Tony D’Adamo has been an illustrator and cartoonist for over fifty years. He earned his art degree from the School of Visual Arts in New York City, majoring in comic book, comic strip, book and magazine illustration. He started his professional career as a comic book artist with Fiction House Publications and worked with them until called to duty with the Army for the Korean War. Upon returning from military service, he freelanced for pulp magazines, some of which included Alfred Hitchcock Mystery Magazine, Children’s Digest, Field & Stream, and Women’s Day. He also has worked for Random House, Continental Press, American Book Company, Abingdon, Garrard, Gregg, Krames, Messner, Rand McNally, and Watts & Western Publishing. As part of his freelance work and his seventeen year career as a senior illustrator with Educational Developmental Laboratories, a division of McGraw-Hill, he illustrated over some 200 children’s books and textbooks. His work has also appeared in film slides and filmstrips for a studio in New York City serving the advertising needs of Coca-Cola, Goodrich Tires, and IBM. From 1979 through 1995, Tony was a staff illustrator for the Art Department of Newsday doing cartoon and illustration work. He was recognized for his artistic achievements when he received the first Publishers Award in Graphic Arts from Newsday.
Since retiring from Newsday in 1995, Tony continues an active freelance career including work for Newsday, AMSCO Publications, Prentice-Hall, Troll Associates, Dover Publications, and many others.
Tony’s interest in the history of Long Island resulted in the creation of his panel cartoons entitled, “Laws Long Ago.” These cartoons focused on obscure laws and ordinances during the colonial period on Long Island. Some of these were printed in Newsday and others are featured in the book Long Island, Our Story.
About the illustration header on all of the pages:
All of the illustrators at Newsday were asked to create an illustration of their own choosing for a special magazine section of New Year’s resolutions. I chose a humorous view of myself as the artist and the subject of my own portrait.
“Eye of the Beholder
D’Adamo’s best wish is a prayerful resolution that this will be the year he parks himself before an easel and commits a self-portrait to canvas. He says he’s had it in mind for years to present to the world D’Adamo as seen by D’Adamo. But the artist’s tongue is firmly cheek-planted: That’s Tony D on the easel; who’s the guy with the brush?”