
Long before Andrew Stanton got the green light to make John Carter (of Mars) for Disney, Edgar Rice Burroughs’ Mars was included in Mars and Beyond, aired as a Tomorrow Land episode of Disneyland on December 4, 1957.

Long before Andrew Stanton got the green light to make John Carter (of Mars) for Disney, Edgar Rice Burroughs’ Mars was included in Mars and Beyond, aired as a Tomorrow Land episode of Disneyland on December 4, 1957.

One of the classic editions of Edgar Rice Burroughs’ A Princess of Mars is the first printing, published by A.C. McClurg & Co. in 1917. Frank E. Schoonover, a top illustrator of the day, painted the cover and interior plates. Schoonover was a student of the master Howard Pyle, as was NC Wyeth, and there are definite similarities between the artists.

As I have said elsewhere, my first encounter with Edgar Rice Burroughs was in the elementary school library in 1974. I was nine and I saw The Chessmen of Mars with a cover painted in 1973 by Gino D’Achille.

I have to credit Neal Adams for getting me to read my first Edgar Rice Burroughs’ book – Tarzan of the Apes – in 1977.
Having read his DC Comics work, Neal Adams was the epitomy of what comics could be to a 12-year-old boy. That he did some of his best painting work on these covers for Ballantine in 1976 is what drew me to buy the book.

In 1979, Del Rey/Ballantine Books commissioned Michael Whelan to paint new covers for Edgar Rice Burroughs’ John Carter of Mars novels, succeeding Gino D’Achille‘s 1973 series.

Welcome to the completely redesigned Catspaw Dynamics.
After a number of years where my work and interests were divided among various websites, it was time to streamline and focus my online presence. Whether you’re interested in my design services or if you’ve read my comics, you’ll find everything here on this site.

I’m just old enough to remember the last of the Moon landings in the early 70s. It seemed normal, like it was what people did. But the Moon missions were soon cancelled, and we haven’t seen a person walking on another planet since. We had to satisfy ourselves with robotic probes like Viking’s mission to Mars. And then the shuttle came, but it never got out of orbit.
It was a much different world than the one that had launched the space race nearly two decades before. Instead of the world feeling larger, full of possibilities, it seemed like we had reached for the stars, found the Sun like Prometheus, and fell back aflame.

PTI needed to encompass the many segments of their business in a succinct way. As the company has grown and diversified, there is a conscious effort to focus as one brand with a variety of service offerings underneath it.

In remote area workforce accommodations, wildlife is part of the landscape, and it’s always important to remember that we’re in their world, not the other way around.
Inevitably, animals will become curious, and if encouraged to stay by people’s behaviour or scraps of food, the two worlds come into conflict.
PTI’s strategy is two-fold. First, make it standard practice to deny food by using secure waste receptacles. And second, through ongoing education make staff and guests aware of the consequences of blurring the lines between humans and animals.
We wanted something bold and memorable, and less earnest than PSAs usually are. It was okay to be a bit funny while we drove the point home.

The new Three story. This represents a restart of the series, and there will be differences from Volume One.
My pencils tend to be structural, as I like to leave myself something to do going into the inking stage. So lighting and finish happen then.
I am sharing this story as unlettered pencils here, and the final story will be released commercially on this site.