If you’ve ever wondered about the responsibilities of an editor at Marvel, well wonder no more. Over at Marvel they’ve posted an interview with Tom Brevoort, Lauren Sankovitch and Alejandro Arbona. Here’s an excerpt:

How would you describe the workflow on a day to day basis in your office?
Tom Brevoort: Every day is different, so it’s all about prioritizing those things which must get accomplished most urgently, while still finding enough time to plan stuff further out.
Alejandro Arbona: [It’s] like spinning plates. The most immediate priorities are usually the deadlines that are on the shortest term—the comics due at the printer that week—while we also work on other projects for later weeks and months, and develop projects for even further out, trying to keep all those plates spinning. An average day involves everything from thinking and planning at a pretty abstract level on projects way down the line to lovingly poring over lettering proofs on a near-final comic, greasing every gear, tightening every last bolt.
Lauren Sankovitch: Typical day has Tom and I answering and sending hundreds of emails from receiving art from our freelancers to giving feedback on a script to doing an interview like this one. There are weekly meetings to attend, covers to be put together, scripts to be read, calls to be made [and] answered, recaps to be written, a revolving door of various persons from across the office coming in with questions for us and vice versa and other daily office minutiae. All that and we have a delightful intern who assists us by doing research and trafficking paperwork throughout the greater office.
Marvel.com: What’s the division of responsibilities in the office like?
Tom Brevoort: While they’re in position to backstop one another, Lauren and Alejandro work on separate projects, both on the stuff that they individually edit and those titles on which they assist me. So it’s a pyramid structure with [me] at the top.
Lauren Sankovitch: I handle the bulk of the scheduling and trafficking of files for the office and assist Tom on the books he directly oversees. Overall, there’s a lot of back and forth between us and a lot of our day-to-day business gets shared: i.e. I’ll contact this artist to start this cover, meanwhile, can you chuck this reference material to the colorist for so-n-so book?
Alejandro Arbona: Lauren and I each edit our own comics individually under Tom’s oversight, such as INVINCIBLE IRON MAN in my case, and we also work closely with Tom on the projects he edits personally. Geographically speaking, we operate out of different offices; Lauren shares an office with Tom, and I’m down the hall in another room.

It truly is a great look behind the curtain as they detail their day to day life at Marvel and some details from their projects. I highly recommend clicking on the link below and reading the whole thing.

More on Marvel.com: http://marvel.com/news/story/16257/inside_the_bullpen_the_brevoort_office#ixzz1RpR3OEb3

Take a look at where comic book artist Wes Craig creates his artwork.

The legendary Joe Simon, co-creator of Captain America, has just published an autobiography.  The fine folks at Comic Book Resources caught up with Joe to talk to him about the book and his life.  Here’s an excerpt of their talk:


The Titan book reprints of the work that you and Jack Kirby created together is really amazing, especially the colors, which are striking. Is this how you wanted it to look when you originally worked on the pages?
Definitely. When my editor brought me the first copy of “The Best of Simon and Kirby,” the first thing out of my mouth was, “Oh, look at the color!” It’s the sort of thing we would have loved to have seen in the original comic books, had the printing been better. Harry Mendryk has done a wonderful job with the restorations, and I know the production staff at Titan has worked hard to support everything he’s done.
What was your working relationship with Jack Kirby like and how did it vary depending on the project?
Jack was one-of-a-kind — I knew that even before Al Harvey introduced us. As soon as we started working together, he and I were determined that when we worked together on a story, you wouldn’t be able to see where one of us left off and the other started. We worked so closely together that, after the war, we moved into the same town on Long Island. That way, all we had to do was cross the street to get to the other’s studio. It wasn’t until the late 1950s, after Mainline, that we started working on separate projects, but even then, we collaborated on features like “The Fly” and “Private Strong.” When Jack moved to California, we talked a lot on the phone. First, I would talk business with Roz, then she would hand me over to Jack so we could reminisce. We were friends until he passed away, and I still miss him.

via Comic Book Resources

Over at Dark Horse’s blog they’re released some behind the scenes making of material for the upcoming variant cover to “BPRD: Hell on Earth” from artist Francesco Francavilla.

Once again, doing multiple sketches provides a wider array of elements to choose from, and Mike, Scott, and Daniel liked some elements from the first sketch (action pose) and some from the second (divided background, creepy people), and asked me to do a new composition using those elements. They also asked me to add the B.P.R.D. logo somewhere in there.

So I came up with this version:

And here is the final cover:

via Dark Horse Blog

Talk to most any artist and they will tell you about a lifetime of loving comics and drawing.  Artist Wes Craig is no exception.  Here he talks about the role that drawing played throughout his life, leading him on a journey to becoming a comics pro.