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Kevin Conrad graduated in 1983 from Sage College of Albany with an Associate's degree in Applied Science. He immediately found work in commercial advertising, mainly with local businesses, including product illustration for a New York / Massachusetts supermarket chain, Price Chopper. Some national clients included Troy Bilt garden products, Scholastic magazine and GE. Kevin also was the creator and artist of "Coaxx," a superhero who briefly defended the TCI Cable company in their advertisements. Although most of the illustration done was of a technical nature, the occasional 'gem' would come his way.
Wanting to follow his lifelong dream of working in comics, and tiring of the lack of creativity in the commercial work that would find him, Kevin sent sample inked X-Force pages to his friend's editor at Marvel. The result was immediate work as a contributing inker on X-Force, working over Greg Capullo's pencils as well as nearly all of Marvel's 'X' titles and their spin-offs. He was promoted to regular inker of X-Force starting with issue # 38, teaming up with up-and-coming penciller Tony Daniel. These two would, over the course of many years, continue to accent each other's work. After their collaboration on X-Force, Kevin and Tony were hired by Todd McFarlane to be the creative talent behind the Spawn mini-series; Spawn: Bloodfeud. Assisting with the inking chores on the regular series, Spawn from issue 31 to 39, Kevin then joined Tony again to illustrate the even numbered Spawn issues from # 40 through # 50. Following his run on Spawn, Kevin contributed to many projects from the 'big three', finally landing his dream job and what he considers the pinnacle of his career -- inker for KISS: Psycho Circus. After 31 issues and two pencillers, the KISS series was finally canceled, but not before Kevin had the chance to pencil the final cover, with KPC penciller Clayton Crain inking it. Following the cancellation of KPC, Kevin headed over to Spawn: The Dark Ages with Nat Jones as penciler, inking issues 15 to it's last issue, 28.
Currently, Kevin contributes to various DC and Image properties, while finding more and more penciling projects along the way with independent companies and his commission work. It seems Kevin has come full circle with a small resurgence in the commercial art field from agencies around the nation finding his comic illustration a viable commodity.
Bio from his website
Wanting to follow his lifelong dream of working in comics, and tiring of the lack of creativity in the commercial work that would find him, Kevin sent sample inked X-Force pages to his friend's editor at Marvel. The result was immediate work as a contributing inker on X-Force, working over Greg Capullo's pencils as well as nearly all of Marvel's 'X' titles and their spin-offs. He was promoted to regular inker of X-Force starting with issue # 38, teaming up with up-and-coming penciller Tony Daniel. These two would, over the course of many years, continue to accent each other's work. After their collaboration on X-Force, Kevin and Tony were hired by Todd McFarlane to be the creative talent behind the Spawn mini-series; Spawn: Bloodfeud. Assisting with the inking chores on the regular series, Spawn from issue 31 to 39, Kevin then joined Tony again to illustrate the even numbered Spawn issues from # 40 through # 50. Following his run on Spawn, Kevin contributed to many projects from the 'big three', finally landing his dream job and what he considers the pinnacle of his career -- inker for KISS: Psycho Circus. After 31 issues and two pencillers, the KISS series was finally canceled, but not before Kevin had the chance to pencil the final cover, with KPC penciller Clayton Crain inking it. Following the cancellation of KPC, Kevin headed over to Spawn: The Dark Ages with Nat Jones as penciler, inking issues 15 to it's last issue, 28.
Currently, Kevin contributes to various DC and Image properties, while finding more and more penciling projects along the way with independent companies and his commission work. It seems Kevin has come full circle with a small resurgence in the commercial art field from agencies around the nation finding his comic illustration a viable commodity.
Bio from his website