For Xmas, the oldest 3 children got gift certificates to the local comic book store. There is only one gift certificate per kid and each has only one.
DADDY: Child 1, where is your gift certificate?
CHILD 1: I don't know, Granny put it up?
DADDY: Child 2, where is your gift certificate?
CHILD 2: Which one?
DADDY: How many do you have?
CHILD 2: One.
DADDY: Go get it.
DADDY: Child 3, where is your gift certificate?
CHILD 3: In my room.
DADDY: Go get it.
Child 2 arrives with the gift certificate. Child 1 sees what Child 2 has.
CHILD 1: Oh, that gift certificate! Why didn't you say so? It's in my room.
DADDY: What do you mean why didn't I say so? How many gift certificates do you have?
CHILD 1: One.
DADDY: So what does Granny have?
CHILD 1: I don't know, I just made something up.
Now that the pencils for the cover are off to Stacie (the inker), I've begin working on the head shots.
Above is the process from pencils to inks to colors.
Pencils by Drew Moss
Inks and Colors by Me
Inks and colors in Adobe Photoshop 7.
Close-up of the corner box.
Using the original cover as a base, I then open up Illustrator and then begin to layout the cover text over the pencils. Compare my finished letters below with the original cover lettering above.
Text in the Corner box is Arial Bold
The World's Greatest Comic Magazine and VS is Gil Sans
Diablo is Battle Scarred from Comicraft
Action, Marvel Manner! is Battle Cry from Comicraft
The comic lettering font is Silver Age from Blambot.com
The Fantastic Four logo was recreated using the free Fantique Four font from DaFont.com
I may change the bottom line of text, so the elemental's face on the right is visible along with the Thing's face on the left.
Kyle Steele wrote a short 6-paged Warmageddon story featuring Tiegre. I located Italian artist, Pat Inglebert, from his 50 Girl 50 samples and asked him if he would be interested in illustrating the story. He was, we signed some contracts and now we are working on the layouts for the story.
For me layouts are absolutely necessary for building any comic story as they give you a peek inside the artist's head and let you know how he envisions the story. After reading a script, I have usually built a vision of the story in my head and while I try not to let that get in the way of the artist's vision, every now and then I will insist that my way be illustrated. This is not one of those occasions. In fact, there were very few changes needed, but I will step through them from pages 2-4 of the script.
For these images, I did my edits in Photoshop on layers directly over Pat's layouts. Then I merged the layers and created a new JPG to email to Pat. The images on the left are Pat's and on the right are my edits.
Panel 3 has the main figures moved down to make room for all the dialogue. We read from left to right and top to bottom, so it's important to keep the reader moving across the top of the panel and into panel 4. Looking at the layout to the right you have the characters speaking leading into the profile in panel 4.
Panel 5 moves the main characters down to the right. This makes room for the dialogue to move to the top and then room to move dialogue from panel 6 to panel 5.
Only one change on this page and once again it's to move dialogue to the top of the panel (in panel 5).
Panel 1 has the boat moved further to the right. This free up more space so that dialogue can be moved up and so that one piece of dialogue can be moved from panel 2 to 1.
Panel 3 moves the character down on the page so that dialogue moves up.
Panel 5 is flipped to maintain the left to right direction of the row boat.
Panel 7 has the figure moved down so that the dialogue moves up.
I think the most important part of these layouts is the placement of the balloons (bubbles if you're Italian). Without the placement, most of the panel adjustments may have been missed. It's a very important consideration that is often missed with independent comic book production.