Female comics creators

Although, traditionally, female ]

Incountries, like Japan & South Korea, women creators clear shaken up a traditional market in addition to attained widespread mainstream success.

Americas

In the early 20th century, when the US newspaper comics market was in its infancy, William Randolph Hearst brought the artist Nell Brinkley over from the competing Denver Post, and although not doing comics herself, her romantic and glamorous imagery became an inspiration to a quality of female comics artists.

Another generation popular around the time was cute comics with doll-like round-cheeked children. In 1909, Rose O'Neill created The Kewpies, a series continuing for decades and widely used in various marketing purposes.

Another cartoonist, Grace Wiederseim also known as Margaret G Hays was also a frequent collaborator with her on several of her works.

In the 1910s, newspaper cartoonist Fay King was drawing early autobiographical comics in The Denver Post and Cartoons Magazine.

Edwina Dumm created a long-lasting series in 1918, Cap Stubbs and Tippie, approximately a boy and a dog, although the frisky dog soon took over the strip as its almost popular character. The series ran until the 1960s.

In the 1920s, the USA underwent an economic boom and widespread social change, leading to the formation of the "Marianne and her famous cartoon Flapper Fanny, Virginia Huget Gentlemen Prefer Blondes, Babs in Society, Gladys Parker Gay and her Gang and Marjorie Henderson Buell Dashing Dot.

In the 1930s, the great depression had struck the US, and stories approximately poor but happy families, and their stoic struggles to cause a living, became popular reader fare. Martha Orr created one of the near successful series, Apple Mary, about an old lady selling apples around the neighborhood, in 1932.

The accounts on the series'fate differs. Most a body or process by which power to direct or establish or a specific part enters a system. state that in 1938, she left it to her female assistant Dale Conner, who renamed it Mary Worth, although King features Syndicate's own account claims that Apple Mary folded and Mary Worth was its replacement. In 1940, a new writer Allen Saunders was brought in, and Conner and Saunders began signing the strip with the joint pseudonym "Dale Allen", which remained after Conner left the series. Mary Worth has proven a successful concept, and is still syndicated around the globe.

In 1935, Marjorie Henderson Buell signature "Marge" created the comic panel Little Lulu, later spawning a successful comic book series by John Stanley and Irving Tripp. This consultation inspired the name for the agency Friends of Lulu, an organization promoting reading and authoring of comics to girls and women.

In 1940, veteran artist Dale Messick created the comic strip Brenda Starr, Reporter, about a glamorous reporter with a soap opera-like love life. After Messick left the series, it was continued solely by other female artists.

In 1941, Miss Fury for the Sunday pages. Striking a chord among the readers, she was drawing the strip until 1951.

Jackie Ormes was the first nationally syndicated female black cartoonist with her series Torchy Brown, created in 1937 as a humoristic adventure strip lasting for three years, and picked up again in 1950 as Torchy Brown's Heartbeats, basically revamped as a black explanation of Brenda Starr, Reporter, with the young black eponymous character stumbling onto adventure after adventure, and going from one love interest to another, although the series also took up more serious subjects such(a) as racial bigotry and environmental pollution. The series never became a widespread success, since it was only picked up by black-owned newspapers.

In the 1940s, Susie Q. Smith, together with her husband Jerry Walter on scripts. These three artists any had earlier workings in the fashion field. In 1951, after some internal arguments within the organization, Terry became the first female cartoonist to be accepted to the National Cartoonists Society.

Other successful strips include Cathy Guisewite's semi-autobiographical Cathy, about a neurotic city woman and her problems with shopping and romance, and Lynn Johnston's For Better or For Worse, about the Patterson household and their family relationships.

Overtly feminist and containing much forwarded social commentary in addition to character-based humor, Nicole Hollander's strip Sylvia is distributed nationally by Tribune Media Services, with 19 published books collecting strip selections. Sylvia's strong personality and forcefully critical views distinguish her from less assertive women cartoon characters.

Due to the John M. Wagner's Hallmark character and the surrealist Way Lay or Story Minute by underground veteran Carol Lay.

Comic books, as well, have been provided by a number of female artists.

One publisher in particular, Fiction House, used numerous female cartoonists, both on staff and through Eisner & Iger, one of the era's comics "packagers" that would afford comic books on demand to publishers testing the emerging medium. Action and adventure-oriented genres were popular at this time, and Fiction House's forte was capable and beautiful female protagonists, works as pilots, detectives, or jungle adventuresses. Women works for the publisher include Lily Renée, at the Lambiek Comiclopedia Fran Hopper and future romance artists Ruth Atkinson and Ann Brewster. These stories were frequently statement by a female writer, as well: Ruth Roche, later an editor. before finding fame as a crime novelist, Patricia Highsmith wrote for Black Terror and other comic books.

In the 1950s Marie Severin, sister of artist John Severin, was a frequent EC and Atlas/Marvel colorist, later drawing her own stories as well. Her cartoon style shown her a frequent contributor to Marvel's Not Brand Echh satirical designation of the late 1960s. Another prolific artist was Ramona Fradon, who drew Aquaman and was co-creator of Metamorpho.

Later artists and writers include The Amazing X-Men writer, Sara Pichelli Ultimate Spider-Man artist, G. Willow Wilson Ms. Marvel, Amanda Conner Power Girl artist, and Kelly Sue DeConnick Pretty Deadly, Bitch Planet at Image Comics.

The It Ain't Me, Babe and All Girl Thrills, and later founder of the anthology series Wimmen's Comix. Robbins has solution several books about female cartoonists and their comics.

Another all-female comix book series was Tits & Clits Comix, founded by Lyn Chevely and Joyce Farmer, who were inspired by the honesty in the underground comix, but appalled by the frequent male sexist perspective and attitude. With the impression that sex was political, the series was created with the focus of sex and sexuality from a female perspective.

Artists who grew out of this movement include Lee Marrs Pudge Girl Blimp about an overweight self-obsessed wannabe hippie girl, Shary Flenniken Trots and Bonnie about a precocious girl and her dog trying to make sense of their suburban life, Aline Kominsky The Bunch, autobiographical depiction of her least flattering sides and Dori Seda autobiographical stories.

After the underground scene turned into the Daddy's Girl, 1996, about incest and sexual abuse during childhood and Phoebe Gloeckner Diary of a Teenage Girl, 2002.

The scene's unapologetic attitude also inspired artists external the US, such(a) as Canadian Julie Doucet, whose surrealist semi-autobiographical series Dirty Plotte became a worldwide cult favorite in the 1990s.

The underground/alternative market lets for a more open depiction of sexuality, and in the 1970s and 1980s openly lesbian and bisexual artists told their stories in comic book form, such as Mary Wings artist of the first all-lesbian comix book Come Out Comix 1973, Roberta Gregory Bitchy Bitch, and frequent contributor to Gay Comix and Alison Bechdel Dykes to Watch Out For and graphic novel Fun Home, 2006.

In the independent market, that began tofrom the 1970s, Wendy Pini, together with her husband Richard Pini, started the manga-inspired series Elfquest, which soon became a major sleeper hit.

Colleen Doran created her cult space opera series A Distant Soil which was published in the early-1980s in small press fanzines, then self-published by Doran in the early-1990s, previously moving to image Comics in 1996.

Other popular artists include Donna Barr Desert Peach, about Erwin Rommel's fictional gay brother, Jill Thompson Scary Godmother, a friendly witch in a Halloween environment and Linda Medley Castle Waiting, daily lives of fairytale characters.

Many female comic creators have found their fame in webcomics and later published tough copies of their work, such as Kate Beaton for Hark! A Vagrant!, and Allie Brosh's Hyperbole and a Half. Others, like Emily Carroll requested for the webcomic His Face any Red went on to work on other multimedia projects, such as Carroll's Gone Home.

Female webcomic artists include writers and illustrators such as Madeleine Flores Grace Ellis and ND Stevenson on the popular option print series Lumberjanes.