Marie Severin - Princess of Comics
If you enjoy ‘The Hulk’, ‘Spider Woman’ and are a guiltless fan of ‘Iron Man’ and ‘Doctor Strange’, you should thank Marie Severin, co-creator of some these iconic characters and one of the few successful women in an industry notoriously dominated by men.
But, in order to understand Marie Severin’s impact in the comic’s world, we must first understand the process of creation of a comic book, a process that hasn’t changed much despite recent digital technologies.
The first stage of the process is Penciling : drawing in pencil the characters and the action, as well as deciding on the page layout, location of blurbs and text boxes, etc.
The first rough sketches are refined and fleshed out to precision to portray as close as possible the final product.
A precise sense of anatomy and perspective are essential for drawing action comics, as well as the ability to repeat a character’s features and proportions from different angles and distances without a change.
After the penciling stage is completed and no more changes are required, the pencil drawings are Inked.
The Inking process adds lights and shadows, and brings up textures and dimension to every scene on the page.
At this stage the tone and character of the comic is decided: lots of shadows and heavy contrast for dark, mysterious stories, thin brushstrokes and lack of shadows for funny stories, etc.
Once inking is done, the Lettering (the text on the blurbs and text boxes) is added, usually by an artist specialized in comics lettering.
Finally, the colorist applies colour to every detail on the finished inked drawing. Before digital technology, this was done on a separate page - usually vellum - with a brush, using up to 48 different hues.
A good eye for contrast is essential for colouring, since comics need to capture the reader’s attention, but also a sense of harmony so that the finished pages look attractive and not like a crazy carnival.
The norm in the comics industry is that artists specialize in a single area, but Severin’s talent and her versatility allowed her to work in all of them with equal mastery.
However, despite her huge talent, not everything was easy for Marie and often she had to face chauvinism from bosses and colleagues. But she retorted with a sense of humour that not only made her famous among her peers, but also helped her navigate the difficult comics industry for over half a century.
Marie Anita Severin was born in Long Island, New York, in 1921, the daughter of a WWI veteran who became a graphic and package designer for Elizabeth Arden in the 1930's.
But, in order to understand Marie Severin’s impact in the comic’s world, we must first understand the process of creation of a comic book, a process that hasn’t changed much despite recent digital technologies.
The first stage of the process is Penciling : drawing in pencil the characters and the action, as well as deciding on the page layout, location of blurbs and text boxes, etc.
The first rough sketches are refined and fleshed out to precision to portray as close as possible the final product.
'Iron Man' Cover design by Marie Severin
A precise sense of anatomy and perspective are essential for drawing action comics, as well as the ability to repeat a character’s features and proportions from different angles and distances without a change.
After the penciling stage is completed and no more changes are required, the pencil drawings are Inked.
Kull - Penciled and Inked by Marie Severin
The Inking process adds lights and shadows, and brings up textures and dimension to every scene on the page.
At this stage the tone and character of the comic is decided: lots of shadows and heavy contrast for dark, mysterious stories, thin brushstrokes and lack of shadows for funny stories, etc.
Once inking is done, the Lettering (the text on the blurbs and text boxes) is added, usually by an artist specialized in comics lettering.
Colour helps bring out details and completes the story’s narrative -
coloring by Marie Severin
Finally, the colorist applies colour to every detail on the finished inked drawing. Before digital technology, this was done on a separate page - usually vellum - with a brush, using up to 48 different hues.
A good eye for contrast is essential for colouring, since comics need to capture the reader’s attention, but also a sense of harmony so that the finished pages look attractive and not like a crazy carnival.
The norm in the comics industry is that artists specialize in a single area, but Severin’s talent and her versatility allowed her to work in all of them with equal mastery.
However, despite her huge talent, not everything was easy for Marie and often she had to face chauvinism from bosses and colleagues. But she retorted with a sense of humour that not only made her famous among her peers, but also helped her navigate the difficult comics industry for over half a century.
During her teens, Marie took several cartoon and illustration classes, and after a brief pass through Pratt Institute, in 1949 she began working in Wall Street as a clerk.
That was when her older brother, comic artist John Severin who was by then working at EC Comics, required a colorist. Marie was hired for the job and ended up contributing all along the line of EC comics: romantic comics, graphic horror comics, war comics, etc.
That was when her older brother, comic artist John Severin who was by then working at EC Comics, required a colorist. Marie was hired for the job and ended up contributing all along the line of EC comics: romantic comics, graphic horror comics, war comics, etc.
She also helped at the production end, doing touch-ups and minor corrections on the final art.
However, in 1954, the U.S. Senate started an investigation on charges that comics books contributed to juvenile delinquency and mental illness in the young.
'The Hulk' re-design by Marie Severin
However, in 1954, the U.S. Senate started an investigation on charges that comics books contributed to juvenile delinquency and mental illness in the young.
The industry was badly hit by the scandal and EC comics, among many other companies, ceased publication.
Marie then worked briefly for ‘Atlas Comics’ - Marvel Comics’ predecessor -, but due to financial struggles she was let go.
Marie then worked briefly for ‘Atlas Comics’ - Marvel Comics’ predecessor -, but due to financial struggles she was let go.
In 1957 she entered to work for the Federal Reserve Bank of New York, creating drawings, television graphics, designs, and even an education book on checks, created along his brother.
In 1959, the comics industry entered what became known as its ‘Silver Age’, which saw the birth of new characters, a new visual language and a more realistic focus to their stories.
At this time, Marie was hired at Marvel Comics to work in production. Known for her work as colorist (considered a secondary role), she didn’t even get the chance to show her portfolio to Stan Lee.
It was thanks to an illustration she did for Esquire Magazine (commissioned on a whim by Sol Brodsky, Marvel’s production manager at the time) that her talent for drawing and composition came into the spotlight.
Since then, she began earning recognition as an artist in her own right, contributing more widely with penciling, inking and lettering - as well as colouring - on various Marvel titles.
But the best recognition to her growing reputation came from Stan Lee himself, when he assigned Marie to continue the creation of Steve Ditko, “Doctor Strange”, on the Strange Tales series.
Over the next 20 years, Marie collaborated with other Marvel artists, penciling stories of ‘Namor the Sub-Mariner’ and ‘the Hulk’, helping to re-design this latter for newer generations and boosting its popularity along the way.
During this time, Marie also created the covers or interiors of a variety of titles, such as ‘The Amazing Spider-Man’, ‘Iron Man’, ‘Conan the Barbarian’, ‘Kull the Conqueror’, ‘The Cat’, and ‘Daredevil’.
Her brilliant use of colour became her hallmark in the industry, as much as her effective action composition which maximized the impact of every angle shown on the page.
In addition, Marie lent her talents to Marvel’s magazine ‘Crazy’ and the company’s self-lampooning comic ‘Not Brand Echh’, which allowed Marie to show her gift for humour.
In 1976, Marie co-created the character of ‘Jessica Drew’ (a.k.a. “Spider Woman”) and designed her iconic costume.
Despite the success of her work, Marvel’s Editor-In-Chief, Jim Shooter, terminated Marie’s role as Art Director, assigning her instead to the Marvel's Special Projects division, which handled non-comic book licensing, film/television tie-ins, and the children's book imprint Marvel Books.
During this time, Marie helped to illustrate ‘Muppet Babies’, ‘Fraggle Rock’ and ‘Alf’ comic books, tie-in publications for the ‘Star Wars’ franchise, and was in charge of the design of the ‘Advanced Dungeons and Dragons’ story books.
During the 1990's, Marie continued working for other comic’s companies in individual projects, lending her expertise to the penciling, inking and colouring of many issues. But her connection with Marvel was not lost, and Stan Lee would visit her office to exchange ideas, serving her as model for many character’s sketches.
Even after retiring, Marie continued working on selected projects in the comics and book publishing industries, and took part in Comics conventions, both as a speaker and guest artist.
Among the professional honors she received throughout her career is the ‘Best Penciler (Humor Division) Shazam Award’ in 1974, nominations as Best Inker and Best Colorist at the 1975 Shazam Awards in 1975, and the ‘Inkpot Award’ at the San Diego Comic Con in 1988.
In 1959, the comics industry entered what became known as its ‘Silver Age’, which saw the birth of new characters, a new visual language and a more realistic focus to their stories.
Cover colouring by Marie Severin
At this time, Marie was hired at Marvel Comics to work in production. Known for her work as colorist (considered a secondary role), she didn’t even get the chance to show her portfolio to Stan Lee.
It was thanks to an illustration she did for Esquire Magazine (commissioned on a whim by Sol Brodsky, Marvel’s production manager at the time) that her talent for drawing and composition came into the spotlight.
Since then, she began earning recognition as an artist in her own right, contributing more widely with penciling, inking and lettering - as well as colouring - on various Marvel titles.
But the best recognition to her growing reputation came from Stan Lee himself, when he assigned Marie to continue the creation of Steve Ditko, “Doctor Strange”, on the Strange Tales series.
Over the next 20 years, Marie collaborated with other Marvel artists, penciling stories of ‘Namor the Sub-Mariner’ and ‘the Hulk’, helping to re-design this latter for newer generations and boosting its popularity along the way.
During this time, Marie also created the covers or interiors of a variety of titles, such as ‘The Amazing Spider-Man’, ‘Iron Man’, ‘Conan the Barbarian’, ‘Kull the Conqueror’, ‘The Cat’, and ‘Daredevil’.
Her brilliant use of colour became her hallmark in the industry, as much as her effective action composition which maximized the impact of every angle shown on the page.
In addition, Marie lent her talents to Marvel’s magazine ‘Crazy’ and the company’s self-lampooning comic ‘Not Brand Echh’, which allowed Marie to show her gift for humour.
In 1976, Marie co-created the character of ‘Jessica Drew’ (a.k.a. “Spider Woman”) and designed her iconic costume.
Despite the success of her work, Marvel’s Editor-In-Chief, Jim Shooter, terminated Marie’s role as Art Director, assigning her instead to the Marvel's Special Projects division, which handled non-comic book licensing, film/television tie-ins, and the children's book imprint Marvel Books.
During this time, Marie helped to illustrate ‘Muppet Babies’, ‘Fraggle Rock’ and ‘Alf’ comic books, tie-in publications for the ‘Star Wars’ franchise, and was in charge of the design of the ‘Advanced Dungeons and Dragons’ story books.
During the 1990's, Marie continued working for other comic’s companies in individual projects, lending her expertise to the penciling, inking and colouring of many issues. But her connection with Marvel was not lost, and Stan Lee would visit her office to exchange ideas, serving her as model for many character’s sketches.
Even after retiring, Marie continued working on selected projects in the comics and book publishing industries, and took part in Comics conventions, both as a speaker and guest artist.
Among the professional honors she received throughout her career is the ‘Best Penciler (Humor Division) Shazam Award’ in 1974, nominations as Best Inker and Best Colorist at the 1975 Shazam Awards in 1975, and the ‘Inkpot Award’ at the San Diego Comic Con in 1988.
In 2011, Marie was inducted into the Will Eisner Comics Hall of Fame, the highest honor to artists in the world of comics.
Marie died shortly after her 89th birthday, on August 30th, but she left a legacy of work that is not only a testament to her artistic virtuosity but also to her brilliant sense of humor, perseverance and endurance, carving herself a path into a medium dominated by men.
Her masterful use of color, inking, penciling and composition influenced the look of modern comics, and opened doors to new possibilities that nowadays we take for granted.
Without Marie’s work, familiar characters such as the Hulk, the Fantastic Four, Thor, Doctor Strange, Iron Man and more would look completely different, and some would not even exist at all.
Marie’s artistic contributions left an indelible mark in the comics industry.
Marie’s Self-Portrait with the Marvel Guys, 1996
Marie died shortly after her 89th birthday, on August 30th, but she left a legacy of work that is not only a testament to her artistic virtuosity but also to her brilliant sense of humor, perseverance and endurance, carving herself a path into a medium dominated by men.
Her masterful use of color, inking, penciling and composition influenced the look of modern comics, and opened doors to new possibilities that nowadays we take for granted.
Without Marie’s work, familiar characters such as the Hulk, the Fantastic Four, Thor, Doctor Strange, Iron Man and more would look completely different, and some would not even exist at all.
Photo credit: Dave Scheidt
Marie’s artistic contributions left an indelible mark in the comics industry.
As ‘Batman’ writer Tom King expressed in his Twitter account: “R.I.P. Marie Severin. One of the great cartoonists in comics and likely the greatest colorist in the history of comics. We stand on the shoulder of giants."
Sources: WomenInComics.com, WomenWriteAboutComics.com, Wikipedia, New York Times.
Sources: WomenInComics.com, WomenWriteAboutComics.com, Wikipedia, New York Times.
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