Phil Lord graduated with a BA in Advertising Design from Iowa State University in 1980. He moved to New York City in 1982 with a strong desire to work for Marvel Comics. He first managed to get some uncredited background work at DC thanks to inker Gary Martin. His first published art was in The Daring New Adventures of Supergirl #8 with background inks following in TDNA Supergirl #12, Legion of Superheroes #313, Flash #326 & Blue Devil Annual #1.
At this point Lord met inker and friend of Jim Shooter, Bob Layton. He began doing background inks for Layton and others at Marvel (see: Notes). He did full backgrounds for Layton's 2nd Hercules series and for Questprobe #1.
Phil was hired on to do art corrections along with Keith Williams and James Fry as the first of 'Romita's Raiders' to do art corrections and learn from the master. This led him into doing full inks in odd comics like Iron Man (a page featuring the Black Knight comes to mind) and he did full inks for pp. 1, 3, 9 & 13 of Transformers #9 which somehow were all credited to Mike Manley and full inks in a few pages (9 & 11) of Eternals #6 attributed to Sal Buscema.
Phil inked the cover to David Anthony Kraft's Comics Interview #14 which Mike Zeck penciled to promote the (in?)famous Marvel Super Heroes Secret Wars (1st series).
He spent a number of years in the Promotion Department designing ads for Marvel books and working on Marvel Age (occasional full inks as on p. 13 of issue #30). He then did art corrections on and off staff, occasionally filling in as Art Director when John Romita Sr. was sick or on vacation. One finds him credited as "Art Enhancer" on a number of reprint books from the mid 80s to the late 90s as well, including credits as Phil (Time) Lord in Doctor Who. He enjoyed working on the deluxe Marvel Masterwork's hardback series, especially recreating the lost art for Jack Kirby's Fantastic Four covers. His specialty became creating art in the style of other masters.
Lord worked on trading cards Marvel issued, coloring books ("History of Space Travel") and other specialty publications towards the end of his comic career, turning in his last assignment in 1997.
At this point Lord went into glass etching, working on award winning installations at the Folk Art Museum, limited edition works of Maya Anjelou and he etched the award presented to Paul McCartney on VH1 for his 'Live At The Cavern' webcast concert. The lobby of 225 Varrick Street (south 7th Avenue) showcases floor to ceiling panels in an award winning installation that he etched and installed as an employee of Exquisite Glass.
In 2003 Lord moved back to his home state of Iowa and is completing a nonfiction book to be released in 2011. At this point the goal is to move back to New York City when the book is completed. He misses hanging out with the vampires and other denizens of NYC's nightlife and laments that the live music scene of the '80s and '90s may be gone forever...
Date of Birth:
Des Moines, IA
Website: http://www.comicspace.com/phillord/E-mail: firstname.lastname@example.orgNotes:
Uncredited backgrounds for Marvel include What If #42, The Thing #7 (look for the awesome Empire State Building drawings- he redrew the close-ups almost totally), Dazzler #30 & 32, Avengers #239-240, Transformers #1 & 2, X-Factor #1, Micronauts #5 and others long forgotten. He inked a 21" X 15.5" GI Joe poster for the GI Joe coloring book "Into Zartan's Lair".
Other Credited Appearances:
Marvel Graphic Novel #17 (1985)
Marvel Saga #25 (1987)
Marvel Universe (multiple issues 1987-1988)