Amanda Conner - Career

Career

Conner began her career illustrating storyboards for the advertising industry and short comic book stories. Among her earliest comics stories was a one starring the second Yellowjacket in Marvel Comics' Solo Avengers #12 (November 1988), Last Gasp (Strip AIDS U.S.A. in 1988), and Archie Comics (stories for Archie and Bayou Billy in 1989-90).

Eventually for Marvel she penciled issues of the company's licensed series based on the Mattel doll Barbie and on the Walt Disney Company animated television series Gargoyles. In the 1990s, she drew such series as Soulsearchers and Company for Claypool Comics, and Excalibur and writer Steve Gerber's one-shot Suburban Jersey Ninja She-Devils for Marvel. During this time, she worked with Marvel editor and artist Jimmy Palmiotti, who now frequently inks over Conner's pencils.

For Harris Comics' Vampirella, also known as Vampirella Monthly, Conner drafted some of the first issues, collaborating with writers Grant Morrison, Mark Millar, and Warren Ellis. In a similar vein, she illustrated the intercompany crossover Painkiller Jane vs. The Darkness (Event Comics / Top Cow) and went on to work on Painkiller Jane #0 (the origin story). She also wrote and illustrated a story for "Kid Death and Fluffy, and penciled stories for Topps Comics.

Other comic-book credits include Lois Lane, Codename: Knockout, and Birds of Prey for DC Comics as well as Two-Step with writer Warren Ellis for the Cliffhanger! imprint of WildStorm Comics (owned by DC Comics); X-Men Unlimited for Marvel; Gatecrasher, which she co-created for Black Bull Comics; and The Pro, a creator-owned book for Image Comics with Palmiotti and Garth Ennis. In 2005, she illustrated the origin of Power Girl in JSA Classified #1-4. She also penciled a Blade comic to go with the special DVD edition.

Her art has appeared on ABC'S Nightline, and in The New York Times and MAD magazine. Conner has also done character designs for film and television, and is featured in a Biography magazine commercial on A&E. She has also done promotional artwork for the reality television series Who Wants to Be a Superhero? and the 2007 feature film Underdog. She does spot illustrations in Revolver magazine each month. Her commercial art work includes illustrations for the New York City advertising agencies Kornhauser & Calene, and Kidvertisers, for such accounts as Arm & Hammer, Playskool, and Nickelodeon. Nike, Inc. commissioned Conner and fellow comics artist Jan Duursema to design the Make Yourself: A Super Power advertising campaign in 2011.

Conner did modeling/art reference work for the Marvel miniseries Elektra: Assassin in the 1980s, and for artist Joe Jusko's Punisher / Painkiller Jane in 2000. Conner was in the wedding party for writer Kurt Busiek.

Conner, Palmiotti, and writer Justin Gray work together via their multimedia entertainment company PaperFilms. They collaborated on the Terra miniseries, which premiered in November 2009, and the first 12 issues of the Power Girl ongoing series, which were published between 2009 and 2010, both of which Conner penciled. Following her departure from Power Girl, Conner wrote and pencilled a story published in Wonder Woman #600, which featured a team-up between Power Girl, Wonder Woman, and Batgirl.

Read more about this topic:  Amanda Conner

Famous quotes containing the word career:

    A black boxer’s career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.
    Ishmael Reed (b. 1938)

    What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.
    Arlie Hochschild (20th century)

    Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.
    Lewis H. Lapham (b. 1935)