While working on a page for Boom Studios “Starborn” artist Phary Randolph describes a normal day in the life of a comic book artist. All while showing off his tools of the trade and a bit of his artistic process.

These days many pencillers are opting for “digital inks”, where their pencil pages are scanned directly and darkened in a program like Photoshop to replicate the look of traditional inks.  For Boom Studios “Starborn” artist Khary Randolph uses this process to speed up his process as well as maintain control over his image.  Here he draws a panel from the book and talks about how he approaches the process.

Artist Khary Randolph lets us in on his hybrid digital process, which combines the best of both worlds using both a wacom cintiq and regular old fashioned pencil and paper.

One of the things I love about the new 52 relaunch at DC is the inclusion and updating of many of my favorite Wildstorm characters. Voodoo is one of them. Over at Comic Book Resources artist Sami Basri has shared a breakdown of some of his pages for the upcoming book. The results area amazing along with insightful narration from series writer Ron Marz.

The first step of Sami’s working method is the creation of the extremely tight layouts you saw yesterday. Because the layouts are so tight, Sami actually blows up the approved layouts and inks — traditionally, not digitally — directly from them, refining as he goes. There’s no true “pencil” stage for the art, saving both time and energy (a huge boon in the deadline-intensive grind of monthly comics).

Click HERE for the full article and wonder at the glory.

As you go through The Comic Archives you’ll hear many a penciller say that the hardest part of their job is laying out a page. They put all their energy into figuring out the most effective way to tell a story in individual pictures that work together to communicate an action.

The fine folks over at the Sequart Research & Literacy Organization have published an article by David Balan about those very issues that all great comic book artists obsess over.

Here’s an excerpt:

Reading conventions differ for every region of the world, but they all involve a direction of reading. Reading is a process of going from point A to point B. This direction, whether left-to-right (English), right-to-left (Japanese), bottom-to-top (Chinese & Others), or otherwise, defines how we understand language – how one word comes after another to form a sentence, or in comics, how one image comes after another to form a page.
 
Now, this is a very basic truth of how we comprehend pages as readers. But comics throw us the curveball of images. While words are understood purely through the direction of their reading, images are not. Images are directional experiences unto themselves! When we look an image, our eye is directed by its visual elements to different parts of the picture. This direction is not necessarily confined to a “Point A to Point B” scheme either – images can have our eyes rise, drop, coast, fall, and spiral any which way they so desire! This makes the reading of images in sequence actually more difficult if they do not flow very well from one to the next. But using image direction in tandem with reading direction produces incredible results.

Read the full article HERE.