Halloween supplemental: horrific work areas

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Colleen Doran is rightfully horrified by the above photo of a work area—that belongs to an unnamed cartoonist. As a prescription, she offers a list of declutterizing resources, which I’m sure we could all do with a look at.

DC Reveals Cliff Chiang’s Concept Art for Orion

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Something which totally skipped me at NYCC, presumably due to being a thousand miles away from it, was the reveal of some Cliff Chiang’s concept art goodness for New God Orion. Unveiled at the “DC: From Concept to Page” panel. Orion’s appearance in Wonder Woman #12, completely unexpected by everybody, was perhaps one of the […]

INTERVIEW: Jordan D. White reveals the secrets of editing

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If you’re a fan of the X-Men, then you should thank editor Jordan D. White for handling them so well. Marvel’s finest moustache has been busy working within the X-Men office for several years now, editing titles like Uncanny X-Men, Wolverine & The X-Men, Uncanny X-Force, and many others. Before then, he worked on a variety of […]

How to: Gary Panter on how to keep a sketchbook

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Everyone has linked to Gary Panter’s ten tips for keeping a sketchbook, but that is because they are so awesome. You can make all kinds of rules for your art making, but for starting in a sketchbook, you need to jump in and get over the intimidation part — by messing up a few pages, […]

INTERVIEW: Joe Caramagna Letters The Marvel Universe

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Among other similar triumphs, letterer Joe Caramagna has recently become the most prominent letterer in Amazing Spider-Man history, having now worked on over 100 issues of Marvel’s flagship title. Not just content with Spider-Man, however, Caramagna also works on Marvel titles as diverse as Avengers Academy, Daredevil, Captain Marvel, Uncanny X-Men and New Avengers. Simply […]

Alan Davis ‘assists’ on Astonishing X-Men; and the effect of double-shipping on artists

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By Steve Morris As spotted by Jarrod on the CBR forums (hi Jarrod!), a Mike Perkins fight sequence from next week’s Astonishing X-Men #55 clearly pays tribute to a previous fight sequence drawn years ago by Alan Davis for Uncanny X-Men. As you can see in the images below, Perkins has taken aspects of Davis’ […]

INTERVIEW: Matt Smith On Ten Years With 2000AD

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Since 2002, Matt Smith has been the editor for 2000AD, the mostly-crazed British sci-fi anthology magazine which first appeared on shelves over 35 years ago. Since coming in as editor, he’s watched writers and artists like Frazer Irving, Si Spurrier, Jock, Henry Flint, Rob Williams and Leigh Gallagher take the book and continue to push […]

Wally Wood's other 32 panels

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So apparently comics is not limited to 22 effective panels. There are 32 more. The palette of comics expression has been drastically expanded, the storytelling arsenal fully stocked. Alert the media!

Must Read: Tom Brevoort On Editing the Marvel Way (but really any way)

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Each year, Marvel SVP of Publishing Tom Brevoort gives a lecture on editing to younger Marvel staffers. At this year’s Baltimore Comic-Con, he presented the two-hour talk for the audience, as recounted by Alex Zalben. Although there’s definitely some “Marvel Way” in the talk, most of it was the kind of common sense that everyone needs drilled into them. However, it’s also a pretty interesting glimpse into the day-to-day thinking behind Marvel’s editorial decision making. The whole thing is worth a read, but a few selected excerpts to give the flava:

INTERVIEW: Thought Bubble’s Clark Burscough explains how to run a festival

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By Steve Morris The Thought Bubble Convention is considered to be one of the strongest in the UK, emphasising comics ahead of film or television. As a result, creators from all round the World have attended, from David Aja to Frank Quitely, Peter Milligan to Gail Simone. You can also find small-press and self-published creators […]

INTERVIEW: Thought Bubble's Clark Burscough explains how to run a festival

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By Steve Morris The Thought Bubble Convention is considered to be one of the strongest in the UK, emphasising comics ahead of film or television. As a result, creators from all round the World have attended, from David Aja to Frank Quitely, Peter Milligan to Gail Simone. You can also find small-press and self-published creators […]

Winter and Kelly Sue assemble Ninja Princesses (and Ninja Kitties)

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By Steve Morris Avengers Assemble, Captain Marvel, and Pretty Deadly not enough for her, writer Kelly Sue DeConnick has taken on a new project, at the request of a young writer she met, called Winter. As described way better on DeConnick’s blog (which you should read before continuing with this piece), Winter first approached the […]

INTERVIEW: Val Staples explains life as a freelance colourist

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After reading Bon Alimagno’s excellent interview/evaluation with colorist Erick Arciniega on iFanboy, I decided that it was time for more of us to start jumping on the coloring bandwagon. Getting the right colorist on a comic can be crucial to the success of the book, and yet there’s really very little coverage of this side of the industry available. With that in mind I contacted colorist-whizz (and nicest man alive) Val Staples, whose recent credits include books like Swamp Thing, New Mutants, Deadpool and Hulk, to get a basic insight into his life as a colorist.

UPDATE: Neil Gaiman and Colleen Doran working on a graphic novel for Dark Horse

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In a post on her artistic techniques, Colleen Doran reveals that she’s working on a graphic novel with Neil Gaiman, to be published by Dark Horse. The two previously collaborated on issues of THE SANDMAN.

ComiCON-versation #10: The secret of marketing your comicon

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By Mike Scigliano

I’m guessing that most of you were wondering when I would get to the marketing aspect of producing a comicon. Marketing is a very important part of the process of putting on a comicon. Much of the success you hope to have will hinge upon how you are able to reach your potential attendees.

Kibbles 'n' Bits: One of the best posts about comics coloring ever

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§ This interview with former Marvel Talent Coordinator and color overseer Bon Alimagno may just be one of the smartest things I’ve ever read on comics coloring. Critique of color rarely goes beyond “I liked it!” since a study of advanced color theory isn’t exactly on everyone’s CV, and most people aren’t trained to go beyond “orange and green don’t go together.” This this study of why and how Marvel’s color schemes worked is incredibly illuminating: