The recent documentary profiling writer Grant Morrison is well worth the watch, and it’s available on Hulu to peruse. Within the documentary is a section detailing Morrison’s process for writing which is a must see.

Watch the whole documentary HERE and support the filmmakers HERE.

Two of the greatest living comic book writers got together to talk, under the guise of speaking about Grant Morrison’s new book, “Supergods”, but ultimately it becomes a fascinating peek into two towering masters of their craft talking about their chosen medium. Here’s an excerpt:

NG: Whenever I see you now, you are this glorious bird of paradise, but I remember, just as for you I will always be a nervous, hungry young journalist, I remember you as a kid in a black raincoat, incredibly shy. The thing that would get you animated was the point where you’d start talking about a story, and you would come to life.
GM: I was really shy around new people, but I was in a band at the time. And when I did comics, it was also a performance. It’s like playing live. You don’t get much time to edit; we don’t really do second drafts in our business. I love that aspect of comics, where you could have a Sandman out and people would be talking about it immediately, and we could be responding to things that were happening all around us and it could be published three months later, or two months later, depending on how late we were. It’s not like writing a book, which is over a span of years like building a cathedral. The comic is so instant. That’s why it covers the seismic shifts of culture very, very accurately.
NG: The truth is, when I was doing Sandman — it may have changed by the end, when I knew it was being collected in hardbacks and stuff — but definitely for the first years of Sandman, I thought I was doing something disposable. And that was part of the joy of it. It’s here this month and it’ll get you excited, but in a month’s time it will be in the bargain bins, and in two months’ time, you’ll have to hunt for it.
GM: Or it will only be in your memories. Like so many of the books I had as a kid and don’t have any more, where I have these images of little teddy bears dressed on gigantic night-black seas in my head, and I’ll never find these books again.
NG: I can read the comics I read as a 12-year-old now through those same 12-year-old eyes, but if I missed any issues and I try to read them now as a 50-year-old, I can’t do that.

The entirety of the interview is utterly fascinating and you should click HERE for it.

via Robot6

Todd Klein, one of the great letterers out there, shared a peak behind the “Fables” curtain over at his blog.

At the San Diego con this year, inker Steve Leialoha showed me some of the original art for FABLES, and I found it intriguing for several reasons. First, Bucky is working almost at printed size instead of the usual larger art board size, about 150% of printed size. This shows Bucky’s great control of his linework. I’ve only known two other artists who worked at or close to printed size: Linda Medley on CASTLE WAITING, and Trevor Von Eeden back in the 1980s on THRILLER, among others. (A few artists like Gene Ha work at a size somewhere between art board and printed size, but not usually this small.) Note that this is the central portion of page 9, FABLES 108, not page 8, as Bucky has written at the top, so either he added a page after this one was finished, or counted wrong. As in all the FABLES art Bucky does, the narrow side panels are put in later, and are often repeated, with a particular pair for each setting or scene.

Check out Todd’s Blog for a complete step by step walk through the process.

Yanick Paquette, a favorite here at The Comic Archive, has shared a breakdown of the steps for the cover to Batman Incorporated #1 on his deviantart page. Glorious high resolution jpegs let us in on his process, which was his first digitally pencilled book using a cintiq.

The initial sketch:


In the last ten years or so digital drawing tools have been becoming more and more of a staple in a comic book artist’s toolkit. Even if the drawing isn’t done completely in the digital environment pages will be scanned in and at the very least polished up in photoshop. Here Wes Craig talks about how he uses digital tools in his artistic process.