Barrie was born in Moreton, Wallasey, Cheshire, the son of Kenneth J Appleby and Olive (née Jones). His mother came from Birkenhead and his father worked on a minesweeper in Liverpool. They were married two weeks after meeting in early 1941.

The family moved across the Pennines after the war and Barrie grew up in Grimethorpe, South Yorkshire. He left school at 15 and went to Barnsley Art College but left before his final exams. He then started work in a glassworks but really wanted to draw cartoons. He saw a copy of a Walt Disney comic in a shop and wrote to them. He took a job with them in London aged 17 as an art assistant doing cut and paste jobs on artwork that mostly came in from America as well as a few drawings for the letters page.

He then had a job as a layout artist with IPC Magazines and supplemented his income with freelance cartoon work. By this time he was married to Eileen and they moved to Toronto where he worked for a book publisher eventually becoming Art Director. He then moved to a textbook publishing company, also as art director. Two children arrived and they decided to move back to England as the job had become more administrative than creative.

He set up a studio and agency in Essex with two friends, one of them had contacts with D.C. Thomson which then led to work ghosting other artists there. In around 1980 Barrie and the family moved to Suffolk, near Sudbury. In the 1970s he drew ‘Terror TV’, ‘Teddy Scare’ and ‘Starr Tour’ for IPC. He created ‘Cuddles and Dimples’ in The Dandy from 1986 to 2004 by joining together two previously separate strips.

He was one of the artists of ‘Dennis the Menace’ and ‘Roger the Dodger’ and also with ‘Pirates of the Caribeano’, ‘London B412’, ‘Gnasher and Gnipper’ and ‘Fun Kids’. He drew ‘Bananaman’ for the BEEB comic and Dandy, succeeding original artist John Geering. Beginning in 1985 he drew several strips for Marvel’s ‘The Get Along Gang’.

In the early 1990s he became an independent freelance artist.

Surprisingly, considering his chosen profession, Barrie is colour blind and has difficulty distinguishing green, brown and pink and so does most of his work in black and white. He enjoys working with colour on commissioned work but sometimes needs advice on the correct colour.

Larson was born and raised in University Place, Washington, in suburban Tacoma. He graduated from Curtis Senior High School in University Place and from Washington State University in Pullman with a degree in communications. During high school and college, he played jazz guitar and banjo.
Larson said his family has "a morbid sense of humor", and that he was influenced by the "paranoid" sense of humor of his older brother, Dan. Dan played pranks on Gary, for example by waiting in the closet for the right moment to scare him whenever he could. They also caught animals in Puget Sound and placed them in terrariums in the basement.

Larson notes in his anthology "The Prehistory of The Far Side", that he was working in a music store when he took a few days off, after realizing how much he hated his job. During that time, he decided to try cartooning. In 1976, he drew six cartoons and submitted them to Pacific Search (later Pacific Northwest Magazine), a Seattle-based magazine. After contributing to another local Seattle paper, in 1979 Larson submitted his work to The Seattle Times. Under the title "Nature's Way", his work was published weekly. To supplement his income, Larson worked for the Humane Society as a cruelty investigator. Larson decided that he could increase his income from cartooning by selling his strip to another newspaper. While on vacation in San Francisco, he pitched his work to the San Francisco Chronicle, who bought the strip and promoted it for syndication, renaming it "The Far Side". Its first appearance in the Chronicle was on January 1, 1980. He retired the strip on January 1, 1995, as he thought it was becoming repetitive.

Fabrizio Russo (Milano, 14 agosto 1970) è un illustratore e disegnatore di fumetti italiano. Dopo gli studi alla Scuola Superiore d’Arte del Castello Sforzesco, nel 1991 ha frequentato la Scuola del Fumetto di Milano sotto la guida di Enea Riboldi, approfondendo le tecniche del fumetto.
Nel 1994 ha iniziato a collaborare con Sergio Bonelli Editore, debuttando su Zona X, dove ha creato graficamente il personaggio Robinson Hart, disegnando sette episodi fino alla chiusura della serie. Successivamente ha lavorato su Martin Mystère e si è unito al team di Dampyr.
Dal 2010 collabora con l’editore francese Clair De Lune, realizzando Rapa Nui e Death Valley, e nel 2020 ha disegnato una storia di Tex.

[Fabrizio Russo (Milan, August 14, 1970) is an Italian illustrator and comic book artist. After studying at the Scuola Superiore d’Arte del Castello Sforzesco, in 1991 he attended the Scuola del Fumetto in Milan under the guidance of Enea Riboldi, where he deepened his comic art techniques.
In 1994, he began collaborating with Sergio Bonelli Editore, debuting on Zona X, where he visually created the character Robinson Hart, drawing seven episodes until the series’ conclusion. He later worked on Martin Mystère and joined the team of Dampyr.
Since 2010, he has collaborated with the French publisher Clair De Lune, producing Rapa Nui and Death Valley, and in 2020 he drew a story for Tex.]

Gene Day, the Canadian artist whose longest-running assignment was his work on Marvel's Master of Kung Fu, died on September 23, 1982. The cause of death cited was a massive coronary. Day, who was born and raised in Ontario, had been a prolific fan artist before turning to professional comics. He was one of the mainstays of the short-lived Canadian magazine Orb, and produced a large amount of work for Myron Fass's Countrywide Publications comics in the mid-'70s.

After working briefly for Mike Friedrich's Star*Reach Comics, Day began to work for Marvel. He turned in at least one pencil job, Peter Gillis's Caleb Hammer, before deciding to focus his energies on inking. In this capacity, he worked on Star Wars, Marvel Two-in-One, and, especially, Master of Kung Fu. When regular penciller Mike Zeck left that series with #102, Day took over the penciling, racking up close to two years on the title. At the time of his death, he had just left the book and was preparing to move to DC, where he had been offered Detective Comics.

Day's last, uncompleted assignment for Marvel was an issue of Indiana Jones. Richard Howell would finish it.

James Gillray was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810. Many of his works are held at the National Portrait Gallery in London.

Regarded as being one of the two most influential cartoonists, the other being William Hogarth (b. 1697), Gillray has been called the father of the political cartoon. The 20th-century New Zealander cartoonist David Low (b. 1891) described Hogarth as the grandfather and Gillray the father of the political cartoon.

Eiji Masuda (増田英二) is a manga artist. Works include Jitsu wa Watashi wa (実は私は / My Monster Secret: Actually, I Am…), Toumei Ningen no Tsukurikata (透明人間の作り方 / How to Make an Invisible Man), Sakura Discord (さくらDISCORD) and Shuukan Shounen Hachi (週刊少年ハチ).

Actress and comic book writer. Most famous for her role as Ms. Marvel in the Marvel Cinematic Universe. Her comic debut came one year later as the co-writer of Ms. Marvel: The New Mutant (Marvel, 2023 series).

Jack Binder was a fine-arts trained comics creator active mainly from the late 1930s to early 1950s. He began as art director at Harry "A" Chesler’s studio before founding his own studio, which at its height employed more tha nfifty artists, producing work for publishers such as Timely, Lev Gleason and Nedor. He created the original Daredevil (Lev Gleason) and co-created the Destroyer (Timely) with Stan Lee (b. 1922). After closing his studio in the mid-1940s, he continued contributing to comics while transitioning into commercial art and sculptural work.

Letterer at various companies starting in 1985.

Comic book artist and writer.

Paul Jamin dessina sa première bande dessinée en 1930-1931 : "La Belgique à travers les âges" dans "Le Boy-scout belge". Mais inspiré par Jean Sennep, c’est le dessin politique qui l’intéresse.
En tant que dessinateur de BD, il fut notamment collaborateur de Hergé, au journal "Le Petit Vingtième" de mars 1930 à février 1936. À l’époque, il y signait ses dessins avec le pseudonymes Jam. Il signe en commun avec Hergé l’éditorial hebdomadaire sous le nom de plume commun Oncle Jo.
Après avoir quitté "Le Petit Vingtième" en 1936, Jamin resta toujours en contact étroit avec son ami Hergé, à qui il remettait souvent des idées de gag pour la série Quick et Flupke.
En 1936, il quitta "Le Petit Vingtième" pour suivre Léon Degrelle. Il devint l’illustrateur et le caricaturiste de l’organe de presse du parti rexiste, "Le Pays Réel". Lorsque survint la guerre, il s’engagea dans la collaboration avec l’occupant nazi en participant aux journaux sous contrôle de l’occupant allemand ("Le Soir", le "Deutsche-Brüsseler Zeitung").
À la Libération, ses nombreux dessins politiques jugés anti-anglais, antisémites et anti-gouvernement de Londres lui valurent une condamnation à mort. Paul Jamin fut gracié après sept ans de détention et fut libéré en 1952. Après une collaboration à "Ruhr Nachrichten" où il publiait une caricature par jour sous le nom Peter Klipp, il travailla essentiellement pour l’hebdomadaire satirique Pan (créé en 1945 sur le modèle du "Canard enchaîné") dont il devint le principal caricaturiste, sous le pseudonyme Alidor.
Par ailleurs, sous le pseudonyme d’Alfred Gérard, il fournit au journal "Spirou", de 1959 à 1965 surtout, des nouvelles, mini-récits et illustrations en plus de quelques courtes histoires en BD mais aussi, en 1962, d’une longue BD à suivre dont le héros était Ernest Lecrac : "Le Vol du bourdon".
En 1990, ne pouvant accepter la cession de "Pan" à Stéphane Jourdain, il créa avec Henri Vellut un autre journal satirique, "Père Ubu", dont il devint le caricaturiste attitré.
[Paul Jamin drew his first comic in 1930-1931: "La Belgique à travers les Ages" ("Belgium through the Ages") in "Le Boy-Scout Belge" (The Belgian Boy Scout). But inspired by Jean Sennep, he was interested in political drawing.
As a comic cartoonist, he worked for Hergé for the magazine "Le Petit Vingtième" from March 1930 to February 1936. At the time, he signed his drawings with the pseudonym Jam. He signed the weekly editorial together with Hergé under the common pen name Uncle Jo.
After leaving "Le Petit Vingtième" in 1936, Jamin always kept in close touch with his friend Hergé, whom he often handed gag ideas for the Quick et Flupke series.
In 1936, he left "Le Petit Vingtième" to follow Léon Degrelle. He became the illustrator and caricaturist of the Rexiste Party’s press outlet, "Le Pays Réel". When the war came, he engaged in the Collaboration with the Nazi occupier by participating in newspapers under the control of the German occupier ("Le Soir", the "Deutsche-Brüsseler Zeitung").
At the time of the Liberation, he was sentenced to death for his many political drawings, which were considered anti-English, anti-Semitic and anti-London government. Paul Jamin was pardoned after seven years in prison and released in 1952. After a collaboration with "Ruhr Nachrichten" where he published a cartoon a day under the name Peter Klipp, he worked mainly for the satirical weekly "Pan" (modelled on the french newspaper "Le Canard enchaîné" in 1945), of which he became the main cartoonist, under the pseudonym Alidor.
In addition, under the pseudonym Alfred Gérard, he provided the comic magazine "Spirou", from 1959 to 1965 in particular, with short stories, mini-stories and illustrations in addition to a few short comic stories but also, in 1962, a long comic book to follow, the hero of which was Ernest Lecrac: "The Flight of the Bumblebee".
In 1990, unable to accept the transfer of "Pan" to Stéphane Jourdain, he created with Henri Vellut another satirical newspaper, "Père Ubu", of which he became the official cartoonist.]

Gwen Krause moved to Florida in 1963 from Ft. Riley, Kansas. She was a CNA and had retired from Bausch and Lomb. She was a member of Showfolks of Sarasota and was 'Pong' of the clown duo 'Ping and Pong'. She collaborated with cartoonist Ray Dirgo as a writer for the Charlton Hanna-Barbera comics which he drew in the 1970s.

Additional biographical information found in:
Women and the Comics (Eclipse Books, 1985) by Trina Robbins and Catherine Yronwode.

Jens R. Nilssen kom fra gården Dal i Valberg.