So a short while ago I told you about the Spitball comic book anthology being put together by the students at CCAD. I wanted to share the first page from the short story I contributed to the book, with art by the talented Lee Meyers.
Here are her roughs:
Followed by her pencils/inks:
And the nearly complete colored and lettered page:
I can’t wait to see the finished book, which will feature artwork by many of Lee’s classmates, and stories written by the likes of Matt Fraction, Noelle Stevenson, and Ivan Brandon.
Back in the November of 2011, I was a guest on Writer’s Talk, a local show hosted by Doug Dangler and produced by The Ohio State University’s Center for the Study and Teaching of Writing. For the show, Doug interviewed writers in various fields and disciplines, “focusing on how they produce text and communicate in a variety of genres. Its purpose is to demystify and promote writing, especially for academic writers.”
(Note that Writer’s Talk is no longer in production. However, Doug is currently hosting a similar new show, Craft.)
The episode I was on also featured 2 other prolific Columbus comic creators: Ken Eppstein, editor, writer, and publisher of the Nix Comics Quarterly, and Max Ink, creator, writer, and artist of Blink.
You can watch the entire episode right here:
I love behind-the-scenes process glimpses, and this Onion A.V. Club article shows 3 different artists, and their process for staging a fight sequence.
My favorite is this Moon Knight page, by Declan Shalvey:
AVC: I love that last panel of the gutter bleeding into Moon Knight’s cape, an effect that you use a few times on the series. What is the reasoning for that visual choice?
DS: Well, I made the choice to try and use white as a graphic device. It seemed like the perfect opportunity to play with that device, considering one iconic thing about Moon Knight is the white of his costume. I realized that I had a rare opportunity to do something a little different and kept it in mind.
On his blog, writer J.M. DeMatteis has the entirety of his mid-90s film treatment for a Daredevil movie, for producer/screenwriter Chris Columbus and his 1492 Pictures company.
THE MAN WITHOUT FEAR
Final Draft Treatment
J. M. DeMatteis
—on the Manhattan neighborhood called Hell’s Kitchen, fifteen years ago, where we find a gang of teenagers strutting their stuff down the hot summer streets. The clear leader of the group is sixteen year old MATT MURDOCK…a cocky young Cagney, with energy, anger, and an attitude. He’s the focus of the group’s attention: their unquestioned leader.
For you process junkies, here’s a nice post from writer Joe Harris on his use of mind maps to sketch out his storylines and multi-issue plots.
The Lost Firestorm “Year Two” Story Notes Mindmap
There are also a few tidbits of insight into DC’s editorial workings, such as this snippet:
“When editorial told me the new plan was to, basically, pull the plug on the “New 52″ direction and wind things back closer to where they were left, pre-universe reboot, I was tasked with doing so in the #0 issue of the series.”
I love when artists post step-by-step images of their process. In this case, it’s Kevin Nowlan’s cover for Superman Unchained #4, from roughs to finished cover.
I’m always curious about the working process (and tools) of various creators, although I’m usually very focused on comic book writers or artists. But I did enjoy this Lifehacker peek inside the working life of Clive Thompson, a journalist with gigs such as Wired and The New York Times Magazine.
“When I’m reading, I write tons of marginalia—again as much for sense-making as for retrieval. When reading in PDF format, I either use Acrobat Professional on my desktop or iAnnotate PDF on my iPad. My book reading is split probably 50/50 between paper and digital books. For digital books, I mostly read in Kindle or Stanza on my iPad or phone and export the notes and highlights locally. I use Project Gutenberg and Google Books a ton for reading out-of-copyright digital books; indeed, my reading probably has a huge pre-1923 bias because so much amazing stuff is so easily available before copyright laws tightened up.”
There’s an interview over at Comic Book Resources with Marc Guggenheim, comic book writer and executive producer of the “Arrow” TV series, and in this bit he talks about the factors that contribute to a character becoming “relatable” for the audience:
“The advantage we have as a television show over the comic book version is that we created a whole cast of characters around Oliver to help him be more relatable. Truth be told, in the comics Green Arrow’s basically had Black Canary, and that’s been the extent of his supporting cast — he’s had Roy, but we went to great lengths to give him a sister, a best friend, a mother, [and bodyguard] Diggle. He doesn’t have any of those things in the comics and when you talk about what makes a character relatable, I’d say it’s the people around him,” Guggenheim said. “If I were to tackle the comic book as a writer the first thing I would try to do is give him a supporting cast. That would help elaborate on his character.”
Here, he’s referring to the latest Green Arrow series (the “New 52”), which has already gone through 3 creative team changes in less than 20 issues. And I think he’s absolutely right. Whether you like the TV show or not, there’s no denying that they have built up a very strong set of supporting characters, through whose eyes we see Oliver in different lights. This allows them a greater opportunity to explore his different sides, and show his changing attitudes and motivations.
For you process fas, here are a couple of links to artist Aaron Lopresti’s blog, where he shows the process behind a few of his covers.
Green Arrow #15 – What I find interesting about this one is that personally, I think the “B” concept out of the four roughs is much more bold and features a more striking perspective, but hey, i’m not the editor.
Justice League International #2 – So if you were the editor, which rough would you have picked?
(Originally posted on the Ferret Press blog here)
Brent made this great process post over on my other blog, and I felt it should be shared here as well. Take it away, Brent:
I’ve just finished an amazing dream sequence for the upcoming graphic novel Persia Blues, written by Dara and drawn by yours truly. This is how I did it. (Not really a tutorial exactly but more of a show and tell)
First i looked at the script and i did my breakdowns and thumbnails.
Now I’ll show you all the pencils compared to the inks. These pages are done in the “here” part of the story, which is the fantasy world. So I’m using inks, inkwash, markers, and pencils.
I used a real photo of a persian rug for the rug in panel 2, tweaking it in Photoshop and dropping it in as a texture. Same thing with the stars in Minoo’s hair.
This is a double page spread. Added my standard cloud background and some spots for the White Demon. And some stars. but actually very little photoshop on this one. You may notice a few changes from the pencil stage to the finished art. Particularly with the warrior figure on the far right. i just wasn’t happy with the figure. So i fixed it. I’m happy with the results.
I drew the crowd scene on a different piece of paper and just added it in when I was done. Also used my standard cloud background. (Years ago I drew a full sheet of clouds in pencil and I was so happy with it and unable to replicate it that i just keep using it over and over again as a background.
Anyway that’s it. I’m lovong this project. All feedback is appreciated.
And y’all check out our Kickstarter project. Dara’s working on it as we speak.
Oh and as a side note here is my cloud background. Made it back in 2004 or 2005 for some unfinished project or another. I call it “stormy weather”. Now that you know about it, you will see it in my work ALL the time.
I haven’t posted a Persia Blues update in a few weeks, so I thought I’d show off some more artwork. This is page 3. Art by my partner in crime Brent Bowman, writing/lettering by yours truly.
Yes, those missing figures could be you!
Which brings us to the unfinished figures on the page. This may not come as a big surprise, but we’re planning on running a Kickstarter campaign soon for the book. Yes, we already have a publisher lined up, and to their credit, they’re actually paying us an advance on the book. But the reality of the current publishing landscape (especially for indie graphics novels not coming out from a major publisher) is that there’s not much money in it. Which means the advance is nowhere near what Brent deserves to be compensated for all the time and effort that goes into drawing a 100+ page book. Hence, Kickstarter.
Anyway, one of the incentives will be the opportunity to have your likeness drawn in the book, as one of the 3 mercenaries in the above scene. And you’ll also appear on the following three pages, in a knock-down, drag-out fight with our protagonists, Minoo and Tyler.
So keep your eyes on this blog, or the new Persia Blues website (still under construction, but almost ready), for details on when the campaign kicks off, and what cool incentives you can score.
Here’s another great process post for aspiring (and professional) writers. It comes from Cullen Bunn, writer and co-creator of The Sixth Gun from Oni Press, as well as a bunch of books from marvel Comics. The topic is time management, especially when you’re working on multiple projects and need to effectively and efficiently divide your working time between them all.
I use a cooking timer to keep myself on track. You can find software and apps to facilitate this method (Google “The Pomodoro Technique”) but I think a simple plastic timer and a cheap notebook work well. I divide my day up into thirty-five-minute segments. I call these segments “mods” thanks to a funny bit on The Office. The number of mods you complete in a day is completely up to you. I have a goal of completing 10–12 mods a day…
Click on the link above to read the rest of his process.
I have to say, I really like this method. I use a very informal version of this process for my own writing, but to be honest, I haven’t been doing a good job of it as of late. So I can see the advantages of really sticking to a concrete plan.