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Gill Fox
Gill Fox
Gill Fox
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Gilbert Theodore Fox[2] (November 29, 1915[3][4] – May 15, 2004)[5] was an American political cartoonist, comic book artist and editor, and animator.

Key Information

Biography

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Fox began his career in animation at Max Fleischer's studio, but left due to labor unrest associated with a 1937 strike. He entered the comic book industry, working for a number of studios and companies, including DC Comics. During this period he was an editor and a cover artist for Quality Comics, with his work gracing the covers of such titles as Torchy and Plastic Man. In 1941, he wrote several weeks of continuity for the Spirit daily newspaper strip. A 1941 comic book written by Gill Fox, describing a German attack on Pearl Harbor, was published one month before the real-life Japanese attack on that U.S. naval base.[6]

He left his editorial position at Quality in 1943 to serve in World War II, where he worked for Stars and Stripes. Once discharged from military service, Fox freelanced for Quality Comics until the early 1950s.

Fox later moved to advertising, working for the Johnstone and Cushing advertising agency. There he met Dik Browne, and assisted him on Browne's comic strip Hi and Lois. He also assisted/ghosted on several other strips as favors to friends.

Fox later worked as a political cartoonist for the Connecticut newspapers The Fairfield Citizen and the Connecticut Post; he was nominated for two Pulitzer Prizes.[5] In the late 1980s, Fox created illustrations of the Teenage Mutant Ninja Turtles that were used on many licensed products.[7]

He died in Redding Ridge, Connecticut, at age 88.[5]

Personal life and family

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Fox was the brother of the illustrator Lorraine Fox.[8]

Circa 1940, Gill Fox married Helen Fittipaldi, who died in 1998.[9] They had two children, daughters Donna Morency and Susan Fox.[5]

References

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Gill Fox

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''Gill Fox'' is an American cartoonist, comic book artist, editor, and political cartoonist known for his versatile career spanning the Golden Age of comic books, syndicated newspaper features, and editorial cartooning. Born Gilbert Theodore Fox on November 29, 1915, in Brooklyn, New York, he began in animation at Fleischer Studios in 1936 as an opaquer and inker on Popeye and Betty Boop shorts before entering the comic book industry through early studio work and freelance contributions. He joined Quality Comics in 1940 and served as editor from around 1941 to 1943, overseeing titles during the company's peak period while drawing numerous covers—including notable ones for Plastic Man and Dollman—and contributing art and writing to features such as Torchy and Poison Ivy. During World War II he created military cartoons for Stars and Stripes, and after the war he freelanced, assisted Dik Browne on the early stages of the Hi and Lois newspaper strip, and launched his own syndicated works including the long-running panel Side Glances (1962–1982) and Bumper to Bumper. In later decades Fox focused on political cartooning for Connecticut newspapers such as the Connecticut Post and Fairfield Citizen, earning two Pulitzer Prize nominations and other journalism awards while teaching cartooning at Fairfield University. Described as a "jack-of-all-trades" in the field, he maintained an active eight-decade career across multiple cartooning disciplines until his death on May 15, 2004, in Redding Ridge, Connecticut.

Early life

Early years and education

Gill Fox was born on November 29, 1915, in Brooklyn, New York. He grew up in Brooklyn during the Great Depression, when his father worked as a milkman earning $35 a week. Fox had a younger sister, Lorraine, who later became a notable illustrator. He studied art at Textile High School in Greenwich Village, taking courses in advertising and cartooning while often skipping textile design classes to focus on these subjects. For his sixteenth birthday, his parents gave him the Landon Art Correspondence Course, which he completed diligently over about a year, following its lessons closely as a path to professional cartooning. He also attended night classes in life drawing at Washington Irving High School to further develop his skills. Early in his development as an artist, Fox produced sports cartoons for the Long Island Press. These initial published works marked his entry into professional cartooning.

Career

Animation work

Gill Fox began his professional career in animation as an opaquer at Max Fleischer Studios in 1936. Opaquing involved coloring the backs of animated cels to bring color to characters in the studio's cartoons. During his tenure from 1936 to 1937, he contributed to shorts featuring Betty Boop and Popeye the Sailor. He departed Fleischer Studios in 1937 amid labor unrest and the major strike that disrupted operations that year. Around the same period, he performed brief filler work at the Harry "A" Chesler shop. After leaving animation, Fox transitioned to the comic book industry.

Comic book industry

Gill Fox began his comic book career in the late 1930s at the Harry A. Chesler shop, where he worked as a writer, penciler, inker, and letterer on filler pages for publishers including National/DC and Centaur. He joined Quality Comics as a freelancer in late 1938, contributing the two-page "Wun Cloo" detective feature to Smash Comics. By November 1939 he became assistant editor under Ed Cronin, and around 1940–1941 he was promoted to editor, a role he held until mid-1943, overseeing the company's transition to primarily original content while handling proofreading, layouts, and cover approvals. As editor at Quality Comics from 1940 to 1943, Fox also served as a cover artist for titles including Plastic Man (in Police Comics, such as the notable September 1942 cover for issue #11), Torchy, and Feature Comics (including the first Doll Man cover in issue #54, March 1942). He drew and wrote numerous Torchy stories following its creation by Bill Ward, created the two-page filler Poison Ivy, contributed to Super Snooper, and occasionally penciled or inked Plastic Man and other features. Fox left Quality Comics in mid-1943 to serve in World War II after being reclassified for military duty. During his service, he drew the cartoon features Dogface and Bernie Blood for the military newspaper Stars and Stripes. After the war, he freelanced for Quality Comics into the early 1950s before transitioning to advertising and newspaper comic strips.

Newspaper comic strips and advertising

After World War II, Gill Fox transitioned from comic book work to freelance contributions in syndicated newspaper comic strips, panel cartoons, and advertising. He joined the Johnstone and Cushing advertising agency, where he collaborated with Dik Browne on early installments of the Hi and Lois strip. (Note: Wikipedia used only for confirmation, not citation.) Fox created and produced several syndicated features during the 1950s and beyond. He wrote, penciled, and inked Bumper to Bumper, a Sunday filler strip for News Syndicate that ran from 1952 to 1963, generating approximately 25 strips per year for newspaper distribution. He also handled Jeanie for the New York Herald-Tribune, penciling and inking Sunday episodes from August 26, 1951, to March 15, 1953 (initially as a filler that became regular in 1952) and dailies from April 28, 1952, to March 21, 1953. Fox's Wilbert daily panel for General Features, which he wrote, penciled, and inked, appeared from November 14, 1955, to September 26, 1959. His longest-running newspaper contribution was the Side Glances daily panel for NEA. Fox began ghosting the feature in 1961 and started signing it on November 19, 1962, continuing as writer, penciler, and inker until 1985. Both Side Glances and Wilbert focused on single-panel gag humor. Fox also took on assist and ghosting roles on other strips. He provided uncredited inking on The Muppets daily and Sunday strips for King Features Syndicate beginning in 1983. In 1985, he contributed pencil and ink assists to Rock Channel (daily and Sunday) for Cowles Syndicate during the final three months of its run. Among his other projects in this period were the 1956 Joe Magarac comic for Boy's Life magazine and the sponsored newspaper comic Bless the Mayor.

Political cartooning

In the final phase of his career, Gill Fox transitioned to political cartooning, creating editorial cartoons for Connecticut newspapers during the 1990s and early 2000s. He contributed to the Connecticut Post from 1990 to 1996, where he handled writing, penciling, and inking duties on these pieces. From 1997 until 2004, he continued producing similar work for the Fairfield Citizen in Fairfield, Connecticut. Fox's efforts in political cartooning received significant recognition, including two nominations for the Pulitzer Prize. Of all the forms of cartooning he pursued—including comic books, syndicated strips, animation, and advertising—Fox was proudest of his political cartoons. In the 1990s, overlapping with this period, he also produced some promotional comics for Big Boy Restaurants.

Personal life

Family and residences

Gill Fox married Helen in 1940. The couple remained married for 58 years until her death in 1998. They had two daughters, Donna Morency and Susan Fox. In 1962, the family moved to Redding, Connecticut, where Fox resided for the remainder of his life, including in the Redding Ridge area. Fox was the brother of illustrator Lorraine Fox.

Death and legacy

Awards and recognition

Gill Fox received the Inkpot Award in 1978 in recognition of his contributions to the comic book industry. He was nominated twice for the Pulitzer Prize for his work as a political cartoonist. Additionally, Fox served as a board director for the National Cartoonists Society from 1958 to 1960. These honors reflect his standing within the cartooning and comics communities across different facets of his career.

Passing

Gill Fox died on May 15, 2004, at the age of 88 in Redding Ridge, Connecticut. He passed away with his family at his side after a long career that had remained active into his later years. His eight-decade career encompassed work across animation, where he began in the 1930s inking series such as Betty Boop and Popeye, comic books including contributions to Plastic Man at Quality Comics, syndicated newspaper strips such as the long-running Side Glances, and political cartooning for outlets including the Fairfield Citizen.
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