On Jim Shooter’s always informative blog he talks about what it means to be an editor and how he approached his job, particularly when he was at Marvel. Here is an excerpt:

The job of a comics editor, as I was taught, is part business, part creative. An editor manages the business directly related to producing the comics: keeping things on schedule and being the first-line overseer of direct expenditures; governing the process of bringing together the art and editorial components and the assembly of same into a ready-to-print package. With regard to the latter, he or she is the “client” of both the art production department, which carries out the physical parts of the preparation of the package, and the manufacturing or print-production department, which produces and delivers to distributors the actual product.
 
Plus, an editor oversees the creative work and sees to it that the creative goals are achieved. This may include working with the writer to develop the story and contributing creatively, working with the artists to make sure the story is being told effectively, overseeing the creation of the cover and all non-comics editorial, such as letter columns, editorials, additional features, whatever.
 
So, the editor is something like a film producer/film director, responsible in a project management sense as well as creatively. By director, I don’t mean that the editor should be the “auteur,” though that has happened in comics sometimes. Usually, the editor provides some creative guidance, support and backstopping. He or she is the publisher’s face to the creators.
 
The ideal situation is when the creators involved on a project don’t need any guidance, support or backstopping. They’re that good and that on the mark. Then, the editor can just watch and applaud—except for the nuts-and-bolts making it print-ready part. That never goes away.

Read the full post HERE.

This may be an older video (2007), but it’s new to me. And either way it’s a great look into the process of our of my favorite artist, creator of Bone and Rasl, Jeff Smith. Here he is drawing a panel from Shazam!: The Monster Society of Evil.

What I find most interesting is the way he letters with what appears to be a Micron pen. And of course his beautiful brushwork.

via YouTube

Master comic book maker Paul Pope shows off some of the tools and techniques for the amazing process of inking. Paul is a favorite here at The Comic Archive.

via Youtube

The folks over at The Comics Journal did a very in depth interview with writer/artist Brandon Graham, whose King City for Image is a fan, and creator, favorite. He covers many things, openign up quite a lot about his family life and his relationship with comics. Here’s an excerpt:

GRAHAM: And I don’t even know how accurate that is. I remember being really obsessed with Fallout after I saw Hate. I was like, “This is a real store that Peter Bagge probably goes to.” And that was real exciting to me, that it was happening in the same town as me, but the idea of a Japanese-animation-obsessed, middle-school-dropout teenage me trying to interact with Peter Bagge? At the time I was like, “Why the fuck isn’t there a scene?” or “Why can’t I relate to these people?” But now I look back and I think, “What would they have said to me?” I mean, yeah, I fuckin’ like Dragon Ball too.
 
BURNS: (Laughs). The brother that brought the manga home was Keith?
 
GRAHAM: Yeah. I have two younger siblings that my mother adopted when I was much older. Like when I was in my twenties.
 
BURNS: Were they American kids?
 
GRAHAM: They’re Mexican American. My parents are divorced and my father lives in a desert in central Oregon and my mom lives in Seattle. She remarried a Mexican guy and really got into the culture. It’s really interesting. I’m really obsessed with culture, but I almost feel like my childhood culture, when I go back and visit my mom, it’s just not there anymore. They literally have a sombrero hung over their front door and mariachi music and everything. And that’s them, and it’s probably better to evolve than stay the same, but you know, my girlfriend, she goes to her parent’s house and she’s like, “This is exactly how it was.” I kind of wish I had a time capsule like that to go back to almost.

Click HERE for the complete interview.
via Robot 6

Bleeding Cool took the time to gather up all the relavent tweets from Marvel’s head honcho, Joe Quesada, who shared in immaculate detail an anniversary cover he drew for Fantastic Four. Here are a few snippets:

There is an amazing amount of detail covering how he uses a cintiq to rough out and begin his pencilling process, then takes out some genuine pencils to finish before he handed the piece off to inker Danny Miki and colorist Laura Martin.

Click HERE for the full story.