Swipe (comics)
Swipe is a comics term for the intentional copying of a cover, panel, or page from an earlier comic book or graphic novel without crediting the original artist. Artists Jack Kirby, Neal Adams, Hergé, and Jim Lee are common targets of swipes, though even those artists may not be above reproach; Kirby was known to have swiped from Hal Foster early in his career. Similarly, many Golden Age artists kept "swipe files" of material to be copied as needed. Certain contemporary artists have become notorious for their swiping, including Rich Buckler (who favors Neal Adams and Jack Kirby), Rob Liefeld (many artists), Keith Giffen (José Antonio Muñoz), and Roger Cruz (Jim Lee and Joe Madureira). There is a long tradition in comics of using fine art as "inspiration" as well. Most observers do not consider this as objectionable as swiping from another cartoonist's work. Examples include Art Spiegelman swiping an image of the Russian artist M. Mazruho's in Maus, Eddie Campbell swiping Diego Velázquez, and Jill Thompson swiping the work of Arthur Rackham. Cartoonists have also swiped images from mass media and commercial art. Examples include Batman creator Bob Kane repeatedly swiping from early 20th-century illustrator Henry Vallely, Greg Land repeatedly swiping pornography as well as many popular comic book artists, 2000 AD artist Mick Austin swiping an image of Toni Shilleto's from Mayfair: Entertainment for Men, Jon J. Muth swiping a 1940s photograph, and David Chelsea swiping from Spanish pornography. Sometimes the swiping happens "in reverse", as in the example of an illustration from Organic Gardening magazine swiping the iconic Kirby cover for Fantastic Four #1. Swiping brings to mind the amusing conundrum of whether an artist can swipe from himself. One example is two almost-identical Peanuts strips by Charles Schulz done almost ten years apart. Another comic strip-related ethics question was invoked by latter-day Nancy artists Guy & Brad Gilchrist swiping Nancy creator Ernie Bushmiller. "Cloning" Though not technically swiping, some artists have made a career "cloning" other artists. Phil Jimenez has been quite open about his work being modeled on George Pérez's, though he has never been accused of directly swiping a Pérez drawing. Bryan Hitch started off as an Alan Davis "clone". Bill Sienkiewicz's early work was blatantly derivative of Neal Adams, as was Tom Grindberg's, Michael Netzer (Nasser)'s, and Mike Grell's. Industry veteran Dick Giordano maintained that cloning is not only acceptable, but actually preferable, when an artist fills in for a regular artist on a title. Appropriation Pop artist Roy Lichtenstein made a splash in the 1960s with his "appropriations" based on the work of Kirby, Russ Heath, Tony Abruzzo, Irv Novick, John Romita Sr., and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There