Eve Sans Apple (After Trazetta, the Master) – Clarion Alley, Mission District, San Francisco, California

Mark Bodé wasborn on February 18, 1963 in Utica, New York. The son of underground comics legend Vaughn Bodé. Mark began drawing at age three, and even colored in some of his father’s artwork with markers. He claims that his father "brainwashed me into seeing his world, so the characters I started coming up with were heavily influenced by him. Right before he died he told me: ‘We’ll always be Bode and son. Share my style, but don’t get too close.’ I couldn’t wait to work with him.’" Vaughn died when Bodé was 12 years old, on a visit with his divorced father in San Francisco. Mark found his father’s body.

Mark attended art school in Oakland, California. He also studied animation at San Francisco State University. In 1982, he attended The School of Visual Arts (SVA) in New York City as a fine arts major. He often produces works similar to his father’s style. He is best known for his work on Cobalt-60, Miami Mice, and The Lizard of Oz. Bodé has also worked for Heavy Metal magazine and on The Teenage Mutant Ninja Turtles. Bodé took up the art of tattooing in 1994. He trained under the guidance of tattoo artists Al Valenta, from western Massachusetts, and Myke Maldonado, from New York. Bodé also took up spray can art, and has done many mural tributes to his father’s characters over the years. In his career as a spraycan artist, he has done mural work globally in London, Spain, Italy, and Germany as well as locally in his hometown of San Francisco.

James O'Barr was born in Detroit, Michigan on January 1, 1960. An orphan, he was raised in the foster care system. He studied Renaissance sculpture and still-life photography. In 1978, O’Barr’s fiancée, was killed by a drunk driver, and he joined the Marines in an effort to cope with the loss. He was stationed in Germany and illustrated combat manuals for the military. While living in Berlin in 1981, O’Barr began work on The Crow as a means of dealing with his personal tragedy. O’Barr was further inspired by a Detroit newspaper account of the murder of a young couple over a $20 engagement ring. After his discharge from the Marines, O’Barr continued his painting and illustration as well as doing various odd jobs, including working for a Detroit body shop. The Crow sat on a shelf for seven years, but at last someone wanted to publish it: Gary Reed of Caliber Press. In The Crow, the protagonist and his fiancée are murdered by a gang of criminals. He then returns from the dead to hunt their killers. The Crow was adapted into a successful film of the same name.