Make Comics Podcast
The Comics Experience Make Comics™ podcast provides ~15 minutes of advice per episode on all aspects of creating comics and breaking in to the industry.
Join Comics Experience founder and former Marvel and IDW Editor Andy Schmidt and his co-host Joey Groah as they discuss making comics! (Also, big thanks to the co-host of the first 50 episodes, iFanboy’s Josh Flanagan!)
Do you have a question about making comics you’d like to hear discussed on the podcast? Email us at info@ComicsExperience.com.
Nicholas makes comics, but they’re not regular comics. No, Nicholas makes comics with photos. He wonders how he can use the work to get more work, and what that can do format to make the best of it. Josh and Andy talk about using photos for comics, and what’s important and what you can do. Some of this applies to other kinds of unorthodox styles in comics as well. But the important thing is that he’s making comics, and there’s something to learn from it.
A listener writes in to ask about running a table for his self-published book at a convention this season, and wants to know if we’ve got any advice for him. We invited Mike Dawson, creator of Troop 142, and host of the Ink Panthers podcast to talk about plying your wares at a comic book convention. Mike has lots of experience traveling to different shows and dealing with potential customers and trying to push his work out into the world. We talk about everything from how to attract people to your table, how much product you need, and what sort of an image you want to project at conventions. It’s a big load of useful information for potential creators going out there to make a name for themselves on the convention circuit.
Digital comics aren’t just a boon for the consumer, but for the creator as well. Frankly, it’s a big conversation, but Josh and Andy touch on the basic idea of creators using digital to break in to the industry, but it depends a lot on what your goals are as a creator though. Then Andy turns the tables on Josh, and starts asking him questions about digital (as iFanboy is owned by Graphicly), and how prospective creators can take advantage of the services out there and available. If you’ve been wondering where to start with making your comics available digitally, this is where you can start.
Haas wants to be a professional letterer. How can that happen? After working in indie comics for a while, we talk about the best way to make the jump to the majors and the challenges therein. Plus we talk about what it takes to be a letterer in general. It’s not just knowing Adobe programs. But that certainly helps. There’s invaluable advice for everyone making modern comics, so listen up, and get your kerning correct.
Kenneth writes in having just gotten a job as an assistant editor, but he’s also got some comic work on the side. First of all: good for him! Secondly, what comes next? What’s appropriate in terms of working for one publisher, and then freelancing for another? How should one handle that, and is it a good way to go? We do our best to answer Kenneth’s questions.
If you’re making comics and you’re not familiar with the page turn, then you don’t know the whole story. While it seems simple at first, you realize that the comic book, as an art form, requires a whole different type of planning than a lot of other storytelling methods. You have to know where the page turn moment is going to be, and how to use it effectively. Then again, every single moment can be a page turn if you’re good at it.
Andy’s back, and we’ve got a listener question! Christian wants to know if it matters where he lives if he wants to break into comics. Josh and Andy talk about what geography means to comics today, with the help of technology, but also the benefits of face to face contact in the various aspects of the comics industry. So don’t book that flight or moving van just yet.
We’ve got a guest once again, as colorist and Comics Experience instructor Chris Sotomayor joins Make Comics to talk about coloring comic books. A colorist is often one of the most important, but overlooked creative elements of comics today. That color is going to be the very first thing your eyes pick up when you look at a comic book page, but there’s a lot more to it than just knowing how to fill in the lines with Photoshop. Although, you should probably know how to use Photoshop. Find out the basics of coloring, and just what it takes. We also talk about some of the really good coloring in today’s comics, and differences in styles we’re seeing today.