Introduction: This is an article I wrote in 1998 which was picked up on ChannelOne.com and edited for their "careers" section. As I read it now, it's largely a rant responding to many portfolios I've had to review over the years. Still, though some of the references are dated, I think it's sound advice for artists who want to make it in comics. To be timely, I've added some notes marked in red type, to the right of the main text--SB
An Artist's Guide to Breaking Into Comics;
My Two Cents by Steve Buccellato
So, you want to be in comics? Before I give you some free advice on the subject I have a question for you:
Why do you want to be a comic book artist?
It's a simple question, but the answer is very important. As I write this, it's the end of 1998, and the industry is still shrinking. Gone are the days when the X-Men and the latest Jim Lee book sold literally millions of copies. In an effort to find the next fan-favorite artist, comic companies have flooded the market with inferior product--giving work to many young artists who aren't yet ready to work professionally, simply because their so-called "style" appears similar to popular artists like Jim Lee or Joe Madureira. The fact is, both of those artists have a lot more than style--they both have excellent draftsmanship and solid drawing skills. If your answer to the question above is that you want to be a comic artist for the money, or because it appears easy, or because comics are a good "springboard" to get into films, TV, and merchandising, then allow me to reveal a little of what I've learned in my 15 years working in the industry.
First, I hate to break it to you, but these days, not many people are making a lot of money in comics.
Also, comics are NOT easy to draw (at least, not to draw WELL). Comics are a seriously underrated form of illustration, in terms of how much work goes into each page. A good comic artist needs to be able to draw ANYTHING. Cars, boats, planes, buildings, animals, spaceships, you name it. Anything that can be imagined can appear in a comic story, and the job of the artist is to make it all look convincing. This is not easy.
And while comics may indeed be a good place to springboard ideas into other media, the best comics--the ones with teeth--are the ones which the creators have put their blood, sweat
Well, it's not 1998 anymore and some things have changed, besides the number of years I've been working! The big companies have changed strategies somewhat. Instead of looking for "The Next Jim Lee Clone," Marvel's latest editorial style is to find creators who are successful in other forms of entertainment, or successful in putting out their own 'Indy'comic, and lthen putting them on mainstream titles. But it is still a 'formula' and my points still apply.
and tears into. Many creators these days lack dedication--and it shows. They jump from project to project--getting their idea "out there" briefly, to see if it can catch on, and when it doesn't, the comic is discarded. It's no wonder so many fans are fickle today. Creators tease readers with an idea, and then take off to do something else after three or four issues, abandoning their vision to fill-in artists, and cancellation. It's simple; the best comics of all genres and styles are the ones that the creator truly loved working on. As it happens, these comics also are the most likely to have a resonance that can cary it through to other media.
In my view, the correct answer to my opening question is, "I want to be a comic book artist because I love comics." If you answered differently, you may want to stop reading this, because this info is for comics-lovers only!
If you truly love the comics medium and want to be a part of the industry then, please, respect the art form. I think it is important for creators to acknowledge the medium as not just a convenient way of telling a story, but truly as a form of art.
My first piece of advice for young artists: study the masters. While you want your work to be contemporary and reflect your own personal likes, the past century has dozens of amazing artists to learn from--don't limit yourself to emulating the current "flavor of the month". Check out the work of Alex Toth, Will Eisner, Jack Kirby, Alex Raymond, Moebius, Frank Frazetta, Herge, Joe Kubert, and Wally Wood to name a few. Do some homework and read Understanding Comics by Scott McCloud and anything else you can get your hands on, after all this is your career we're talking about--isn't it?
Part of respecting the art form is to respect art in general. Do not limit your learning to comics alone. If you plan to write your own work, I have one word for you: read. And I don't mean just comics. comic stories can be about anything, in any time and in any place, so no matter what you like to read about, it'll only give you that much more to draw upon as information or inspiration for stories of your own. Artists should have some familiarity with other forms of fine and commercial art --a radical concept, I know. The roots of comics are in the "legitimate" art world. The influence of famous illustrators like Rockwell, Loomis, Elvgren, Hogarth and Vargas is clearly evident in the work of many comic artists. Comics painters like Sienkiewicz, Muth and McKean all have borrowed freely from famous fine artists, and have come up with some amazing comics visuals.
Required Reading!
Click on the images & buy
if you're feeling bold!
What's the most common piece of advice given to young comic artists?
Draw from life.
You can't learn to draw well by merely copying comic art. If you love and respect comics, you would not want to anyway. Your goal should be to advance comics to a higher level, where the form can be respected by all people (and therefore, YOU will be respected as a creator). It can't be stressed enough how important it is to draw from life. Take classes, use live models, draw people on the street, whatever it takes. It will vastly improve your drawing ability, as well as your understanding of what those comic artists you like so much are trying to achieve themselves!
Besides life drawing, I'd also recommend looking at photographs, and even compiling a file of photos from magazines & newspapers to use as reference. Reference is your friend. Collect pictures of street scenes, cars, lamp posts, whatever. It can all come in handy. Look for photos of figures or faces with interesting light sources and shadows. If you are lucky enough to go to an art school, I'd advise a class in industrial design, which will be a great help when it comes to drawing inanimate objects and using perspective. Also, classes in anatomy, illustration and design all play a role. You can find books on these subjects if classes are not available to you.
When Putting together a portfolio here are some important things to consider...
Always include your BEST work.
All portfolio reviewers cringe when an artist explains that they "don't have their best work" with him / her. It's the most often used and worst excuse one could use. Why would anyone hoping to get a job, bring second-rate work to show off? Nobody wants to see it, it's a waste of time. Bring the best stuff only!
Always include work that is FINISHED.
Same concept as above. If a page of art is half drawn, and not fully realized, how can the person reviewing the work honestly judge it? It becomes a game of second-guessing the artist, while the artist becomes frustrated that the reviewer can't read his mind. It's also unprofessional--If the reviewer is an editor who may possibly be able to give you work, all unfinished work shows is that you can't complete a job or meet a deadline. Your deadline for this particular job was the day before your portfolio review.
Always include work that shows multi-paneled storytelling.
Many young artists, fill their portfolio with "pin-up" shots and character sketches. While one or two of these in your portfolio are acceptable, the bulk of your work should be comics pages showing panel-to-panel storytelling. Comics aren't just single image posters, they are stories after all, and you have to be able to show you can tell one visually, and interestingly. Good and clear storytelling is the key to succesful comic art. Besides the "Masters" of comics art listed above, study the work of great filmmakers. Notice how they tell a story, what they show us and what they don't show, how they frame shots, what camera angles they use, how they use light and shadows to convey moods, it's all relevant to the comic artist's craft.
Always include work that shows you to be able to draw a variety of things.
When you decide on a 3 or 4 page scene to draw, choose a location which will allow you to show off all of your drawing skills. For example, a city street gives you the opportunity to draw buildings in perspective, crowds of people, vehicles, storefronts, etc. This will tell a portfolio reviewer much more about what your abilities are, and also what areas you need to work on. A scene in an empty field doesn't tell much at all, except maybe your figure drawing, but remember that figures need to be able to interact convincingly with the surroundings.
Always be your own worst critic.
If you come to a review thinking you know it all, and have nothing to learn, you will learn nothing. During a review listen to all of the points the reviewer makes. Even if somebody else has told you that your drawing is perfect, you should always be looking for what could make your work better. Keep this critical eye working while you draw.
I just bought this recently.
It's a great collection from the
fantastic illustrator
Robert McGinnis
There are tons of great books
available on figure drawing.
This one's by Burne Hogarth.
I'm a huge fan of Andrew Loomis, who put out
a bunch of fantastic books,
most of which are sadly
out of print.
Never make excuses for your work.
The reviewer looking at your work probably has many other people to see, so don't waste his time and yours by making excuses about your work. Nobody is interested. Listen to what the reviewer has to say, even if you disagree. Ask questions, and try to get the most out of the experience (even if it is a bit painful to hear). If you are nervous, just try and relax because you can always work on new samples and try again.
Never include samples where you take the "easy way out". NO SHORTCUTS.
As stated above, choose the richest, most varied pieces of your work to show. Take your time drawing, because the short time you have during your portfolio review is your time to show off. When working on your portfolio, don't choose scenes which are easy to draw. Challenge yourself and take your time. That's how you will produce the best work. Remember--if you get a job drawing Spider-Man, you probably won't have a choice about what's in the story you are given. Be prepared to draw anything. Learn to do it well.
Never drop names of other professionals.
It sounds like you are showing off, or trying to undermine the reviewer if you happen to mention that "so-and-so really liked my samples". Unless the pro in question is your uncle, neighbor, boss, or best friend, it sounds like you may be lying anyway! It isn't relevant what others have said about your work regardless. The reviewer is the only judge during the portfolio review, and your work should speak for itself.
Well, those are my two cents. I'm sure I'm forgetting something, but I hope these simple bits of advice will help your work improve and your appreciation for the art form grow. Good luck!
Yep--still good advice, if I do say so myself. Another point I'd add is that even though the industry has been shrinking, the competition is as fierce as it ever was. Self-publishing is a very appealing prospect if you have the means. There are many black & white independent books out there, and almost as many publishers! People who have the talent, the means and the drive to see a project through from concept-to-print. We know all about that!
Just be warned: The business side of publishing can be a hard and thankless job. Unless you have a superior product, your book is likely to come & go without being noticed. Tread cautiously!
Still, if you can make it on your own, you'll be that much more valuable to the mainstream publishers in today's climate. Again, good luck to all of you!
--SB 10/02
