60 writing tips from six great writers: http://bit.ly/91aqUw (via many people, but I got it from @Perazza)
Marvel Executive Editor/VP @TomBrevoort shares his thoughts on the hiring of new writers: http://bit.ly/bejtUD
Or people serious about breaking in could go buy "Breaking Into Comics the Marvel Way" #2 that featured a "Best Of..." list of my tweets. :)
And yes, I know I'm a broken record, but people keep asking rather than go back and read old tweets. Who wants to make me an FAQ page? about 2 hours ago via TweetDeck
New writers, sending pitch ideas of any kind to editors cold is a definite mistake. They can't be read. Snail mail published work for review about 2 hours ago via TweetDeck
Yes, some info is confidential for businsss reasons, like any biz. But so much is openly out there. So much of it right inside the comics!
Earlier tweets not brought on by any person or chain specifically. Just seen & heard a lot of bad info floating around this past month.
All Marvel freelancers, and most DC/Image/DH/Indy ones, have my e-mail address. If you have a question, send me a note. I'm happy to help.
Long-time pros should have the knowledge & contacts to know & be able to ask about company policies before shooting their mouths off online.
I'm always amazed by how many misconceptions & falsehoods there are about the business of comics, especially by the creators who work in it.
"The trick is, when you grow up, find work that feels like play." - @NathanFillion as Castle
Said Marvel newsletter will be mainly informational/operational, not creative. Please e-mail me with serious ideas/suggestions. Thanks!
Said Marvel newsletter will be mainly informational/operational, not creative
Marvel freelancers, launching a newsletter for our guys. What kind of information would you like to see included? What do you need to know?
This may sound weird, but in my experience, I find wearing some kind of Marvel related apparel always makes travelling easier & friendlier. 4:53 PM May 4th via TweetDeck
And if you get an out-of-office reply that they're gone for 2 weeks, don't continue sending daily samples, wasting expensive int'l data!
Reminder to new artists: Never mass e-mail samples to editors at numerous publishers. It's tacky & unprofessional. Take time & personalize.
All it really takes is one editor willing to give a new artist a shot and then having that artist really knock the story out of the park.
It still amazes me how a penciler who once had trouble finding work can suddenly become every editor's "must have" artist almost overnight.
RT @TheJohnBarber: "When I left Marvel editorial, a creator called & said "now that you quit--can you tell me the secret to break in?" HA!!
RT @Perazza: "I wish people trying to break into #comics would stop looking for the goddamn angle, trick or gimmick." So agree! Do the work.
RT @mikechoi: "You know what I notice a LOT from aspiring creators? Y'all have too many excuses." Unfortunately, this is all too true.
Another piece of advice for new writers: don't get trashed at the con & make a fool of yourself leaving a bad taste with editors/creators.
Folks, PLEASE before asking writer questions., go back & read my old tweets or google it. I speak extensively about this. Do the legwork.
As confusion arises after ever con, let me clarify again... I am NOT the writer recruiter. Do NOT send me your work. I can NOT read it! 8:10 AM Apr 19th via TweetDeck
A big part of being a pro penciler/inker/colorist is knowing when enough's enough & it's time to put the page behind you & move to the next.
#
My thought was that some people need to be less concerned with ego & money and think more about bigger picture/better stories/greater good.
* RT @eliopoulos: "What this industry and people in general need is a little more humility. You and me ain't the end all/be all." Agreed.
And of course, NYCC is still a comic heavy show and, although pretty big, is a great one to hit. I'll judge #C2E2 first myself next week.
Like ECCC, which is perfect for this, Heroes Con, FanExpo Toronto & Baltimore Comic Con. All better, more personal places to show your work.
I recommend new artists hit smaller, comic book focused cons where editors and other artists will have time to give you a review... (cont.)
Don't get me wrong, I love SDCC & the folks that run it! It's just such a multi-media event now that new artists get lost in the shuffle.
Hard truth time: San Diego is an amazing con, but it's no longer a good con to go to for artists trying to show their portfolios & get work. 9:15 AM Apr 9th via TweetDeck
@DaveMcCaig Sometimes, yes. But not always. There are bad schedules but also bad colorists.
Never underestimate the power of the mini-comic. Make them. Distribute them. Buy them. Enjoy them.
Breaking into Marvel is like getting into Harvard. Not only do you need to be the top of your class, you need extra curricular activities.
"Wanna know the secret of comics? Everyone's a genius and nobody knows anything." :) I don't work for SDCC so can't answer your Qs about wait times, badge approvals, AA tables or hotels, guys. I was just trying to be helpful.
RT @princesabin: "I thought you broke into the business as a writer by doing indy work & getting published." Which is exactly how you do it!
Although not really my dept., I'm in the mood to break in & hire a new writer who listened to my advice & submitted their work properly.
The medical field employs both doctors and lawyers, but would you hire a hospital attorney to perform surgery? Apples & oranges, people.
I love guys who think breaking in criteria for writers should be the same as artists. They're both jobs in comics but COMPLETELY different! 1:10 PM Mar 30th via TweetDeck
RT @Perazza: "If you call yourself editor, part of the job is to know the craft." And to respect it. Editing comics is more than just a job.
RT @ronmarz: "Is it lazy editing, or just not knowing any better?" It all depends on the editor and how long they've been editing, IMO.
A lot of what I tweet here is a direct result of LAZY EDITING, which is a big problem in comics. It's a rant I'll save for after WonderCon.
You can't always blame bad coloring on deadlines. Sometimes, yes. But there are many colorists who are bad no matter what the deadlines are.
To quell fears & questions... Are the colorists in question on Twitter and reading? Maybe. I don't know. Are they working at Marvel? No.
Unfrotunately, a lot of colorists are hired simply for their speed, not ability. And since they deliver, they get more work. A bad cycle.
Too many covers are rushed for Previews, given to subpar colorists to turn around overnight (or in a few hours!) & are never fix for print.
In all seriousness, y'know what kills more covers? It's not bad composition or art, it's bad coloring! ALWAYS put your best guys on covers!
RT @robertliefeld: "gotta say that there are some crap covers from both big companies." Agreed. But so many more from one of them... :)
You wanna know why we don't give you more cover work? Honestly? Because you're not a good cover artist. (Some artists need to accept it.) 6:37 AM Mar 30th via TweetDeck
60 writing tips from six great writers: http://bit.ly/91aqUw (via many people, but I got it from @Perazza)
If an artist gets a better offer from another company, I'll never begrudge them taking it. As long as they finish what they commited to!
Professionalism & respect for the job, as well as the editors, is just as important as talent, which some artists will learn the hard way.
Shiny Penny Pt.2 = They think they can accept gigs but then quit whenever a job they like better comes along, with no worry of reprecussion.
Shiny Penny Syndrome = an affliction new artists suffer from where they get big egos after doing little work and think they call the shots.
Some so-called "professional" artists can be anything but sometimes. Especially newer artists. They suffer from "shiny penny syndrome". Boo!
Marvel Executive Editor/VP @TomBrevoort shares his thoughts on the hiring of new writers: http://bit.ly/bejtUD
Just a reminder to artists/writers sending in samples... There's NO NEED to FedEx or express mail in your work. You're just wasting your $$.
I've confirmed that many of my comic advice tweets have indeed been collected in "Breaking Into Comics the Marvel Way #2". On sale now!
Just because you know Photoshop, that doesn't make you a colorist. Just because you know Illustrator, that doesn't make you a letterer.
Bad lettering and grammar can reflect poorly on the writer when it's being read & reviewed by editors considering you for work. Trust me.
And although it should go without saying, always spell check your lettering script first. And always check your grammar. Watch your commas.
Balloons are key to storytelling and should help guide the reader's eye to where you want them to go across and down the page.
Be smart when choosing fonts. They can make all the difference in the reading experience. And balloon placement is of utmost importance.
Creators working on their own comics should never underestimate the value of good lettering. Like penciling or coloring, it's an art form. 8:48 AM Mar 24th via TweetDeck
These are simple, basic cover "rules", I know, but I'm always surprised how often they're forgotten. Especially by the bigger publishers.
Don't get overly-complicated or designy. Don't overthink your cover. Don't get too cerebral. Simply give readers a taste of what's inside.
You need a simple, bold, striking piece that should immediately standout & distinguish your book from the rest of the comics surrounding it. 5:31 AM Mar 23rd via TweetDeck
This is even more true for indy/self/small press comics as you don't have recognizable characters to grab a reader's attention on the shelf. 5:28 AM Mar 23rd via TweetDeck
A cover is the most important piece of art you'll create for your comic. It's what will sell the book. Especially in today's direct market. 5:27 AM Mar 23rd via TweetDeck
After looking over certain June solicits, I feel like going on a cover rant again, but will instead offer advice on creating cover art. 5:26 AM Mar 23rd via TweetDeck
If you get an editor's contact info, I recommend sending a follow-up e-mail without attachments first. Ask if you can submit samples.
Always personalize any communication you have with editors. Use their names. Mass "Dear Editor" e-mails and packages tend to get trashed. 9:42 AM Mar 17th via TweetDeck
Want a comics' "do"? Always include a cover letter with your samples. Keep it short and simple, polite and professional.
RT @Confessions123: "Heading out to see @CBCebulski and learn How to Get Alcohol Poisoning the Marvel Way." 9:13 PM Mar 16th via TweetDeck
Don't ever bring your portfolio to the bar after the con. When the show ends, work ends, and the creators & editors just want to unwind.
"Breaking into Comics" link seems to be busted. Sorry! Try this: http://www.comicbookresources.com/?page=article&id=25255
Don't ever go to a con with the intention of pitching an editor a story. It doesn't happen. Go solely to meet people and make contacts.
Don't make excuses for your artwork while your portfolio's being reviewed. Take responsibility for what you put on the page. Listen & learn.
Don't set unrealistic goals for yourself. You work your way up to Marvel & DC, you don't break in with them. Think smaller publishers first.
Don't lurk if the editor you want to talk to is talking/reviewing with someone else. Leave and come back later. (This is my big pet peeve.)
Don't feel you have to talk to just editors. Assistant & associate editors also control their own books and are often better to get to know.
Don't approch an editor you don't know at a con with sketchbook/mini/samples in hand. Start a conversation first then ask if they'll look.
Talked a lot about the dos & don'ts of breaking into comics at @BrianMBendis' class yesterday. Will be tweeting some of it here today.
Yet another reminder: if you send Marvel ideas/proposals/pitches, your e-mails will be deleted & packages destroyed.
Be sure to check out the ChesterQuest finalists & Marvel's newest artists debuting in "Breaking into Comics the Marvel Way", on sale today!!
Marvel's mailing address is listed in all our comics & that's where you should send published work, to the editors who you want to read it. 11:19 AM Mar 8th via TweetDeck
...if you want to write for Marvel, get published elsewhere first. Marvel editors only review previously published work to judge your chops. 9:34 AM Mar 8th via TweetDeck
Once again, I cannot & do not talk to new writers. Marvel does not accept open submissions. The best advice I can give to you is... (cont.)
No set portfolio reviews at @emeraldcitycon, but I'll have a table there and will be happy to look at peoples' work. Artists only though. 9:11 AM Mar 8th via TweetDeck
Today's Follow Friday, the lovely and talented editors of @Marvel's GIRL COMICS: @J9Schaefer @PancakeLady @MiniB622 @jengrunwald #ff 7:15 AM Mar 5th via TweetDeck
Dear new artists, there's no need to flag your e-mails with your samples as important. And remember, send files as JPEGs under 300K.
Artist Lee Ferguson just made a great point: "The one thing I've learned is that every page you draw (paid or not) is an opportunity."
And yes, we account for the fact people have day jobs, paying work & a life to live. There is no deadline for doing Marvel sample pages.
You'd be surprised. If I had to guess, I'd say I don't hear back from 30% of new artists again. I attribute it to artistic stage fright.
My tweet in regards to sample scripts was actually about how many artists DON'T turn in test pages. They get scripts & we never hear back.
I'm interested in running the stats on how many new artists we send samples scripts to vs. how many people actually draw & send pages back. 9:19 PM Mar 1st via TweetDeck
Being completely frank, there's a good chance anything you give me or an editor at a con won't make it back with us. Always follow up.
RT @onegemini: "Is there a limit to how many bottles of a beer I should buy an editor?" Never. :)
RT @scottziolko: "Is there a limit to how many copies of a comic/mini-comic you should give an editor? Is 5 too many?" One. One per editor.
It's just a fact of the biz given current solcitiation cycles & writers/artists' schedules. But everyone tries their best to make it happen. 9:41 AM Feb 24th via TweetDeck
]
Editors always want iconic covers that reflact the story inside their books. But sometimes, given production schedules, it's not possible.
People still harp on the "pin-up" cover era of years ago, but most covers these days are storytelling covers. ASM, Uncanny, Hulk, DD, FF...
RT @_waki_: "as long as that single image tells some of the story from inside. Not just a pinup image" Agreed. There's a way to do both.
Not every good comic book artist is a good cover artist. Some of the best storytellers can't do strong, iconic single images.
Yes, both "bad comic bet" editors eventually got fired. One still regarded as "worst comic editor ever". But who suffered most? The fans.
There's actually an infamous story about 2 disgruntled editors who made a bet to see who could put out the worst comic & tank sales faster.
Let me emphasize I mean MARVEL editors. I've actually heard stories about editors at other publishers that contradict what I just tweeted.
Yes, editors are always committed to putting out the best comics possible & will do everything they can to support their creative teams.
RT @THEHITCHFACTORY: "There's ALWAYS help and compromise but you have to remember to keep talking to those who are ready to assist you."
Open and honest communication with your editor is extremely important in comics. Sometimes just as important as having talent.
"
I love it when you offer an artist a cover gig and they accept by sending you cover concepts a few hours later.
As much as I don't like them not work for us, it's kinda cool seeing artists who broke in at Marvel get noticed & hired by other publishers.
I have never made secret my love of raw chicken: http://bit.ly/djfdwN
RT @kwanzer: "Having an idea and making a good comic are two different things." Yes, something so many wannabe "writers" fail to realize.
RT @skottieyoung: "I would add to also know what's out there so you know what direction to go and what has already been done." Good advice!
RT @PaulTobin: "Totally agree, but it should be added... read OTHER things too" Indeed. Study story & storytelling wherever you can find it!
I'm not saying read ONLY comics, just that if you want to write or draw them, at least have an understanding & appreciation of the art form.
Today's piece of advice for aspiring comics creators... Read comics! (Should go without saying, I know, but you'd be surprised.)
Dear British creators, you do realize we get Twitter here in the U.S. and know when you're not writing/penciling/inking your Marvel books?!
With the great power of social networking, there must also come great responsibility.
A request I got from an editor looking for an artist today: "We need someone who can draw a good car."
When submitting sequential samples, they do not have to be of Marvel characters. They can be of any characters really. Just tell a story.
Also, be it pin-ups or sequenitals, even if you ink yourself, I always want to see the pencils. You will not always be your own best inker.
For the 1000th time, ALWAYS include a 3 to 4 page sequential sequence in your portfolio. Minimally! We're most concerned with storytelling.
Looked at this kid's work. While not half bad, big problems in presentation: it's a major colllection of pin-ups with few sequential pages. 7:50 AM Feb 8th via TweetDeck
..."If you have to say it, then no, you're not good enough.". But there are links here with his work for other publishers, so let's go see.
Just got one of those classic "I know my work's good enough" e-mails from a new penciler. Rookie mistake. My 1st reaction's always... (cont)
A simple writer? Come now, ladies, please don't be silly. I am an "auteur"! http://twitpic.com/1057gw
As for submissions vs. actual artist hires, I'd estimate we reviewed over 4000 portfolios & submissions vs. the hundred artists we hired.
Marvel hired 144 new creators in 2009. How many writers? How many artists? Check out last year's talent breakdowns here: http://bit.ly/XL9oF
Dear up-n-coming writers, if you get a comic published & do interviews, ALWAYS remember to credit/name check your artist & creative team!
Plus, there are DC/Zuda guys like @Perazza & @Kwanzer, and also @TopCow, who all tweet plenty of free creative advice for aspiring talent.
There are plenty of Marvel editors here on Twitter for writers to ask for advice. Like @Chozzles, @cracksh0t and @alejandrobot to start. 2:58 PM Jan 25th via TweetDeck
If someone sends me their Marvel samples to my Marvel account, isn't it reasonable to assume they want to work for Marvel?
Too many new artists still sending over only designs & sketches for us to look at. We NEED to see sequantial pages you're wasting our time. 11:25 AM Jan 25th via TweetDeck
Every artist always asks for the same 7 colorists, but there are some amazing new colorists doing phenomenal worked that get overloooked.
RT @FrankTieri: "Tagging a comics editor/creator on Facebook to art that they have nothing to do with is a sure fire way NOT to get a job."
RT @SotoColor: "Tip of the Day: Stay in touch with your editors. They like to know what's going on and head off any scheduling problems."
People say if Marvel was the Love Boat, I'd be Julie the cruise director. Guess Joe Q. is Stubing, but is @axelalonsomarv Gopher or Issac?
Too many people seem to think fast inking is good inking these days. Wrong! There's skill involved in properly matching pencilers & inkers.
One artistic discipline many editors need to learn more about is inking. Inking is an artform and should not simply be an after-thought.
I was impressed to see Chef @Rick_Bayless tweeting over the weekend from cooking classes he was taking. Even the best never stop learning. 2:54 PM Jan 10th via TweetDeck
Yes, writers and editors need to check ourselves too. We are just as guilty. Thanks for reminding me, @BRIANMBENDIS and @thatpetewoods. 2:50 PM Jan 10th via TweetDeck
I think many artists now working in comics need to retake a storytelling class to shake off the bad habits they picked up working in comics.
And in this case I was reinforcing an artistic critique I've been harping on: artists getting lazy & cropping in too tight to draw less. 2:33 PM Jan 10th via TweetDeck
Why the surprise I commented on a Marvel book? I criticize my own company same as I do DC or other publishers. Just call it like I see it. 2:29 PM Jan 10th via TweetDeck
Just read a Marvel comic where a talented artist did a full-page splash of a pissed-off Wolverine... but cropped out his claws?! Come on. 12:46 PM Jan 10th via TweetDeck
And lastly, again, I cannot hire writers. I am the talent scout for ARTISTS ONLY. All writers need to snail mail the editors directly.
Yes, self-published work, mini-comics, webcomics, editorial cartoons, newspaper strips, novels... all count as published work for writers.
The Marvel Comics address is in each and every comic we have published for the last 60 years. Get off your asses and do some legwork, folks.
The hard truth is that nobody has it harder than inkers in comics these days. There are so many talented pro inkers looking for work.
Advice for inkers? It's not about impressing just editors, it helps finding a penciler who likes your work and having them push you as well.
Yes, Marvel accepts PUBLISHED WORK ONLY from new writers. No pitches. No submissions. No original ideas. Nothing Marvel related.
And for new artists, please don't send me or any other editors a blank e-mail with just a piece of art attached. A note explaining it helps.
The Marvel editors will read it & if they're impressed by what they see, they'll contact you to pitch them. That's how it works these days.
Again, for new writers, you have to mail copies of your published work in to the Marvel editors you would like to work with for review.
It totally distracted the eye from the actual cover art. Come on, guys, tone it down. Let your art and talent speak for itself sometimes.
Looked at three covers this week where I think the artists purposely left blank space in order to add their signatures as big as can be.
I have no problem with and fully support cover artists signing their work, but please do it tastefully and tactfully.
I hate watching young artists devolve. 3:56 PM Jan 6th via TweetDeck
Just kidding. I do not accept bribes. (Except if it's under $75 and can be shared with the editors.) :)
Sending them in with a nice bottle of booze... that would be enterprising and guarantee a review!
Trying to decide whether new writers/artists who send in their samples disguised as Christmas presents are enterprising or annoying.
DeviantArt is a tool, just like blogs or photo galleries are. And artists should use every tool in the box to get their artwork seen.
I'm not arguing the pros & cons of DeviantArt here. Just offering my advice on improving your chances of getting your work seen by editors.
@skottieyoung @NixonArt Yeah, I've been to some DA portfolio sites and they're better. But it's still DA and most editors won't click over.
RT @AdamTracey: "Artists should treat Deviant Art like they treat MySpace/Facebook. It's more personal than professional." I second that.
But DA's not place to create a professional work portfolio you want to show around to sell yourself as an artist to potential employers. 10:35 AM Dec 2nd, 2009 via TweetDeck
Anywhere you can showcase your art, you should. The DA community is a great way to get more exposure, to build a fan base & to network. 10:34 AM Dec 2nd, 2009 via TweetDeck
RT @laurbits: "DA's good for socializing with other artists & other fun things. Just don't send prospective employers to it." Agreed!
RT @AdamTracey: "That's not to say they shouldn't use DeviantArt at all, right? Just not their main source of portfolio materials?"
Plus a blog you can personalize & set up an online identity for yourself as an individual. Often better to be apart from the "community".
Flickr has the same problem, too many click-thrus to view pages. A blog is one click where you can easily scroll down chronologically.
....which is why I tell new artists not to use Deviant Art. It's too slow & tedious. Start a blog to showcase your art in just one click.
A note I just got from an editor up here: "I hate Deviant Art so much it hurts my face. It took me 5 minutes to see two images..." (cont.)
]
Editors and readers alike are not stupid. We can all notice the difference between "artistic choices" and "cheating". Please don't be lazy.
Continue to notice the disturbing and disappointing trend of too many new AND established artists overusing close-ups and cropping too much.
RT @bholliday: digital webbing also has an anthology in production that needs a few new artists. Ryan ottley contributed b4 doing invincible
In regards to Popgun, please follow @joekeatinge who is kindly and frantically tweeting submission info you need to know.
RT @joekeatinge: While PopGun's submissions are closed, you can bug @leighwalton about Top Shelf 2.0 and check out Zuda.
I highly recommend Image's Popgun! So many cool stories & artists in each volume. Not sure of their submission policies tho. @JoeKeatinge?
And many anthologies are read by the editors at every publisher out there. All it takes is one small story to get you noticed and hired. 10:30 AM Nov 24th, 2009 via TweetDeck
There all lots of amazing anthologies out there that are looking for talented writers and artists to contribute that you should look into.
Writers too. As the big publishers need "previously published work" in order to consider you, it's a way to get your foot in the door.
I sometimes do encourage artists looking to break in to take gigs at smaller publishers for free for the opportunity and exposure it brings.
One follow-up, my comments about working for free were in regards to the major work-for-hire publishers, like Marvel, DC & Dark Horse.
Put some time and research into who you are submitting to and tailor your samples and the text of your e-mail to that editor.
Mass e-mails sent to every editor at every company titled "New Samples", "Check Out My Work" or "Available Artist" usually get deleted.
And one other quick point I'll re-emphasize as I see it happening more & more... personalize your inquiry e-mails to individual editors. 9:44 AM Nov 24th, 2009 via web
Also, work-for-hire done for any of the major publishers legally must be paid, so " work for free" is not a consideration for us.
Hey aspiring artists, never make the offer that you're happy to work for free. Even if you mean it, it won't help & looks desperate. 9:40 AM Nov 24th, 2009 via web
Just got out of a meeting on Marvel's new writers' policies. What I tweeted last week still holds, but I'll be updating a little more soon. 12:56 PM Nov 19th, 2009 via TweetDeck
RT @marcbernardin: "Every comic can be a first and a last. Someone's first comic ever, or the last one you ever make."
RT @MykeNorten: "Not drawing backgrounds is like admitting you can't draw anything but people. Acting in front of a greenscreen."
Things you never expected to learn on the Today Show... Eating asparagus helps you orgasm.
RT @skottieyoung: "back grounds are not just filler, they can be complete characters in a story. Treat them like your characters."
I'd love it if all you pro artists out there chime in on this. Always fun when the folks actually drawing comics talk add their tricks/tips.
You need to find a balance by separating the foreground & background elements to place your characters clearly and naturally in each panel. 7:06 AM Nov 19th, 2009 via TweetDeck
Sometimes overdrawing your backgrounds, adding in too much detail, can be just as distracting. You can lose the characters in the panels.
Backgrounds not just window dressing. They help give the characters, and thereby the reader, a sense of place in the scene and on the page.
Be it lack of technical skill or laziness, you'd be surprised how many up-n-coming artists just leave their backgrounds blank.
...either a severe lack or gross overabundance of backgrounds. "You need to draw backgrounds." is probably the piece of advice I give most.
Back to some overdue comic advice... today's topic: backgrounds. Lots of new artists' samples I've reviewed recently have shown... (cont.)
Been getting tired of seeing the same test pages come in from new pencilers, so the editors sent me new samples scripts today. Cool stuff!
"Americans need to realize that comic books are an intrinsic part of your national heritage and culture and should be celebrated as such."
Hey new artists, any e-mail that starts "Dear Editor" and is cc'ed to every editor at every comic company usually gets immediately deleted.
RT @skottieyoung: "If you work in comics, your work is out in the public and will get the full spectrum of opinions. Learn from it all."
...keep in direct touch with pencilers, talk to them & find out how they like to be inked & show them how good they are to work with. Bond!
When inkers have downtime, I always recommend they do samples over as many different pencilers as possible. They should also... (cont.)
...to the editors to hire them for projects, but more importantly to the pencilers, many of who have a say in the decision these days.
There are a ton of talented inkers looking for work right now. Inkers have it hardest as they have to sell themselves not only... (cont.)
What Kind Of Artist Are You? http://bit.ly/yO5bj
On that note, it amazed me to learn Kei Kobayashi inked Spider-Man Fairy Tales #3 with disposable wooden chopsticks.
RT @cameronmstewart: There are no "correct" tools 4 drawing, comics or otherwise.Only the final product matters.Use whatever u like to draw.
Wednesday, May 12, 2010
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