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Alexander Toth (; November 13, 2018 June 25, 1928 – May 27, 2006) was an American cartoonist active from the 1940s through the 1980s. Toth's work began in the American comic book industry, but he is also known for his animation designs for Hanna-Barbera throughout the 1960s and 1970s. He came to Hanna Barbera in 1964 to do designs for Jonny Quest and his work included Super Friends, Fantastic Four, Space Ghost, Sealab 2020, The Herculoids and Birdman. Toth's work has been resurrected in the late-night, adult-themed spin-offs on Cartoon Network’s late night sister channel Adult Swim: Space Ghost Coast to Coast, Sealab 2021 and Harvey Birdman, Attorney at Law.
He was inducted into the comic book industry's Jack Kirby Hall of Fame in 1990.
Toth's talent was noticed early, and a teacher from his poster class in junior high school urged him to devote himself to art. Enrolling in the School of Industrial Art, Toth studied illustration. He began his career when he sold his first freelance art at the age of 15, subsequently illustrating true stories for Heroic magazine through a comic book packager named Steve Douglas. Although he initially aimed to do newspaper comic strip ("It was my dream to do what Milt Caniff, Alex Raymond, and Hal Foster had done"), he found the industry "dying" and instead moved into comic books.
After graduating from the School of Industrial Art in 1947, Toth was hired by Sheldon Mayer at National/DC Comics. Green Lantern #28 (Oct.–Nov. 1947) was one of the first comics he drew for the company. (2026). 9780756667429, Dorling Kindersley. ISBN 9780756667429 He drew four issues of All Star Comics including issues #38 and #41 in which the Black Canary first met the Justice Society of America and then joined the team.Wallace "1940s" in Dolan, p. 57: "In a sign of the character's growing popularity, Black Canary made her first appearance outside of Flash Comics in a feature by writer Robert Kanigher and artist Alex Toth...By the story's end, Black Canary was considered for JSA membership but wouldn't officially join until All Star Comics #41." A canine sidekick for Green Lantern named Streak was introduced in Green Lantern #30 (Feb.–March 1948) and the dog proved so popular that he became the featured character on several covers of the series starting with #34.Wallace "1940s" in Dolan, p. 59: "The debut of Streak the Wonder Dog in a story by writer Robert Kanigher and artist Alex Toth wasn't a good sign for Green Lantern...Streak took over the cover of issue #34 in September, but he couldn't save his master's series from cancelation the following year." He worked at DC for five years, drawing the Golden Age versions of the Jay Garrick, Doctor Mid-Nite, and the Atom. In addition to superheroes, Toth drew Western comics for DC including All-Star Western.Alex Irvine "1950s" in Dolan, p. 66: "With work by artists Gil Kane, Carmine Infantino, and Alex Toth, and writer Robert Kanigher, among others, All-Star Western would run for ten years as a bimonthly title." He was assigned to the "Johnny Thunder" feature in All-Star Western because editor Julius Schwartz considered him to be "my best artist at the time." Toth and writer Robert Kanigher co-created Rex the Wonder Dog in 1952.Irvine "1950s" in Dolan, p. 68: "Rex the Wonder Dog leaped into comics with his own bimonthly series...written by Robert Kanigher and drawn Alex Toth."
For a brief time in 1950, Toth was able to realize his dream of working on newspaper comic strips by Ghostwriter Casey Ruggles with Warren Tufts. In 1952 Toth ended his contract with DC Comics and moved to California. It is during that time that he worked on crime, war and romance comics for Standard Comics. In 1954, Toth was drafted into the U.S. Army and stationed in Tokyo, Japan. While in Japan, he wrote and drew his own weekly adventure strip, Jon Fury, for the base paper, Depot Diary. He served in the Army until 1956.
He continued to work in comic books, contributing to Warren Publishing's magazines Eerie, Creepy and The Rook. For DC Comics, he drew the first issue of The Witching Hour (February–March 1969) and introduced the series' three witches.McAvennie, Michael "1960s" in Dolan, p. 132: "For the first issue, writer/artist Alex Toth provided a framing sequence ... that introduced readers to cronish Mordred, motherly Mildred, and beautiful maiden Cynthia." Toth illustrated the comic book Brand licensing to the Hot Wheels animated series based on the Hot Wheels.McAvennie "1970s" in Dolan, p. 138: "Toth's aerodynamic storytelling fueled a series that took licensed tie-ins in a bold new direction." His collaboration with writer Bob Haney on the four page story "Dirty Job" in Our Army at War #241 (Feb. 1972), has been described as a "true masterpiece". Toth worked with writer/editor Archie Goodwin on the story "Burma Sky" in Our Fighting Forces #146 (Dec. 1973 – Jan. 1974) and Goodwin praised Toth's art in a 1998 interview: "To me, having Alex Toth do any kind of airplane story, it's a joy for me. If I see a chance to do something like that, I will. He did a really fabulous job on it." The two men crafted a Batman story for Detective Comics #442 (Aug.–Sept. 1974) as well. (2026). 9781465424563, Dorling Kindersley. ISBN 9781465424563 Toth and E. Nelson Bridwell produced a framing sequence for the Super Friends feature in Limited Collectors' Edition #C-41 (Dec. 1975 – Jan. 1976). Toth's final work for DC was the cover for Batman Black and White #4 (Sept. 1996).Levitz "The Dark Age 1984–1998" p. 574: "Only fate understood the juxtaposition of having the first cover to be Jim Lee's debut as a DC contributor and the last be Alex Toth's final contribution, placing the star artist of DC's next decades against the artist's artist of its Golden and Silver ages."
Journalist Tom Spurgeon wrote that Toth possessed "an almost transcendent understanding of the power of art as a visual story component", and called him "one of the handful of people who could seriously enter into Greatest Comic Book Artist of All-Time discussions" and "a giant of 20th-century cartoon design".
Toth was known for his exhaustive study of other artists and his outspoken analysis of comics art past and present. For example, in a 2001 interview he criticized the trend of fully painted comics, saying "It could be comics if those who know how to paint also knew how to tell a story! Who knew what pacing was, and didn't just jam a lot of pretty pictures together into a page, pages, and call it a story, continuity! It ain't!" Toth lamented what he saw as a lack of awareness on the part of younger artists of their predecessors, as well as a feeling that the innocent fun of comics' past was being lost in the pursuit of pointless nihilism and mature content.
In the 1990s and 2000s, he contributed to the magazines Comic Book Artist and Alter Ego, writing the columns "Before I Forget" and "Who Cares? I Do!", respectively. In 2006, James Counts and Billy Ingram compiled personal anecdotes, hundreds of unseen sketches from famous Alex Toth comic and animated works combined with correspondence with friend and comics dealer John Hitchcock in the book Dear John: The Alex Toth Doodle Book (Octopus Press). Launched at ComicCon 2006, the first printing sold out within weeks of first publication.
Film director Michael Almereyda said Toth was a formative influence on his youth, and credits Toth's long interest in Nikola Tesla as the catalyst for Almereyda's biographical drama Tesla:
DC Comics will publish a collection of Toth's work titled DC Universe by Alex Toth: The Deluxe Edition in 2026.
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