A few weeks ago, I had my students draw comics. I paid special attention to the silence in the room. What I learned is that the silence is not just an aural quality, but a posture, and, perhaps an embodiment of cartooning, and one that offers particular advantages in the classroom.
Comics are a character-driven medium, so if a character looks and acts exactly the same as all the others—superheroes wearing spandex, alternative types exuding negativity—then something is gravely wrong. Wrong and boring. As someone else put it: “we need to do violence to the cliché, create havoc with the tried, the tired and tested”.
What this book does, strikingly well, is it teaches you how to be a webcartoonist. From website design issues specific to comics, to personal branding, to dealing with fans (and making more of them) to preparing for conventions (checklists!) right down to setting up a shipping station for your merch, this is by far the most comprehensive, reasonable, serious guide to being a self-publisher that I’ve seen.
Nick Bertozzi is an amazingly talented and prolific cartoonist, a teacher, and a good friend. I was thrilled when I saw this post about the process he used to make his new book Lewis & Clark over at the First Second blog, and asked if we could repost it here. If you’re in NYC, come celebrate the book release with Nick at Bergen Street Comics on Friday, Feb 25. Matt and I will be there, too!
This is a truly excellent compendium/overview of the various ways design intersects with comics, from character design to lettering to covers. The approach is comprehensive, with short, well-observed sections touching on just about every design issue you can think of, all beautifully, very fully illustrated. Even end flaps rate their own section.
On my blog I just posted about a new comics-making constraint I invented for a recent workshop. The basic idea is that you need to make a comic that uses all the colors of the rainbow—but in black and white only! Read the post and see some examples here.
While looking for examples of full color comics that we might use in DWWP2, I discovered that what I often think of as great coloring has less to do with the approach to an individual panel than with its larger context: the page, the spread, the work as a whole.
