Eucalyptus

Self Portrait by Steve Ditko

Ditko studied at the Cartoonists and Illustrators School in New York City under Jerry Robinson and began professionally illustrating comic books in 1953. Much of his early work was for Charlton Comics (for whom he continued to work intermittently until the company's demise in 1986), producing science fiction, horror and mystery stories. In the late 1950s, he also began working for Atlas Comics, the 1950s precursor of Marvel Comics. 

Whichever feature he drew, Ditko's idiosyncratic, cleanly detailed, instantly recognizeable art style, emphasizing mood and anxiety, found great favor with readers. The character of Spider-Man and his troubled social life meshed well with Ditko's personal style and interests, which Lee eventually acknowledged by giving the artist plotting credits on the latter part of their 38-issue run together. But after four years on the title, Ditko left Marvel; he and Lee had not been on speaking terms for some time, though the details remain uncertain. The last straw is often alleged to have been a disagreement as to the secret identity of the Green Goblin, but Ditko himself has stated in print that this was not the case. 

At Charlton — where the page rate was low but which allowed its creators great freedom — Ditko worked on such characters as Captain Atom, Blue Beetle, writer Joe Gill's Liberty Belle (a backup feature in the comic E-Man), and Ditko's own Killjoy (also in E-Man) and The Question. With the latter two, Ditko freely expressed his personal philosophy, inspired by Ayn Rand's Objectivism and the writings of Greek philosopher Aristotle. Also at Charlton, Ditko did much work on their science-fiction and horror titles.

By 1968, Ditko was producing his first work for DC Comics. He created the Creeper (in Showcase #73, March-April 1968, with scripter Don Segall), and with writer Steve Skeates, co-created the short-lived title The Hawk and the Dove, working on the first two issues (Aug.-Sept. to Oct.-Nov. 1968) before it was turned over to artist Gil Kane. Unusal for the time, plotter and penciller Ditko used these fondly remembered superhero features to explore complicated ethical issues. 

He finally returned to Marvel in 1979, taking over Jack Kirby's Machine Man title. He worked regularly for both companies until his retirement from mainstream comics, producing a wealth of work showcasing his unique take on everything from such established chararacters as The Sub-Mariner (in Marvel Comics Presents) to the Mighty Morphin Power Rangers. 
Ditko retired from the mainstream in 1998. 

Rare Interview 

Opinion

I've always been a fan of comics, especially the ones from the late 60's early 70's. As great as the new, digital comics are they are almost from a completely different planet as the older ones; mainly, because of a changing culture.

I believe the older comics have a better since of person. As a viewer I believe in the character and want him to prevail at what he is doing. When he suffers, I suffer (as in Amazing Spider-Man #121 when Gwen Stacey dies - *heart sob!*). Most of this emotion is due, in part, to the art. The artwork is direct and to the point; there are no "whistles and bells"  of which to speak. What you see is what you get even though it might not be extravagant or politically correct.

Newer comics, however, are somewhat shallow. Comic industries today have replaced there sense of character expansion and story depth with highly cliché and shabby character which only survive due to digital manipulation. Yes, these newer comics are far more dynamic but they are designed for children whose parents have dumbed down the system in fear that their children will go fight crime and get shot. If a parent has this fear they have not properly educated their child. If a parent cannot teach their child the difference between what's fake and what's real they are clearly incompetent and should not have had kids to start with.

New comics will ALWAYS lack heart until irrational fear of them is abolished.

The Creeper #1
Cover by Josue Justiniano

Showcase #73
Cover by Steve Ditko