Comics for Beginners

How to Write & Draw Comics

Marvel Comics

ProFile: Ron Randall

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ProFile-Ron-Randall

Ron Randall has been drawing comic books and graphic novels and storyboards for over thirty years. He has worked for all the major comics publishers in the United States, including Marvel Comics, DC Comics, Image, Dark Horse and IDW on properties as varied as Spider-man, Supergirl, Predator and Star Wars. His own science fiction adventure series Trekker is his signature project. Ron is busier than ever these days, producing new Trekker stories, serialized at www.trekkercomic.com and in print through Dark Horse Comics as well as serving as artist on several other comics projects and various commercial clients.

What made you decide to work in the medium of comics?

I read comics as a little kid, like everyone did back then. But when I met a buddy back in second grade who was already an active “fan”, who follows certain artists and books, I suddenly realized that people actually did this for a living. From then on it was on my short list of careers. It was comics artist or jet pilot. I started drawing my own characters and stories then and never stopped.

What part of the process is the most challenging or frustrating to you?

Hm. Right now, it’s the coloring on Trekker. Color is a whole new world for me. I have a pretty good sense, usually, of the feel I want the colors to have and the color choices. But I know there is so much I don’t know about color and digital techniques that I feel I could always to better and more with that step of the process.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Keep drawing. There is no set way to get into the business, no formula or process that works for everyone. You find your own way. And the one thing that works is to keep at it.

Making Comics with Patrick Yurick – Comics for Beginners Podcast episode

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“I find that art is 90 percent fear!”

Artist, teacher and CEO of MakingComics.com, Patrick Yurick, visited Copenhagen and I got to show him the better parts of the city. We also managed to record a podcast on his view on the craft, career, his experiences with teaching comics to teens, his zombie buddy comedy Hipster Picnic and the future of making comics.

Links to stuff mentioned on this episode:

My video on lessons I learned from working on Thomas Alsop

GutterTalk podcast interview

ThomasAlsop.com

Webcomics Underdogs

TheHeadComic.Com

@patrickyurick

MakingComics.com

StoryForgeProductions.com

Patrick-Yurick-in-Copenhagen
CEO of MakingComics.com Patrick Yurick (left) hanging out in Copenhagen with Palle Schmidt.

ProFile: Kody Chamberlain

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ProFile-Kody-Chamberlain

Kody Chamberlain spends most of his time creating comic books and graphic novels, but also works in film, animation, video games, and television. Credits include DC Comics, HarperCollins, IDW Publishing, Image Comics, LucasArts, Marvel Comics, MTV, MTV Comics, Mulholland Books, Sony Pictures, 12 Gauge Comics, Universal Pictures, and Warner Bros. In addition to his work in entertainment, Kody also an inspirational keynote speaker and consultant on the subject of creativity. Credits include CTN Animation Expo, HOW Design Live, INNOV8, Modbook, Macworld, iFest, Wizard World Comic Con, as well as AdFed groups and major universities throughout the United States.

You can find out more about Kody at his website: http://kodychamberlain.com.

His latest book SWEETS: A New Orleans Crime Story:

Print edition: http://tinyurl.com/amazonsweets

Digital edition: http://tinyurl.com/digitalsweets

What made you decide to work in the medium of comics?

As high school was wrapping up, I had no plan on what to do next. I was interested in a few different things but no real goals so I decided to go to college and figure it out along the way. I thought I might try engineering because I was doing very well in math so I signed up for an advanced math class that was part of the engineering program. I also signed up for a lot of the usual classes you have to take early in college including basic art classes. I was already doodling a bit here and there, so I thought the drawing classes would be fun.

I quickly realized that I hated the math class, and really enjoyed the drawing class. It was a dilemma because I was good at math and bad at drawing. I discovered graphic design somewhere along the way, thinking it might be a nice combination of the two and I picked it as my focus. After a few months in, I started hanging around with a few guys that were serious about comics and that’s what got me hooked.

I was also writing a bit, and thought it’d be fun to try getting into comics. I sucked for a lot of years but I was making slight improvements here and there, and slowly, things got better. I don’t recall ever having a big breakthrough where everything clicked and I made a big jump. I know that happens to artists sometimes, but for me it was a slow grind over many years. I was having a lot of fun and I knew if I kept pushing forward I’d eventually get to a professional level, so I stuck with it.

I started drawing around 1990 or 1991 and started sending out submissions around 1994. In 2002 and 2003 I started to get favorable replies from publishers and editors and I got my first paid work in 2004. Basically, it took me about 15 years of practice to get paid work.

What part of the process is the most challenging or frustrating to you?

The toughest part for me is letting go. I have to constantly remind myself to stop and move on to the next thing. I’ve talked with enough people to know that it’s a very common problem, and I think it’s one of the main reasons many aspiring creators never actually become professionals. I know plenty of people that have been talking about a project for years and claim to have something done on it, but I have yet to actually see anything from it. They’re stuck in the “loop” of reworking material and they never get out. I’m able to work past it, but I’m always a little grumpy when I have to let something go. In reality, if I were to keep reworking it I know I would kill it. Letting go is a daily struggle, but after an issue of a comic hits the shelf, I always feel good about the work. A little distance solves most problems.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Stop sending out scripts, drawing sample pages, and mailing out submissions. Make a comic. You don’t need a team or a publisher, just make it. Write it, create some artwork, letter it, and then put it out. Then do it again. Even if you don’t end up doing every job when you get into the industry, you’ll have a detailed understanding of the process, and that’s an asset. You don’t need permission from anyone to make a comic, and you don’t need much money. The cost of making comics versus film, animation, etc is incredibly low. Once you’ve made a comic you are now a comic book creator, not an aspiring comic creator. You’ll find the industry treats you differently.

ProFile: Ed Brisson

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ProFile-Ed-Brisson

Ed Brisson is a comic book writer who’s has been published by Image, Marvel, BOOM! and IDW. Before getting being published by others, Ed spent nearly two decades creating and self-publishing his own comics.

What made you decide to work in the medium of comics?

I don’t remember a time where I didn’t want to work in comics. I’ve been reading comics since I could read and probably started drawing my own not long after. It’s just something I’ve always wanted to do.

Initially I wanted to be a comic artist and only started writing them because I didn’t know anyone else who could. This was before the internet was around, so I didn’t have access to scripts either. Slowly, and over a long period of time, I realized that I enjoyed the writing more than I did the illustrating and gave up the latter to focus in solely on writing.

What part of the process is the most challenging or frustrating to you?

I’m not sure. I tend to be pretty scatter brained and have a lot of trouble focusing in when the time comes. I takes a lot of effort and is thoroughly exhausting. I need a nap after I’ve written four or five pages.

Another thing I have trouble with, something that I rarely hear people talking about to aspiring creators, is making sure that I have downtime. I mean, you work hard for a long time to “break into” comics, to have people notice you and when they finally do, the offers will come flooding in and you have to be aware of how much you can handle and making sure that you leave some time for you. Otherwise you’re going to burn out.

I *try* to leave my weekends free for me time (which means mostly spending time with my wife and daughter), but still generally end up working through them. I’m working on it though.

If you could give one piece of advice to an aspiring comics creator, what would that be?

My advice would be to jump in, head first, and just start creating comics. Stop talking and start doing. I know too many people who have a “great” story they want to do, but never put rubber to road. Just start. Now. Start with 5-10 page stories. Build to single issues and then focus on doing longer stories once you have that down – once you’ve discovered your voice. Scrap your idea for a 200 issue epic. Start small and grow.

Follow Ed’s work at http://edbrisson.com/

ProFile: Mike Cavallaro

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ProFile-Mike-Cavallaro

Mike Cavallaro is from New Jersey, where he attended the Joe Kubert School of Cartoon Art, and has been a working cartoonist for over 20 years. His clients include DC Comics, Marvel, Image, First Second Books, Archie, MTV, Warner Brothers, Cartoon Network, and others. Mike’s comics include Parade (with fireworks), Nico Bravo & the Celestial Supply Shop, The Life and Times of Savior 28, with J.M. DeMatteis, Foiled and Curses, Foiled Again, with Jane Yolen, Recognition for Mike’s work includes YALSA’s “Great Graphic Novels For Teens” list, a Will Eisner Comics Industry Award-nomination, a Junior Library Guild selection, and others. Mike resides in New York City and is the vice-chairman of the National Cartoonists Society, Manhattan Chapter.

What made you decide to work in the medium of comics?

I was always interested in art, primarily illustration, and the more fantastic and unreal, the better. By the time I was graduating high school, I had already been working at my local comic shop for four years — it was my first job. My favorites were artists like Barry Windsor Smith, John Buscema, Frank Frazetta, Joe Kubert, Los Bros Hernandez, and of course many others. It was obvious that I was going to pursue some kind of art, and I guess I chose the one I was most influenced by at the time: comics. While other kids were applying to various colleges, I only applied to one place: the Joe Kubert School. After that, it was all comics, all the time, for the next couple years, and I guess it’s been that way ever since — pretty much the last 20 years.

What part of the process is the most challenging or frustrating to you?

All parts! Seriously, I suppose there are different degrees of “frustrating”. I mean, I’m frustrated by lettering because I don’t really want to do it, so it feels like sort of a drag to me. But, on my creator-owned stuff, there’s no one else to do it, so I gotta. But that’s more about tedium than anything else. There’s the frustration you feel when you can’t draw something the way you want and you’re erasing a hole into the paper and wasting time. But that’s somehow different. It’s not tedium, it’s coming face-to-face with your limitations and learning how to either exceed them or circumvent them in some way.

All-in-all though, the thing I find most challenging with comics is the writing. There was probably a point when I was discovering comics where I’d buy something just because it looked amazing. That’s not enough for me anymore. I need a story I’m interested in or I can’t be bothered. So I believe story (not just writing, but STORY: art and words working together) is the most challenging and important part of the whole thing.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Be versatile. Don’t just do one thing, one way. Be able to shift gears, employ multiple techniques and styles, and have a command of all aspects of comics making: writing, pencilling, inking, lettering, and coloring.

Follow Mike’s work at  mikecavallaro.com