Mark Pennington

Mark Pennington, former Product Designer, was born and raised in northern Ohio. He is a lifelong G.I. Joe fan. Mark joined the army right out of high school. After a brief stint in the military, he married his high school sweetheart and then went off to art school.

 

Mark graduated from the Joe Kubert School of Cartoon and Graphic Art in 1985. He began his career doing designs for the ‘G.I. Joe: A Real American Hero’, ‘Transformers’ and ‘C.O.P.S.’ toy lines for Hasbro, Inc.

 

By 1988, he became a comic book inker, starting with ‘Judge Dredd’ and ‘Blaine’. Since then, he has worked for major publishers like Marvel, DC, Image, Now Comics, Adventure Comics and CrossGen. He has inked titles like ‘Eclipso’, ‘X-Men’,  ‘Batman: Legends of the Dark Knight’, ‘Spider-Man’, and  ‘Fantastic Four’.  In addition to his inking work, he has been a penciller on ‘X-Force’ (1991),), ‘The Path’ (2002), and ‘Angel: Spotlight’ (2006). He also paints collectible card games and role-playing guides, like ‘Legend of the Five Rings’, ‘Hackmasters’ and ‘Third World’. Recently Mark has been doing landscapes, portraits and occasionally still does some comic work.

What were some of your favorite moments working on G.I. Joe?
 

What is your greatest accomplishment with the G.I. Joe line?

Who is your favorite figure? Why?

“When the Far East sent a teletype message that the sculpture pattern had a problem, her left breast was misshapen. I sculpted a strap across her breast that was skin tight, so it made an indent across the surface. It was realistic. They hadn't seen something realistic in the sculpting.”

 

“I started as a sculptor in June of 1981, half-way through the sculpting of the first-year figures.  When I started, I began adding more realism and detail to the sculpts.  If you look at the original line, you can see the process I worked on, the details are sculpted ‘intro’ the figures, not sculpted onto it. Kirk Bozigian noticed the difference immediately and asked for that type of detail to be on all the pieces after. Eventually I was sculpting the arms, legs and torsos.”

 

“I’d go with the Baroness and Destro.  The torso sculpts pushed the limits of the armatures to the extreme.  There were lots of meetings with engineers on whether or not they could be successfully molded”

 

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