Sheldon Moldoff
Sheldon was hired by Bob Kane to work as his ghost in June 1953, replacing Lew Sayre Schwartz.  Moldoff's stories began appearing in early 1954.  He continued to ghost for Bob Kane up until Kane's contract with DC expired in 1968.  For most fans of the Silver Age generation, Sheldon Moldoff "was" Bob Kane.  Moldoff began aping Schwartz's style pretty closely, but soon developed more depth and greater variety of staging.  Moldoff wasn't afraid of 3/4 shots or medium range panels which actually conveyed the action of the story line.  He could vary the pacing quite dramatically as the sequence below shows.  His faces were also squarer and better proportioned than Schwartz's.
Throughout the Fifties and Early Sixties, Moldoff's primary inker was Charles Paris, who was also Dick Sprang's primary inker.  The majority of stories not inked by Paris were inked by Stan Kaye before 1958, and, after that, by Moldoff himself.  Occasionally, Ray Burnley would ink.

Beginning in 1958, in addition to his ghosting for Kane, Moldoff would begin to work directly for DC, primarily as an inker.  He often inked Blackhawk stories in this period as well as Superman.  Often he would be called on to ink "Bob Kane's" pencils on Batman stories and covers without any acknowledgment that he was the original penciller.

from Batman 83, "The Duplicate Batman"   Moldoff/ Paris

Following are some hints for distinguishing these inkers over Moldoff's pencils.
Batman's ears
Paris's Batman also has clear differences from Moldoff's.  Paris invariably gives Batman's  ears  a spade shape.

Moldoff /Paris from Batman 123 "Secret of the Everglades"

Kaye's ears aren't quite as pointy as Moldoff 's. The chin is also somewhat rounder. Kaye uses bolder lines and fewer of them.

Moldoff/ Kaye from Batman 123 "The Fugitive Batman"

Moldoff's Bat ears are triangular with a pronounced indentation. Moldoff uses lots more pen lines than Kaye does.

Moldoff/Moldoff from Batman 134  "Batman's Secret Enemy" 

Ray Burnley's bat ears can be extremely pointy. His faces are much rounder and more three dimensional than the other inkers, being least interested in preserving the "Bob Kane" look. Notice Batman's chin line here.

Moldoff/ Burnley from Batman 122 "'The Marriage of Batman and Batwoman"

Batman's Bat symbol
Paris's Bat emblem is larger than most and almost rectangular.  He minimizes the detail in favor of a bold black effect.

Moldoff/ Paris from Batman 83 "the Duplicate Batman"

Stan Kaye's inks generally featured a heavier line than Moldoff's. His Bat symbol has long spines extending far beneath the bottom edge of the Bat. The line delineating Batmaan's lower lip is also much more pronounced than in Moldoff's or Paris's work.

Moldoff/ Kaye from Batman 111  "The Armored Batman"

Moldoff's is more like Paris's.  Almost a pure trapezoid, sometimes with the center spine longer than the other ones.

Moldoff/ Moldoff from Detective 294  "Villain of 100 Elements"

Ray Burnley's Bat Symbol is almost headless, although he does put moderately pronounced spines on the bottom.  Burnley's work is noted for its heavy line work, giving much more weight and depth to the characters.  He pretty much obliterates the "Bob Kane" effect that Moldoff was going for.

Moldoff/ Burnley from Batman 122 "the Marriage of Batman and Batwoman"

Robin's hair
One way to tell Paris from Moldoff''s own inks is to look at Robin's hair.  Paris inked his hair in parallel streaks of black. 

Moldoff/ Paris from Batman 134 "The Deadly Dummy"

Stan Kaye uses the least amount of highlights of the three. His blacks tend to follow a definite pattern, as opposed to Moldoff's.  He also doesn't uses many pen lines preferring thicker, bolder brushwork.

Moldoff/ Kaye from Batman 123 "The Fugitive Batman"

Moldoff's own inks show no parallel lines and a tendency to just fill it all in with solid black.  There's generally no real logic to the highlights.

Moldoff/ Moldoff from Detective 285 cover

Burnley's hair is rather busy, with tons of little lines giving it a wilder, more unkempt look. His thicker strokes can also be seen in Robin's nose and lips.

Moldoff/ Burnley from Batman 122 "The Marriage of Batman and Batwoman"

Other Artists
Dick Sprang, usually inked by Charles Paris continued to provide his own Batman stories, which was good, because where else would you get pages like this?!?  After 1960, Sprang devoted most of his efforts to the Superman /Batman team-ups in World's Finest.  His last solo Batman story was "The Flame Master" in Detective 308 in October 1962.

"When Batman Was Robin" by Ed Hamilton, Dick Sprang and Charles Paris. Detective Comics 226, December 1955.

Moldoff was not the sole Batman artist after Sprang left, however, Jim Mooney, who had been a mainstay in the late Forties and early Fifties was called upon a number of times to fill in on an issue of Detective Comics.  Jim did the stories in Batman 148 and 150 and Detectives 296,299, 311 and 318, visually creating the Planet Master and the Cat Man.

"Menace of the Planet Master", by Dave Wood, Jim Mooney and Charles Paris, Detective 296, October 1961.

From 1950-56 Win Mortimer provided most of the Batman covers.  Since Mortimer actually worked in the DC offices, it was easier for him to attend cover conferences with editors, who considered the cover image the main selling point of a comic and often had them redrawn over and over.   Mortimer's style, while also cartoony, did not resemble Kane's at all, relying on a softness of line to provide depth. His work definitely fit into the Schiff 'house style" that was developed in the Fifties and shared by Will Ely, George Roussos, Lee Elias and Mort Meskin.


From 1956 to 1960 Curt Swan and Stan Kaye did the majority of Batman and Detective Comics covers, perhaps Schiff reasoning that their look was sleaker and more similar to that which appeared on other DC magazines.  Swan brought the same humanity to his Batman work that he did to Superman and the other features he worked on. And as far as striking design goes, it would be hard to beat this image!

Detective 266, April 1959 by Curt Swan and Stan Kaye.

After 1960, Sheldon Moldoff did the vast majority of the covers but artist Dick Dillin, recently acquired from Quality along with Blackhawk, was often called upon by editor Sheldon Moldoff to provide covers for his line, including Detectives 296, 299, 307, 308, 311,and 318 and Batman 135 and 150.  Often mistaken for either Moldoff or Mooney, Dillin's figures were slimmer and more dynamic.  His style had a harder edge to it, wheras the other artists were beginning to feel dated to fans feeding on the Julie Schwartz heroic revival titles.

Detective Comics 318, August 1963 by Dick Dillin and Sheldon Moldoff.

Moldoff's style changed drastically with the introduction of Batman's "New Look".
Lew Schwartz