Combined Index to Drawing Words & Writing Pictures and Mastering Comics

This is the combined index as it appears in Mastering Comics (obviously, we didn’t know what would be in MC when we first published DWWP, so it’s got an index only for itself!). These are not linked to anything. The idea is that if you’re wondering if a topic you’re interested in is covered in the books, you can check here before searching the books themselves out.

 

NOTE: Numbers in purple indicate entries in Drawing Words & Writing Pictures. Numbers in black indicate entires in Mastering Comics.

A

Abadzis, Nick, 159, 86, 91, 94
Abel, Jessica

Artbabe, 230
“Châiné,” 185
character development, 143, 146
collaboration with Matt, 263
“Decatur, IL,” 82–83, 88
drawing catalog, 131
Drawing Words & Writing Pictures, x, 246–247
“Far from Home,” 70
“Goddamn Hollywood,” 26–28
head and hand examples, 184–185
inking style, tools, and process, 190,202, 207, 159, 165, 171–173
ink wash use by, 185
“Legorreta Brings Us Purple,” 214
lettering style and font, 88, 140–141
naming of, 6
narrative arc, understanding of, 126
penciling process, 121–123
La Perdida, 32, 128, 13, 111, 121, 273
“Van Gogh’s Chairs,” 80

Accountants, 288
Acrostic, 16
Acrylic paint, 187
Acting, 151, 152
Action

action-to-action transitions, 40
atoms, 26–31
dialogue as, 40, 41
ingredients in, 131
line of action (axis of action), 99

Adaptation, 239
Adaptation into comics, 30, 239
Addams, Charles, 19
Adobe Illustrator software, 142–144, 167, 258–262
Adobe InDesign, 261–262
Adobe Photoshop software

black spotting in, 169
changes and corrections in, 118
Channels function, 235
Clone Stamp tool, 191
digital inking, 166
digital toning, 192–201
Levels function, 188–190
Polygonal Lasso tool, 197
scanning and cleaning up, 212–219, 188–191, 236
up-resing, 79

Advance (advance payment), 274
Agent (literary agent), 288, 289
Akira (Otomo), 128
Alagbé, Yvan, 111
Album (book-length) comic, 76
Alexander, Vincenzo, 247
Aliasing and anti-aliasing, 218, 194
Allen, Kalah, 246
Allred, Mike, 194
Ames lettering guide, 90–93, 235, 136, 137, 304
Anagram, 16
Anatomical proportions, 60, 61
Angel (Som), 247
Animation effects, 95
Animator, 6
Antagonists, 143
Anthology, 246, 272
Anti-aliasing and aliasing, 218, 194
Archetypical characters, 141
Archie Double Digest, 126
“Archival,” 21
Archival glue stick, 235
Aristotle, 126, 131
“Aristotle” (Hart), 114
Arno, Peter, 19, 207, 184
Art

talking about, 238
writing versus, 32

Artbabe (Abel), 230
Artists/authors

career paths, 301
getting going on a project, 257–258
income and making a living, 272, 288, 289
portfolios, 253, 286
projects, list of new, 257
schedules, 34–35, 272

Art Nouveau movement, 112
The Art of Comic Book Inking (Martin), 110
The Art of Fiction (Gardner), 187
The Art of the Funnies (Harvey), 30
Art Out of Time: Unknown Comics Visionaries 1900-1969 (Nadel), 76
Aspect-to-aspect transitions, 43
Asterios Polyp (Mazzucchelli), 96
Asymmetry, 154
Atlas of Human Anatomy for the Artist (Peck), 183
Atmospheric perspective, 127
Atoms, 26–31
Attentive reading, book-length, 96
Autobiography, 203
Axis of action (line of action), 99
Ayroles, François, 71, 94

B

B., David, 73, 121
Bá, Gabriel, 219, 208
Background, 7, 170
Backstory, 141–142
Backward, 13
Badly Drawn Comics (Keavney), 9
Ballad of the Salt Sea (Pratt), 131
Balloons. See Word balloons
Bamboo (reed) pens, 163
Bandes de Sonnets (Lécroart), 277
Bandes dessinés, 6
Barks, Carl, 207
Barry, Lynda, 14, 33
Basquiat, Jean-Michel, 23
Baudoin, Edmond

Crazyman, 138
inking style, 203, 160
lettering style, 138

Beaton, Kate, 151
“The Beautiful One,” 209
Bechdel, Alison

Fun Home, 159, 258–262
method of work, 121, 258–262

“Bee in The Ramble” (Little), 207
Beetle Bailey, 8
Beowulf, 127
Berberian, Charles, 196, 111, 263
Berlin (Lutes), 15, 127
Beveled ruler, 96–97
Bic, 21
Biggs, Brian, 33, 100
Bilal, Enki, 183
Binding, 259, 283, 291, 292–295
Bissette, Steve, 228
Bitmap, 219
Blab, 126
Black and White (Matsumoto), 110
Black and white comics, economics and, 180
Black backgrounds, 170
Blackbeard, Bill, 30
Black softening, 200
Black spotting

example of, 72, 73, 159, 204
mise-en-scène, 151
in Photoshop, 169
tools for, 114

The Black Well (Tanner), 272
Blade of the Immortal (Hiroaki), 115
Blain, Christophe, 131
Blankets (Thompson), 73, 189
Blank paper

creativity and, 13
horror of, 11, 12
staring at, 13

Bleeding (ink lines), 110
Bleeds, 7, 71, 74, 76, 77, 79
Blocked-in drawings, 99
Blocking, 151, 152
Blue line method, 227, 228
“Blue-line” paper, 77
Blue pencil, 54, 130
Blutch, 190, 202, 203, 109, 239
Bold letters, 89
Bolland, Brian, 166
Bone (Smith), 289
Bone folder, 290
Book-length (album) comic, 76
Book-length attentive reading, 96
The Book of Genesis Illustrated (Crumb), 180
Border, 7
Borderless panel, 7
Bowl-pointed nibs, 106
Brainard, Joe, 14
Brain data-dump, 35
Breccia, Alberto

Mort Cinder, 165, 183
screentone use by, 183

Brennan, Megan, 245
Br’er Rabbit, 167
Bridging shot, 97
Bristol board, 55, 56, 77–78, 110, 117– 118, 193, 202, 233, 182, 304. See also Paper
Brown, Box, 252
Brown, Chester, 121, 157
Brown, Jeffrey, 203
Brush basin, 112, 234, 304
Brushes

charging, 193
cleaning, 199
holding, 193
as inking tool, 206, 234, 161–163, 304
lettering with, 138
quality of, 194
using, 206

Brush handling, 193
Brush inking examples, 207
Brush linework, 206
Brush pens, 163
Burns, Charles, 57, 190, 201
Burroughs, William S., 239
Bushmiller, Ernie, 35, 48

C

Cafe comics (Feazell and Madden), 7
Cages (McKean), 187
Camera

angles (shots), 73, 155, 124
movements, 100
placement, 154

Campbell, Eddie, 121, 145
Caniff, Milton, 190, 207
Cannon, Kevin, 90
Canted angle, 73, 155
Caption, 7
“A Car. A Man. A Maraca.” (Dizin), 16, 17
Career paths, 301
Caricature, 112
Carnet de Voyage (Thompson), 163
Carryovers, 13
Cartoons and cartoonists, 6, 25
Cates, Isaac, 8–9
Cerebus (Sim), 100, 289
Cézanne, Paul, 126
“Châiné” (Abel), 185
Channels (Photoshop function), 235
Characters

defined, 140
development of, 140, 143, 146
drawing style and, 106–115
drawing unclothed figures, 123
eye lines of, 93, 98
ideas for and story development, 13, 18
motivation of, 142
size of, 127
types of, 141

Charles Addams Happily Ever After (Addams), 19
Chelsea, David, 178
Chiarello, Mark, 90
Chicago Comics, 231
Children of the Yellow Kid, 30
Chinese painting, 184
Chinese scrolls, 124
“Chip and the Cookie Jar,” 170
Chisel brushes, 161
Cho, Michael, 180
Choe, Dave, 219
Circle templates, 236
City of Glass (Karasik), 96
Clamp Studio, 263
Clark, Roy Peter, 25
Clichés, 32–33
Climax, 129, 130, 131, 24–25
Clog (nib pens), 110
Clone Stamp tool (Photoshop), 191
Close, Chuck, 71
Close-up (CU), 7, 154, 99
Closure, 38–39, 45, 46, 47, 240
Cloths and rags, 164
Clowes, Daniel

Ice Haven, 78
“Immortal, Invisible,” 93
inking style, 190
words and word balloons, positioning of, 93, 145

Clumsy (Brown), 203
Cold Heat (Santoro), 234
Col-erase, 54, 56
Collaboration, 263–264, 272
Collating, 258, 290
Color

calibration and color matching, 217, 236
choosing colors and the color palette, 214–215, 216–217
cost of, 180
hue, 184, 209–210, 217
saturation, 209–210, 217
theory, 209–211
uses of, 206–208
value, 184, 209–211, 217

Colored pencils, 56, 236
Color guides, 213, 214
Coloring

backing up blacks, 221–222
colored art, preparation of for publication, 221–222
color hold, 218, 220
computer coloring, 206, 214–220
direct color (couleur direct), 229
dual spot color, 234
flatting, 195–199, 201, 216–217
gradients, 218, 219
hand coloring, 226–237
hand-tinting, 230
highlights, 218, 219
inking for, 208
order of work, 208
sandwich coloring method, 173, 192, 193, 200, 201, 222
shadows, 218
spot color, 232–235

Color trapping, 221
Color wheel, 209
Comics. See also Publication of comics

book report on comic books, 72, 249
checklist for, 257, 272
creating comic strips, 26–27
getting work seen, 286–287, 289
how to start, 257–258
making a living from, 272
methods of work, 258–262
names for, 6
new projects, how to begin, 257–258
projects, list of new, 257
reproduction of art, design for, 181
schedule for project, 34–35, 272
structure and building a better, 82–95

Comics and Sequential Art (Eisner), 5
The Comics: An Illustrated History of Comic Strip Art (Robinson), 30
The Comics before 1945 (Walker), 76
Comics Sans font, 141
Comics short story, xi, 21
Comics short story homework

book’s eye view of story, 101
brainstorm/story pitch, 20–21, 305
corrections, 276
critique talking points for, xi, xii, 305–307
getting ready to print, 276, 306–307
inking, 223, 238, 265, 306
lay out and penciling, 130, 154, 176, 202, 306
minicomics, 81
organization of, xi
perspective assignment, 70–71, 307
printing and binding, 290–291
thumbnails, 41, 72, 75, 102, 305–306

Communication, 237
Compass, 236
The Complete Far Side (Larson), 19
Complete Human and Animal Locomotion (Muybridge), 63
Composition

abstract, 153, 175
action in, 156
asymmetrical, 175
centered, 175
defined, 154, 156
of the grid, 71
of the page, 71, 150
of the panel, 30, 68, 150, 153, 156
placement and, 162
problem-solving of, 156
rethinking, 160
simplifying, 55
techniques for variety, 156, 159

Compression and expansion, 102
Computer processes

computer coloring, 206, 214–220
computer lettering, 88–89, 140–144
digital correction process, 188–191
digital inking, x, 152, 166–167
digital spot colors, 235
digital toning, 183, 192–201
document setup, 192–193, 214
file formats, 200, 201
paste-up, 285
scanning and cleaning up, 212–219, 173, 188–191, 236, 276

Computers, 236
Conflict, 127, 142
Constraints, creative, 16–18
Conté crayons, 182
Continuity, 71, 175
Continuous tones, 180, 182, 185–191
Contracts, 298
Contrasts and symmetries, 82, 91
Conventions, 287, 301, 302–303
Cooper, Maura, 90
Copic pens, 161
Copyright, 239, 247, 248, 249, 256, 288, 299
Copyright Office, 299
Coquille board, 182
Corel Painter software, 166
“Corpse of the Imjin” (Kurtzman), 191, 84
Corrections, 116, 119, 204, 276
Couleur direct (direct color), 229
Courier font, 39
“The Courier” (Kibuishi), 206
Cover design and titles, 244, 245–247, 248–249, 256
Coyote, Wile E., 141
Craghead, Warren, 277
Crane, Jordan, 121, 157, 219
Crane, Roy, 29
Crazyman (Baudoin), 138
Creative Perspective for Artists and Illustrators (Watson), 178
Creativity

blank paper and, 13
constraints, creative, 16–18
creative blocks, 32–33
drawing and, 3
sketchbooks and, 6

Crepax, Guido, 207
Crisis of confidence, 32, 33
Crisis of creativity, 32–33
Critiques

pointers on, 237
talking points for, xi, xii, 305–307
techniques for, 238

Cronenberg, David, 239
Cross cutting, 98
Cross-hatching, 108, 159, 192, 113, 114, 180
Crow quills, 106
Crumb, Robert

The Book of Genesis Illustrated, 180
creativity of, 13
drawing style of, 106
inking style, tools, and process, 121, 191
“lines on paper” quote, 247
sketches by, 6

“Crux Universalis” (Bilal), 183
Cubism and cubist forms, 126
Curved letters, 164
Curvilinear perspective, 125
Cutaway, 99

D

Dada artists, 19
Dahm, Evan, 250
D’Amelio, Joseph, 178
Dante, 239
Dark Horse, 219, 287
The Dark Knight (Miller), 121, 161
Datebooks, 34
Davis, Guy, 120
“A Day at the Circuits” (Spiegelman), 94
DC Comics

distribution arrangements, 300
submitting work to, 287

The DC Comics Guide to Coloring and Lettering Comics, 90
The DC Comics Guide to Inking Comics (Janson), 110
The DC Comics Guide to Writing Comics (O’Neil), 131
Deadweight lines, 206, 113
Dear Julia (Biggs), 100
“Decatur, IL” (Abel), 82–83, 88
de Crécy, Nicolas, 229
Deleter, 97, 111, 234, 304
Deleter Trial Pen Set, 107
Denouement, 129, 130, 131
Depth

depth of field, 159
strategies to suggest, 127

Detail, diminishing, 127
DeTales (Bá and Moon), 219
Diagonal lines, 71
Diagonals, 157
Dialogue. See also Word balloons

as action, 40, 41
pacing of, 27
police questioning activity, 40–41
scriptwriting, 35–39

Diamond Comics Distributors, 300
Dieck, Martin Tom, 131
Diesel Sweeties (Stevens), 251
Dietch, Kim, 121, 171
Digital correction process, 188–191
Digital inking, x, 152, 166–167
Digital toning, 183, 192–201
Dilbert, 48
Dip pen, portable, 6
Direct color (couleur direct), 229
“Discovering America” (Mazzucchelli), 234
Display lettering, 161
Dissolves, 95
Distortion, 112
Distributors and distribution, 300–301, 302
Dizin, Pascal, 16, 17
DocuTech, 280
Dolly (tracking) shot, 100
Donne, John, 161
Doodling. See Sketching and doodling
Double-checking, 163
Doucet, Julie

drawing style of, 107
inking style, 121
“Poor Me,” 187

Drafting tape, 235, 304
Drafting tools, 235, 304
Dragon Ball (Toriyama), 110
Drawing

action in, 11, 239
continuity, 175
creativity and, 3
doodling and sketching, 4–9
exercise in style, 116
fancy drawing, 46
guidelines and, 162
homage, parody, sampling, 115
from life, 172
love of, 3
open sessions for, 59
as part of writing process, 32
realism and drawing style, 111
storytelling and style of, 115
strategies for beginners, 9–10
styles and strategies, 106–115
writing visually without, 258–262

Drawing catalogs, 131
Drawing pads, 21
Drawing paper, 118
Drawing through, 54, 63, 183
Drawing Words & Writing Pictures (Abel and Madden), x, 246–247
Dr. Ph. Martin’s Black Star India Ink, 111, 234, 304
Dry brush, creating tones with, 192, 202–203, 182
Duchamp, Marcel, 32
Dupuy, Philippe, 173, 196, 111, 263
“Durruti” (Rodriguez), 182
dw-wp.com website, xii

E

Ears, 179
Eastman, Kevin, 289
Editing, 97–99, 102
Editors, 268, 274–275
Effects lettering, 88
Egawa, Tatsuya, 207
Eightball, 78
Eisner, Will, 4, 161
Electronic publishing, 283
Elementary Alphabets, 90
Ellipse templates, 236
Emanata, 7, 8
Emotional expressiveness, 112
Empathy, 128
Endpapers, 249
Enfer Portatif (Ayroles), 94
English, Austin, 212–219
Epileptic (David B.), 73
Erasers, 56, 233, 182
Eraser tool, 218
Escalation, 128, 131
Establishing shots, 73, 154
Everything Dies (Brown), 252
Expansion and compression, 102
The Extended Dream of Mr. D (El Prolongado Sueño del Sr. T) (Max), 114
Extra credit activities, xii
Extreme close-up, 73, 154
Eye line

eye line match, 98
horizon line (eye line) and perspective, 52–54, 55–64
penciling tip, 175
storytelling and, 93

Eyes, 179

F

Faber Castell pens, 21, 160
Face. See Typeface
Faces, 179, 182
Facial measurements, 179
“Fade-proof,” 21
The Family Upstairs (Herriman), 30
Fantastic Four (Lee, Kirby, Sinnott), 200
Fantasy, 154
Far Arden (Cannon), 90
“Far from Home” (Abel), 70
Fats Waller (Igort), 206
“A Fearful Symmetry,” Watchmen (Moore and Gibbons), 91
Feathering, 192, 200, 201
Feazell, Matt, 9, 7
Fiction, 14
Field, Syd, 131
Fies, Brian

Fies Files, 79
Mom’s Cancer, 79
resolution cautionary tale, 79, 192
Whatever Happened to the World of Tomorrow? 79

Figure drawing, 112
Figurettes

tracing and, 63
using, 59, 60, 62, 63

File formats, 200, 201
Film, 220
Film terminology, 154, 97–100
Final Draft software, 39
Fink, J.C., 90
“The Fire Bug” (Swain), 182
Fisher, Bud, 28
Fish-eye lens effect, 125
Five-card Nancy, 48
Five-point perspective, 125
Fixatives (hairspray), 182
Flash Gordon (Raymond), 112
Flatting, 195–199, 201, 216–217
Fleener, Mary, 126
Flexible nib, 206
Florido, Hilary, 245
Focus, 155
Folding, 258, 290
Fonts

based on your lettering, 89, 140
choosing, 88, 140–141
defined, 165
kerning, 165, 140, 141

Foreground, 48
For Whom the Bell Tolls (Hemingway), 161
Foundation grants, 272, 289
Frame, 7
Framing, 151, 152, 158
Freedrawing, 5
Freewriting, 33
French curves, 236
FTP uploads, 275
Full-figure shots, 30
Fumetti, 6
Fun Home (Bechdel), 159, 258–262

G

Gag comics, 15, 17–19, 20, 22
Gardner, John, 187
Gemma Bovery (Simmonds), 187
Genre, 15, 18, 154–155, 176, 203, 223, 239, 265, 277
Geometric shapes, 72
George, Ross F., 90
Gerhard, 54, 263
Gibbons, Dave, 91
Giclée prints, 280
gif files, 200
Gillot pens, 168, 171
Gipi, 226
Gloeckner, Phoebe, 104
“Goddamn Hollywood” (Abel), 26–28
Good-bye Chunky Rice (Thompson), 131
Gouache, 187
Gradients, 218, 219
Grants, 272, 289
Graphic designer, 275
Graphic novels, 4, 6
Graphic Storytelling and Visual Narrative, 5
Graphic white, 97, 304
Graphite pencils

as an essential tool, 233, 304
as part of penciling toolbox, 56
technique, 202
uses of, 53, 54

Gray, Bill, 90
Gray tones, 180, 184
Grids

6-panel grid, 71, 8
9-panel grid, 71, 8
16-panel grid, 71
different kinds of, 71
in fine art, 71
in page design, 71, 72

Groensteen, Thierry, 91
Guggenheim Foundation, 289
Guigar, Brad, 152
Guptill, Arthur, 110
Gutters, 7, 79, 80, 83, 87, 88

H

Hagar the Horrible, 48
Haiku, 277
Hairspray (fixatives), 182
Halftones, 181, 212
Hamm, Jack, 61
Hand lettering, 88–94, 136–139
Hands, 179, 183, 184–185
Handwriting compared to hand lettering, 88, 136
Hark a Vagrant (Beaton), 151
Harris, Tony, 211
Hart, Tom, 32, 33, 114
Harvey, Robert C., 30
Hatching, 192, 173, 182
HB pencils, 99
Heads, 179, 182, 184–185
Head shot, 30
Heatley, David, 223
Hellboy (Mignola), 72
Hemingway, Ernest, 161
Henderson, Sam, 18
Hensley, Tim, 115
Hergé, 226, 227
Hernandez, Gilbert, 158, 207
Hernandez, Jaime

Locas, 112, 114
style of, 105, 157, 112, 114

Herriman, George

The Family Upstairs, 30
Krazy & Ignatz, 76
Krazy Kat, 30, 69–70, 76, 121, 161, 175, 228
page and panel design, 69–70

High-angle shot, 154
High-contrast techniques, 113, 114
Highlighting, composition and, 156, 158
Highlights, 218, 219
Hiroaki, Samura, 115
Historietas, 6
History of the Comic Strip, 5
Hoffberg, Janet, 90
Hog bristle brushes, 162
Holkins, Jerry, 150
Hollingsworth, Matt, 211
Horizon line (eye line), 52–54, 55–64
Horrocks, Dylan, 174
“Horse Camp” (Weinstein), 14
How to Be Everywhere (Craghead), 277
How to Make Webcomics (Guigar, Kellett, Kurtz, and Straub), 152
Hue, 184, 209–210, 217
Human anatomy, 59
Humanoïdes, Les, 173
Humor, 17
Hunt nibs and pens

bristol board testing with, 56
inking with, 105, 109, 121, 122, 168
lettering with, 137, 168
types of nibs, 106, 107

I

Ice Haven (Clowes), 78
Ideas, sources of, 13–21 Igort, 206
Illustration board, 56
I Love Love (Too Bad I Hate You) (Florido), 245
Image Comics, 287
Images

humor and, 17
words and, 16

Imagination, 178
“Immortal, Invisible” (Clowes), 93
Imperfection, 114
Imposition guide, 270–271, 282–285
Income and making a living, 272, 288, 289
“Incompetent Comics” (Kupperman), 47
India ink, 21, 162, 163, 304
Indicia, 247, 248, 249, 256, 299
Infinite canvas, 80, 95
Inking

approach to and process for, 158–160
with brush, 206, 234, 161–163, 304
checking, 194
for coloring, 208
curved letters, 164
digital inking, x, 152, 166–167
homework assignments, 223, 238, 265, 306
introduction to, 190
lettering, 99, 130
lines and penciling for ink, 113–114
methods of work, 168–173
nib pens and, 104
old-school inking, 158
straight letters, 163
tools for, 111, 234, 161–167, 304
why ink, 158
word balloons, 130

Ink palette dish, 236
Inks. See India ink
Ink washes, 185–191
Inner-cutting, 98
Inoue, Takehiko, 110
Insert shot, 99
Inset panels, 7, 71
Intellectual property contracts, 288
Intermediate characters, 142
Internal framing, 158
I Remember (Brainard), 14
Iris, 155
Isaac the Pirate (Blain), 131
Italic letters, 89
Ito, Junji, 18
It’s a Good Life If You Don’t Weaken (Seth), 138

J

Janson, Klaus, 110, 48
Jar of Pennies (Allen), 246
Jensen, K. Thor, 246
Jimbo in Purgatory (Panter), 239
Johnson, R. Kikuo, 176, 207
Jolley, Dan, 211
Journey to the West, 127
jpeg files, 213, 200, 201
Julius Knipl, Real Estate Photographer (Katchor), 180

K

Kafka, Franz, 127, 115
Karasik, Paul, 35, 96
Kastin, Judy, 90
Katchor, Ben, 180, 289
Kaz, 171
Keavney, Martha, 9
Kellett, David, 152
Kelly, Walt, 100, 190
Kerning, 165, 140, 141
Kibuishi, Kazu, 206
Kickstarter, 272
Kirby, Jack, 171, 189, 200, 163, 263
Klein, Todd, 90
Kliban, B., 19
Kochalka, James, 174, 207, 138, 207
Koh-I-Noor Rapidograph pens, 21, 161
Koh-I-Noor Universal 3080-4 ink, 111, 234, 304
Kordey, Igor, 165
Krahulik, Mike, 150
Krazy & Ignatz (Herriman), 76
Krazy Kat (Herriman), 30, 69–70, 76, 121, 161, 175, 228
Krusher, Nate, 121
Kubrick, Stanley, 97
Kunzle, David, 5
Kupperman, Michael, 47
Kurosawa, Akira, 239
Kurtz, Scott, 152
Kurtzman, Harvey, 191, 84

L

LaBan, Terry, 126
Laika (Abadzis), 86, 91, 94
Laird, Peter, 289
Larson, Gary, 19
Lasso tool, 218
Lat, 171
Lawyers, 288
Laying out

gutters, 80, 83
pages, 77, 81–82
panels, 83
tiers, 80, 83

Layouts, 32
Leading, 165
Lécroart, Etienne, 277
Lee, Stan, 263
“Legorreta Brings Us Purple” (Abel), 214
Leitmotif, 94
León La Came (de Crécy), 229
Lettering

computer lettering, 88–89, 140–144
guidelines for, 91–93, 98, 100
hand lettering, 88–94, 136–139
handwriting compared to, 88, 136
inking, 99, 163, 164, 130
kerning, 165, 140, 141
measurement and, 162
with nib pens, 122
penciling and, 130
styles of, 89, 122
tools for, 137–139

Lettering for Architects and Designers (Sutherland), 90
Lettering Tips: For Artists, Graphic Designers, and Calligraphers, 90
Levels (Photoshop function), 188–190
Lexicon of Comicana (Walker), 8
“Light blue” pencils, 56
Linear (point) perspective, 178, 46, 47, 48, 54–64, 124, 128

one-point perspective, 55, 57–59
three-point perspective, 56, 64, 124
two-point perspective, 55, 59–63, 124

Linear storytelling, 277
Line of action (axis of action), 99
Line of sight, 50, 51, 57
Lines on Paper, 247
Linework

anti-aliasing and, 218
with nib pens, 108
in panels, 204
penciling for ink and, 113–114
spotting blacks and, 206, 216–217

Liquid frisket (masking liquid), 164
Literary agent (agent), 288, 289
Little, Jason, 125, 207
Live area, 77–78, 81–82
Long-line tangent, 175
Long shot (LS), 7, 154
Loustal, Jacques, 229
Low-angle shot, 154
Lower-case lettering, 89, 165
Lutes, Jason, 15, 127, 159

M

Maakies (Millionaire), 30, 34
MacArthur Foundation, 289
MacBeth, 239
Macmillan, 287
Madden, Matt

Cafe comics, 7
character development, 143
collaboration with Jessica, 263
Drawing Words & Writing Pictures, x, 246–247
head and hand examples, 184–185
inking style, tools, and process, 203, 159, 163, 164, 168–170
lettering style, 88
“La Mulata de Córdoba,” 214
99 Ways to Tell a Story, 15
penciling process, 117–120
“The Six Treasures of the Spiral,” 84, 277
sketchbook and “I notice” diary, 172, 186
thumbnail process, 32, 33
“U.S. Post Modern Office Homes, Inc.,” 85

MAD Magazine, 191
Magnifying Glass tool, 218
Making Comics (McCloud), 5, 183, 28
Mamet, David, 131, 30
Manga

defined, 6
inking styles, 158
serialization, 272
style of, 108, 110, 112

Map it, 54
Marathon cartooning, 228
Margins, 78
Margritte, René, 19
Marketing and publicity, 275, 301
Martin, Gary, 110
Martz, John, 208
Marvel

distribution arrangements, 300
submitting work to, 287

Masereel, Frans, 265
Masking liquid (liquid frisket), 164
Master copy, 283–285
Match cut, 97
Mathieu, Marc-Antoine, 129
Matsumoto, Taiyo, 110
Matticchio, Franco, 105
Mattotti, Lorenzo, 111, 230, 231
Max, 114
Maybe Later (Dupuy and Berberian), 111
Mazzucchelli, David

Asterios Polyp, 96
“Discovering America,” 234
dual-spot color work, 234
inking style, 207
page and spread design process, 87
Rubber Blanket, 234
style of, 18, 174

McCay, Winsor, 121
McCloud, Scott

comics, definition of, 6, 4
infinite canvas, webcomics, and window-like screen viewer, 80
inking style and tools, 166
Making Comics, 5, 183, 28
“My Obsession with Chess,” 80
“The Right Number,” 95
transitions, types of, 39–45
24-hour comic, 228
Understanding Comics, 4, 38, 39–45, 48

McDonnell, Patrick, 228
McKean, Dave, 187
McKee, Robert, 131
McSweeney’s Panorama, 121
Mechanical pencils, 56, 233
Medea, 126
Medieval perspective, 48
Medium shot, 7, 154
Memoirs, 14, 18
The Metamorphosis (Kafka), 127, 115
Metaphors

transitions as, 46
visual, 44

Micron, 21
Micron pens, 161
Mignola, Mike, 72, 121
Miller, Frank, 121, 154, 161
Millionaire, Tony, 30
Minicomics

binding, 291
collating, 258, 290
contents of, 253, 269
cover and interior design, 256
definition and concept of, 253
folding, 258, 290
format, shape, and size of, 81, 244–245, 254–255, 269, 283
homework assignments, 81
making, 251
master copy of, 283–285
mock-up of, 270–271
order of work in, 269
page chart for, 25
paste-up, 283
photocopying, 258, 276, 280, 290
publication of, 76–77, 244–249, 254–256
reduction of, 77, 283
what to do with, 302
why make, 253

Ministrips, 30
Miró, Joan, 23
Mise-en-scène, 151, 152
Mitchum (Blutch), 202
Mock-up of book, 268, 270–271, 290
Moebius, 109, 158
Moiré pattern, 183, 212
Moment-to-moment transitions, 39
Mom’s Cancer (Fies), 79
Mondrian, Piet, 71
Monotext, 13
Montage and montage sequence, 97
Mood, 72
Moon, Fábio, 219
Moore, Alan, 71, 174, 91
Morgan, Wallace, 17, 207
Mort Cinder (Breccia), 165, 183
Motifs, 94
Motion lines, 7
Motivation, 128, 142
Motley, Tom, 13
Mouth, 179
Moving hold, 119
“La Mulata de Córdoba” (Madden), 214
Multiple-page stories, 71
Muñoz, José, 107
Mutt and Jeff (Fisher), 28, 121
Mutts (McDonnell), 228
Muybridge, Edweard, 63
“My Obsession with Chess” (McCloud), 80
Myrick, Leland, 173

N

Nadel, Dan, 76
Naked Lunch (Burroughs), 239
Nancy (Bushmiller), 48
Narration box, 7, 146
Narrative arc

in action (Cinderella), 131
chart, 130
continuity, 175
definition and concept of, 20
examples of narrative arc structure, 20
ideas and story development, 13–21
ingredients for, 128
nonfiction comics and, 203
story construction, 130
true stories, 14

Narrative box, 30
Narrative/story

adaptation into comics, 30, 239
attentive reading, book-length, 96
autobiography, 203
continuity, 175
genre/varieties of, 15, 18, 154–155, 176, 203, 223, 239, 265, 277
importance of, 3
linear storytelling, 277
page and panel design and structure and telling of, 82–95
pitch, story, 21, 24
story cards, 247–248
stripped-down approach to storytelling, 94
structures, 127, 277
style and telling of, 115
tension and turn of the page, 25, 90, 95

Naturalistic characters, 141
“Nature of the Beast, The” (Mignola), 72
Negative space

composition and, 73, 74, 157, 158, 159
titles and, 163

Nègres Jaunes (Alagbé), 111
Never Eat Anything Bigger Than Your Head and Other Drawings (Kliban), 19
New Engineering (Tokayama), 110
Newgarden, Mark, 35
The New Yorker, 67
Nib pens. See also Hunt nibs and pens
buying sets of, 107

characteristics of, 107
defined, 104
drawing with, 108
handling, 108
inking with, 104, 109, 115, 121, 122, 168, 304
lettering with, 122, 137, 168
selecting, 106
strokes of, 109
troubleshooting, 110

Nilsen, Anders, 158
1984 (Orwell), 15
99 Ways to Tell a Story (Madden), 15
Nogegon (Schuiten and Schuiten), 17, 91
Nomads and Nomad groups, xiii, x
Noncontinuous tones, 180, 182–183
Nonfiction comics, 176–177, 203
Non-photo blue, 220
Nonrealistic color, 208
Non-sequitur transitions, 45
Norling, Ernest, 178
Noses, 179
Notes Mésopotamiennes (Ayroles), 71

O

Obergeist, 211
Ode to Kirihito, 74
Office paper, 21, 32, 163, 221, 233, 304
Offset printing, 181, 280–283
O’Malley, Bryan Lee, 108, 183
Omnibus series, 246
On Directing Film (Mamet), 131
One-file method, 192, 193, 200, 201, 222 100
100 Views of the Warehouse District (Dieck), 131
180-degree rule, 99
O’Neil, Dennis, 131
One-pagers, 67
One-point perspective, 55, 57–59
Open drawing sessions, 59
Original art size, 78, 77, 121
Orwell, George, 15
Otomo, Katsuhiro, 128
Oulipo, Workshop for Potential Literature, 16
Over-the-shoulder (OTS), 154, 99

P

Pacing, variations in, 27
Page chart, 25
Page ratio, 79, 77
Pages

design, structure, and building a better comic, 71, 82–95
original art size, 78, 77, 121
panel layout, 84–95
turn of the page, 25, 90, 95

Painted comics, 230, 231
Palindrome comics, 16, 17
Pamphlet comics, 76
Pan, 100
Pancakes, 248–249
Panel borders, 51
Panel grids

6-panel grid, 71, 8
9-panel grid, 71, 8
16-panel grid, 71

Panels, 7

atoms, 26–31
borders, 99
composition of, 154
decisions about before starting comic, 82
decision to create new, 38
design, structure, and building a better comic, 150, 82–95
inking, 204
layout of on pages, 85–86
problem-solving for, 151
scriptwriting, 26–31, 35–39
transitions of, 38, 39

Panter, Gary, 6, 239
Pantone, 232, 233
Paper

bristol board, 55, 56, 77–78, 110, 117– 118, 193, 202, 233, 182, 304
drawing paper, 118
office paper, 21, 32, 163, 221, 233, 304
tracing paper, 55, 56, 57, 117, 163, 233, 304
vellum, 56, 163, 202, 233

Paper towels, 164
Parallel editing, 98
Parallel projections, 124, 125, 129
Passionate Journey (Masereel), 265
Paste-up, 257, 283
Pasting, 117
Peck, Stephen Rogers, 183
Pekar, Harvey, 191
Pen & Ink Book: Materials and Techniques for Today’s Artist (Smith), 110
Penciling

defined, 52
erasing, 172
fixatives for, 182
homework assignments, 130, 154, 176, 202, 306
lettering and, 98, 99, 162, 204, 130
lines and penciling for ink, 113–114
method for, 54–55, 57
methods of work, 117–123, 130
pitfalls of, 53
printing your pencils, 165
tight pencils, 130
tips and troubleshooting, 175

Pencils

technique, 233
types of, 56, 182, 304

Penny Arcade, 150
Penny Arcade (Holkins and Krahulik), 150

Pens. See also Nib pens

dip pen, portable, 6
putting to paper, 21
reed (bamboo) pens, 163
refilling, 163

Pentel brush pens, 163
People, comic with no, 70–71, 307
Peplum (Blutch), 239
La Perdida (Abel), 32, 128, 13, 111, 121, 273
Pere, Chari, 155
Perec, Georges, 16
Perfect-bound books, 283
Permanent markers, 105
“Permanent markers,” 21
Personal history, 14, 18
Perspective

alternatives and variations, 124–129
atmospheric perspective, 127
centers, finding, 65
choosing, 129
curvilinear perspective, 125
definition and concept of, 46, 48–54
five-point perspective, 125
linear (point) perspective, 178, 46, 47, 48, 54–64, 124, 128
Medieval perspective, 48
one-point perspective, 55, 57–59
realism and, 124, 128
relationships and, 46–47, 53, 57
series, making, 66
three-point perspective, 56, 64, 124
troubleshooting activity, 67–69
two-point perspective, 55, 59–63, 124
universal perspective, 126
vanishing point(s), 54–64

Perspective Drawing Handbook (D’Amelia), 178
Perspective! For Comic Book Artists (Chelsea), 178
Perspectives Made Easy (Norling), 178
Petronius, 239
Pettibon, Raymond, 19
Pham, John, 125
Phillips, Sean, 160, 210
Photocopying

checking page orientation before, 290
minicomics, 258, 276, 280
self-service compared to counter service, 284
types of copiers and settings, 96

Photo-offset lithography, 181
Photo reference, 174
Photoshop. See Adobe Photoshop software
Picture plane, 48, 49–51, 55, 56, 57
Pigmented ink, 21
Pigment pens, 21, 105, 236, 161
Pitch, story, 21, 24
Placement, composition and, 162
png files, 200, 201
POD (print-on-demand) technology, 280
Poetics (Aristotle), 126, 131
Poetry comics, 277
Pogo (Kelly), 100, 190
Point (linear) perspective, 178, 46, 47, 48, 54–64, 124, 128
Point-of-view (POV) shot, 154
Police questioning activity, 40–41
Polygonal Lasso tool (Photoshop), 197
“Poor Me” (Doucet), 187
Pope, Paul

inking style, 190, 202, 207
lettering style, 138
realities, inventing, 177
style of, 74, 106

Popeye (Segar), 68, 76, 121
Porcellino, John, 9
Portable dip pen, 6
Portfolios, 253, 286
Portrait comic, 223
A Portrait of the Artist as a Young Man, 161
“Portrait of My Dad” (Heatly), 223
Posture, 113
Pratt, Hugo

Ballad of the Salt Sea, 131
inking style and tools, 190, 158, 161

Preparatory drawings, 55
Prepress department, 275
Press checks, 275, 280
Printers

delivery of work to, 275
press checks, 275, 280
proofing for printer errors, 268
role of, 275
working with, 268

Printing

printing halftones, 181
minicomics, 258
offset printing, 181, 280–283
photocopying, 258, 276, 280
POD technology, 280
process color printing, 211–213

Print-on-demand (POD) technology, 280
Process color printing, 211–213
Projects. See Comics
El Prolongado Sueño del Sr. T (The Extended Dream of Mr. D) (Max), 114
Proofing, 268
Proportion wheel, 221, 235, 276, 304
Proscenium theater effect, 125
Protagonist, 73–74, 127–128, 130, 131, 135–137, 141–142, 20
Pro-White, 97
Publication of comics

approaching publishers, 286–287
calibration and color matching, 217
colored art, preparation of for, 221–222
cover design and titles, 244, 245–247, 248–249, 256
interior book design, 247–249, 254–256
knowing publication destination before starting comic, 76
minicomics and comic books, 76–77, 244–249, 254–256
mock-up of book before, 268, 270–271, 290
number of pages, 76
page ratio, 79, 77
proofing before, 268
reduction, working for, 77
resolution, 79, 81, 192, 200, 276
self-publishing, 274, 289
spreads and lay out of comic, 25, 41, 75, 248
toned art, preparation of for, 200–201
webcomics, 76, 78–81, 200–201, 250–252, 268

Publicity and marketing, 275, 301
Publishers, 274, 275, 286–287, 298
Puppy (Jensen), 246
Purgatory (Dante), 239

Q

Q-tips, 164
Quadrinhos,6

R

The Rabbi’s Cat (Sfar), 112
Rags and cloths, 164
Ralph, Brian, 219
Random House, 287
Raphaël sable brush, 234
Rapidograph pens, 21, 161. See also Technical pens
Ratio

page, 79, 77
screen, 78

Raymond Pettibon (Starr), 19
Raymond, Alex, 112, 158
Reaction shot, 27, 98, 99
Readability, color for, 207
Reading order, 11, 70, 75
Reading path, 73, 156, 157, 92–95, 145
Reading rhythm, 84
Re: A Guide to Reproduction (various), 219
Realism

color use and, 206, 208
drawing style and, 109, 111, 112
perspective and, 124, 128

Realities, inventing, 177
Real world, researching, 176
Recto page, 76
Reed (bamboo) pens, 163
Rees, David, 9
Regé, Ron, Jr., 219, 128
Registration marks, 212
Relationships, perspective and, 46–47, 53, 57
Ren and Stimpy, 127
Rendering in Pen and Ink, 110
Repetition, 94, 96
Reproduction

hand color, reproducing, 236
scanning and cleaning up, 212–219, 173, 188–191, 236, 276

Research, creative blocks and, 32–33
Resolution, 79, 81, 192, 200, 276
Reumann, Helge, 124
Reverse shot, 98, 99
Revisions, 240
Rexel Drawing Pens Set, 107, 234

Rhythm

effects of, 18, 68, 69
using, 27, 63, 71, 72, 158

“The Right Number” (McCloud), 95
Robinson, Jerry, 30
Rodriguez, Spain, 182
Ronin, x
Ross, Alex, 230, 231
Rotation, drawing and, 181
Rough pencils, 99
Royalties, 274
Rubber Blanket (Mazzucchelli), 234
Rubylith, 212
Rulers, 235, 304
Ruling lines, tools for, 137, 138, 139
Ruling pens, 96, 236, 122, 139

S

Sacco, Joe, xiii, 122, 176, 92, 289
Safe Area Goražde (Sacco), 92
Sailor Twain (Siegel), 180
Sakai, Stan, 88
Sakura Pigma Micron pen, 161
Sales rep, 275
Samura, Hiroaki, 159
Sandwich coloring method, 173, 192, 193, 200, 201, 222
Sanford pencils, 56
Sans serif, 165
Santoro, Frank, 234
Saturation, 209–210, 217
Satyricon (Petronius), 239
Scaffolding, 71
Scanners, 236, 236
Scanning and cleaning up, 212–219, 173, 188–191, 236, 276
Scanning up, 55, 205
Scene header, 37
Scenes

adapting prose to comics, 30, 239
atoms, 26–31
changes in, 24
climactic scene, 24–25
mapping out, 24
number of, 24
page chart for, 25
purpose of, 24
scene-to-scene transitions, 42

Schedules, 34–35, 272
Schuiten, François, 17, 91
Schuiten, Luc, 17, 91
Schulz, Charles, 115
Schutz, Diana, 219
Schweizer, Chris, 175
Scott Pilgrim (O’Malley), 183
Scrapbooking tape, 235
Screenplay: The Foundations of Screenwriting (Field), 131
Screentone, 233
Screentones, 182–183
Screenwriting software, 39
Scribbling, 108
Scriptwriting, 26–31, 35–39
Segar, E.C., 68, 76
Self-publishing, 274, 289
Serialization, 272–273, 286
Serifs and sans serif, 165, 141
Sestina, 277
Seth, 65, 138
Sfar, Joann, 203, 112
Shadows, 218
Shakespeare, William, 239
Sharpies, 21
Shaw, Paul, 90
Sheet-fed press, 282
Shonen Jump, 272
Shot-reverse shot cutting, 99
Shots (film terminology)

close-up (CU), 154
establishing, 73, 154
extreme close-up, 154
full-figure, 30
head, 30
high-angle, 154
long shot (LS), 7, 154
low-angle, 154
medium, 7, 154
over-the-shoulder (OTS), 154
point-of-view (POV), 154
reaction, 27

Show, don’t tell, 143
Side view, drawing and, 180
Siegel, Mark, 180
Signatures, 76, 283
Sikoryak, R., 115
Silhouetting, 159
Silver Surfer (Kirby), 200
Sim, Dave, 100, 263, 289
Simmonds, Posy, 187
Simmons, Shane, 9
Sin City (Miller), 156
Sinnott, Joe, 200
“The Six Treasures of the Spiral” (Madden), 84, 277
Size image, 216
Sizing down, 221
Sizing up, 221, 223
Sketch, title design and, 162
Sketchbook Diaries (Kochalka), 138
Sketchbooks

benefits and rewards of keeping, 6
creativity and, 6
ideas for keeping, 6
as rule-free zone, 4
sketchbook comics, 7, 307
Sketching and doodling
freedrawing, 5
timed, spontaneous doodling, 8–9
as warm-up activity, 4–9

Smartphones, 76, 78, 81
Smith, Jeff, 189, 190, 289
Smith, Joel, 19
Smith, Joseph A., 110
Smithsonian Collection of Newspaper Comics (Blackbeard), 30
Snyder, Ray, 211
Social media, 286
Soft lines, 206
“Soldier X” (Kordey), 165
Som, Bishakh, 247
Sound effect, 73
Spark, 128, 130, 131, 20
Speech balloons. See Word balloons
Speedball (Hunt) Sketching Pen Set, 107, 234
Speedball nibs, 236, 139
Speedball Textbook for Pen and Brush Lettering, 90
Sperry, Jon, 147
Spiegelman, Art

“A Day at the Circuits,” 94
inking style and tools, 166, 173

Spin, 67
Spiral-bound sketchbooks, 21
The Spirit, 4
Splash (title page), 7, 154, 162, 25, 249
Splashes, 71
Splash panels, 74, 154
Split-screen, 155
Spot color, 232–235
Spotting blacks. See Black spotting
Spreads

design, structure, and building a better comic, 87–89
example of, 7
lay out of comic, planning story for, 25, 41, 75
page chart for, 25
publication of comics and, 75, 248
as single page, 87–89
structure and building a better comic, 84
three-page spreads, 82–83
thumbnails and, 41, 75
turn of the page and design of, 90, 95

Spy vs. Spy (Kuper), 265
Standard nibs, 106
Staples, Val, 210
Stapling, 291
Starr, Robert, 19
Station point (vantage point), 49, 50, 51
Steinberg of the New Yorker (Smith), 19
Steve Canyon, 190
Stevens, R., 251
Stewart, Dave, 208
Stick figures, 9, 10, 60
Stiff nib, 206
Stippling, 108, 206, 173, 182
Stone lithography, 181
Story. See Narrative/story
Story cards, 247–248
Story: Substance, Structure, Style, and the Principles of Screenwriting (McKee), 131
Straight letters, 163
Strathmore, 56
Straub, Kris, 152
Stretches, 114
Style manuals, 25
Subgenres, 154, 155
Subject-to-subject transitions, 41
Sumi brushes, 162
Sumi ink, 162
Sunday pages, 67–76
Superhero comics, 154, 155
Supplies list, xii, 304
Surrealist artists, 19
Sutherland, Martha, 90
Swain, Carol, 182
Swarte, Joost, 226
Symbolic color, 207
Symbolic transitions, 44
Symmetries and contrasts, 82, 91

T

Table of contents, 249
Tablet computers, 76, 78, 81, 166
Takahashi, Rumiko, 121
Take Out #3 (Telgemeier), 244
Tangents, 175
Tanner, Jamie, 272
Tardi, Jacques, 121, 176
Technical pens, 21, 96, 236, 161
Technique, practicing, 195
Teenage Mutant Ninja Turtles (Laird and Eastman), 289
Telgemeier, Raina, 244
Templar, Arizona (Trotman), 151
Terminology

in comics, 7
for film, 154
of type, 165

Text. See Words
Texture. See Tone and texture
Tezuka, Osamu, 74, 121, 176, 108
Themes, 15
Thimble Theatre (Segar), 68
Thompson, Craig

Blankets, 73, 189
Carnet de Voyage, 163
Good-bye Chunky Rice, 131
inking style and tools, 202, 207, 163
style of, 73, 189, 190

Thought balloon. See Word balloons
Three-point perspective, 56, 64, 124
Threshold level, adjusting, 216, 217
Throne of Blood (Kurosawa), 239
Thumbnails

creating, 32, 53, 41
defined, 19
homework assignments, 41, 72, 75, 102, 305–306
narrative arc and, 136, 242, 243
photocopying, 55
preparatory work before, 25
spreads and, 41, 75
visual storytelling and value of, 35, 41

Tiers, 7, 80, 83
TIFF file format, 213
Tilt, 100
Time, cues to show passage of, 16, 102
Tintin (Hergé), 226, 227
Title page (splash), 7, 154, 162, 25, 249
Titles and title design

choosing a title, 98, 161, 165, 246–247
developing, 161
example of, 248–249
hand-drawn, 76
importance of, 76, 161, 245–246
laying out, 162
logos, 161
planning, 161
typeset, 76

Todd, Mark, 230
To-do lists, 35
Tonal balance, 157
Tone and texture

aliasing and anti-aliasing, 194
continuous tones, 180, 182, 185–191
decisions about, 114, 173
digital correction process, 188–191
drawbacks to using, 180
flatting, 195–199, 201
halftones, 181, 212
noncontinuous tones, 180, 182–183
purpose of and meaning from, 114, 180
toned art, preparation of for publication, 200–201
toning on the computer, 183, 192–201
tools for creating, 192, 202–203, 164–165, 180, 182 value, 180, 184, 195

Toothbrushes, 165
Toriyama, Akira, 110
Toth, Alex

drawing style of, 108
inking style, 190, 207, 158
sketches by, 6

Tracebacks, 119
Tracing

corrections and, 117
figurettes and, 63
paper for, 55, 56, 57, 117, 163, 233, 304
process and tips, 169

Tracing vellum, 56
Tracking (dolly) shot, 100
Trademarks, 299
“Traitors of the Earth,” Usagi Yojimbo (Sakai), 88
Transferring, tracing paper and, 55
Transitions

closure and, 38–39, 45, 46, 47, 240
defined, 46
types of, 38–48

Triangle, 236
Trinity (Cho), 180
Trotman, Spike, 151
T-square, 235, 304
24-hour comic, 228
24-Hour Comics, All-Stars, 228
Two-point perspective, 55, 59–63, 124
2001: A Space Odyssey (Kubrick), 97
Tyler.Carol, 226
Typeface, 165
Type terminology, 163, 165

U

The Umbrella Academy (Stewart, Way, and Ba), 208
Underground comics movement, 158
Understanding Comics (McCloud), 4, 38, 39–45, 48
Underworld (Dietch), 121
Uni-ball pens, 21, 161
“U.S. Post Modern Office Homes, Inc.” (Madden), 85
Universal perspective, 126
Upper-case lettering, 89, 165
Usagi Yojimbo, “Traitors of the Earth” (Sakai), 88
Uzumaki (Ito), 18

V

Vagabond (Inoue), 110
Value, 180, 184, 195, 209–211, 217
Van Gogh, Vincent, 163
“Van Gogh’s Chairs” (Abel), 80
Vanishing point(s), 54–64
Vantage point (station point), 49, 50, 51
Variation poses, drawing and, 180
Vector art software, 142–144, 167
Vectors, 142, 167
Views of the Warehouse District (Dieck), 131
Vellum, 56, 163, 202, 233
Verso page, 76
Video games, 124
Vignette, 7
Visual metaphors, 44
Visual rhythm, composition and, 71, 158
Visual storytelling and thumbnails, 35, 41
A Void (Perec), 16

W

Wacom graphics tablet, 166
Walker, Brian, 76
Walker, Mort, 8
Wally Gropius (Hensley), 115
Ware, Chris

color use by, 210
foundation grants, 289
non-photo blue pencils, 220
page layout used by, 78
parallel projection, use of, 129
press check, 275

Wary, Gerard, 208
Wash Tubbs (Crane), 29, 121
Watcha Mean What’s a Zine? 230
Watchmen (Moore and Gibbons), 91
Waterproof, 21
Watson, Ernest W., 178
Watson, Esther Pearl, 230
Watterson, Bill, 191
Webcomics

access to, 151
activity assignments, 153, 174, 223, 237–238
animation effects, 95
content of, 152
definition and concept of, 150
digital platforms, types of, 76
digital self-publishing, 289
homework assignments, 81, 202
how to make, 152
image size and file formats for, 78–79, 200–201
infinite canvas, 80, 95
ingredients and features of, 150–151 new field of, xi
page chart for, 25
page layout, 78
panel design and structure, 95
posting online, 238
publication of, 76, 78–81, 200–201, 250–252, 268
resolution, 79, 192, 200, 276
screen ratio, 78
serialization, 272
small screens, 76, 81
smartphones, 76, 78, 81
turn of the page, 95

Web-fed press, 282
Websites

design of, 250–252
dw-wp.com website, xii
proofing, 268

Weinstein, Lauren, 14
Wenthe, Michael, 8–9
Whatever Happened to the World of Tomorrow? (Fies), 79
What It Is (Barry), 33
“White spotting,” 73
Wide screen, 155
Williamson, Al, 177
Wimberly, Ron, 209
Windsor-Smith, Barry, 112
Winsor & Newton ink, 97, 111, 234, 304
Wipes, 95
Wolverton, Basil, 177
Wood, Wally, 150
Word balloons

drawing what is covered by, 122
example of, 7
inking, 130, 142
lettering and, 88–89, 94, 99
location and placement of, 92, 145
making and cropping, 94, 146–149
reading path and, 73, 156, 157, 92–95, 145
size and shape of, 142

Word ladder comics, 19, 21
Wordless comics, 265
Words

humor and, 17
interaction with images, 15–19
positioning of, 142–149

“Work for hire” clause, 299
Working Progress (Alexander), 247
Writing

abilities for cartoonists, 25
adapting prose to comics, 30, 239
art versus, 32
freewriting, 33
as part of drawing process, 32
scriptwriting, 26–31, 35–39
talking about, 238
writing visually without drawing, 258–262

Writing Tools (Clark), 25
The Wrong Planet, 31, 38

X

X-acto knife, 235, 304
The X-Files, 141

Y

Yang, Gene, 173, 176
Yokayama, Yuichi, 110
You Are a Jerk! (Brennan), 245
YouTube, 167

Z

Zettwoch, Dan, 124
Zip-A-Tone, 182
Zoom (camera movement), 100
Zoom in, 13
Zoom out, 13
Zooms (animation effect), 95


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