Jim Steranko's silver age comic book artwork began at Harvey Comics with Spyman #1. However, his most notable work was at Marvel beginning in 1966. As artist on Nick Fury, Agent of Shield, starting
with Strange Tales #151, Steranko, whose style was reminiscent of Jack Kirby at the time, played with the art form in new and innovative ways. He incorporated Psychedelia, Op Art, and Photo Montage into
his artwork that was popular in the 1960's (think Andy Warhol). When Steranko took over art chores, Strange Tales was an anthology comic that included one Doctor Strange storyline and one Nick Fury
storyline in every issue. After Strange Tales #168 Nick Fury, Agent of Shield was spun off into its own comic book title starting with Nick Fury, Agent of Shield #1
(Doctor Strange received his own book as well but continued with issue #169). Following his stint on Nick Fury, Steranko did a few issues of X-Men
and Captain America.
Spyman #1
Strange Tales #151
Strange Tales #152
Strange Tales #153
Strange Tales #154
Strange Tales #155
Strange Tales #156
Strange Tales #157
Strange Tales #158
Strange Tales #159
Strange Tales #160
Strange Tales #161
Strange Tales #162
Strange Tales #163
Strange Tales #164
Strange Tales #165
Strange Tales #166
Strange Tales #167
Strange Tales #168
Nick Fury Agent of Shield #1
Nick Fury Agent of Shield #2
Nick Fury Agent of Shield #3
Nick Fury Agent of Shield #4
Nick Fury Agent of Shield #5
Nick Fury Agent of Shield #6
Captain America #110
Captain America #111
Captain America #113
X-Men #49 (Steranko cover)
X-Men #50
X-Men #51
Our Love Story #5
Tower of Shadows #1
In the summer of 1968, Barry Windsor-Smith (born Barry Smith) came to New York to meet with Marvel Comics. Editor in Chief Stan Lee liked his style (similar to Jack Kirby) and had him work on
X-Men #53. Windsor-Smith did a number of titles after this including Daredevil,
Nick Fury, Agent of Shield, Avengers #66 & #67, as well as
Avengers #98-#100, and most notably Conan. It was on Conan where
Windsor-Smith evolved from a "less skillful" Jack Kirby to a style all his own that had never before been achieved in comics. After his run on Conan in 1974, Windsor-Smith moved away from comics and
opened a studio where he and a few other artists created works that would be considered fine art. It wasn't until the mid 1980's when he returned to the comics medium and drew issues of Uncanny X-Men
and Machine Man.
Astonishing Tales #3
Astonishing Tales #4
Astonishing Tales #5
Astonishing Tales #6
Astonishing Tales #10
Chamber of Darkness #3
Chamber of Darkness #4
Marvel Premiere #3
Marvel Premiere #4
Daredevil #50
Daredevil #51
Daredevil #52
Iron Man #47
Nick Fury Agent of Shield #12
X-Men #53
Tower of Shadows #3
Tower of Shadows #5
Tower of Shadows #7
Western Gunfighters #4
Marvel Comics introduced Conan The Barbarian in 1970. Barry Windsor-Smith drew 22 of the first 24 issues. Issue #23 featured the first appearance of Red Sonja. Conan #1 can be found
here.
From the mid 1980's into the early 1990's, Barry Windsor-Smith returned to mainstream comics. He did a few Marvel books here and there, but his Machine Man limited series and Weapon X storyline in Marvel
Comics Presents were his most notable works at the time. He also had tremendous success with Valiant Comics' Unity storyline and was writer/artist for the first 12 issues of
Archer & Armstrong before the publisher collapsed. Later, he moved on to Rune by Malibu Comics and then the Wildstorm Rising storyline by Image
Comics.
Iron Man #232
Marvel Comics Presents #72
Machine Man (1984) #1
Machine Man (1984) #2
Machine Man (1984) #3
Machine Man (1984) #4
Uncanny X-Men #186
Uncanny X-Men #198
Uncanny X-Men #205
Daredevil #236
Back in 1989, Jim Shooter (former Editor-in-Chief at Marvel Comics) founded Voyager Communications. This new company enabled Shooter to acquire the licenses for a number of 1960 and 1970 Gold Key Comics
titles that included Magnus Robot Fighter, Solar, and Turok. With this cast of characters as a cornerstone, he published a cohesive universe with interconnected continuity that led to the success of new
characters such as X-O Manowar, Harbinger, Bloodshot, Shadowman, Ninjak, Rai, Eternal Warrior, and Archer & Armstrong. By 1990, Voyager Communications' comic division, Valiant Comics had become the third
largest comic book publisher right behind behemoths Marvel and DC.
Unfortunately, Valiant's success was short-lived as Jim Shooter was eventually ousted from his positions as Co-Founder, President, and Editor-in-Chief. Disagreements with ownership over company direction
ultimately led to his dismissal in 1992. Without Shooter's vision, and after the company was profitably sold to Acclaim Entertainment in 1994, Valiant Comics would eventually collapse.
During Valiant's early ascension in 1991, Jim Shooter invited Barry Windsor-Smith to be Creative Director and Lead Artist at Valiant to help define a unique artistic aesthetic for this new comic imprint.
Windsor-Smith contributed greatly on Eternal Warrior, Solar, Unity, and X-O Manowar; and he even wrote and provided almost all the artwork on the first 12 issues of Archer & Armstrong. His efforts were
incredibly popular with the fans and the title saw tremendous success early on.
When Jim Shooter was abruptly relieved of his duties at the end of 1992, Windsor-Smith was offered the position of President of Valiant Comics. He declined the offer as he did not agree with Shooter's dismissal.
Windsor-Smith also understood they needed his creative talents to sustain the success of this nascent comic universe, and the promotion was most likely made with the intention of trying to keep him on. Yet, he
witnessed the way in which Shooter was let go with little or no regard, and he felt ownership could do the same to him. In 1993, shortly after Shooter's dismissal, Windsor-Smith left Valiant Comics, and
without his creative input and Jim Shooter's overall vision Valiant's comic sales crashed.
