This is a page for storing supplementary information about various people involved in comics. In particular, facts (with sources when possible) that might be relevant to folks researching credits to add to or correct in the GCD. This is also a good place to list corrections to Who's Who, since that site is no longer updated.
According to Gene Reed and Ramon Schenk, lettering credited to "A. Machine" in Charlton comics was produced using a modified typewriter that would accept original art in the carriage, mostly by Dick Giordano's wife but also by many other creators (and perhaps their wives). The lettering was typed onto the art, which explains why it doesn't always fit the word balloons as neatly as hand-lettering.
Bea, Josep Maria
Used to be credited as "Jose Bea" before late 1970s."Josep" is the Catalan name for the Spanish "José" and was forbidden during Franco's dictatorship (1939-1975).He has always used "Josep" since then.
The following regarding Vince Colletta's collaborations with other artists was received from his son, Franklin Colletta, on January 1, 2013. "My dad was responsible for producing a lot of art from time to time. Coincidentally, many artists were looking for work. You would have to list about 25 guys to cover what was essentially the Colletta studios in the 50s, 60s and 70s. Many stories are credited to Vinnie alone when in fact there were other hands in the mix. I started using the 'Vince Colletta Studio' credit because I've seen his collaborative art referred to that way and out of fairness. There was no fixed arrangement, per se. Artists who had talent and could meet deadlines like Joe Sinnott, Dick Giordano, Hy Eisman and Maurice Whitman figured prominently while slower or less enthusiastic artists like Mike Sekowsky, Frank Giacoia, Matt Baker or Wally Wood appeared less frequently. The contributions by artists working under my father ranged from penciling and inking to backgrounds and breakdowns. Vinnie's own contributions to books I consider "Vince Colletta Studio" material ranged from drawing 99% of the stories to just retouching faces and other prominent features."
- Jim Van Dore notes Costanza's use of a reversed "13" as a page number when lettering in this thread.
- Is a made-up studio name by CrossGen Studios used on issues that the various inkers/colorists would jam on to make the book ship on time. 
- Crusty Bunker was a name that was used for a group of artists, organized by Neal Adams, that would pitch in together to get projects done by working together as a team – very much like John Romita’s famous “Romita’s Raiders.”
- Known members: Jack Abel, Neal Adams, Vicente Alcazar, Sal Amendola, Steven Austin, Terry Austin, Joe Barney, Rick Basile, Pat Bastienne, Pat Broderick, Joe Brozowski, Frank Brunner, Rick Bryant, Rich Buckler, Frank Cirocco, Howard Chaykin, Dave Cockrum, Mike Collins, Denys Cowan, Ed Davis, Joe D’Esposito, Karin Dougherty, Steve Engelhart, John Fuller, Dick Giordano, Dan Green, Larry Hama, Steve Harper, Russ Heath, Klaus Janson, Jeffrey Catherine Jones, Michael Wm. Kaluta, Paul Kirchner, Alan Kupperberg, Carl Lundgren, Estaban Maroto, Gary Martin, Bob McLeod, Al Milgrom, Steve Mitchell, Yong Montano, Tim Moriarity, Gray Morrow, Mike Nasser/Michael Netzer, Bruce Patterson, Carl Potts, Ralph Reese, Mark Rice, Marshall Rogers, Josef Rubinstein, Walter Simonson, Jim Sherman, Mary Skrenes, Bob Smith, Jim Starlin, Greg Theakston, Trevor von Eeden, Alan Weiss, Bob Wiacek, Gary Winnick, and Berni Wrightson. (from John Mundt's Live Journal)
de la Rosa, Sam
Capitalizes and spaces his name as Sam de la Rosa (per contact through the GCD Error Tracker).
The credit of the "Boodini the Great" under Centaur ("imprint Chesler") and Archie (specifically Blue Ribbon Comics #1) to Eisner appears to be an error. All known instances of this feature, including the Blue Ribbon one and many Centaur/Chesler appearances, are by Fred Schwab. Additionally, Eisner never worked for Chesler.
Full legal name is "José Rafael Fonteriz". Most of his work is credited as "Rafa Fonteriz", but some others (like Nocturne (Marvel, 1995 series)) were credited as "Joe Fonteriz"
- Wrote most of his stories. Per interview, source forgotten.
- Did not work on Centaur's Phantom Rider, nor did he work with Jack Cole (listed as writer on a Phantom Rider story attributed to Filchock). As told directly to Jim Amash on the Timely-Atlas list.
- Wrote only humor features, provided art only for all other sorts of features. Per Craig Delich from interviews conducted by Jerry Bails.
García López, José Luis
In American comics he often signs his work without accents (as they are not used in English) and sometimes merges both surnames (García and López) using a hyphen (Garcia-Lopez). He is not to be confused with Luis Garcia, who worked for the Warren magazines (as confirmed by Kevin Nowlan).
- Laid out the majority of DC's covers from 1968-1976. Per Steven Rowe, although this has come up in various interviews so we should be able to make this more specific and document a better source.
- Artist known mostly for his covers for 100 Bullets from DC. Not the same Dave Johnson that is known as "Crusher Dave" Johnson.
Johnson, "Crusher" Dave
- Artist known mostly for his work on Comico's Robotech. He usually signs his work as "Crusher Dave". Not the same Dave Johnson as the one currently working in comics.
- Writer whose most famous work is the Top Cow book Wanted, which was later made into a movie.
Miller, Mark S.
- Writer and artist who did a lot of work with Malibu Comics and later founder of Alias Comics. Mark signed "Mark Miller" until the other Mark Millar started appearing, at which time he started signing "Mark S. Miller"
- Did not use the pen name S. T. Anley (contrary to Who's Who and Lambiek). Likewise did not have anything to do with Timely's feature The Witness in Mystic Comics. Per Dr. Michael J. Vassallo on the Timely-Atlas list.
- Photo taken in 1982, provided by Jim Stangas, used by permission.
- Pen name used by colorist Byron Talmon.
- Is a made-up studio name used on issues that the various inkers/colorists would jam on to make the book ship on time. (Just in time)