Hal Foster: Prince Of Illustrators by Brian M. Kane (book review)
Considering how many comicbook artists regarded Hal Foster (1892-1982) as a major influence on their art, when I came across this book, Hal Foster: Prince Of Illustrators’, it seemed a good opportunity to learn more about him and how little I really knew. His famous creation, Prince Valiant, appeared in 350 newspapers in America, which would explain why we didn’t see it in the UK, although I had seen the 1954 film a few years back.
He was a Canadian from a poorly off family and had to leave school early to help support his family. That didn’t stop him learning and the library was his second home. Like his brothers, he could live off the land and bring wild ducks and rabbits home to feed them. He was also heavily into all sports, which means there was an artist preceding Frazetta with that bent. Foster also had a variety of jobs, including art, and finally got his break doing art for women’s underwear catalogues. With a two month layoff each year, Foster had to explore other means to make money and worked for Edgar Rice Burroughs on ‘Tarzan Of The Apes’ and deemed the best artist ERB had seen. He was also reluctant to let him go when Foster wanted to draw and write his own character.
Rather interestingly, Foster didn’t come up with the name ‘Prince Valiant’, as editor Joe Connolly came up with it as an alternative to the name he had of Prince Arn. Although Foster used parts of the King Arthur mythology, he advanced it and had the look to the 14th century, matching appearances to that. He was also the first creator to marry his creation off and give them a child which didn’t mar Valiant’s success.
The number of artists who were influenced by Foster’s art forever mounts up. Even Will Eisner was an admirer and Kirby based the Demon’s face off a mask Foster created, hence the fish gills.
Seeing the artwork here, you have to admire Foster’s talent and he worked on ‘Prince Valiant’ for 30 years, including writing, inking with a brush, lettering and colouring it before arthritis crept in and he had to bring in another artist. Reading the scale he drew his panels at does explain how he got so much detail in without eye strain. Foster and his wife, Helen, were frequent travellers, often going to the places he would incorporate into the strip.
There is also a selection of card comedy gags he did showing Foster could turn his hand to anything.
From my analytical point of view, based off how he did his research, Foster had to be a geek for the way he soaked up all his knowledge. The influence he had on American artists who included their thoughts here clearly showed how much respect they had of him.
I’m now better informed about Harold Rudolf Foster and so will you, if you buy this book.
GF Willmetts
March 2026
(pub: Vanguard, 2010 originally published 2001. 208 page illustrated large softcover. Price: varies. ISBN: 978-1-88759-125-6)
