The "New Look"
In 1964, Julius Schwartz became editor of Batman and Detective Comics and introduced what was touted as the "New Look". Carmine Infantino was brought in to redesign Batman.  Infantino was assigned to draw every other issue of Detective Comics, employing the sleek style he had pioneered on the Flash.  Because there was no way that fans would not recognize his art style, Infantino became the first Batman artist not to sign Bob Kane's name to his work.
"Mystery of the Menacing Mask" by John Broome, Carmine Infantino and Joe Giella. Detective 327. May, 1964.  (Note, in one of the great comic book bloopers of all time, Batman is using a gun.)  "Two Way Death Trap" by John Broome?, Sheldon Moldoff and Joe Giella, Batman 166. Sept 1964,
Carmine Infantino had been one of the first generation of comic book fans, too young to be drafted during the war, they became replacements for men they had idolized just a few years before. Starting on DC's Ghost Patrol, Infantino was soon drawing Flash and Justice Society stories and went on to become one of the mainstays of the Julie Schwartz "look".   Known for his clean, bright science fiction strips, Infantino's own natural style was darker and more urban than the way Giella and others inked him.  Ironically, that inking style, which would have been perfect for Batman, was only exhibited on the backup Elongated Man stories. Because the new style was supposed to help sell Batman to the new audience Schwartz's other titles were reaching, "Bob Kane" (akaSheldon Moldoff) was supposed to emulate that style in his stories as well.  To help accomplish this Joe Giella was used to ink both artists.  Moldoff had already been slimming down the stocky Batman of the fifties, so the final step in the transformation wasn't as big a stretch as it might seem.


Detective 361- Dynamic Duo's Double Death Trap by Gardner Fox, Carmine Infantino and Sid Greene. March, 1967
Batman 170 "Puzzle of the Perilous Prizes" by Bill Finger and Joe Giella, March 1965 Batman 169 A Bad Day for Batman by Ed Herron, Sheldon Moldoff and Sid Greene 2/65
Joe Giella had been working in comics since 1946 primarily as an inker.  He was considered one of the most reliable at DC and was often used for high profile licensing projects.  Besides inking the Batman comic book, he also pencilled and inked the revived Batman comic strip in 1966-67.  He also pencilled an occasional comic book story, doing his best to imitate Sheldon Moldoff imitating Bob Kane.  Currently, he draws the Mary Worth comic strip. A later development was the addition of Sid Greene to the inking staff. Sid had been toiling in comics since the pre-war days, doing everything from super-hero to romance. He had became a mainstay of Schwartz's sceience fiction titles as a penciller,but by the mid-sixties he was concentrating on inking. Greene's smoother modeled approach was so overpowering to the pencil line, that it almost became difficult to tell Moldoff and Infantino apart!.
 "Batgirl's Costume Cut Ups" by Gardner Fox, Gil Kane and Sid Greene Detective 371, January 1968. "The Riddler's Prison Puzzle Problem" by Gardner Fox, Frank Springer and Sid Greene. Detective 377, July 1968.
After Carmine Infantino became DC's editorial director, he gave up his regular art assingments.  A number of artists then drew the non-"Kane" Detective issues, (although the stories no longer strictly ran in Detective) including Gil Kane.  Gil Kane broke into comics during WWII among other places, working in the Simon and Kirby shop, ghosting the Sandman for Jack Kirby.  When the word came down from DC management that artists were supposed to emulate Marvel, Kane was one of the few equipped for the task.  His Batman was action-packed but hardly dark and mysterious. Frank Springer. Frank spent most of the sixties with Dell and Gold Key, where he worked on (among other things) the fabled Brain Boy and a lot of mystery, western and crime comics. The handful of (well, two) Batman stories he did were for DC directly, not for Bob Kane.  After the sixties, he seems to have divided his time equally between Marvel and DC, concentrating on inking
"The Man Who Radiated Fear" by Mike Friedrich, Chic Stone and Joe Giella. Batman 200, March 1968 "Mr Freeze's Chilling Death Trap" by Gardner Fox, Chic Stone and Sid Greene, Detective 373, March 1968
Kane's final ghost was Chic Stone, a journeyman penciller and inker who had worked for various companies including Marvel, where he had inked Jack Kirby and ACG, where he drew Nemesis. He filled in for Sheldon Moldoff on and off even before the "New Look"  began.  In 1967/68, Stone's Batman work showed a profound Kirby influence and can primarily be identified by his penchant for drawing Batman's fists bigger than his head.

In August 1968, a 2nd Batman revolution occurred.  Bob Kane signed a new contract with DC which removed him from producing artwork for the title.  Now all Batman artists would receive credit.  Bob Brown and Irv Novick became the artists for Batman's new "Noir" look, as writers Mike Friedrich and Frank Robbins ushered in the era of the Darknight Detective.

Batman in the Seventies

Batman 1953-64