Download Cartoon Pictures Biography
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Download Cartoon Pictures born in New York City, he spent much of his early childhood in Bogotá, Colombia before moving back to the United States at the age of 12. In his youth, Williamson developed an interest in comic strips, particularly Alex Raymond's Flash Gordon. He took art classes at Burne Hogarth's Cartoonists and Illustrators School, there befriending future cartoonists Wally Wood and Roy Krenkel, who introduced him to the work of illustrators who had influenced adventure strips. Before long, he was working professionally in the comics industry. His most notable works include his science-fiction/heroic fantasy art for EC Comics in the 1950s, on titles including Weird Science and Weird Fantasy.In the 1960s, he gained recognition for continuing Raymond's illustrative tradition with his work on the Flash Gordon comic-book series, and was a seminal contributor to the Warren Publishing's black-and-white horror comics magazines Creepy and Eerie. Williamson spent most of the 1970s working on his own credited strip, another Raymond creation, Secret Agent X-9. The following decade, he became known for his work adapting Star Wars films to comic books and newspaper strips. From the mid-1980s to 2003, he was primarily active as an inker, mainly on Marvel Comics superhero titles starring such characters as Daredevil, Spider-Man, and Spider-Girl.Williamson is known for his collaborations with a group of artists including Frank Frazetta, Roy Krenkel, Angelo Torres, and George Woodbridge, which was affectionately known as the "Fleagle Gang". Williamson has been cited as a stylistic influence on a number of younger artists, and encouraged many, helping such newcomers as Berni Wrightson and Mike Kaluta break into the business. He has won several industry awards, and six career-retrospective books about him have been published since 1998. Living in Pennsylvania with his wife Corina, Williamson retired in his seventies.Williamson was inducted into the Will Eisner Comic Book Hall of Fame in 2000.Al Williamson was born in Manhattan, New York City, New York,[1] one of two children of Sally and Alfonso Williamson, who was of Scottish descent and a Colombian citizen. The family relocated to Bogotá, Colombia, when Al was two years old.[5] "My father was Colombian and my mother was American," Williamson said in 1997. "They met in the States, got married and went down there. I grew up down there so I learned both English and Spanish at the same time. It was comic books that taught me to read both languages."[6] At age nine, Williamson took an interest in comic strips via the Mexican magazine Paquin, which featured American strips as well as Underwater Empire by Argentine cartoonist Carlos Clemen. Later, Williamson was attracted to Alex Raymond's Flash Gordon strip after his mother took him to see the Flash Gordon Conquers the Universe movie serial.[7] While living in Bogotá he met future cartoonist Adolfo Buylla, who befriended him and gave him artistic advice.[8] At age 12, in 1943, Williamson moved with his mother to San Francisco, California; they later moved to New York.[5][9Drawing of a young man looking intently into the eyes of a smiling young woman while holding her hand.Late 1940s sketcIn the mid-1940s Williamson continued to pursue his interest in cartooning and began to take art classes with Tarzan cartoonist Burne Hogarth, and later at Hogarth's Cartoonists and Illustrators School. There he met future cartoonists Wally Wood and Roy Krenkel. According to Williamson, "Roy broadened my collecting horizons, he became my guide to all the great illustrators — the artists who directly influenced adventure cartoonists like [Alex] Raymond and [Hal] Foster. He showed me J.C. Coll, Franklin Booth, Joseph Franke, Dan Smith, Norman Lindsay, Fortunino Matania, and the great Blue Book illustrators like Herbert Morton Stoops and Frank Hoban."[10] As he continued to learn about the cartooning field, he would visit the comic-book publisher Fiction House, meeting such artists as George Evans, Bob Lubbers, John Celardo, and Mort Meskin.Williamson's first professional work may have been helping Hogarth pencil some Tarzan Sunday pages in 1948,[12] although Williamson, who had initially believed so, reconsidered in a 1983 interview and recalled that his Tarzan work had come after his first two pieces of comic-book art: providing spot illustrations for the story "The Ugliest Horse in the World" in an unspecified issue of Eastern Color's seminal series Famous Funnies,[13] and a two-page Boy Scouts story, his first comics narrative, in New Heroic Comics #51 (Nov. 1948).[13][14][15] (Williamson is also identified as co-penciler, with Frank Frazetta, of a three-page crime story, "The Last Three Dimes", in Standard Comics' Wonder Comics #20 [Oct. 1948])[15] Williamson explained that while Hogarth had offered him Tarzan work, Williamson "just couldn't do it. ... I couldn't get it into my little brain that he wanted me to do it exactly the way that he did it," and instead successfully recommended Celardo, artist of the Tarzan-like feature "Ka'a'nga" in Fiction House's Jungle Comics.[13] As Williamson recalled:Hogarth got in touch with [Celardo], and the next thing you knew, he was penciling the Sunday page for him. He did it for quite some time and something must have happened ... but at that point I was going to the Hogarth school again in the evenings ... and he asked me again if I would like to give it a try, so I said OK. He gave me a page and he had already laid it out, so I just tightened it up. Then he gave me another page that I tightened up and he inked it. Then I said I'd like to try laying it out myself and asked if I could do that, and he said, 'Go ahead, Al,' and handed me the script. So I laid that page out on a sketchpad. He said fine and just made a couple of suggestions as to what I should do; then I just did it on the big Sunday page, and when I was through, he inked it and the other one I had done the same way, and that was it.[16]During this period Williamson met his main stylistic influence, Raymond: "I had just turned 18. I had been in the business about six months or so. He gave me about two hours."[17]From 1949 to 1951, Williamson worked on science-fiction and Western stories for publishers such as American Comics Group (AGC), Avon Publications, Fawcett Comics, Standard Comics, and, possibly, Toby Press.[15] He began collaborating with Frank Frazetta, who often inked his work; and with Roy Krenkel, who often did backgrounds.[18] Examples of his work from that period include "Chief Victorio's Last Stand", in Avon's Chief Victorio's Apache Massacre (no number, no month, 1951); "Death in Deep Space", in Magazine Enterprises' Jet #4 (no month, 1951); and "Skull of the Sorcerer", in ACG's Forbidden Worlds #3 (Dec. 1951), inked by Wally Wood[15][19]Comic strip in which a woman dressed in a cape tells a man that she does not need him in order to become queen, then shoots him while he begs for mercy.Four Williamson panels from "50 Girls 50", in EC Comics' Weird Science #20 (Aug. 1953).In 1952, upon the suggestion of artists Wally Wood and Joe Orlando,[20] Williamson began working for EC Comics, an influential comic book company with a reputation for quality artists.[21] While at EC, Williamson frequently collaborated with fellow artists Frank Frazetta, Roy Krenkel and Angelo Torres, a group which, along with Nick Meglin and George Woodbridge, became affectionately known as the "Fleagle Gang", named after a notorious criminal gang.[22] Williamson primarily worked on EC's science fiction comics Weird Science, Weird Fantasy, and Weird Science-Fantasy, illustrating both original stories, primarily by writer Al Feldstein, and adaptations of stories by authors such as Ray Bradbury[23] and Harlan Ellison,[24] but his work occasionally appeared in EC's horror and crime comics as wellWilliamson worked at EC through 1956 until the cancellation of most of the company's line. Williamson's EC art has been lauded for its illustrative flamboyance, evident in such stories as "I, Rocket", in Weird Fantasy #20 (Aug. 1953), co-penciled and co-inked with Frank Frazetta; and "50 Girls 50", in Weird Science #20 (Aug. 1953), co-inked by Williamson and Frazetta.[15][25] His final published EC story was the 10-page "A Question of Time", in Shock Illustrated #2 (Feb. 1956) with partial inking by Torres, who put his initials on last page.From 1955 to 1957, Williamson produced over 400 pages of three- to five-page stories for Atlas Comics, the 1950s forerunner of Marvel Comics, working in various genres but primarily Westerns. He continued to collaborate with Torres and Krenkel, as well as with Gray Morrow, George Woodbridge and Ralph Mayo.[26] With Mayo, one of the first editors to give Williamson work, at Standard Comics, Williamson collaborated on the jungle girl series Jann of the Jungle #16–17 (April & June 1957). Following Mayo's death, Williamson drew stories solo for the planned #18, but the series was abruptly canceled before that issue could be published.[27] His "prolific though somewhat uneven two-year stint at Atlas",[28] where he first drew war comics, yielded superlative art in such stories as "The City That Time Forgot", in Marvel Tales #144 (March 1956); "Menace from the Stars", in Mystery Tales #44 (Aug. 1956); "The Unknown Ones", in Astonishing #57 (Jan. 1957); "Dreadnaught", in Navy Tales #2 (March 1957); and "Helpless", in Battle #55 (Nov. 1957).[15][28][29] While "something appeared to be missing from a lot of his Atlas work: enthusiasm," Williamson's Atlas Westerns, at least, "form a strongly consistent body of work, characterized by minimal to nonexistent action, a preponderance of closeups and reaction shots, and well-defined figures set against sparse backgrounds."From 1958 to 1959 Williamson worked for Harvey Comics collaborating with former EC artists Reed Crandall, Torres and Krenkel and inking the pencils of Jack Kirby (for Race to the Moon #2–3 and Blast-Off #1). On inking Kirby, Williamson relates: "I remember going up to Harvey and getting work there. They said, 'We haven't got any work for you, but we have some stories here that Jack penciled. Do you want to ink them?' I'd never really inked anybody else before, but I said, 'Sure,' because I looked at the stuff, and thought, I can follow this, it's all there. I inked it and they liked it, and they gave me three or four stories to do."[30] It was at Harvey Comics that writer Archie Goodwin, upon Williamson's recommendation, landed his first comic-book writing job.[31] Goodwin would collaborate with Williamson on several projects over the next few decades.Additionally, Williamson drew stories for Classics Illustrated (in collaboration with Crandall and Woodbridge); Westerns for Dell Comics (including Gunsmoke #8–12) and Charlton Comics (including two complete issues of the Cheyenne Kid, (#10–11) with Angelo Torres, and science-fiction stories for ACG (including "The Vortex", in Forbidden Worlds #69 (1958).[26] He also worked with former EC artist John Severin on the "American Eagle" feature in Prize Comics Western #109 and 113 (1955).Williamson's work during this decade was his most prolific in terms of comic book work and has garnered considerable praise for its high quality.[32] He has been noted for his perfectionism and love for the medium.[33] Despite its high reputation, it has been remarked that his artwork of this period can at times be uneven and uninspired.[34] Williamson was single during this period and was said to have a bohemian and undisciplined lifestyle.[35]In 1960, with little work to be found in the comic book field due to a downturn in the industry, he went to work as an assistant to John Prentice on the Alex Raymond-created comic strip Rip Kirby for a three-year period.[26] According to Williamson: "The reason that I was called in to help him out was that John had decided to go to Mexico and Mac [Al McWilliams], John's prior assistant, didn't want to go... The deal was: would I be willing to go to Mexico?... and I said 'Si!'..."[36] It proved to be a solid learning period for Williamson, as he credits Prentice with teaching him many fundamental illustration methods.[37] According to Prentice: "...he was terrific. He's the best guy I ever had by far."[38] During that time, Williamson also assisted John Cullen Murphy on the Big Ben Bolt boxing strip and Don Sherwood on the strip Dan Flagg.[39] He also produced some sample pages for a proposed Sunday strip version of Modesty Blaise.[40]One comic strip panel of man and woman, each with an empty balloon above them containing no dialog.Williamson panel from King Features Flash Gordon He returned to comics in 1965 doing one story each in Gold Key Comics' Ripley's Believe It or Not #1 (June 1965), The Twilight Zone #12 (Aug. 1965), and Boris Karloff Tales of Mystery #11 (Sept. 1965), and helped launch Warren Publishing's black-and-white horror-comics magazines Creepy and Eerie with several stories in early issue, while also contributing to Warren's war comics magazine Blazing Combat. He was instrumental in recruiting other former EC Comics artists as Frazetta, Krenkel, Torres, Crandall, and Evans, as well as artist Gray Morrow and writer-editor Archie Goodwin.In 1966, he drew the first issue (Sept. 1966) of a new Flash Gordon comic book series, published by King Features. Williamson's work received positive reader response, and returned to draw issues #4–5 (March & May 1967), as well as the cover of #3 (Jan. 1967). Williamson received a National Cartoonist Society Best Comic Book art award for his work on that title.[42] In 1967, on the strength of a backup feature he had done in the Flash Gordon book, he took over another Alex Raymond creation, the long-running Secret Agent X-9 comic strip, collaborating with writer Goodwin. At the start of their tenure, the title was changed to Secret Agent Corrigan.Williamson also helped assemble the first major book on Alex Raymond's Flash Gordon, published by Nostalgia Press in 1967, and wrote the introduction.[44] In 1969, Wally Wood's alternative-press comic book witzend #1 published Williamson's "Savage World", a 1956 story originally drawn for a Buster Crabbe comic book that had been cancelled. With significant contributions by Frazetta, Krenkel, and Torres, the story is a prime sample of the "Fleagle Gang" style and has since been reprinted by Marvel Comics (in the black-and-white comics magazine Unknown Worlds of Science Fiction #1, January 1975), Pacific Comics and Kitchen Sink Press.[45] Wood would later write the script for a three-page story drawn by Williamson, "The Tube", in another alternative-press comic, publisher Flo Steinberg's Big Apple Comix (1975).By the end of the decade, Williamson was beginning to encourage younger artists whom he would meet at comic book conventions, helping Bernie Wrightson to break into the business.
Source(Google.com.pk)
Download Cartoon Pictures born in New York City, he spent much of his early childhood in Bogotá, Colombia before moving back to the United States at the age of 12. In his youth, Williamson developed an interest in comic strips, particularly Alex Raymond's Flash Gordon. He took art classes at Burne Hogarth's Cartoonists and Illustrators School, there befriending future cartoonists Wally Wood and Roy Krenkel, who introduced him to the work of illustrators who had influenced adventure strips. Before long, he was working professionally in the comics industry. His most notable works include his science-fiction/heroic fantasy art for EC Comics in the 1950s, on titles including Weird Science and Weird Fantasy.In the 1960s, he gained recognition for continuing Raymond's illustrative tradition with his work on the Flash Gordon comic-book series, and was a seminal contributor to the Warren Publishing's black-and-white horror comics magazines Creepy and Eerie. Williamson spent most of the 1970s working on his own credited strip, another Raymond creation, Secret Agent X-9. The following decade, he became known for his work adapting Star Wars films to comic books and newspaper strips. From the mid-1980s to 2003, he was primarily active as an inker, mainly on Marvel Comics superhero titles starring such characters as Daredevil, Spider-Man, and Spider-Girl.Williamson is known for his collaborations with a group of artists including Frank Frazetta, Roy Krenkel, Angelo Torres, and George Woodbridge, which was affectionately known as the "Fleagle Gang". Williamson has been cited as a stylistic influence on a number of younger artists, and encouraged many, helping such newcomers as Berni Wrightson and Mike Kaluta break into the business. He has won several industry awards, and six career-retrospective books about him have been published since 1998. Living in Pennsylvania with his wife Corina, Williamson retired in his seventies.Williamson was inducted into the Will Eisner Comic Book Hall of Fame in 2000.Al Williamson was born in Manhattan, New York City, New York,[1] one of two children of Sally and Alfonso Williamson, who was of Scottish descent and a Colombian citizen. The family relocated to Bogotá, Colombia, when Al was two years old.[5] "My father was Colombian and my mother was American," Williamson said in 1997. "They met in the States, got married and went down there. I grew up down there so I learned both English and Spanish at the same time. It was comic books that taught me to read both languages."[6] At age nine, Williamson took an interest in comic strips via the Mexican magazine Paquin, which featured American strips as well as Underwater Empire by Argentine cartoonist Carlos Clemen. Later, Williamson was attracted to Alex Raymond's Flash Gordon strip after his mother took him to see the Flash Gordon Conquers the Universe movie serial.[7] While living in Bogotá he met future cartoonist Adolfo Buylla, who befriended him and gave him artistic advice.[8] At age 12, in 1943, Williamson moved with his mother to San Francisco, California; they later moved to New York.[5][9Drawing of a young man looking intently into the eyes of a smiling young woman while holding her hand.Late 1940s sketcIn the mid-1940s Williamson continued to pursue his interest in cartooning and began to take art classes with Tarzan cartoonist Burne Hogarth, and later at Hogarth's Cartoonists and Illustrators School. There he met future cartoonists Wally Wood and Roy Krenkel. According to Williamson, "Roy broadened my collecting horizons, he became my guide to all the great illustrators — the artists who directly influenced adventure cartoonists like [Alex] Raymond and [Hal] Foster. He showed me J.C. Coll, Franklin Booth, Joseph Franke, Dan Smith, Norman Lindsay, Fortunino Matania, and the great Blue Book illustrators like Herbert Morton Stoops and Frank Hoban."[10] As he continued to learn about the cartooning field, he would visit the comic-book publisher Fiction House, meeting such artists as George Evans, Bob Lubbers, John Celardo, and Mort Meskin.Williamson's first professional work may have been helping Hogarth pencil some Tarzan Sunday pages in 1948,[12] although Williamson, who had initially believed so, reconsidered in a 1983 interview and recalled that his Tarzan work had come after his first two pieces of comic-book art: providing spot illustrations for the story "The Ugliest Horse in the World" in an unspecified issue of Eastern Color's seminal series Famous Funnies,[13] and a two-page Boy Scouts story, his first comics narrative, in New Heroic Comics #51 (Nov. 1948).[13][14][15] (Williamson is also identified as co-penciler, with Frank Frazetta, of a three-page crime story, "The Last Three Dimes", in Standard Comics' Wonder Comics #20 [Oct. 1948])[15] Williamson explained that while Hogarth had offered him Tarzan work, Williamson "just couldn't do it. ... I couldn't get it into my little brain that he wanted me to do it exactly the way that he did it," and instead successfully recommended Celardo, artist of the Tarzan-like feature "Ka'a'nga" in Fiction House's Jungle Comics.[13] As Williamson recalled:Hogarth got in touch with [Celardo], and the next thing you knew, he was penciling the Sunday page for him. He did it for quite some time and something must have happened ... but at that point I was going to the Hogarth school again in the evenings ... and he asked me again if I would like to give it a try, so I said OK. He gave me a page and he had already laid it out, so I just tightened it up. Then he gave me another page that I tightened up and he inked it. Then I said I'd like to try laying it out myself and asked if I could do that, and he said, 'Go ahead, Al,' and handed me the script. So I laid that page out on a sketchpad. He said fine and just made a couple of suggestions as to what I should do; then I just did it on the big Sunday page, and when I was through, he inked it and the other one I had done the same way, and that was it.[16]During this period Williamson met his main stylistic influence, Raymond: "I had just turned 18. I had been in the business about six months or so. He gave me about two hours."[17]From 1949 to 1951, Williamson worked on science-fiction and Western stories for publishers such as American Comics Group (AGC), Avon Publications, Fawcett Comics, Standard Comics, and, possibly, Toby Press.[15] He began collaborating with Frank Frazetta, who often inked his work; and with Roy Krenkel, who often did backgrounds.[18] Examples of his work from that period include "Chief Victorio's Last Stand", in Avon's Chief Victorio's Apache Massacre (no number, no month, 1951); "Death in Deep Space", in Magazine Enterprises' Jet #4 (no month, 1951); and "Skull of the Sorcerer", in ACG's Forbidden Worlds #3 (Dec. 1951), inked by Wally Wood[15][19]Comic strip in which a woman dressed in a cape tells a man that she does not need him in order to become queen, then shoots him while he begs for mercy.Four Williamson panels from "50 Girls 50", in EC Comics' Weird Science #20 (Aug. 1953).In 1952, upon the suggestion of artists Wally Wood and Joe Orlando,[20] Williamson began working for EC Comics, an influential comic book company with a reputation for quality artists.[21] While at EC, Williamson frequently collaborated with fellow artists Frank Frazetta, Roy Krenkel and Angelo Torres, a group which, along with Nick Meglin and George Woodbridge, became affectionately known as the "Fleagle Gang", named after a notorious criminal gang.[22] Williamson primarily worked on EC's science fiction comics Weird Science, Weird Fantasy, and Weird Science-Fantasy, illustrating both original stories, primarily by writer Al Feldstein, and adaptations of stories by authors such as Ray Bradbury[23] and Harlan Ellison,[24] but his work occasionally appeared in EC's horror and crime comics as wellWilliamson worked at EC through 1956 until the cancellation of most of the company's line. Williamson's EC art has been lauded for its illustrative flamboyance, evident in such stories as "I, Rocket", in Weird Fantasy #20 (Aug. 1953), co-penciled and co-inked with Frank Frazetta; and "50 Girls 50", in Weird Science #20 (Aug. 1953), co-inked by Williamson and Frazetta.[15][25] His final published EC story was the 10-page "A Question of Time", in Shock Illustrated #2 (Feb. 1956) with partial inking by Torres, who put his initials on last page.From 1955 to 1957, Williamson produced over 400 pages of three- to five-page stories for Atlas Comics, the 1950s forerunner of Marvel Comics, working in various genres but primarily Westerns. He continued to collaborate with Torres and Krenkel, as well as with Gray Morrow, George Woodbridge and Ralph Mayo.[26] With Mayo, one of the first editors to give Williamson work, at Standard Comics, Williamson collaborated on the jungle girl series Jann of the Jungle #16–17 (April & June 1957). Following Mayo's death, Williamson drew stories solo for the planned #18, but the series was abruptly canceled before that issue could be published.[27] His "prolific though somewhat uneven two-year stint at Atlas",[28] where he first drew war comics, yielded superlative art in such stories as "The City That Time Forgot", in Marvel Tales #144 (March 1956); "Menace from the Stars", in Mystery Tales #44 (Aug. 1956); "The Unknown Ones", in Astonishing #57 (Jan. 1957); "Dreadnaught", in Navy Tales #2 (March 1957); and "Helpless", in Battle #55 (Nov. 1957).[15][28][29] While "something appeared to be missing from a lot of his Atlas work: enthusiasm," Williamson's Atlas Westerns, at least, "form a strongly consistent body of work, characterized by minimal to nonexistent action, a preponderance of closeups and reaction shots, and well-defined figures set against sparse backgrounds."From 1958 to 1959 Williamson worked for Harvey Comics collaborating with former EC artists Reed Crandall, Torres and Krenkel and inking the pencils of Jack Kirby (for Race to the Moon #2–3 and Blast-Off #1). On inking Kirby, Williamson relates: "I remember going up to Harvey and getting work there. They said, 'We haven't got any work for you, but we have some stories here that Jack penciled. Do you want to ink them?' I'd never really inked anybody else before, but I said, 'Sure,' because I looked at the stuff, and thought, I can follow this, it's all there. I inked it and they liked it, and they gave me three or four stories to do."[30] It was at Harvey Comics that writer Archie Goodwin, upon Williamson's recommendation, landed his first comic-book writing job.[31] Goodwin would collaborate with Williamson on several projects over the next few decades.Additionally, Williamson drew stories for Classics Illustrated (in collaboration with Crandall and Woodbridge); Westerns for Dell Comics (including Gunsmoke #8–12) and Charlton Comics (including two complete issues of the Cheyenne Kid, (#10–11) with Angelo Torres, and science-fiction stories for ACG (including "The Vortex", in Forbidden Worlds #69 (1958).[26] He also worked with former EC artist John Severin on the "American Eagle" feature in Prize Comics Western #109 and 113 (1955).Williamson's work during this decade was his most prolific in terms of comic book work and has garnered considerable praise for its high quality.[32] He has been noted for his perfectionism and love for the medium.[33] Despite its high reputation, it has been remarked that his artwork of this period can at times be uneven and uninspired.[34] Williamson was single during this period and was said to have a bohemian and undisciplined lifestyle.[35]In 1960, with little work to be found in the comic book field due to a downturn in the industry, he went to work as an assistant to John Prentice on the Alex Raymond-created comic strip Rip Kirby for a three-year period.[26] According to Williamson: "The reason that I was called in to help him out was that John had decided to go to Mexico and Mac [Al McWilliams], John's prior assistant, didn't want to go... The deal was: would I be willing to go to Mexico?... and I said 'Si!'..."[36] It proved to be a solid learning period for Williamson, as he credits Prentice with teaching him many fundamental illustration methods.[37] According to Prentice: "...he was terrific. He's the best guy I ever had by far."[38] During that time, Williamson also assisted John Cullen Murphy on the Big Ben Bolt boxing strip and Don Sherwood on the strip Dan Flagg.[39] He also produced some sample pages for a proposed Sunday strip version of Modesty Blaise.[40]One comic strip panel of man and woman, each with an empty balloon above them containing no dialog.Williamson panel from King Features Flash Gordon He returned to comics in 1965 doing one story each in Gold Key Comics' Ripley's Believe It or Not #1 (June 1965), The Twilight Zone #12 (Aug. 1965), and Boris Karloff Tales of Mystery #11 (Sept. 1965), and helped launch Warren Publishing's black-and-white horror-comics magazines Creepy and Eerie with several stories in early issue, while also contributing to Warren's war comics magazine Blazing Combat. He was instrumental in recruiting other former EC Comics artists as Frazetta, Krenkel, Torres, Crandall, and Evans, as well as artist Gray Morrow and writer-editor Archie Goodwin.In 1966, he drew the first issue (Sept. 1966) of a new Flash Gordon comic book series, published by King Features. Williamson's work received positive reader response, and returned to draw issues #4–5 (March & May 1967), as well as the cover of #3 (Jan. 1967). Williamson received a National Cartoonist Society Best Comic Book art award for his work on that title.[42] In 1967, on the strength of a backup feature he had done in the Flash Gordon book, he took over another Alex Raymond creation, the long-running Secret Agent X-9 comic strip, collaborating with writer Goodwin. At the start of their tenure, the title was changed to Secret Agent Corrigan.Williamson also helped assemble the first major book on Alex Raymond's Flash Gordon, published by Nostalgia Press in 1967, and wrote the introduction.[44] In 1969, Wally Wood's alternative-press comic book witzend #1 published Williamson's "Savage World", a 1956 story originally drawn for a Buster Crabbe comic book that had been cancelled. With significant contributions by Frazetta, Krenkel, and Torres, the story is a prime sample of the "Fleagle Gang" style and has since been reprinted by Marvel Comics (in the black-and-white comics magazine Unknown Worlds of Science Fiction #1, January 1975), Pacific Comics and Kitchen Sink Press.[45] Wood would later write the script for a three-page story drawn by Williamson, "The Tube", in another alternative-press comic, publisher Flo Steinberg's Big Apple Comix (1975).By the end of the decade, Williamson was beginning to encourage younger artists whom he would meet at comic book conventions, helping Bernie Wrightson to break into the business.
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