His father, Pasquale "Patrick" Infantino, born in New York City, was originally a musician who played saxophone, clarinet, and violin, and had a band with composer Harry Warren.

Infantino's mother, Angela Rosa DellaBadia, emigrated from Calitri, a hill town northeast of Naples, Italy.

[7]Infantino would eventually work for several publishers during the decade, drawing Human Torch and Angel stories for Timely; Airboy and Heap stories for Hillman Periodicals;[8] working for packager Jack Binder, who supplied Fawcett Comics; briefly at Holyoke Publishing; then landing at DC Comics.

[8] During the 1950s, Infantino freelanced for Joe Simon and Jack Kirby's company, Prize Comics, drawing the series Charlie Chan.

Back at DC, during a lull in the popularity of superheroes, Infantino drew Westerns, mysteries, science fiction comics.

[8] In 1956, DC editor Julius Schwartz assigned Infantino and writer Robert Kanigher to the company's first attempt at reviving superheroes: an updated version of the Flash who would appear in issue #4 (Oct. 1956) of the anthology series Showcase.

Infantino designed the now-classic red uniform with yellow detail (reminiscent of Captain Marvel), striving to keep it as streamlined as possible, and he drew on his design abilities to create a new visual language to depict the Flash's speed, using vertical and horizontal motion lines to make the figure a red and yellow blur.

The success of the Flash heralded the wholesale return of superheroes, and the beginning of what fans and historians call the Silver Age of comics.

[13] Infantino continued to work for Schwartz in his other features and titles, most notably "Adam Strange" in Mystery in Space, succeeding the character's initial artist, Mike Sekowsky.

Writer John Broome and artist Infantino jettisoned the series' sillier aspects (such as Ace the Bat-Hound and Bat-Mite) and gave the "New Look" Batman and Robin a more detective-oriented direction and sleeker draftsmanship that proved a hit combination.

[16] Writer Arnold Drake and Infantino created the supernatural superhero Deadman in Strange Adventures #205 (Oct.

Publisher Jack Liebowitz confirmed that DC could not match the offer, but could promote Infantino to the position of art director.

After the "Fourth World" titles were canceled, Kirby created several other series for DC including OMAC, Kamandi, The Demon, and, together with former partner Joe Simon for one last time, a new incarnation of the Sandman before returning to freelancing for Marvel in 1975.

[2] Infantino was made DC's publisher in early 1971, during a time of declining circulation for the company's comics, and he attempted a number of changes.

[24][25] Infantino and writer Len Wein co-created the "Human Target" feature in Action Comics #419 (December 1972).

[26] The character was adapted into a short-lived ABC television series starring Rick Springfield which debuted in July 1992.

In January 1976, Warner Communications replaced Infantino with magazine publisher Jenette Kahn, a person new to the comics field.

[30] Infantino later drew for a number of titles for Warren Publishing and Marvel, including the latter's Star Wars,[31] Spider-Woman,[32] and Nova.

[34] In 1981, he returned to DC Comics and co-created a revival of the "Dial H for Hero" feature with writer Marv Wolfman in a special insert in Legion of Super-Heroes #272 (February 1981).

[46] One of his final stories for the company appeared in DC Comics Presents: Batman #1 (Sept. 2004), a tribute to Julius Schwartz.

[49] In the 2023 Amazon Prime Video Christmas special, Merry Little Batman, Infantino appears in a cameo via archive audio.