Deryck Hodge

Writer for 1 hour a day. Programmer the rest. Geek in Alabama. Working on Storybird.
Posts tagged comics
johnbyrnedraws:

John Byrne, Jason Liebig & Chris Claremont. 1994
Jason shared this story about working with John Byrne.

Back in 1994, I was working as a marketing rep for DC Comics - and there was a large comic book convention held that year in the city.
It just so happened that both John Byrne and Chris Claremont were working on books for DC at the time, and they were seated next to each other for a short time to sign autographs. It was pretty wild, and being the X-Men fan that I was, I asked to get a photo with the two living legends. I can’t remember how it occurred, but they both leaned in to show me their faux affection. Little could I suspect that I would soon be one of two editors managing the X-Men family of titles, and both of them would be back on X-Men titles as well..
And yet it was a few short years later that I would have the fortune of working with both of these gentlemen in my capacity as an editor at Marvel Comics.
I worked with John on his X-Men: The Hidden Years book. Having been privy to advance looks at copies of his fist issue, I felt it was some of John’s strongest penciling work in years, though I questioned some of his approach. The every-amazing Tom Palmer was inking and probably doing some finishes; and though I loved Tom’s work (Tom’s a true artist - and both a gentleman and consummate professional) - I was never convinced that it was the best match over what John was penciling (John wanted Tom for, among other reasons, his history of inking Neal Adams during this era in the X-Men’s past - so his reasoning was sound - though at the time I felt there should have been other priorities).
It was a strange setup — John wouldn’t deliver plots ahead of time, but rather, I simply received finished, lettered B&W faxes of issues. This didn’t happen at the time, but John was given a pass, because the book was out of current continuity, and he was John Byrne.
Attempts to assert my editorial input were met with resistance, and coupled with a pre-production editorial mistake I made on issue one, resulting in that issue shipping late, our relationship turned antagonistic quickly. I don’t know if that mistake is the thing that closed John off to any of my later input, but it’s unfortunate, whatever the case. I felt strongly that, paired with the right contemporary creators, John’s work could have reached a lot of newer readers. It might be silly to think I knew a damned thing about comics that John Byrne didn’t know better, but as an editor, I felt I had to tell him what I thought. The situation with John is one of my few regrets during my Marvel career.

Note. I first saw this image on John Byrne’s forum where John claims this photo is Photoshopped and not the original. The image I’ve posted was taken directly from Jason Liebig’s page.

What an interesting behind the scenes story.
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johnbyrnedraws:

John Byrne, Jason Liebig & Chris Claremont. 1994

Jason shared this story about working with John Byrne.

Back in 1994, I was working as a marketing rep for DC Comics - and there was a large comic book convention held that year in the city.

It just so happened that both John Byrne and Chris Claremont were working on books for DC at the time, and they were seated next to each other for a short time to sign autographs. It was pretty wild, and being the X-Men fan that I was, I asked to get a photo with the two living legends. I can’t remember how it occurred, but they both leaned in to show me their faux affection. Little could I suspect that I would soon be one of two editors managing the X-Men family of titles, and both of them would be back on X-Men titles as well..

And yet it was a few short years later that I would have the fortune of working with both of these gentlemen in my capacity as an editor at Marvel Comics.

I worked with John on his X-Men: The Hidden Years book. Having been privy to advance looks at copies of his fist issue, I felt it was some of John’s strongest penciling work in years, though I questioned some of his approach. The every-amazing Tom Palmer was inking and probably doing some finishes; and though I loved Tom’s work (Tom’s a true artist - and both a gentleman and consummate professional) - I was never convinced that it was the best match over what John was penciling (John wanted Tom for, among other reasons, his history of inking Neal Adams during this era in the X-Men’s past - so his reasoning was sound - though at the time I felt there should have been other priorities).

It was a strange setup — John wouldn’t deliver plots ahead of time, but rather, I simply received finished, lettered B&W faxes of issues. This didn’t happen at the time, but John was given a pass, because the book was out of current continuity, and he was John Byrne.

Attempts to assert my editorial input were met with resistance, and coupled with a pre-production editorial mistake I made on issue one, resulting in that issue shipping late, our relationship turned antagonistic quickly. I don’t know if that mistake is the thing that closed John off to any of my later input, but it’s unfortunate, whatever the case. I felt strongly that, paired with the right contemporary creators, John’s work could have reached a lot of newer readers. It might be silly to think I knew a damned thing about comics that John Byrne didn’t know better, but as an editor, I felt I had to tell him what I thought. The situation with John is one of my few regrets during my Marvel career.

Note. I first saw this image on John Byrne’s forum where John claims this photo is Photoshopped and not the original. The image I’ve posted was taken directly from Jason Liebig’s page.

What an interesting behind the scenes story.

​Comixology cuts Apple, Google out of digital-comics kickback - CNET

I’m sad for Comixology and comics on this news. People adapt and move on, as I’m sure most loyal customers will in this case. I worry about new customers, though, and what this means for the growth of comics.

One of the worst features about the Kindle app on iOS is that you can’t purchase books within the app. Kindle has the luxury of already having the brand names built for “Kindle” and “Amazon,” and acquisition already happens from web to app for Amazon. The same pattern doesn’t exist for Comixology, which has always been app first. Also, I have no idea how a new user downloading the Comics app on iOS would work out where to buy books from. There is literally no indication where to go.

jimrugg:

ADVENTURE TIME #26Sample page process
Script by Ryan NorthIllustrated by Jim RuggColors by Chris O’NeillLetters by Steve Wands
Adventure Time #26 is the first of 4 issues that I illustrate (I was halfway through issue 28 when I wrote this). Here is the process that I used for #26. Each morning, I woke up, made coffee, petted the cats while coffee brewed. I drank a cup of coffee and sketched panels, figures, action, and page layouts directly on a print out of Ryan North’s scripts (which are delightful!). Then I taped a piece of paper on my drawing board (Strathmore Bristol 300 Series, 11 x 14, smooth surface). Ruled out borders based on the layout sketches using a Rapidograph (size: 1.20). Lightly drew the page with a non photo blue pencil (2 mm). I drew the original art at 125% of the print size. Then inked the page using Microns (sizes 01, 03, 05, 08). Finally scanned it, cleaned it up if necessary, and saved it as a 1200 dpi bitmap (uncompressed TIFF). 

Very cool to see how a page comes together.
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jimrugg:

ADVENTURE TIME #26Sample page process
Script by Ryan NorthIllustrated by Jim RuggColors by Chris O’NeillLetters by Steve Wands
Adventure Time #26 is the first of 4 issues that I illustrate (I was halfway through issue 28 when I wrote this). Here is the process that I used for #26. Each morning, I woke up, made coffee, petted the cats while coffee brewed. I drank a cup of coffee and sketched panels, figures, action, and page layouts directly on a print out of Ryan North’s scripts (which are delightful!). Then I taped a piece of paper on my drawing board (Strathmore Bristol 300 Series, 11 x 14, smooth surface). Ruled out borders based on the layout sketches using a Rapidograph (size: 1.20). Lightly drew the page with a non photo blue pencil (2 mm). I drew the original art at 125% of the print size. Then inked the page using Microns (sizes 01, 03, 05, 08). Finally scanned it, cleaned it up if necessary, and saved it as a 1200 dpi bitmap (uncompressed TIFF). 

Very cool to see how a page comes together.
Zoom
Info
jimrugg:

ADVENTURE TIME #26Sample page process
Script by Ryan NorthIllustrated by Jim RuggColors by Chris O’NeillLetters by Steve Wands
Adventure Time #26 is the first of 4 issues that I illustrate (I was halfway through issue 28 when I wrote this). Here is the process that I used for #26. Each morning, I woke up, made coffee, petted the cats while coffee brewed. I drank a cup of coffee and sketched panels, figures, action, and page layouts directly on a print out of Ryan North’s scripts (which are delightful!). Then I taped a piece of paper on my drawing board (Strathmore Bristol 300 Series, 11 x 14, smooth surface). Ruled out borders based on the layout sketches using a Rapidograph (size: 1.20). Lightly drew the page with a non photo blue pencil (2 mm). I drew the original art at 125% of the print size. Then inked the page using Microns (sizes 01, 03, 05, 08). Finally scanned it, cleaned it up if necessary, and saved it as a 1200 dpi bitmap (uncompressed TIFF). 

Very cool to see how a page comes together.
Zoom
Info

jimrugg:

ADVENTURE TIME #26
Sample page process

Script by Ryan North
Illustrated by Jim Rugg
Colors by Chris O’Neill
Letters by Steve Wands

Adventure Time #26 is the first of 4 issues that I illustrate (I was halfway through issue 28 when I wrote this). Here is the process that I used for #26. Each morning, I woke up, made coffee, petted the cats while coffee brewed. I drank a cup of coffee and sketched panels, figures, action, and page layouts directly on a print out of Ryan North’s scripts (which are delightful!). Then I taped a piece of paper on my drawing board (Strathmore Bristol 300 Series, 11 x 14, smooth surface). Ruled out borders based on the layout sketches using a Rapidograph (size: 1.20). Lightly drew the page with a non photo blue pencil (2 mm). I drew the original art at 125% of the print size. Then inked the page using Microns (sizes 01, 03, 05, 08). Finally scanned it, cleaned it up if necessary, and saved it as a 1200 dpi bitmap (uncompressed TIFF). 

Very cool to see how a page comes together.

(via mattfractionblog)

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