He interviewed me and then and his name was Mayotte. whenever you made a copy of he broke me in with [Jerry] He was a professional puppe- a painting, you never did it the Iger. While I was doing Lady teer. We put on theater puppet same size as the painting. I used Luck [one of the tabloid-sized shows. He’d take some students to go in there and I used to look features that often appeared from the class. Some would at a lot of the other artists. But along with Eisner’s The Spirit in design clothes. I modeled the I never put up an easel. I would newspapers], Plastino, I believe, heads in clay and then I had go in there and, say, there’s a was working with Chesler. them made in pressed wood. William Turner painting – I I did go up to Chesler’s and They would put a T-screw – you like his stuff. To me he was the remember a stack of tables. Al know the one with the holes – precursor of the Impressionists. wasn’t my only friend; I remem- and you’d put it at the bottom His watercolors or his oil paint- ber seeing [who of the plastic wood; it would ings are very loose. I would look also drew for Eisner and Iger]. I Revisiting his buddies from the Legion of attach to the head. And they at the painting and where the stayed and talked to a lot of the Super-Heroes: pencil drawing by Al at the had eyelets over each ear; from painting was the weakest, where guys working there. The thing age of 91. up above, they would use these sometimes they don’t paint about artwork: people knew of airplanes to manipulate the up to the edge of the paper, I me. I didn’t know who the hell things. [Mayotte] could make would look underneath the lay- they were. Because everybody the head turn to the side, to the ers of the paint. I’d get about 3 lived so far away, I’d see them left, or whatever. He was also inches away… I didn’t have any once in a blue moon. There was good in composition. eyesight. But I was looking to a nice guy, a macho guy, who

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Ben Hogan, Byron Nelson, Superman in a golf group?’ I cause you inspired me with your and Superman? AL PLcouldn’tAST seeI drawingNO: the two friendship and showed us how he year 2013 beganL withAS aT SofU themPE aliveRM withA NSuperman. great the history of the game is Tcommission for the mostlyS TAIt’sN stupid.DIN I G got the idea from in Texas. I’m very pleased with retired artist. Requested by Superman waving at Kennedy; the drawing because it seemed With a comics career dating back to 1941, including Al’s good friend, Texasin kgolfing ea rproly issu es of Cthisaptain at Am leasterica, A makesL PLASTIN Oa little sense. tting to pay homage to those was one of the last surviving penciler/ of his era. Tom Ward, its purposeLa bwasoring utonc redited onSo SU PIE RputMAN themfor two indec athedes clouds and two great golfers!” commemorate two legends(1948-19 of68) , he co-critea tturneded SUPERG outIRL, B RprettyAINIAC, good.”and Al ough Superman’s y- the LEGION OF SUPER-HEROES, drawing those charac - the sport who hailed fromters’ firs tFort appea rances,was and il lfurtherustrating th equoted initial com iregardingcs his ing pose is the same in both The artist, speaking at the dedication of Worth. Forty-nine yearsstory aerto feat ure KRYPTmotivationONITE . He was c ainlled a u pgolfon to column that the original illustration and its help maintain the DC Comics house-style by redrawing John S. Hobart Elementary School in 1981. the fact, a 91-year-oldo tPlastinoher artists’ S upermanWard heads, mwrites:ost notori o“Ius lydrew on JAC itK because descendant, there is a subtle dif- KIRBY’S JIMMY OLSEN series, much to his chagrin. His revised his famous 1964care esplashr even inc luded wI’morkin ga ogreatn classic admirerdaily and Su n of- truly ference in the hero’s expression. page of Superman wavingday ne watsp aper strips litalentedke NANCY, J OpeopleE PALOO KandA, BA whenT - we When Plastino drew the Man of MAN, and others. President Kennedy for aW dier-ith a Foreword bwerey PAUL LinEV ITexasTZ , this b lastook (b yeary visiting, Steel acknowledging Kennedy, EDDY ZENO , author of CURT SWAN: A LIFE IN ent sort of tribute. COMICS ) was compleyouted jus ttook weeks thebefor etime Al’s re ctoent show me the pain was too recent, the “Tom sent photos ofpas s[Byron]ing. In these pagesand, the amyrtist r esonmem btheers b ogreatth his s tcoursesruggles and triumphs ieventsn the worl dsurrounding of comics, cartoon intheg Presi- and beyond. A near-century of insights shared by Al, his family, and contemporaries ALLEN BELLMAN, Nelson and [Ben] HoganNICK CandARD Y, JOE GIEandLLA, A toldND CA usRM IaboutNE INFAN theTINO deep,—along wrichith su ccessodent’srs JON B OassassinationGDANOVE, JERRY too raw. In asked, ‘Could you do aO Rdraw-DWAY, AND MARKroots WAID — golfpaint hada laye reind p theortra itarea.” of Plast in eo’s lif e and cathereer. Agolfers’nd a wealt haccolade, of illustration s enough show just how influential a figure he is in the history of comics. ing of Hogan and Nelson with artist added, “I really drew it be- time had passed and their lives (112-page trade paperback) $17.95 (Digital Edition) $5.95 ISBN: 978-1-60549-066-3 http://twomorrows.com/index.php?main_page=product_info&cPath=95_93&products_id=1237

Golfers Ben Hogan and Byron Nelson in the clouds – a Superman salute. Color rendering by Al Plastino (2013), image courtesy of Tom Ward.