collectors of 1950s men’s magazines such as Jest, Gaze, or Gee-Whiz will find the occasional Kremos or Niso-signed cartoon within those pages.įor the most part, though, Ramponi’s work - while every bit as accomplished if not superior to his U.S. In the mid-1950s, however, after a dispute with another artist who tried to lay legal claim to the name Kremos, Ramponi abandoned the handle and began to sign his work simply by his first name, Niso. To maintain the ruse, Ramponi signed his work Kremos, a pseudonym that stuck even after his discharge from military duty. Loath to abandon his budding cartooning and illustration career but barred by military regulations from working as a freelancer, Ramponi conspired with a friend named Sandro Cremo, who acted as his intermediary to secure and deliver freelance art assignments on Ramponi’s behalf. Ramponi’s pen name, Kremos, was born of necessity: Like many of his generation, after the war Ramponi was conscripted into the Italian army for a year of service.
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