- Geslani, Halakhak Komiks (1946-1947)
- Mga Hindi Sukat Akalain, Halakhak Komiks (1946-1947)
- Bagong Lafflife, Lovelife Komiks (1994-1998)
- Diwani, Monster Komiks
- Mga Kahorroran Dyoks, Space Horror Comix
- Monsterifiiic Dyok!, Monster Komiks
- Pidro Pan, Super Fantasy Komiks
- Samu’t Saring Dyoks, Mindmaster Publishing Inc. (2006)
- Super sa Fantasy Jokes, Super Fantasy Komiks
- Nakaw-Eksena, Superstar Komiks (1974-1975)
- Nana Entang Kulam, Nightmare Komiks (1988)
- Super Sablay, Super Action Pocketkomiks (1985-1986)
- Turko: Antuking Tartaro, Pioneer Komiks (1979)
- Uwang Yu, Kislap Komiks (1973-1974)
ROMMEL J. ESTANISLAO is a graphic artist, illustrator and cartoonist. His works have been published in numerous glossies under ABS-CBN Publishing, children’s book, international magazines, newspaper, print ads and government projects. He has done several story boards for movies and commercial. He is also into XC Mountainbiking, Mixed Martial Arts, Muay Thai, and Sculpting. He wants to promote local indie comics by creating figures of characters through sculpting.
- Komediskits, Komedi Komiks (1991-1998)
- Mga Wisdom ni Ekwak, Komedi Komiks (1996-1998)
FRANCISCO REYES is recognized as the King of the Philippine jungle-lord school of komiks-strip writing. A mild-mannered, bespectacled man, Reyes created Kulafu which was as success in the Liwayway Magazine during the 1930s.
A man of varied interests, Reyes first studied Art in 1927 at the UP School of Fine Arts where he took up a course in illustration and commercial designing. During that period, he was holding his first job as apprentice artist with a weekly vernacular magazine. Upon graduation in 1932, he joined the Liwayway Publications where he worked continuously up to the outbreak of the Second World War in 1941.
From 1947 to 1948, he was connected with a big advertising agency. In 1949, he joined the advertising department of the Philippine Manufacturing Company where he became the chief of the art section.
Reyes teamed up on Kulafu with Pedrito Reyes, son of the novelist Severino Reyes, who under the pseudonym Lola Basyang, gained fame as the foremost vernacular teller of tales of the thirties. The two Reyeses were unrelated. They met at the Liwayway Publications in 1933.
Kulafu was the first colored adventure strip in Philippine komiks-magazine history. Starting in the Liwayway magazine in late 1933, it was an instant success. Soon it was being translated for the Hiligaynon and Bisaya magazines. Kulafu, still well-remembered by an aging generation of komiks-strip readers, was also translated in Spanish and published by a South American magazine.
Kulafu’s creator owes a lot to Edgar Rice Burroughs who created Tarzan, prototype of all sagas of noble savages. Tarzan lived as a savage of noble English lineage in Victorian Africa; Kulafu’s domain was a little kingdom somewhere in southern Philippines during the pre-Spanish era. Reared by the great apes like Tarzan, Kulafu roamed the jungles coming out from one perilous adventure after another. The Reyeses drew as heavily from Philippine mythology as they did from Burroughs. Some of the monsters Kulafu had to contend with like the dangerous Siukoy (merman) form part of the country’s array of native monsters.
Francisco Reyes worked on Kulafu solo in 1936 when Pedrito Reyes decided to tackle another job. In 1941 at the outbreak of the war, Reyes stopped doing Kulafu altogether. He never picked it up again at war’s end. But he created other strips that also clicked with the komiks-reading public.
He passed away in 1992. 
LEANDRO SAN JUAN MARTINEZ, also known as “Dan” or “Dando” to his friends and family, was born on February 27, 1933 in Morong, Rizal Philippines. At an early age, Leandro showed an interest in drawing cartoons and often re-created humorous antics inherent in a household of ten siblings. The chosen profession by most members of his family was teaching in school. However, his parents conceded to his passion for the arts and encouraged him to pursue a fine arts degree at the University of the East. A couple of semesters shy from graduation, Leandro decided to leave school and devote his energy to a fulltime career as a cartoonist.
Leandro honed his talents illustrating for Ace Publications, Inc. and later became a contributing editor for PSG Publishing House. When PSG Publications closed its doors permanently in the early 1970s, he became a freelance cartoonist for several komiks published by Graphic Arts Service, Inc. and Islas Pilipinas Publishing Company. A few of his notable characters and comic strips during the 1960s to 1970s included Tsikiting Gubat, Nognog, Atorni Agaton, Atoman, Tik & Tak, Kuwentong Kuneho, Haragan con Maldita, T. V. Lampoon, Doon Po Sa Amin and Mac en Kulit. Nognog, Atorni Agaton and Mac en Kulit were later adapted into film.
In the late 1970s, he created Superkat and Bulol en Tangak for Pilipino Funny Komiks. Superkat became arguably the most popular character for the magazine during that time. Ming, a nondescript kitten who transformed into Superkat by uttering the word “Katsum,” fulfilled the fantasy and adventure beloved by children readers. To the adults, the underlying theme of good vs. evil and that good would always prevail provided a glimpse of hope even in the most dismal circumstances.
Unlike most artists whose genius was derived from a depressive psyche, Leandro lived with a very positive and humanistic outlook in life. Mild mannered and soft spoken with his distinct Morongueno cadence, he was more of a listener than a talker. At the same time, with his quick wit, he could easily banter with anyone especially when the topic turned into sports–basketball and baseball were his favorites.
In 1981, Leandro moved to Los Angeles and continued to send his artworks for Superkat and Bulol en Tangak until 1983. There was definitely a struggle to find work as a cartoonist during the early years in Los Angeles. His friends generously provided him with “sidelines” inking comic strips for Marvel and DC comics. Later, he found work illustrating for CARtoons Magazine and illustrating department store advertisements published in the Los Angeles Times. He also retired his nom de plum “LS Martinez” and instead signed his artwork with a distinct cursive variation of his last name.
Eventually, he earned enough hours to qualify him for membership into the Motion Picture Screen Cartoonist labor union. This meant he no longer had to contend with seasonal work provided by the studios to non-union members.
In 1984, Leandro worked for Filmation Productions as a background and layout animator on syndicated television series including He-Man and the Masters of the Universe and She-Ra: Princess of Power. He also had a hand on the film Pinocchio and the Emperor of the Night released in 1987 by the same company.
Shortly thereafter, he moved to Warner Brothers Animation and worked as a background and layout artist on the television shows Tiny Toons Adventures and Taz-Mania. His dedication and hard work would later earn him a promotion as a layout supervisor.
Leandro was equally devoted to his family as he was to his art. His children recalled being allowed to ink the lines and erase pencil marks on his storyboards. Even when deadlines were tight, Leandro made sure that he spent quality time with his wife and four children sampling different cuisines or going to the movies.
On December 16, 1992, Leandro was driving his car on his way to work when he suffered a heart attack. He was taken to the hospital immediately but resuscitation efforts were unsuccessful. He was 59 years old.  
- Rey Cruz, Bituin Komiks (1950)
- Tuka ng Ulupong: Kalawang sa Bakal, Bituin Komiks (1949)
- Ali Badbad en da Madyik Banig, Pilipino Funny Komiks (1980)
- Don Juan Kamagong, Pilipino Funny Komiks (1979-1980)
- Fofonggo, Silangan Klasiks (1987-1988)
- Gemini, Bata Batuta Komiks (1987)
- Jack en Jill en Poy, Pilipino Funny Komiks (1980-1981)
- Nasaan si Diana?, Bondying Movie Specials (1974-1975)
- Quintin, Pinoy Klasiks (1976-1977)
- Rubab, Pinoy Komiks (1976-1977)
- Teens Story of the Week, Teens Weekly Komiks (1981-1984)
- Zorayder, Children’s Stories (1988-1989)
- Culinary Art, Hiwaga Komiks (1968)
- Mad House, Tagalog Klasiks (1968)
- Traysike Teryo, Hiwaga Komiks (1968-1969)
MALANG SANTOS is a cartoonist and painter from Manila, Philippines. He joined the Manila Chronicle as a staff artist in 1947. For this paper, he created the daily comic strip “Kosme the Cop”, which was the first local strip amongst the American strips. Afte a couple of months, the character retired from duty, and became known as “Kosme the Cop (retired)”. Malang then launched “Chain Gang Charlie”, as well as “Belzeebub” for Pageant Magazine.
He was assistant editor for Bituin Komiks by F.J. Quiogue Publications, for which he also drew “Tikoy”. Santos eventually became well-known for his illustrations and for his advertising agency agency work throughout the country. 
SEVERINO “NONOY” MARCELO (January 22, 1939 – October 22, 2002) is a Filipino cartoonist born in Malabon, Metro Manila, Philippines, an alumnus of the Institute of Arts and Sciences from Far Eastern University, and a former cartoonist in the “The Advocate” (the official student publication of Far Eastern University).
He is best known for creating the character Ikabod Bubwit (“small rodent” in Tagalog) in the comics strip Ikabod, which ran from the late 1970s to 2002. Ikabod is a satirical strip that re-cast the Philippines as a nation called Dagalandia. The strip humorously depicted the socio-political woes of ordinary Filipinos.
He also created the comic strips “Plain Folks”, which appeared in the Daily Mirror during the early 1960s, and “Tisoy” in 1963 for the Manila Times, which tells about the lifestyle of young Filipinos. His main character, Tisoy (slang for “mestizo), and cast members such as Aling Otik, Maribubut, Caligula, Tatang, Tikyo and Kinse, soon became established in Philippine pop culture. Tisoy became a film in 1977 directed by Ismael Bernal, starring Christopher de Leon and Charo Santos.
In 1985, Marcelo was given the Catholic Mass Media Award for print Journalism, a category usually given to reporters or columnists. In 1988, Marcelo received the Cultural Center of the Philippines’ Centennial Artist Award, the only cartoonist so honored.
He died in Manila on October 22, 2002 at the age of 63 of sepsis due to complications from his diabetes. 
ROD E. MANUEL started his career in comics illustration in 1975. It was Mars Ravelo, through his own RAR Publishing House, who gave him this opportunity. He drew short stories for Ravelo’s komiks until he was given the break to illustrate novels. His first novel was “Budyi” followed by “Bobby Beep Beep”. It was also Ravelo who gave him the chance to become a cartoonist. Ravelo assigned him to draw some of his cartoon characters such as “Gorio at Tekla”, “Ipe”, “Lola Belay”, among others.
According to Rod, he likes to draw short stories but he is more at home to draw comedy stories. Among the characters he illustrated were “Iknok”, “Kung Tawagin siya’y Ma-El” and “Trexie”, all with comedy writer Danny Ocampo, “Biboy Iskolar ng Bayan” with Almel de Guzman, “Mga Adbentyur ni Nitoy” with Primo Yalong, “Dear Kuya Edong” with Divino Pagkatipunan, “Cindy, Ang Pilyang Fairy” with Marilie Veracruz and “Ala Ey Buhay” with Pat. V. Reyes. Rod also created his own cartoon character “Eng Con Tasya” which appeared in Engkantasya Komiks in the 1990s.
Rod was born on September 18, 1948 at San Antonio, Nueva Ecija. He is married to Juliet H. Portillo whom he has one son, Rodjulius. 
- Alaala ng Isang Pag-ibig, Pinoy Klasiks (1999)
- Anay sa Pedestal, Damdamin Komiks (1990-1991)
- Ang Puso Ko’y Hindi Akin, Damdamin Komiks (1992)
- Ayaw Kumupas ng Bahaghari, Damdamin Komiks (1990)
- Biboy: Iskolar ng Bayan, Bata Batuta Komiks (1992)
- Cindy: Ang Pilyang Fairy, Kuwento Komiks (1989-1991)
- Dear Kuya Edong, Beloved Komiks (1991)
- Hanggang Doon Kita Mamahalin, GASI Drama Special (1992)
- Hanggang Saan ang Pag-ibig, Golden Drama Komiks (1998)
- Huwag Nating Husgahan ang Isang Kasalanan, Golden Drama Komiks (1998)
- Ikaw Man ang Mahalin…, Golden Drama Komiks (1999)
- Kailan Darating ang Kahapon?, Damdamin Komiks (1993-1994)
- Lola Belay, Mars Ravelo Komiks (1980-1981)
- Minsa’y Kumatok ang Pag-ibig, Golden Drama Komiks (1998)
- Sa Lamig ng Gabi, Damdamin Komiks (1992)
- Subukin Mong Mahalin Ako, Aliwan Komiks (1992)
- Victorio, Silangan Klasiks (1990-1991)
BEN S. MANICLANG, one of the pioneers in the Philippine komiks industry, got first exposure to illustration from watching artists at work in a local art shop in Manila where he went the rounds as a shoe shine boy at an early age.
After finishing high school in 1947, Maniclang wrote and illustrated Ang Kambal for Silahis Magazine. In 1952, right after graduating from college, he became a staffer of Bulaklak Magazine where he illustrated Ang Prinsesa at ang Pulubi, Ang Tungkod ni Moises, Nasaan Ka Irog, and many others.
A freelance artist in 1955, he illustrated short stories for Extra Komiks and for Mabuhay Komiks, the novels Miramonte and Damon at Pitias, among others. While illustrating Mahiwagang Batya and Alambreng Naging Pusit in 1957 for Tagalog Klasiks, he was commissioned by Tony Velasquez to illustrate Ama Namin for Kenkoy Komiks.
For a time, Maniclang served as art director of the Silaw Magazine of the then Manila Daily Bulletin (now Bulletin Today). Turning free-lancer once more, he illustrated the series, Mga Kuwentong Barbero and short stories for the Graphic Arts Service, Inc. 
- Anak ni Zuma, Aliwan Komiks (1976-1984)
- Ang Kambal, Silahis (1947)
- Battling Batya, Tagalog Klasiks (1967-1968)
- Borbo, Pioneer Komiks (1978-1983)
- Cofradia, Mabuhay Komiks (1952-1953)
- David at Golyat, Pilipino Funny Komiks (1980)
- Fortunata, TSS Komiks (1982-1983)
- Huling Patak ng Dugo, Bulaklak (1950)
- Humbelina, Teens Weekly Komiks (1983-1984)
- Kadena de Kunsume, Pioneer Komiks (1975-1977)
- Kapten Katuray, Darna Komiks (1983)
- Lolong, Holiday Komiks (1979)
- Mga Karanasang Nakakad’yahi, Pinoy Klasiks (1969)
- Mga Kuwentong Barbero, Aliwan Komiks (1966-1983)
- Palaw, Movie Komiks (1949)
- Pintog, Pinoy Komiks (1990-1991)
- Sa Lilim ng Watawat, Bulaklak (1950-1951)