Wizard Magazine closed its doors last month.
Here is a tribute to the magazine I co-wrote with my buddy Dave Kushner. He did the art. It says everything we wanted to say (in 3 pages) about our best Wizard memories.
Showing posts with label comic books. Show all posts
Showing posts with label comic books. Show all posts
Monday, March 7, 2011
Monday, November 29, 2010
SHAWN WRITES….A COMIC BOOK!
Finally I can live up to the title of this blog, I have WRITTEN!
Not only have I written (I actually write a lot) but a thing I wrote is COMING TO A STORE NEAR YOU! Now I will give you a moment to collect yourselves.
Composed? Good because now we need to get into the nitty-gritty, the fun stuff that we have been building to since the day I launched this pathetic excuse for a blog. There is some information I need to impart and a few pleas that I must make but rest assured it will all be accompanied by pretty pictures to look at. Like this:
What you see is some of the very first color pages I’ve gotten in of a book I co-wrote called, “Pixies”, which was announced today as officially available for pre-order from Arcana Comics via Diamond Distribution.
Once again let me repeat that oh so crucial information:
PIXIES – an original graphic novel
Can be ordered using: DIAMOND ORDER # NOV10 0715
.....SHIPS JAN 2011!
I am beyond excited for this book, more so by the fact that the art and coloring look extensively better than I could ever have hoped for.
I know what you’re thinking as you read this, something along the lines of, sure you wrote a comic and the art looks great but is it any good? Does it have a plot and character that I’ll actually give a shit about?
To this I say, “Of course it does! Now stop thinking in italics and dig on this…”
Our story follow two of the fellows depicted in the above page. The guy in his boxers by the sink is our human protagonist, Joe. As you can see Joe has had nothing but bad luck his entire life. Anything that can go wrong always does, but Joe doesn’t let it get him down. He never assumes for a moment it could be anything other than plain old bad luck. What he doesn’t realize is that our pixie protagonist, Sam, has dedicated his life to making sure that black cloud follows Joe forever.
You see Joe did something in his past that caused him the unlucky fate of the Pixie Curse, condemning him to a life of pain humiliation and failure.
However, all of this changes the day Joe catches Sam the Pixie under a glass in his kitchen and demands the curse be lifted. Almost instantly his luck changes for the better.
Now Joe has a chance to win the heart of the girl of his dreams but only if he can do it before Sam escapes his drinking-glass prison and alerts the rest of the pixies.
It’s a whopper of a book, over 90 pages, and that serves as the set up to what myself and the other writers involved (creator and Arcana owner, Sean O’Reilly as well as co-writer Robert Olmedo) hope to be a fun and hilarious book that comic fans can read to their kids.
Hopefully I’ve piqued your interest with this tiny glimpse into the world of Pixies. There is a strong possibility that a much larger company will be helping us get this book into Border and Barnes and Noble but until I have that info and because at heart I’m a huge comic book nerd, I would like to request you find your LOCAL COMIC SHOP (which you can do by clicking on those words) and brave the perhaps intimidating surroundings, muster up to the proprietor and (politely) ask to pre-order a copy of the PIXIES HARDCOVER FROM ARCANA COMICS. At which point he will likely not know what your talking about but that’s okay because you’re capable and always come prepared and you’ve brought along the following information:
PIXIES – an original graphic novel
DIAMOND ORDER # NOV10 0715
.....SHIPS JAN 2011!
After the comic shop guy acknowledges he will order you a copy (which helps not just you but also others because usually he’ll order more than just one and stick the copies you don’t by out onto the shelf for others to stumble into), ask you how to contact you when your copy arrives and send you on your way.
As we get closer to the release of the book I will post a lettered preview of the book either here or somewhere just as easily accessible. Thanks in advance for reading or even being curious. Certainly pass this blog link along to anyone who you think might enjoy these types of things.
From the Compound,
Shawn D.
Thursday, February 11, 2010
Photoshop Fixes…..
So I had a ton of changes to make to the old cover of my upcoming graphic novel. It’s still a perfect cover but I’m undergoing a title change (or simplifying) and I have a new publisher so the old logo needed to go. Once I removed the “Detectives In” part I also had to shorten all the left over empty space on top and extend the bottom of the image (the snow, the bloody paw prints)….this was done over four hours with an assist by Robbio (couldn’t have done it without him):
BEFORE:
AFTER:
Thoughts? Comments?
Wednesday, January 13, 2010
Wednesday, November 25, 2009
Cowa-FUCKING-bunga: The Ninja Turtles Are Back!
What am I thankful for? Quite a bit actually and I’ll be discussing it in length tomorrow in my special FIRST ANNUAL THANKSGIVING DAY EXTRAVABLOGZA™! In the meantime let me tell you about something amazing I saw today.
That’s right it’s the new Teenage Mutant ninja Turtles movie, subtitled, “FOREVER”, and it was mind blowingly awesome. I want to tell you everything about it but I also want you to see it for yourself and marvel as I did over the many surprises. To have the best of both worlds I wrote down my favorite moments and then narrowed them down to the LEAST spoilery of the bunch.
Before I jump into the list a little description of the plot:
In the interest of fair balance (like FOX!) I wanted to mention two things MISSING from the film. Let me be clear that the writers fit in everything they could without breaking away from the main story and that the inclusion of either of the following two things would have been messy and confusing, so I understand why they weren’t in the film. That said, I missed them.
REST IN PEACE.
USAGI YOJIMBO
AND
THE RAT KING!!!!!!!
That’s right it’s the new Teenage Mutant ninja Turtles movie, subtitled, “FOREVER”, and it was mind blowingly awesome. I want to tell you everything about it but I also want you to see it for yourself and marvel as I did over the many surprises. To have the best of both worlds I wrote down my favorite moments and then narrowed them down to the LEAST spoilery of the bunch.
Before I jump into the list a little description of the plot:
The Teenage Mutant Ninja Turtles of the current show (seen front and center in the above poster) are shocked to learn that the local News has captured footage of four mutant turtles stopping a robbery in Midtown. When it is revealed that those four turtles are actually the 90’s animated series incarnation of the famed heroes the fun really begins in a multidimensional adventure that brings Turtles from all realities together to fight the number one bane of all Turtle existence: THE SHREDDER!Are you hooked yet? Neither was I. When I first read the description I was a little glad but ultimately worried this would end up being a dumb sight-gag that paid no homage to the Turtles of yore. Oh how wrong I was! This movie was lovingly crafted for Turtles fans of every incarnation. Jam packed with a shit-ton of in in-jokes and winks at for the long-time viewing audience (READ: OLD NERDS). What kinds of winks and nods? I’m glad you asked!
- KRANG – That’s right! Everybody’s favorite squishy-looking brain dude is BACK! He also has his robot body, just as you remember it from childhood! It was so exciting to see him and his famed Technodrome that i almost fainted.
- IRMA! She’s only in a brief cameo (it happens 33:19 into the movie) but I was so thrilled to see that even though they couldn’t fit her into the story, SOMEONE in the production knew enough to toss her into a crowd scene. That’s TURTLE LOVE my friends!
- The COMEDY – this thing was HILARIOUS! I mean it. Maybe not so much for the younger audience but if you loved the Turtles as a kid and remember them fondly you will LOVE THIS MOVIE. Some of my favorite lines?
- “Outta the way Tubby” – said by a New Turtle to a 90’s Turtle
- “The tech of Dimension X is ridiculous!” – it WAS
- Mentions of OOZE – it happens on more than one occasion and it originates from the 90’s Turtles dimension. OF COURSE!
- TURTLE BLIMP- What 90’s Ninja Turtle adventure would be complete without this wondrous invention? If they had left this out I would not have enjoyed this movie as much.
In the interest of fair balance (like FOX!) I wanted to mention two things MISSING from the film. Let me be clear that the writers fit in everything they could without breaking away from the main story and that the inclusion of either of the following two things would have been messy and confusing, so I understand why they weren’t in the film. That said, I missed them.
REST IN PEACE.
USAGI YOJIMBO
AND
THE RAT KING!!!!!!!
Tuesday, November 17, 2009
Shawn Explains: Comic Book Lettering
If you're an avid reader of this blog you'll notice I like to announce new features, promise they'll become regulars on the blog and then forget about them. Not one to break tradition I'd like to welcome you to a new blog feature: SHAWN EXPLAINS. I expect this feature to reoccur whenever I think up a topic that I know a lot about that maybe the masses do not. There is no better first topic for this feature than the art of comic book lettering.
Plus I can get this out so that I can save myself the awkwardness of explaining it. You see, people are always interested to find out that I work in comic books but then the conversation quickly goes South from there. Here's an example:
Person: You make comics?
Me: Yup. I write them but mostly I make money from lettering them.
Person: You must be a good artist. Can you draw me Batman?
Me: Uh....no. I don't draw them. I letter the books.
Person (blank expression): Oh.
(LONG PAUSE)
Person: Like you write the stories?
Me: No. Like....have you read a comic book? You know the word balloons and sound FX?
Person (not sure what I'm talking about but not wanting to be rude): um....yes.
(PERSON LOOKS AROUND, DESPERATE FOR A WAY OUT OF THIS CONVERSATION)
Me: Well I design the balloons, place the words and add SFX. Then I flatten it all and--
BLAM!
ME (COVERED IN THEIR BLOOD AND BRAIN BITS): Well it wasn't THAT boring....
And it ISN'T boring at all. In fact if you'll allow me to indulge I would like to take you on a step-by-step journey through the exciting world of comic book letter. The final part of the comic book making process but arguably just as important as the art and script. Everyone on board? Away we go!
note: for the purpose of this blog and because it's what I'm currently working on, I'll be using art from Archaia Comics' 'Hybrid Bastards'....all art and script pages are copyright and trademarked and lawyers will take your souls and witchdoctors will shrink your genitals if you steal. Thanks.
STEP ONE - Art Meet Script
We begin by downloading all the unlettered art. Sometimes this is done while the pages are still in the black and white pencil phase but (preferably) it's usually done with final, colored, artwork. Once I have all the art on my computer I make sure to stay organized by creating a new Sub-folder in my "LETTERING" folder on my hard drive. Staying organized makes it easier for me to find and keep track of all the various projects I work on. It also makes it a smoother process to find old work if an editor contacts me and asks for something to be redone (which happens more often that you'd imagine).
Next I download the script and print out a copy. The printed copy is for me to read through and although I usually keep it handy in case I need it, I work from a digital copy I keep open on my desktop. They don't all look like the script above. Sometimes there are detailed panel descriptions (which is how I wrote my upcoming graphic novel, DETECTIVES IN SPACE).
I can work either way but prefer to have a full script just in case the art isn't clear enough for me to tell each character apart from another (this isn't a problem when I'm lettering a book I wrote but that's a rare occurrence).
Once I have the basic components needed to perform the task at hand I move on to
STEP TWO - Adobe Illustrator Is My Best Friend
I work in Adobe's excellent Illustrator program, although there are several other programs that can do similar functions, I've found Illustrator to be the best of the best.
I have a template I work off of but basically you want to create AT LEAST THREE LAYERS. (if you don't know the basics of Adobe programs I'm not going to get into it here, there are PLENTY of tutorials online, use the search box on the right side of this blog for more...). As you can see I use more than three layers but you want to at least have a separate layer for ART, BALLOONS and LETTERS.
Obviously, the art gets placed on the bottom layer. Once there I make two important moves: I make the art about 30% see-thru (so it's easier to see the letters I'll be placing) and then I LOCK THE LAYER (so that things don't move around on me while I'm working on the other layers).
STEP THREE- Pick A Font
This is one of the places I really get to express my creative side. To me, the font choice should have several functions:
Once I have selected a font to use can move onto
STEP FOUR- Lettering The Comic
Now we've reached the delicious, goooey center of this job. To make life easier and assure I don't make any spelling or grammar mistakes (as is typical with me) I copy/paste the script page I'm working on, next to the page I'm working on in Illustrator as you can see in the picture above.
Then I cut and paste each set of dialogue to the corresponding panel within the page.
Once each line is near the character speaking it I'll start to shape the words into a balloon-like shape.
After I've done this for each line I can look at the page as a whole and figure out how to best place each balloon so the reader follows the story in the correct order (NOTE: we read left to right and top to bottom). This is THE MOST CRUCIAL PART OF LETTERING A COMIC. If the placement is wrong you, as the reader, will not read the comic as intended. Things will become confusing and you will grow frustrated causing you to scream and pull your hair out, or (even worse) put the book now and never finish it (and THAT makes Baby Jesus cry magical tears that flood the Earth).
Now I start making the balloons and placing them around the text. Some quick thoughts on balloons:
When you're all done your page should look like the one above. You should be able to read the page in the same order as you read the script. If you cannot then re-check your placement.
STEP FIVE - Tall Tails
Next up I go to the trusty Pen Tool and draw tails on my balloons. This step is pretty self-explanitory but for the simple minded allow me to lay out the basic rule to follow: THE TAILS POINT TO THE CHARACTER WHO IS SPEAKING.
Seems easy enough but it can become complicated when you also keep in mind to avoid covering as much of the art as you can (sometimes unavoidable) and not let the tip of the tails touch any line art because that can make the balloon appear to be a part of the art and might confuse readers (it's called creating a "tangent").
There is a whole art to making a good tail and I don't want to gloss over it but I'm also aware that not everyone reading this is going to go out and try to letter a comic so I don't want to get bogged down with specifics. If you DO want to letter your own comics I suggest you look at THIS ARTICLE on lettering tails.
STEP SIX - KA-BLAMMO (and other Sound Effects)
Now, I add in any effects that are called for in the script (and sometimes I add in an effect NOT in the script if I think it'll make the page "play" better). Once again, creating sounds is an art unto itself. Again I'll refer you to people AT LOT better than me for the details: HERE.
I have some specific thoughts on using FX in comics and I'm torn sometimes when I get a script with a ton of effects. On the one hand they are a lot of fun to create. Maybe my favorite part of lettering. However as a writer myself I'm reluctant to use them. I think, for the most part, my audience is as smart if not smarter than I am therefore if there's a panel of a GIANT FUCKING EXPLOSION then certainly you can infer the noise that would make without me putting a "KABLAMMO" over the art. Same with gun fire. We've all seen at least ONE movie or TV show where someone shoots a gun and as a result we ALL know how a gun sounds, so doesn't it seem silly for me to add a "BLAM" or "BANG" next to every gun in my entire comic? I think so.
To me, effects should be used sparingly to retain the most impact. An off panel beheading might look great but it's made better by a sickly "SHNIKT" or "SLOOSH". At the end of the day the client is always right so when working on someone else's book I generally do whatever is asked unless I think it's hurting to overall look or flow of the story (then I will usually SUGGEST the writer consider dropping a few FX.)
So there you have it. The very BASICS of lettering a comic book. As mentioned in the above there are a lot of people who do this better and have been doing it a LOT longer than yours truly. If you want to know more and maybe even try your hand at lettering I can not reccomend the following places enough times:
Richard Starking's ComicCraft - The MASTERS of digital lettering. This is the one stop shop for learning, doing and downloading fonts to use in your comics.
BLAMBOT FONTS - Not to be outdone, the guys behind BLAMBOT are almost as seasoned as ComicCraft. What they lack in years of experience (not much) they make up for by offereing MANY of their fonts for FREE. There are some basic rules that go along with using the free fonts so make sure you read all the fine print and give credit where it's due.
Todd Klien's Blog - Todd is my favorite letterer of all time. This guy has been around for as long as i can remember and knows how to letter using a computer as well as (the traditional) HAND LETTERING. He is a WEALTH of knowledge on the subject (and many others as well) and I recommend you check out his site regardless of wanting to letter comics or not. He's THAT super cool.
Chris Eliopoulos - Is another master letterer I love. His website doesn't talk about lettering because he's also an artist and it showcases his art. Which is also super cool. However, if you follow him on twitter he sometimes talks lettering there.
Hopefully this explains (briefly and simply) the process of lettering comics. Mostly I wrote this piece so I'd have a place to direct people when they ask what I do for a living but I hope that at least some of you gained some incite you didn't previously have into the process of making funny books.
Please leave any questions or comments below and I'll do my best to answer and reply as fast as possible.
Plus I can get this out so that I can save myself the awkwardness of explaining it. You see, people are always interested to find out that I work in comic books but then the conversation quickly goes South from there. Here's an example:
Person: You make comics?
Me: Yup. I write them but mostly I make money from lettering them.
Person: You must be a good artist. Can you draw me Batman?
Me: Uh....no. I don't draw them. I letter the books.
Person (blank expression): Oh.
(LONG PAUSE)
Person: Like you write the stories?
Me: No. Like....have you read a comic book? You know the word balloons and sound FX?
Person (not sure what I'm talking about but not wanting to be rude): um....yes.
(PERSON LOOKS AROUND, DESPERATE FOR A WAY OUT OF THIS CONVERSATION)
Me: Well I design the balloons, place the words and add SFX. Then I flatten it all and--
BLAM!
ME (COVERED IN THEIR BLOOD AND BRAIN BITS): Well it wasn't THAT boring....
And it ISN'T boring at all. In fact if you'll allow me to indulge I would like to take you on a step-by-step journey through the exciting world of comic book letter. The final part of the comic book making process but arguably just as important as the art and script. Everyone on board? Away we go!
note: for the purpose of this blog and because it's what I'm currently working on, I'll be using art from Archaia Comics' 'Hybrid Bastards'....all art and script pages are copyright and trademarked and lawyers will take your souls and witchdoctors will shrink your genitals if you steal. Thanks.
STEP ONE - Art Meet Script
We begin by downloading all the unlettered art. Sometimes this is done while the pages are still in the black and white pencil phase but (preferably) it's usually done with final, colored, artwork. Once I have all the art on my computer I make sure to stay organized by creating a new Sub-folder in my "LETTERING" folder on my hard drive. Staying organized makes it easier for me to find and keep track of all the various projects I work on. It also makes it a smoother process to find old work if an editor contacts me and asks for something to be redone (which happens more often that you'd imagine).
Next I download the script and print out a copy. The printed copy is for me to read through and although I usually keep it handy in case I need it, I work from a digital copy I keep open on my desktop. They don't all look like the script above. Sometimes there are detailed panel descriptions (which is how I wrote my upcoming graphic novel, DETECTIVES IN SPACE).
I can work either way but prefer to have a full script just in case the art isn't clear enough for me to tell each character apart from another (this isn't a problem when I'm lettering a book I wrote but that's a rare occurrence).
Once I have the basic components needed to perform the task at hand I move on to
STEP TWO - Adobe Illustrator Is My Best Friend
I work in Adobe's excellent Illustrator program, although there are several other programs that can do similar functions, I've found Illustrator to be the best of the best.
I have a template I work off of but basically you want to create AT LEAST THREE LAYERS. (if you don't know the basics of Adobe programs I'm not going to get into it here, there are PLENTY of tutorials online, use the search box on the right side of this blog for more...). As you can see I use more than three layers but you want to at least have a separate layer for ART, BALLOONS and LETTERS.
Obviously, the art gets placed on the bottom layer. Once there I make two important moves: I make the art about 30% see-thru (so it's easier to see the letters I'll be placing) and then I LOCK THE LAYER (so that things don't move around on me while I'm working on the other layers).
STEP THREE- Pick A Font
This is one of the places I really get to express my creative side. To me, the font choice should have several functions:
- It should match or compliment the art style - if the art is thick lined and blocky I'll use a similarly designed font.
- It should be EASY TO READ
- It should blend with and enhance the art, NOT stand out like a sore thumb or call attention to itself.
Once I have selected a font to use can move onto
STEP FOUR- Lettering The Comic
Now we've reached the delicious, goooey center of this job. To make life easier and assure I don't make any spelling or grammar mistakes (as is typical with me) I copy/paste the script page I'm working on, next to the page I'm working on in Illustrator as you can see in the picture above.
Then I cut and paste each set of dialogue to the corresponding panel within the page.
Once each line is near the character speaking it I'll start to shape the words into a balloon-like shape.
After I've done this for each line I can look at the page as a whole and figure out how to best place each balloon so the reader follows the story in the correct order (NOTE: we read left to right and top to bottom). This is THE MOST CRUCIAL PART OF LETTERING A COMIC. If the placement is wrong you, as the reader, will not read the comic as intended. Things will become confusing and you will grow frustrated causing you to scream and pull your hair out, or (even worse) put the book now and never finish it (and THAT makes Baby Jesus cry magical tears that flood the Earth).
Now I start making the balloons and placing them around the text. Some quick thoughts on balloons:
- There is no perfect way to make a balloon, especially considering that each one will be a little different than the one prior.
- It is ideal to make them as round as you can without leaving too much space on either the sides, top or bottom.
- If your balloons look like they could poke an eye out with their sides then they are too pointy.
- If your balloons look like old school TV's (almost square in shape) then you're making them too flat
- The text should always be centered in the balloon, if it looks off center adjust the balloon to take a little off each side until it looks right.
- Be cautious not to get too close to the text with the balloon edges or else everything looks cramped and because hard to read.
When you're all done your page should look like the one above. You should be able to read the page in the same order as you read the script. If you cannot then re-check your placement.
STEP FIVE - Tall Tails
Next up I go to the trusty Pen Tool and draw tails on my balloons. This step is pretty self-explanitory but for the simple minded allow me to lay out the basic rule to follow: THE TAILS POINT TO THE CHARACTER WHO IS SPEAKING.
Seems easy enough but it can become complicated when you also keep in mind to avoid covering as much of the art as you can (sometimes unavoidable) and not let the tip of the tails touch any line art because that can make the balloon appear to be a part of the art and might confuse readers (it's called creating a "tangent").
There is a whole art to making a good tail and I don't want to gloss over it but I'm also aware that not everyone reading this is going to go out and try to letter a comic so I don't want to get bogged down with specifics. If you DO want to letter your own comics I suggest you look at THIS ARTICLE on lettering tails.
STEP SIX - KA-BLAMMO (and other Sound Effects)
Now, I add in any effects that are called for in the script (and sometimes I add in an effect NOT in the script if I think it'll make the page "play" better). Once again, creating sounds is an art unto itself. Again I'll refer you to people AT LOT better than me for the details: HERE.
I have some specific thoughts on using FX in comics and I'm torn sometimes when I get a script with a ton of effects. On the one hand they are a lot of fun to create. Maybe my favorite part of lettering. However as a writer myself I'm reluctant to use them. I think, for the most part, my audience is as smart if not smarter than I am therefore if there's a panel of a GIANT FUCKING EXPLOSION then certainly you can infer the noise that would make without me putting a "KABLAMMO" over the art. Same with gun fire. We've all seen at least ONE movie or TV show where someone shoots a gun and as a result we ALL know how a gun sounds, so doesn't it seem silly for me to add a "BLAM" or "BANG" next to every gun in my entire comic? I think so.
To me, effects should be used sparingly to retain the most impact. An off panel beheading might look great but it's made better by a sickly "SHNIKT" or "SLOOSH". At the end of the day the client is always right so when working on someone else's book I generally do whatever is asked unless I think it's hurting to overall look or flow of the story (then I will usually SUGGEST the writer consider dropping a few FX.)
So there you have it. The very BASICS of lettering a comic book. As mentioned in the above there are a lot of people who do this better and have been doing it a LOT longer than yours truly. If you want to know more and maybe even try your hand at lettering I can not reccomend the following places enough times:
Richard Starking's ComicCraft - The MASTERS of digital lettering. This is the one stop shop for learning, doing and downloading fonts to use in your comics.
BLAMBOT FONTS - Not to be outdone, the guys behind BLAMBOT are almost as seasoned as ComicCraft. What they lack in years of experience (not much) they make up for by offereing MANY of their fonts for FREE. There are some basic rules that go along with using the free fonts so make sure you read all the fine print and give credit where it's due.
Todd Klien's Blog - Todd is my favorite letterer of all time. This guy has been around for as long as i can remember and knows how to letter using a computer as well as (the traditional) HAND LETTERING. He is a WEALTH of knowledge on the subject (and many others as well) and I recommend you check out his site regardless of wanting to letter comics or not. He's THAT super cool.
Chris Eliopoulos - Is another master letterer I love. His website doesn't talk about lettering because he's also an artist and it showcases his art. Which is also super cool. However, if you follow him on twitter he sometimes talks lettering there.
Hopefully this explains (briefly and simply) the process of lettering comics. Mostly I wrote this piece so I'd have a place to direct people when they ask what I do for a living but I hope that at least some of you gained some incite you didn't previously have into the process of making funny books.
Please leave any questions or comments below and I'll do my best to answer and reply as fast as possible.
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