He came to Hanna Barbera in 1964 to do designs for Jonny Quest and his work included Super Friends, Fantastic Four, Space Ghost, Sealab 2020, The Herculoids and Birdman.

[4][5] His parents Alexander Tóth and Mary Hufnagel married in Hamilton, Ontario on October 27, 1924, and after that they moved to Manhattan where Alex Toth was born.

[6][7] Toth's talent was noticed early, and a teacher from his poster class in junior high school urged him to devote himself to art.

He began his career when he sold his first freelance art at the age of 15, subsequently illustrating true stories for Heroic magazine through a comic book packager named Steve Douglas.

[2] Although he initially aimed to do newspaper strips ("It was my dream to do what Caniff, Raymond, and Foster had done"),[9] he found the industry "dying" and instead moved into comic books.

[17] For a brief time in 1950, Toth was able to realize his dream of working on newspaper comic strips by ghost illustrating Casey Ruggles with Warren Tufts.

While in Japan, he wrote and drew his own weekly adventure strip, Jon Fury, for the base paper, Depot Diary.

[22] He worked as a storyboard and design artist until 1968 and then again in 1973 when he was assigned to Australia for five months to produce the TV series Super Friends.

[citation needed] He continued to work in comic books, contributing to Warren Publishing's magazines Eerie, Creepy and The Rook.

[23] Toth illustrated the comic book tie-in to the Hot Wheels animated series based on the toy line.

[27][28] Toth and E. Nelson Bridwell produced a framing sequence for the Super Friends feature in Limited Collectors' Edition #C-41 (Dec. 1975 – Jan.

[32] Journalist Tom Spurgeon wrote that Toth possessed "an almost transcendent understanding of the power of art as a visual story component", and called him "one of the handful of people who could seriously enter into Greatest Comic Book Artist of All-Time discussions" and "a giant of 20th-century cartoon design".

Toth lamented what he saw as a lack of awareness on the part of younger artists of their predecessors, as well as a feeling that the innocent fun of comics' past was being lost in the pursuit of pointless nihilism and mature content.

In 2006, James Counts and Billy Ingram compiled personal anecdotes, hundreds of unseen sketches from famous Alex Toth comic and animated works combined with correspondence with friend and comics dealer John Hitchcock in the book Dear John: The Alex Toth Doodle Book (Octopus Press).