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Dan Burr is the first comics artist I ever worked with, and the guy I�ll work with every chance I get. In a business that�s overpopulated with people who can�t convincingly draw anything but superheroes and inflatable bimbos, Dan draws the real world and makes it sing. The action he portrays is as elegant and � when needed � as awkward, as everyday life. Look in his characters� eyes and meet a living human being. No writer could ask for more than that.
   
Dan created an indelible impression with the period crosshatch style he developed for Kings in Disguise � those Eisner and Harvey awards were as much his as mine � but that�s not the only arrow in his quiver. He�s worked in underground comix, books for children, advertising and newspaper illustrations. He turned in a series of strong pieces for the DC/Paradox Big Book series, and has contributed some beautiful design work for Eureka Productions� Graphic Classics.
   
Unlike a lot of artists, he�s also an inventive letterer, which is a precious if sadly unsung talent. His rendering of alien speech was one of the distinguishing marks of the inventive science fiction comics series Alien Fire, and his recreation of Will Eisner�s �30s-style lettering for Kitchen Sink Press� Hawks of the Seas reprint was an inspired work of draftsmanship. Even when I�ve ended up working with other artists on a project, I�ve often been lucky enough to have Dan on board as the letterer.
   
Whatever his contribution, I�ve always valued the talent, intelligence and clarity he�s employed to bring my words to life. He makes my stuff look good, and I�m content to know that when many people think of my writing, the pictures that spring to mind were all drawn by Dan Burr.
   
   

  (And don�t let that stern self-portrait fool you. The guy�s not only immensely talented, he�s a pussycat.)

     
 
 
 
 
 
 
 
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