That’s why I’ve been surprised to find Colletta’s work on Warlord better than I remember. But I am trying to keep an open mind as I revisit my old comics for these reviews, and judge each book with a fresh set of eyes. interesting.Īndrew Wahl: Personally, I don’t put much of Vince Colletta’s inking in the “beauty” category. Reader’s comments over the years have been…. Vinnie’s women usually had sumptuous lips and that famously substantial mascara. Here are a few examples from the book “ THE MOST BEAUTIFUL WOMEN IN COMICS, VINCE COLLETTA – LIFE AND ART” which, by the way, is a must read not only for those who love comic book art and publishing lore, but also to examine the incredible tale of a life that, in ways that will surprise you, has become even more fascinating since he died in 1991. From the 50s, during which time he penciled and exquisitely inked primarily romance stories, to the birth and successful emergence of superheroes that continues today. The immense body of art work illustrated by Vince Colletta presents me with a marvelous window into the creativity of the man. We’d be interested in hearing how other people approach their own creative process.WARLORD 25 ART BY MIKE GRELL AND VINCE COLLETTA In our next post, we’ll look at thumbnailing and page layout, so stay tuned. Problems can be solved when you stop thinking about them for a while and come back to them afresh. Your brain is doing work for you without you knowing about it. You can come back to it more objectively, take stock of what you have produced and see what needs to be changed much more clearly. Leaving a story aside for a few days or more is sometimes necessary. So make sure all your important story elements are in the dialogue and or narrative text, not only in the images, as they may end up being missed all together.ĥ. Others skip over the pictures and only read the text. Some absorb all the information, text and images, carefully. Every reader reads a graphic novel novel differently. The important information goes in the text.
Edit and change the layout until you have found the best way to tell your story.Ĥ. Edit and change the words until they are as good as they can be. What that balance is depends on your style, but a page heavy in text is likely to put off a reader, or even to lose them all together. Also, there’s not much room in a comic panel to fit text, and, words and pictures work best together when they are balanced. This means that your story can very quickly expand to thousands of pages.
A comic story takes a lot more space to tell than a novel, because the art takes so much space. Whether you write a script first or jump straight to thumbnails, don’t be afraid to rework. It gives you perspective and a better feel for the pacing of the whole story.Įxample of thumbnails, or layout pages, for Louis – Red Letter Day.Įxtract from the making-of section in the new hardbackģ. Thumbnailing the entire book has the advantage that you can then read the whole story and decide that say, the beginning needs to be reworked and improved, or that you need to add a sequence in the middle, or develop a character further. You can thumbnail chunks of pages at a time, or even better, the entire book. Final artwork can be extremely time consuming to produce. Sometimes we have made as many as 12 drafts of a thumbnail sequence before getting it right! This obviously saves an enormous amount of work later on: imagine you did 12 pages of final artwork, only to realise that the story doesn’t read well and you’d like to redo it. At this stage you can also try out different versions of thumbnails, to find the best possible way to lay out your story. This is a crucial stage in the planning, as it is where you can work out how the story is actually reading visually. At this point the artwork is just made of sketches. Thumbnails, or layout, are basically a rough draft of your story in words and pictures. When we make a comic, we both have an input in the story and its content, but John writes the script, and Sandra works from it to produce layout or thumbnails.Įxample of a page of script for our graphic novel Louis – Red Letter DayĢ. A rare few might even “improvise” and jump straight to final artwork, drawing the story panel by panel without detailed advance planning: Chris Ware, for example has worked in this way. Some creators think visually first, rather than in words, and jump straight to thumbnails (see Tip 2), without writing a script.
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