The gentleman of gentlemen CB Cebulski, who spends his time with Marvel finding the best talent out there, tells a few secrets of the trade on working in comics. Also he really is a super nice guy. Really.

via Work in Comics

At Cousin Corinne’s REMINDER #3 launch party at BookCourt in Brooklyn, NY, artist Nick Bertozzi reads “Pecan Sandy.”

http://nickbertozzi.com/

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