from Marvel Age #31 and 55 (Marvel, October 1985 and October 1987); text by Jim Salicrup (#31) and Mike Carlin (#55); pencils and inks by Ron Zalme; colors by Andy Yanchus (#31) and Paul Becton (#55)
It's because Kelley drew Marvel series like The Micronauts, X-Men and the Micronauts, Magneto, Comet Man, Air Raiders, Dino Riders, Venom: The Madness and more! Marvel had him when he was stull "new talent!"
from Marvel Age #27 (Marvel, June 1985), by Peter Quinones
Naturally, Kelley's best known for his long run (with writer Doug Moench) on Batman (plus covers for Detective) in the 1990s (enough to receive several trades centering on his and Doug Moench's work).
He's maybe even better known as the originator of the iconic "ears so high they touch the sky" Batman cowl, a look he made popular and kept up through various Batman-related projects like the three-book vampire Elseworlds series Batman & Dracula: Red Rain, Batman: Bloodstorm, and Batman: Crimson Mist, plus series like Batman: Gotham After Midnight, Batman: Kings of Fear, Batman: Unseen, Batman: Dark Joker: The Wild, and more.
from Batman: Black & White (2020 series) #3 (DC, April 2021)
He's put his distinctive touch on another gothic DC hero in Deadman: Love After Death and Deadman: Exorcism, introducting his emaciated, skeletal appearance instead of Deadman's traditional superheroic build.
More recently, Kelley's done the artwork on the Joe Hill DC imprint book Daphne Byrne, which I didn't realize until the miniseries was over because it wasn't his artwoork on the covers! Hey, DC, you got a gold mine there, why cover it up! (To be fair, Piotr Jablonski's cover artwork for that series was magnificent, too!)
"Red Ink" from DC/Hill House Comics cover-dated October 2020
Happy birthday, Kelley Jones!
from Deadman: Exorcism #2 (DC, January 1993)
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