We get together to continue a conversation we began at Kids Read Comics 2010, during which we found ourselves nearly screaming with excitement when discussing the storytelling principles behind Avatar: The Last Airbender. We spiral that out into a general conversation about storytelling for young people. Throughout our discussion we use Pixar films and 80s adventure cartoons to highlight the difference between writing for a general audience and writing for kids and adults.

Some of the books mentioned in this episode:

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By Dan Mishkin, Gary Cohn, and Ernie Colón. One of the most exciting examples of comics storytelling I've ever seen. © DC Comics

It’s the first episode of the Comics Are Great! podcast, a new show where I’ll be discussing with various people who make comics just why comics are so great.

There’s no one better to start the new series with than Dan Mishkin, not only because he’s the inspiration of this site’s name, but because he’s an inexhaustible source of insight and enthusiasm on the craft of comics making. Dan has been writing comics for over 20 years, working on titles such as Superman and Wonder Woman. He co-created the DC characters Blue Devil and Amethyst, Princess of Gemworld (the latter of which is one of the finest examples you’re likely to find of pure comics). He’s written many more comics since (check out his entry on Comic Book DB for more info).

Dan and I sit down to discuss the role of writing visually when creating comics. Throughout our discussion we highlight the importance of rhythms in visual storytelling, how words and pictures syncopate to deliver story, some thoughts on how writer/artist collaborations should work, and the special elasticity that words have in the comics medium.

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Yet many of my peers say how they prefer to use the lightbox to convert their graphite pencils into non-photo blue lines. They put a piece of bristol over top of the graphite pencils and trace it out (refining as they go) with non-photo blue pencil.

But there are more problems that come with that method beyond my dislike of the lightbox itself. What if you want to collaborate with another artist across the country? Even if you’re the one using the pencils, what if you mess up in the inking stage? Then you have to break out the lightbox and start all over again!

Call me lazy, but I like to pencil once and leave the opportunity open to ink as many times as possible. So I scan everything I draw and convert it to non-photo blue lines with Adobe Photoshop. I use Utrecht bristol, which is perfect for running through my inkjet printer. Now if I mess up at the inking stage I just print out another copy and start over. This is a terrific method for making minor changes at the pencils stage as well. I’ll make a few alterations in Photoshop and print it out for inks. Saved my bacon on many a deadline. It also means you’ll have two versions of the original artwork to sell at conventions, if you decide to sell your art.

So I put this video tutorial together for those of you who want to ditch the lightbox. I’ve included a Photoshop Elements version of the tutorial in the second half, knowing that not everyone can afford a full version of Adobe Photoshop.

Enjoy!

This September 11-12 I’ll be tabling at the Small Press Expo! This is the first time I’ve exhibited at a “comics convention” in some time, so I’m pretty excited about it. You’ll find me under the Tiny Astronaut/Make Like A Tree Comics banner with my wife Anne Drozd and pal Sara Turner.

I’ll be bringing my usual fare, The Front: Rebirth pocket edition, some copies of my Sugary Serials work, Tiny Hamilton, and the Dino mini-comics. But I also hope to debut the new collection of The Replacements, a book I finished with Sara Turner a few years ago. We’ve had the three chapters of the series in print for years, but only now have we collected the entire book in one volume.

There are going to be a ton of really cool people there, including these folks whom I’m excited about personally:

Mark Rudolph, who will be debuting his new Curse of the Pharaohs book

Dave Roman and Raina Telgemeier, (I talked with Raina on a recent Art & Story episode about her book, Smile)

Kasey Van Hise, who will be debuting her first volume of Winters in Lavelle

Tracy Williams of Goodbye Chains

Also: That same weekend you’ll be able to find my pal Krishna Sadasivam at the Intervention Con just two metro stops away! It’s going to be a weekend packed to the gills with comics people and fun. Want to know more about Intevention? Check out Art & Story 145, where we talk to the organizers and Krishna about the show.

Hope to see you there!

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I’ll be leading an hour-long hands-on workshop exploring some of the techniques artists use to create dynamic storytelling in their manga (and comics). After that you’ll be able to participate in an open sketch session led by indie comics legend Sean Bieri, one of the strangest and funniest people you’re likely to meet in the field.

The event is free, but you have to register for a seat. You can get directions and register for the event here.

Really, is there a better way to spend a Friday night than to draw comics?

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Through the 8-week class we’ll study some of the fundamental principles of visual storytelling, explore some of the techniques the pros use to capture movement and create mood and emphasis, as well as learn some design strategies to make our own characters. Materials will be provided for the students. You can register for the classes now on the Ann Arbor Art Center website.

I love teaching this class, as there are always surprises in the sessions where we have impromptu discussions on sound effect design and color theory, based on the students’ interest. We close the class with a gallery showing of the students’ work right there at the Art Center!

Wondering what to expect from the class? You can check out this video from a similar class I teach every summer at the Ann Arbor District Library called Comic Book Academy:

You can see the entire video series on the Ann Arbor District Library website, if you want to see more.

He even took care to put the “whickit!” sound effect that happens whenever the General’s mask flips up in surprise.

As I told Jono, words cannot express how happy this made me.