Photo by Abigail Huller, via Oakland Museum of California Q. Do you still work the same way you did 25 years ago, drawing by hand at a table? A. Yes. I was just at an antiquarian book fair, and I picked up this catalog for a cartooning correspondence course from 1921. There was a photo […]
[Editor’s note: The release this week of March Book Two by Rep. John Lewis, Andrew Aydin and Nate Powell has already made headlines with its story of the fight for civil rights in the 60s, and the covers to both volumes have become iconic in their own right. The message of the courage to fight for equality for all in the face of violent opposition is as relevant and needed today as it was 50 years ago. But powerful images to cover powerful times don’t always spring up fully formed. Here Powell and Top Shelf designer Chris Ross with an in-depth breakdown of how they created these covers and combined imagery to capture both history and ideals.]
NATE: March was originally a single, massive volume, so the initial front and back covers were intended to house the entire narrative: the front introduced the basic visual theme of opposition, with two elements facing off against each other, though a contingent of riot-ready white supremacist police were prominently featured across the bottom. After some discussion with Chris Ross, Andrew Aydin, and Congressman Lewis, we all agreed that we should shift some of that focus to the folks on the front lines, and away from Jim Crow police forces. Around that time, we decided to release the saga as a trilogy, so Chris and I jumped in to further develop the oppositional themes, but playing with different angles and approaches to the cover’s division.
Wow speaking of comics crafts, coloring is definitely one of the key components of today’s comics golden age, yet one of the least understood, and Nathan Fairbairn presents a fascinating process post on how he colored Pax Americana, which has art by Frank Quitely. Among the insights—because Quitely’s coloring on his highly detailed art is […]
Todd Klein is the dean of comics lettering in the US, with more awards than he can carry, and a portfolio of logos and classic lettering that would be hard to touch. And he’s put it all together for a seven part series on the history of comics lettering:
The longest running stand alone school to teach cartoonist is having an open house tomorrow from 1-4. Prospective students will meet faculty and get a tour. Open houses at The Kubert School are a great way to learn about the school and program. Any prospective student and their family is welcome to attend. A tour of the […]
by Zachary Clemente On the extremely busy Saturday of this past weekend’s New York Comic-Con, I had the sublime honor of interviewing Frank Quitely (pen name for Scottish artist Vincent Deighan) about his visual narrative process, the cycle of artistic influence, and his once and future work. This was a wild treat for me as Quitely stands […]
by Bon Alimagno New York Comic-Con has arrived and hundreds of aspiring comic book artists are putting the final touches to their portfolios, eager to meet editors and wow them with their work. If you are reading this there’s a very good chance you’re one of those. From my time doing portfolio reviews at Marvel […]
By: Nick Eskey The thing about fandom is that on some level, we all wish we be a part of what we love: We want to write a hit novel because we love to read; we want to draw a comic book because we love to draw; we want to be a filmmaker because we […]
Eisner-nomintaed As the Crow Flies cartoonist Melanie Gillman has a cute, simple intro to the basics of color theory, which will help you understand why movies are all orange and teal and European-style coloring look way more pleasing than rando pseudo CGI.
At the MGA Con a few weeks ago I was on a panel on breaking into comics, and someone asked about resources for writing comics. I said I would throw up some reference, and I didn’t have time until now, but it’s a great idea. I’ve started a page for it, which is thus far […]