These are also not the only pages that have shaped comic books, but each, in its own way, has had a profound impact on the form as we. May 9, Explore Keith Hinman's board "Comic Page Layout", followed by people on Pinterest. See more ideas about Comic book pages, Comics and . Everyone loves a good comic book splash page. It grabs the readers attention by popping an important image off the page.

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    Comic Book Pages

    The Comic Book Page family of podcasts are hosted by John Mayo, a comic book fan who has been reading comics for decades. Every Monday is the Weekly. Blank Comic Book Page paper. Blank Comic Book Page. Blank Sunday Comics Page paper. Blank Sunday Comics Page. Blank Three Panel Comic Template. These days, Marvel and DC have 20 pages of story in a comic. The comics, themselves, tend to go for 32 pages. Here's the trick there: Four of.

    Photo: J. Aranda Photo: J. No radioactive spider bite, atomic explosion, or shadowy experiment granted the medium the sort of ability that would have allowed it to arrive on earlyth-century drugstore racks as glossy, fully formed vehicles for sophisticated entertainment. Rather, it took a steady progression over the course of more than 75 years for the form to fully understand, and then harness, its powers. When the first comics arrived on newsstands in the early s, they were a cynical attempt to put old wine in new bottles by reprinting popular newspaper comic strips. Cheaply printed and barely edited, those pamphlets were not what a critic at the time would have called high art. Yet today, the medium is flourishing in ways its ancestors could never have imagined. We chose to focus on individual pages rather than complete works, single panels, or specific narrative moments because the page is the fundamental unit of a comic book. It is where multiple images can allow your eye to play around in time and space simultaneously, or where a single, full-page image can instantly sear itself into your brain. If there are words, they become elements of the image itself, thanks to the carefully chosen economy of the writer and the thoughtful graphic design of the letterer. When comics have moved in new directions, the pivot points come in a page. To assemble our list of , we assembled a brain trust of comics professionals, critics, historians, and journalists. Our criteria were as follows: A page had to have either changed the way creators approach making comics, or it had to expertly distill a change that had just begun.

    Steve Buccellato; Letterer: That collectibility was specifically being driven by a group of young artists at Marvel whose books sold much better than others. During his stint on the book, a number of characters were introduced, including Cable, a grizzled cyborg from the future who became the new leader of the team of youthful mutants. When the longtime writer of the series, Louise Simonson, left Marvel to go write a new Superman series, Liefeld became its main plotter, as well.

    In New Mutants No. After Liefeld left Marvel, Deadpool continued to be developed into a more metafictional comedic and heroic character. But beyond the specific success of Deadpool, this page also encapsulates the violent, scratchy, weapon-filled style that Liefeld and his peers pioneered to such great success in the s.

    Jeff Smith. The stars of Bone are cute, almost naked, white, four-fingered, pudgy, bald creatures who come from Boneville. For all its cuteness, though, Bone crossed many boundaries. It is, in fact, a masterpiece of comics mix-and-match, combining the look of fantasy fiction comics with the plots of other-world epics and funny-animal comics. The characters are a mishmash too.

    And the Rat Creatures, fanged, red-eyed, slow-witted, bloodthirsty monsters obsessed with cooking technique, would fit nicely into the The Lord of the Rings, the epic to which Bone is often compared. Todd McFarlane; Colorist: Gregory Wright; Letterer: Chris Eliopoulos. One of the artists at Marvel Comics in the late s helping to drive record sales for the company was Todd McFarlane , who took over The Amazing Spider-Man in after a popular run as the artist on The Incredible Hulk.

    McFarlane decided to leverage his popularity by leaving The Amazing Spider-Man and having Marvel let him write a comic-book series that he would draw. He was shocked when they not only agreed, but gave him his own Spider-Man series. Over time, though, McFarlane began to chafe from what he felt was too much editorial influence. Marvel refused to show the actual stabbing, feeling it was too graphic. It was one change too many for McFarlane, and he left the book.

    Soon, he would take his very valuable brand to a new company, Image Comics, where he would debut the ultraviolent hit character Spawn. More important than that, however, was the business revolution that Image kicked off: Without poor Juggernaut, it might never have happened. Art Spiegelman. What can you do when the very ground of your reputation and your art is the Holocaust; when genocide is the precondition of your success?

    If anyone had doubted why Maus Volume One devoted so much energy to capturing the circumstances of its own making, then Volume Two gave an answer: On this much-studied page, Spiegelman confronts the awfulness of the story he has set out to tell, and the awful consciousness of his own temerity, by adjusting his persona — now not that of a mouse, but of a man with a mouse mask tied on with string.

    Further, he shows mouse-like corpses that pile at his feet like so many crumpled, discarded drafts, and discloses, for the first time in the text, the death of his father and informer, Vladek. Dan Jurgens; Pencilers: Dan Jurgens and Brett Breeding; Inker: Breeding; Colorist: Glenn Whitmore; Letterer: In the late s, the various Superman series tried a new approach, where the creative teams on the three Supes-starring titles would coordinate their stories so that they would flow from one book to the next.

    After adding a fourth series in , DC Comics now had, in effect, a weekly Superman series that was just split through four different periodicals. Then a funny thing happened: Warner Bros. So the comic book series had to hold off on marrying them. Sure enough, they decided that they would simply kill him off!

    Which he did, but at the cost of his own life. Never had a mainstream audience connected so much with a comic-book event slow news days helped and the death of Superman became a cultural sensation. Black-bagged copies of his death complete with a black armband sold millions. Some would say the returns are diminishing and the swift resurrection of Supes just a few months later certainly undermined some of the impact , but a staple aspect of superhero comics was born.

    Joe Sacco. So Sacco went there himself, armed with a sketchbook, to report on local conditions in comics form. At first, Sacco planned to do more of a straightforward travelogue, but as he made his way through Gaza and the West Bank, learning the daily struggles of ordinary people, he was inspired to create a much more ambitious work, as dramatic as any fiction.

    Here is the first page of that work, Palestine, which would win an American Book Award for its collected edition. Dwayne McDuffie; Penciler: Mark D. Bright; Inker: Noelle C. Steve Dutro. During the early s comic-book-sales boom, when it seemed like any given comic-book company could launch and sell , copies of their first issue, there was a noticeable lack of ethnically diverse superheroes.

    It was so noticeable that a group of comic creators decided to do something about it. Dingle, and Christopher Priest who bowed out before the company became official , formed Milestone Media in , a comic-book company dedicated to delivering diverse superheroes. A clever inversion of the Superman origin story, Icon was an alien who landed on Earth in the 19th century and took on the form of the first human he saw, who happened to be an African-American slave. The alien did not age, and over time, he amassed a small fortune and became a political conservative.

    Penciling a Comic Book Page

    He kept himself cut off from the world, until a young, liberal teen challenges him on his isolationist views, ultimately compelling him to become a superhero. It mattered to give people of all backgrounds inspirational heroes.

    Though Milestone would fall on hard times and disappear, it left a legacy of increased representation, and this page was essentially their mission statement.

    Scott McCloud; Letterer: Bob Lappan. For those hanging around illustrators studying comics in college at the time, it was all anyone could talk about. The book introduced nonlinear storytelling on paper years before these concepts would be fully developed often by McCloud himself by webcomics pioneers. Timm; Colorists: Tim Harkins. At the start of the s, there was a strange, dichotomous relationship between comic books and animation. The world of animation looked down on superhero comics.

    Sure, there had been plenty of superhero cartoons over the years, but they rarely actually adapted the comic-book stories themselves, instead using the characters in simplistic new setups, like the Justice League becoming the Super Friends.

    The Animated Series. A lush, beautifully drawn collection of tales, the Batman animated program was a smash critical and commercial success. Mad Love , which told the origin story of Harley Quinn , a massively popular character both then and now, who they had introduced in the show. The comic was a major success, winning the Eisner Award for best single issue. Bone, to break into the mainstream comic-book world. Mike Mignola and John Byrne; Penciler and inker: Mignola; Colorist: Mark Chiarello; Letterers: Mignola and Byrne.

    Looking at the great experimental artists in comic-book history, they rarely start off in their most experimental form. Take Mike Mignola: While he was always a stylish artist, when he was drawing The Incredible Hulk and Alpha Flight for Marvel, his art looked relatively normal for the era. As he grew more popular, though, he started to experiment more with things like form and design.

    One of the areas where he really started to shine was with the use of shadows in his work. Few comic-book artists ever had as much black ink on a page as Mignola. After a while, he realized it made more sense to come up with his own character that would fit his style rather than try to place established Marvel and DC characters into that style. Superstar artist Arthur Adams recruited Mignola to join a creator-owned line of books at indie publisher Dark Horse, where Mignola invented Hellboy, a heroic half-demon who investigated the paranormal, giving Mignola consistent avenues to tell dark, shadowy stories.

    Hellboy eventually became its own comic-book franchise and has inspired two movies with a new one forthcoming , making it one of the most successful creator-owned comic books ever. Charles Burns. Talk about an opening. To set the scene for his magnum opus of suburban horror, Black Hole , Charles Burns starts with an all-American intro to evisceration: The moment, like Black Hole itself, bridges genres; part trippy horror and part sardonic comedy.

    By the end of Black Hole , Burns has you convinced that nothing is ever that neatly divided — not the slick suburbia so popped with one satirical scalpel-swipe, not this startling early page that finds seduction amid abjection, an existential crisis in Biology In its decade of serialization, and even more so in its eventual collected edition, Black Hole inspired comics creators to explore the horrors of our bodies and our teenage selves.

    Writer, penciler, inker, colorist, and letterer: Chris Ware. Abrams, and Ira Glass, just to name a few. Mark Waid; Penciler, inker, and colorist: Alex Ross; Letterer: Superhero comics had gone too far. Disaster strikes when these younger, edgier heroes, in their recklessness, inadvertently cause a nuclear disaster in the American heartland, causing Superman to come out of retirement to lead a crusade for the ideals he once stood for.

    It builds to one remarkable full-page splash of Superman, making his presence known with a striking, darker shield on his otherwise classic costume, lawless vigilantes helpless in his grasp.

    The old heroes still matter. Being good for its own sake is still enough. Daniel Clowes. When he came to issue No. It centers on two outsiderish high-school girls, Enid dark hair, glasses, lots of self-loathing and Rebecca blonde bob, conventional good looks, slightly less self-loathing.

    The two go around town looking for perverts to befriend and people, music, and cornball retro diners to make fun of. Enid and Rebecca are post-punk flaneurs , with a fuck-you attitude toward just about everything. Rebecca has now assumed some of the qualities that Enid once had — spectacles, short hair, an anxious look, a chewed straw.

    From outside the window, we see Enid looking in and saying a line that has been parsed and re-parsed, but nonetheless remains opaque: His rarest gift, though, especially in the comics world, is his evocation of the inner lives of critical, curious girls wondering about the world and their place in it.

    Garth Ennis; Penciler and inker: Steve Dillon; Colorist: Matt Hollingsworth; Letterer: Clem Robins. Luckily, they were saved by the launch of an unusual series by writer Garth Ennis and artist Steve Dillon called Preacher , which gave Vertigo their first big hit in years.

    Preacher told the story of a small-town Texas reverend named Jesse Custer who suddenly received the Word of God: Along with his former girlfriend now working as an assassin and his new best friend an Irish vampire , Jesse traveled across the United States trying to find God who had abandoned Heaven as soon as Jesse received the Word.

    They ran afoul of the Grail, a secret religious organization that manipulated the world from behind the scenes through their control of the Messiah, the inbred descendant of Jesus Christ. Preacher became famous for its violence and pitch-black humor, both of which are on display in this riotous page. It was quintessential Preacher: Ennis would come up with twisted ideas and Dillon would deliver them in such a way to make them almost seem matter-of-fact.

    Warren Ellis; Penciler: Bryan Hitch; Inker: Paul Neary; Colorists: Ali Fuchs. In , Warren Ellis took over the series Stormwatch — published by Image imprint WildStorm — about an international superhero team.

    Ellis put a darker spin on the title and introduced the concept of Stormwatch having a black-ops team to do their dirty work. Production delays led to a fill-in arc by the relatively unknown artist Bryan Hitch. Paired with Hitch, Ellis was newly inspired. After just a year, he ended Stormwatch in the most shocking way possible: They were now renamed the Authority and they would appear in comics that told stories on a scale never before seen in superhero comics.

    In their first arc on The Authority in , Ellis and Hitch decided to have the Authority take care of the biggest villain in the WildStorm Universe, Kaizen Gamorra, who had built a superpowered army and took advantage of the absence of Storrmwatch to have his army destroy Moscow. When they tried to do the same to London, the Authority showed up and stopped them.

    Brian Michael Bendis; Penciler and inker: Michael Avon Oeming; Colorist: Pat Garrahy; Letterer: After Brian Michael Bendis, dialogue in comics would never be the same again. In the s, he first drew attention for his work on crime comics, like A. Goldfish , Jinx , and Torso. The highlight of early Bendis work was his dialogue: Akin to that of David Mamet, it was a rapid back-and-forth that often saw characters overlap with each other — something unusually naturalistic for comics of the time.

    In this page from Powers No. Craig Thompson. Until the aughts, the most influential autobiographical comics creators — R. Crumb, Aline Kominsky-Crumb, Justin Green, Chester Brown, and others — had been swimming in masturbation, bodily secretions, and clinical self-loathing.

    In swirling, inky pages that radiated emotion, Thompson told of his upbringing in a strict evangelical Christian household and his fateful meeting with a girl named Raina at Bible Camp. Raina is a Christian as well, but her faith is rooted more in the real world, and as they fall for each other, Craig begins to question a rigid faith that denies that human love can also be sacred.

    That spirituality and romance are beautifully captured on this page as Craig and Raina experience nature and physical longing together. Named the graphic novel of the year by Time , Blankets propelled its original publisher, Top Shelf, to prominence, and Thompson to a huge deal with Random House for his next graphic novel.

    Writer and letterer: Robert Kirkman; Penciler, inker, and colorist: Tony Moore. In the past decade, the first trade paperback collection in which this page appears has sold over a half-million copies.

    The zombie virus provided a much-needed shock to the system of Image Comics, which was in danger of losing its relevance in the new millennium. Nothing succeeds like success, particularly in Hollywood. Darwyn Cooke; Colorist: Dave Stewart; Letterer: Jared K. Darwyn Cooke was taken from us too soon when he died in , but boy, he left a mark in the time he had. When comic-book work did not pay enough, he went home to Toronto and worked as a graphic designer for the next 15 years.

    Animation, where he was hired by Bruce Timm to work on the Batman animated series. When Chiarello then told Cooke that he should do a Justice League story, Cooke delivered one of the great superhero works of the 21st century, DC: The New Frontier.

    The tale led up to this iconic scene at the end of New Frontier No. They walk out for their possibly fatal mission in the same slow-motion walk used for the astronauts in The Right Stuff. It was visually rich, but also paved the way for a deepened appreciation of Silver Age earnestness in superhero comics.

    New Frontier established Cooke as one of the greats in the industry, and he continued to prove his mettle for the rest of his life. Grant Morrison; Penciler: Frank Quitely; Inker and colorist: Jamie Grant; Letterer: Phil Balsman.

    In the late s, Grant Morrison tried unsuccessfully to become the regular writer on Superman , as part of a collective pitch where he and writers Mark Waid, Mark Millar, and Tom Peyer would take over the four monthly Superman titles. It was a bold plan and DC seemed to be on board initially, but ultimately they went with another pitch. Morrison teamed up with longtime collaborator Frank Quitely to create All-Star Superman , which spent 12 issues telling timeless stories starring the legendary hero.

    Morrison was intent on making the reading experience easy for both longtime fans and total newbies. The series was an instant classic and its hearty optimism has informed the treatment of Superman by writers ever since. Writer, penciler, colorist, and inker: Alison Bechdel. Gene Luen Yang; Colorist: Lark Pien. He loves the idea of being able to change oneself into other things, like a truck that can become a battling robot.

    In its trio of interconnected stories, American Born Chinese plays with fire as it invokes racist types and tackles internalized racism, so much so that some booksellers initially refused to sell it. Yet it has become an oft-taught classic of contemporary comics and Asian-American literature. When Scott defeats an ex, they vanish and turn into loose change.

    Falling for something like Scott Pilgrim means graduating from an infatuation for eye-grabbing surfaces to a deep, unembarrassed love: Here, he commits to both eight-bit fonts and the manga that inspired Pilgrim , which he helped other artists realize they could infuse into their own work. Raina Telgemeier; Colorist: Stephanie Yue. In the 21st century so far, one of the few hopeful spots in the otherwise struggling mainstream publishing industry has been comics.

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    And as of , roughly 5 percent of overall graphic-novel bookstore sales came from the pen of one woman, Raina Telgemeier. Geoff Johns; Penciler: Andy Kubert; Inkers: Sandra Hope and Jesse Delperdang; Colorist: Alex Sinclair; Letterer: Nick J.

    It was a spectacularly bold idea, and it needed some kind of bridging event to explain how things changed. And there was only one person to write it: Geoff Johns, a fan-favorite writer who treasured continuity and the optimism that the DC heroes represented. The resulting limited series, Flashpoint , not only became a definitive Flash story — a movie adaptation is in the works from directors Jonathan M.

    Barry Allen, the Flash, wakes up in a dark world where most of the heroes are dead. In order to put things right, Allen uses his super speed to blast through time and space: In one page, readers see the old DC continuity give way to the New 52 world before their very eyes, penciled into existence by the legendary Andy Kubert.

    This page symbolizes not only a pivotal moment for the DC universe, but how business realities can affect storytelling. Brian K. Vaughan; Penciler, inker, and colorist: Fiona Staples. Opening with a single, provocative image is an old trick, but what artist Fiona Staples and writer Brian K. Vaughan do in this first page is project — with profane honesty and complete earnestness — a beautiful, compassionate humanity placed front and center in their story.

    Saga opened the floodgates for an array of deeply human, beautifully drawn genre stories to flourish: Matt Fraction; Penciler and inker: David Aja; Colorist: In , following the record-breaking box office of The Avengers , it made sense that Marvel would come out with a Hawkeye comic book.

    The highlight of the run came in Hawkeye No. This was one of the most acclaimed single issues of the past decade, winning an Eisner Award for Best Single Issue. You can draw a straight line from Hawkeye to the series of off-beat, character-driven comic series Marvel has released since, like Captain Marvel , Ms.

    Marvel , and Unbeatable Squirrel Girl. Willow Wilson; Penciler and inker: Adrian Alphona; Colorist: Ian Herring; Letterer: Joe Caramagna. Marvel — had on her fans in the Marvel Universe. The very last page showed a young woman in Jersey City who was inspired by Captain Marvel, and that young woman was Kamala Khan, who would go on to pick up the Ms.

    Marvel moniker from her hero. They thought that was a fascinating background for a new character, so they brought in writer G. Willow Wilson also a Muslim and artist Adrian Alphona to help create the new hero, who had her first full appearance in costume on this page from an anthology comic called All-New Marvel Now! Point One. The hook for the character was quickly established right from the get-go in this story: Kamala is a teen with a loving but very conservative family, and she sometimes finds herself conflicted about her place in the world.

    Marvel , was a surprise hit, with the first issue going through a shocking six printings. Not only that, but Ms. Marvel also saw a significant boost from digital sales, making it one of the first Marvel comics to show the downloading power of the online-only marketplace, where women make a larger percentage of the downloadrs, as opposed to traditional comic-book stores. Grace Ellis and Noelle Stevenson; Penciler and inker: Brooke A. Allen; Colorist: Maarta Laiho; Letterer: Aubrey Aiese.

    In , publisher BOOM! Box that would be aimed at a slightly older crowd. Box released was Lumberjanes , the result of Watters approaching writer Grace Ellis about designing a new girl-centric series. The series is a delightfully off-the-wall story about a group of girls Mal, Ripley, Molly, April, and Jo at a scout camp their scout troop is the Lumberjanes, of course who experience lots of spooky phenomena at their camp and go on awesome adventures while their beleaguered counselor, Jen, tries to keep control of them.

    Originally intended to be an eight-issue mini-series, the immediate response was so overwhelmingly positive that it became an ongoing series by the time the second issue was released. Lumberjanes is the perfect example of why the future of comics is so bright: The success of Lumberjanes , which is also being developed as a major motion picture, has facilitated the release of even more comic books like it — such as Gotham Academy , Goldie Vance , and Giant Days — and provided cause for even more optimism about where this medium is going.

    Already a subscriber? Log in or link your magazine subscription. Account Profile. Sign Out. Stranger holding paper. DC Entertainment.

    New Fun: The Big Comic Magazine No. Superman defeats wife-beater. Action Comics No. Whiz Comics No. Detective Comics No. Human Torch and Sub-Mariner meet.

    Marvel Entertainment. Marvel Mystery Comics No. First use of title as part of quasi-diegetic landscape. The Spirit, December 8, All-Star Comics No. Captain America Comics No. Animal Comics No. Wonder Woman No. All-Negro Comics No. Young Romance No. True Crime Comics No. It Rhymes With Lust Two-Fisted Tales No.

    Four-Color Comics No. Mad No. Haunt of Fear No. Impact No. Incredible Science Fiction No. Martin Luther King and the Montgomery Story The Flash No. Amazing Fantasy No. Avengers No. Strange Tales No. The Amazing Spider-Man No. Zap Comix No. Green Lantern No. The New Gods No. Air Pirates Funnies No.

    Howard the Duck No. American Splendor No. A Contract With God Uncanny X-Men No. Cerebus No. Avengers Annual No. Daredevil No. For instance if you know a piece might be printed larger down the road for a poster or something similar then planning ahead might be good.

    But I rarely find that is the case. And for large usages such as outdoor billboards or banners that are meant to be seen far away the resolution requirements actually go down. Because the artwork is meant to be seen at a distance typically billboards and the like have much lower resolution requirements since the eye sees those images at a distance as being sharper.

    Unless you are scanning something specifically for web or to be seen on screen, then I recommend always scanning at least dpi. After all you can always reduce the size of something in regards to dpi but never can you upscale it. Print size is different than dpi but also dependent on it. Print size is basically the size that you want something to print your comic art at. Most comic art is drawn on 11x17 boards. The typical art size on those boards differs slightly depending on the template you use or per publisher but they are generally set at about 10x15 size.

    Within that 10x15 size you have about a quarter of an inch on all sides of bleed. So we basically have three options. Draw smaller Say on 8. It would be a blog unto itself and 2. It really compromises quality. Especially with some scanners it can cause so many headaches. So my recommendation is to either draw smaller or find the scanning service.

    Most Staples and Office Depot stores can scan 11x17 for you. It may cost per scan but if you batch scan a set of pages all at once you can get the scanning done much faster.

    Either that or find someone with a scanner that can accommodate 11x You can always change the resolution later for whatever resolution you need. Things that are important when scanning. To the right you will see the scanned comic art before it has been adjusted. Feel free to click on the image to make it bigger and you will see: The brush strokes of the the ink.

    Authors largely focus on the frame of the page, size, orientation, and panel positions. These characteristic aspects of comic books are necessary in conveying the content and messages of the author. The key elements of comic books include panels, balloons speech bubbles , text lines , and characters.

    Balloons are usually convex spatial containers of information that are related to a character using a tail element. The tail has an origin, path, tip, and pointed direction.

    Key tasks in the creation of comic books are writing, drawing, and coloring. There are many technological formulas used to create comic books, including directions, axes, data, and metrics. Following these key formatting procedures is the writing, drawing, and coloring.

    Glossary of comics terminology - Wikipedia

    Obadiah Oldbuck in in hardcover, [9] making it the first known American prototype comic book. Proto-comics periodicals began appearing early in the 20th century, with historians generally citing Dell Publishing 's page Famous Funnies: A Carnival of Comics as the first true American comic book; Goulart, for example, calls it "the cornerstone for one of the most lucrative branches of magazine publishing".

    The Golden Age originated the archetype of the superhero. According to historian Michael A.