Generally sound advice that Marvel themselves often fails to put into practice. I had a good laugh at the part where he said "don’t just trace it" as if they didn’t still have infamous tracer Greg Land on their payroll.
For real dude, another thing that pissed me off with this guy is how he's like Don't break these rules while he's displaying the work of other artists that broke the rules. This is why you don't take art advice from a writer, Although some of his advice was pretty good despite the fact it's basic comic knowledge. It's like if I went to Someone who builds figures as a hobby and was like, " Hey don't forget you need to make those things out of plastic!"
@@MightGuy15 It may be basic information to you but not everyone is at that level. Some people are just starting or want to learn. I took it as, if you're a beginner stick to the basics. The people who are breaking the rules have been doing comics for years upon years, so they have the know how and the skill to pull it off. Where as beginners may just think it looks cool but not understand how to use it effectively (and it will show). He's not a writer, he's the editor in chief. As in the one who will oversee people's work and check for inconsistencies in the art and such. He is literally doing portfolio reviews so he knows exactly what to look for and how to pick up on the nuances of the art and overall work. Also he wasn't necessarily the one who chose those examples, he's just speaking on the topic.
@@MegaKenny9 He is a writer, he started out as an editor but wanted to write stories which is why he lied about being a Japanese man XD. And I agree it's good beginner advice despite the fact they don't abide by those rules themselves. "Don't mimic other artists too much!" He says as they continue to work with Greg Land who is infamous for artwork that looks like shit because he thought it would be a neat idea to start tracing sports illustrated covers and porn. The issue is this advice is already advice people serious about advancing their craft should have known by this point. Look at the comments section. NOBODY learned anything, everyone is either saying this is good advice or are shitting on Marvel. Nobody is saying they learned anything new, because this information has been readily available for the past 5 decades through books, video tutorials, and schooling. Even worse, from a publisher no one even respects to the same extent as in the past anymore. I won't go as far as saying this guy was probably lying about some of the submissions he's got, he's clearly learned lying is bad from when he pretended to be Japanese. I'm just saying it would have been more interesting if he would have shown some portfolios breaking his rules that got rejected rather than showing artists that already broke all of the rules he mentioned. Or maybe talk about what made the submissions they choose stand out from the pack. Go into the business end of things, talk about what art styles do they feel would be the most practical. But no, same advice people have been getting for years at this point. Tells people nothing new.
@@MightGuy15 I wont speak on him directly since i dont know much about him but i will agree the advice is very cookie cutter in that sense. Marvel especially in the past has hired some questionable people in terms of talent. Greg Land is one example but there is also Vince Colleta who was pretty bad at inking but he was hired because he was fast. Which shows that they will prefer speed over quality some of the times. I can understand it but I'm not a fan of it being like that. It would've been nice to kind of see some portfolios that have been accepted and or rejected (or pieces from portfolios) in the past couple years. But I think it could come off a bit mean spirited to beat down a beginner's artist work to prove the point you know. So they have to be mindful. What they could've done is have someone with the know how show their own examples of pages that do it "right" vs "wrong". But i guess they have to keep the more in depth parts of it for the course lol.
@@MegaKenny9 That's a fair point too! I agree they shouldn't beat down on beginners although I imagine in such a situation they would ask for permission to discuss the drawing first because in my lil comic making circle I'm a part of I've noticed many artist crave improvement and criticism, but I agree doing it indiscriminately could hurt talent more than it helps. I also really like that idea of asking a pro artists the right or wrong way to do things, which begs to question why they went to this guy in the first place since he's not an artist. I just really wish he would have went in depth with what they are really looking for, because it's like you said, Vince was hired because he is fast. It would be interesting if he went into detail with how much quality are they willing to comprimise on for the sake of speed, or what they expect out of you once you actually make it in as an artist. These tips he gave is probably not going to help many people because I can still imagine someone listening to all these tips and getting rejected for being too slow or changing too much about a characters design or maybe they have an artstyle that will make things difficult for them to print or keep up with deadlines. See what I mean? This is stuff I wish he talked about, but instead he's here like..."Tee hee, don't forget to not make the gutter black!"
Lmfao I thought you're talking about someone else until I looked up this dude's name and what do I see? An article of him pretending to be Japanese. Wild shit. How comes nobody is talking about this?
Well i think it was much worse before covid because marvel was selling over 70 titles but now after covid where they sell much less comics monthly they mostly stick to better talent
Great personal preferences- I mean, 'advice' Akira! My favorite part is when you said "I pretended to be a Japanese person to get hired at Marvel and now our entire comic division is being outsold by a single Japanese manga.". Just wonderful! I hear Image is hiring.
@@joseoh5856 Cebulski pretended to be a Japanese person by the name of Akira Yoshida to land a job at Marvel because, at the time, they wanted more Japanese style books. For the latter half of that sentence, Demon Slayer itself outsold the entire western comics industry in 2020. I'm not talking a small margin either, it was almost 10 to 1 when compared to comics.
I’m old and have no interest in working for a comic company nor creating a portfolio. That said, this is good advice for anyone wanting to create a comic. This advice is similar to any artistic pursuit - less is more and focus on the fundamentals. Thank you Proko for sharing content like this for free.
4:28 #7 is especially important. I spent years copying my idols (McFarlane, Capullo, Mignola) without understanding WHY so it never developed beyond that until I broke free.
I'd say about 60% if this is disregarded by practically any mangaka and look what's outselling the American comics market, sometimes even just one series on its own.
Because comics are limited to superheroes, such a bland and beaten to death genre. Manga has so much different genres and interesting ideas, not only that but the art is so much more beautiful, marvel characters look weird and grotesque, whereas anime art is more calm, beautiful and simple, not to mention the black and white being so much more interesting
@@anonymousakaanonymous9001 comics is not limited to superheroes, though marvel certainly is, more or less, since that's what it became known for. The point was more that the things this guy says clearly no longer lead to works that are competitive on the market. It's been more than a year since I saw the vid and I won't bother rewatchifn, but I remember him being super smug about all this too, so I feel quite vindicated that his brand is being outperformed by the east
This isn't about manga, this is about American comics and there are other companies besides marvel and DC which focus on things other than superheros. Don't navelgaze.
i think people who say don't do things because you haven't been doing it for 20 years and your not allowed or you don't have a right too because you haven't done your time are really just shooting themselves in the foot because some of the greatest minds in science, art, and engineering have been breaking the "rules" or told you can't do that or it won't work and it does..... I'm not saying it always works but when it does its so special.
I think you misunderstood the message. When it comes to principle rules in sequential art, they were set long ago, and they work well. Publishers may for a moment excuse draughtsmen that are not experienced enough, or smart enough, or skilful enough in drawing everything in order to design scenes in a different way. But ALL problems in sequential art, including those with borders, are ALWAYS caused by inadequate drawing skills. If you falsely think you "break the rules" but in fact repeat the same mistakes for 20 years, you are not progressing anywhere.
@@zvonimirtosic6171 todd mcfarlane was breaking borders from the beginning of his career with like 4 years of experience, I think I'd rather follow his example of making stuff look good than listen to some fat bozo who had to pretend to be japanese
They wanna see you be able to tell a dirty cohesively, not about how creative you are but are you an actual story teller and can a reader follow your stuff easily
@@harrymason4300 its not. Thats a relative statement but... no it isn't. 10 years ago was 2013 and most of the folks working there now were just getting started. The folks must complain about were there already.
This is honestly helpful thank you, I’m currently rn working on a superhero type comic and honestly trying my very best on it. and it’s my first ever actual complete story comic and trying to learn everything ofc the story and how it goes and flows with it and it’s amazing If u have a dream, don’t give up on it, it’s not impossible because if others can do it and achieve it, so can you too as well! ^^
I love the artwork of Olivier Coipel. This artist is so talented. Mark Morales inking complements Olivier’s artwork so well. Olivier just does covers these days, which are great, but i would like to see Olivier and Mark return to creating comics again one day.
I’m sorry to sound rude, but I’ve noticed that many Marvel artists fail to draw characters consistently. Not only do they fail to stay on model for certain characters, they often fail to make the character recognizable, removing iconic design traits that have been long associated with said character. Another problem I’ve seen in marvel comics is the constant style change that occurs all throughout a single issue, suggesting that artists are being replaced by people who aren’t skilled enough to replicate the starting artist’s style to ensure the issue looks uniform. Toad is a character that illustrates my complaints well. No one seems capable of staying on model for him, and many artists have removed the iconic design traits that made him recognizable in several titles. You can play around with a character’s design if you wish to change it up, however, you need to keep the traits that character always had or else it’s not that character anymore. Professional artists should know this. As for the drawing consistency problem within a single issue, and sometimes within an entire short issue run, the Wolverine and the X-Men comic is a very good example of this; ironically it’s Toad once again who showcases it. The artists were changed out a few times, and none of them replicated a predecessor’s work to create uniformity. This is something else a professional artist should be able to do, recreate another drawing style. It seems that the artists Marvel hired aren’t even good enough to work there.
Not only is Marvel not holding any of their own in-house artists to any of these standards, but Manga pretty much ignores all of this advice and outsells comics like 30 to 1. Also…isn’t this the guy that pretended to be Japanese? Lmao he’s marvels EiC now? Embarrassing.
I love this advice but what I recommend the most is to simply make comics yourself and read and re-read comics until it goes from fun to study. because a lot of things are difficult to learn until you do it yourself, do critiques or find someone to critique it for you and improve
Absolutely! One of the best ways to learn to make comics is to make comics. You learn the "why" of the things you've seen on the page as a reader. That's a big intention of this course. It's not just some videos you watch and try to learn from. There are real assignments that are like the jobs you'd get while working. Artists should develop their own work and post it online regularly, but the assignments are a great taste of the professional experience.
Bang up job, CB. Really pushing the comic book industry forward with your amazing insight and standards. Nobody needs to say anything, let's allow the sales numbers speak for everyone. Your pay should be directly linked to the performance of the books you edit. You'd be in a cardboard box in a day.
This is just a general guideline for common issues seen in beginner portfolios, not rules that any creator has to live by. It's odd to bring so much frustration to some pretty standard tips presented without any malice. As for sales, the rest of this course features instruction from comic creators with currently huge sales like Daniel Warren Johnson, Sanford Greene, Jim Zub and more. Think what you will about CB and Marvel but those instructors and the others in the course have a good chunk of Eisner wins and nominations between them and some pretty freaking great books.
@@ProkoTV I dig your stuff, but I've been in a room directly impacted by CB's 'wisdom', and were anyone in the industry to listen during that conversation, my comments would not seem out of place. There are genuinely talented editors pushing artists, writers, and creators, and the medium as a whole, to the next level. The same advice given by another editor would carry weight
@@RichardBirdsall Absolutely understand that one! Sorry you had that experience with him. Any higher up doing their job poorly should have critiques of their performance heard. He's just not going to know about a comment on this year-old video about a course he had no hand in past this interview segment. There are plenty of things to critique him and the company about, to be clear! We just want to make sure no one stretches out the critique of them into thinking that the common artist mistakes are part of that and worth ignoring.
@@ProkoTV now that, is wisdom. The channel puts out some brilliant content and knowledge every artist should know, please keep crushing it. The industry needs all the passionate and talented people contributing to the art form possible if it's ever going to be the juggernaut of dynamic storytelling and inspiration it once was.
First off, love the channel and there are some good tips here. That being said, I would much rather see a generation of young artists and writers creating and self publishing their own original books instead of trying to work at a place like Marvel. I know I sound negative, but in general, sales in the American comic industry are not what they used to be to put it mildly. I hate to discourage comic artists who dream of working at Marvel or DC, but there are artists and writers who currently work at these companies who are literally begging for money on the internet. Do what you want but people need to be aware and cautious when entering this industry. Just my humble opinion
We love indie creators too! The concepts in this course will apply to superheroes, journal comics or anything else a person wants to make. Doesn't have to be any particular publisher or genre.
Honestly, what is the problem with that? I use a Japanese @ to put my arts in Japanese sites. Yeah, some of them don't like a "western name" drawing mangas. What is the problem in an artistic name?
@sr_ryoadm are you pretending to be Japanese? I'm assuming not. But that's exactly what he did to get work. It is not an artistic name. Look up the controversy around him
Yep! As C.B. said, it makes it's all blend together and can ruin a page as a reading experience. We don't want you to try to read that background, just process that it's comics lookin' texture and then look at the important stuff in the image. Comics, graphic design, and all forms of art are all about doing things with intention. That's a great example of where you apply the concepts you learn!
@@ProkoTV no you feature a lot of artists who black out gutters for a better reading experience. having such a one track thought about what one move can do to a whole page is close minded. black gutters offer a lot of different advtanges or feelings and emotions to a page
@ You mentioned specifically the image that's shown after that quote. That's designed the way it is for a purpose, like when people intentionally use blacked out page gutters. Blacked out gutters do not equal a better reading experience across the board. Some books apply them for effect throughout a book, while others use them denote flashbacks and more. They're not "bad", they just should be used with intention. This video, as mentioned within it, is not how to make comics. It's a list of common areas where people first building a portfolio make mistakes and from an editor who's seen countless submissions. Break every "rule" in art and do it with intention! But when you're first learning a thing, keep and eye to where those before you have made unwitting mistakes and learn what people perceive from those mistakes so that you can apply it on purpose to communicate your vision.
1. Hilarious he'd say not to trace when they have known tracers still employed. 2. Why is he so against drawing outside of the grid? "Let the people with 20 years experience do it" Ok but if it looks good who cares? this makes me dread ever imagining working at Marvel if this is their attitude, no thanks lmao.
This advice is addressing common issues seen in beginner's portfolios, not a guide for your entire career. The 20 years experience is hyperbole. There are always going to be outliers to what's a common problem, though.
you're in the right here. "let the guys with 20 years experience do it' is such a bullshit statement I'd be embarrassed to defend it like this channel does. half the things in this video were all reasons why the creators of Image comics left marvel back in the 90's.
@@johnisdeadeven McFarlane has said that though, he said in a video something along the lines of “remember marvel/DC are NOT trying to hire you! They’ll find any reason not to, stick to the rules and break them once you’re in, little by little”
Really great and practical advice for beginners. So many great artists at Marvel and DC these days, pumping out consistently great work. Would love to hear his thoughts on cover art and how it pulls in a reader today compared to years before.
Stan Lee said: "If you have an idea that you genuinely think is good, don't let some idiot talk you out of it" This is the kind of guy like the publisher who told Stan Lee that Spider-Man was a bad idea. They have a limited mind, they only see value in something similar to what they have seen, and simply because they see the numbers. And they only value new ideas after seeing sales figures. I recommend everyone watch the video of Stan Lee telling the story, but here's an excerpt: "" The reaction he (the publisher) gave me: "Stan, that is the worst idea I have ever heard, first of all, and he started to give me his very, a very logical man, very intellectual, first of all, people hate spiders so you can't call a hero spider-man, you want him to be a teenager, teenagers can only be sidekicks and you want him to have personal problems? Stan don't you know what a superhero is? They don't have personal problems". So we were about to kill a magazine, I think it was called amazing fantasy, it wasn't selling well and we were sending the last issue to press, when you do the last issue of the magazine nobody cares what you're putting it because the book is dying, just to get it out of my system I put spider-man in amazing fantasy, feature them on the cover, forgot about it, a month later all the sales figures came in, my publisher came racing into my office, "Stan, Stan, you remember that character we both loved so much spider-man?". If you have an idea that you genuinely think is good, don't let some idiot talk you out of it. That doesn't mean that every wild notion you come up with is going to be genius, but if there is something that you feel is good, something you want to do, something that means something to you, try to do it because I think you can only do your best work if you're doing what you want to do and if you're doing it the way you think it should be done "".
Just a reminder that these are tips for beginner artists putting their portfolios together. These are things that many artists can get over-ambitious on when a portfolio is to communicate strong fundamentals. It's not guidelines on what to do or not do in comics and is never stated to be that. Those breakout skilled talents aren't going to be assembling a portfolio. They have work they've done that gets them hired and are well past a portfolio stage. People should go and do everything they want to do, break the medium and explore! Chart new paths. But in those early stages, knowing where others have gone wrong is a good thing and helps you to be a better artist. We stand on the shoulders of giants, after all.
In the realm where creativity thrives, one truth demands acknowledgment: the universe of an emerging comic artist extends far beyond the realm of MARVEL. While certain aspects of this statement resonate, abiding solely by these guidelines can't help but feel futile. Countless superior platforms and publishing avenues exist, ones that embrace your unique talents and essence, beckoning for your artistic prowess. Simply put, it's worth contemplating.
Very useful insight but I don't know if I agree about the "storytelling not changing", especially since Marvel is a company where visual artists are usually paired with screenwriters, rather than doing both things on their own. Which brings me to next point, which is: I was surprised to see him not mention original stories as part of the important parts of a portfolio. I've not applied for Marvel nor do I ever plan to, but most artists in the business always recommend bringing not only sample pages or redraws of stories, but also your own. Also it might sound obvious, but it always feels appropriate to remind everyone to apply to marvel with art of characters from their IPs and to stick to one sector you'd like to work in. A portfolio of cover arts only, an inking portfolio, a coloring portfolio or a pencils or layouts portfolio.
I get what you mean. This is more of a list of common pitfalls in portfolios submitted, not so much a list of what to include. But you mention good things!
They have a "talent relations" department. Not sure how to get in contact with them but hopefully, having that department title can help you out in your search.
I agree the storytelling is king, but I also feel like the style Hass to connect with people. Because the best storytelling in the world isn’t gonna connect with me. If I don’t like the style or it doesn’t excite me. I think this is what made the 90s artists so big in their time.
@@trahapace150 I don’t disagree.. I believe I mentioned something to that affect in my opening post.. But let me clarify by adding that my prior comment assumes all the basics are covered.
@@nmr7203imo the issue with western comics is the disconnect between drawing and story In manga for example since the writer is also usually the artist the end result is that the art complements the story, the artists can use the art to enhance the narrative since he or she is the one with the entire concept on it's head and can mend the two seamlessly, the drawings themselves tell the story In cómics meanwhile a single comic page goes through soo many hands that the story gets diluted and disconnected from the action which is why huge walls of texts are common place in comic books but a little rarer in manga because those are the only way to explain the story if the visuals arent helping because the page goes through 5 or 6 people before it's finished so the writer is 5 or 6 people disconnected from the end product
While the example shown for 5 is mostly demonstrating breaking a panel border, there's a lot more that artists do when trying to reinvent the page layout for a special page. They'll have panels above bleed into the ones below, have wild diagonal panels that cut through the whole page and more. These things can be done BEAUTIFULLY and CB would never be saying people should do just the vintage 9 panel page like in Miracleman. It's just easy to go wrong and miscommunicate something important while trying to do something cool and losing sight of the whole thing and how a reader may misinterpret it.
My goal is to make a portfolio for somebody like Marvel/DC when improved. Gotta work on backgrounds and poses more. Cropping hands and feet in a comic style is a tendency sometimes! Shout-out Rob Liefield lol
The best way to get better at making comics is to make them! You don't have to make work that you publish on any of the online web comic platforms but drawing some pages will be the fastest way to see where your weaknesses are so you can improve. Good luck with it!
@@ProkoTV THANK YOU! I will get motivated to buff up my writing skills and art skills and try to put some pages out anywhere I can! Gotta take the leap and go from thinking to doing
So, how long do people working on comics have to write the story and whatnot after taking the job? I’m a slow worker and I don’t know if I could function under tight deadlines.
This really depends on the writer's experience, the book they're being brought onto and what step on the process they're brought in on. There's unfortunately not a blanket answer for that. Some writers who are well-known can be working on a story for a long time because of their reputation. Other writers may be working on something that needs a fast turnaround because of a tie-in with another book or because they're jumping in where another writer left or couldn't fulfill their commitment. As with all forms of contract-based work, it's goof to try to find a system for you to be able to lay down a structure quickly and then hone in the details afterwards, rather than discovering the structure along the way. This works for drawing as well as writing and finding that system helps you to create work you're happy with while doing it quickly enough for the companies you're submitting the work to.
The most important portfolio comment, which can be applied universally to any artistic industry? It doesn't matter how good you are, unless you know someone that currently works at [insert company here] you're not getting a job.
Solid advice for beginners. As someone who has made comics and taught figure drawing for a living I would say take figure drawing classes until you really understand how to draw the male and female figure very well and all the anatomy. Faces, hands, feet' gestures, etc from a realistic figure. That seems obvious but there are so many comics today with bad drawing and anatomy - especially people copying manga styles and not understanding the real figure. Look at the old great comic artists likey Byrne, Windsor Smith, Romita, Janson, Zeck, Adams etc to see evidence of artists that spent the time to really learn to draw and compose. After that I would say dont be a slave to all the studying and practice you did - be yourself and draw the way you would like - that is be comfortable being yourself and dont try to copy anyone else style. The fun of comics is the diversity of styles and interpretations there are. Just my two cents.
Im making a portfolio for an upcoming review opportunity and ive been very excited to play with panels and breaking out if them. Now im worried ive made the wrong call.
That advice is a cautionary piece of wisdom, not the end all way to do things. If you're motivating the panel breaks in the way he mentioned, you're probably doing just fine!
I agree. If he knew comics, they would be flying off the shelves. It's hilarious that Marvel is now trying to open "submissions" and help up and coming artist. It is absolutely insane.
1. Compared to what? 2. Marvel has actively scouted and outsourced from other countries at lower page rates including South America, Southeast Asia and so on. @@xombiekat13
@@mindandbody7971Yeah, if you manage to pass their purity test and actually get hired, you're forever locked in one lane. Black people work on black characters, gay people work on gay characters, etc. And don't even think about trying anything new. You're working on Secret Wars 15 for so little money you'll be begging for your rent on Go Fund Me.
Yeah maybe they're still trying so hard to make you draw in a certain way because that's how they sell! Suggestions don't work for them!!!!! I would only draw in a certain way to get the money like if I can't draw spiderman the way I want too then the writer can give me the story I do the gimmick and then I get my paycheck! Done and simple! While If I wanna draw my own way then I'll just go independent!!!!!!!! If you want more freedom not just in artstyle but also creating your own story maybe work for Image comics or create your own platform!!!!!!!!!!
Idk why but his first 2 points sounded like “don’t give me no manga shit, we doin comic books” lol maybe it’s just because I grew up reading way more manga than comics even in America
thank goodness I'm an architect, and is easy for me to draw interesting buildings. The rest of the tips are very important: use the rules well before breaking them is always better. I like 90s comics too )))))
Absolutely! These are tips for beginners who are still building their portfolio. These things are done poorly by new artists whose work they've reviewed, not things to NEVER do. Black gutters can be used for flashbacks or for other purposes. But for most western comics, that has a certain meaning and should be used for those purposes, unless it's a very intentional plan. Every "rule" should be broken! But if you're putting together a portfolio early in your career, consider whether you're in the group of artists who are doing these things poorly.
I always wanted to break into comics. I was never good enough to get in Marvel or DC. I got into the animation industry instead as a storyboard artist. It's still a fun job tho.
@@OrFennSchuller That's the story of so many artists! You're training to be in one field but an opportunity to be in another comes up and the skills you're honing translate over. Glad you found a place that welcomed you!
As a former college artist who moved on with different career, I love hearing all of this wonderfully insight from Cebulski! Enjoying the high quality, keep it up!
This is general advice for newer artists who are still working to build a portfolio. Early on, artists of all mediums and styles benefit from learning the "why" and "how" of common guidelines. Most people aren't ready to break those "rules" until they have more experience under their belt. They need to learn what the panel break means to a reader and how best to implement it. There are going to be some talented new artists who can, of course! But this is general advice.
He did very briefly touch on the correct way to break a panel border (as a device to lead the eye to the next panel or towards the bottom of the page).
@@ProkoTV I'm a graphic designer. The first thing I was taught were the rules and the second thing I was taught after that was to break them. Even in my first year I was taught about David Carson. Best form of advice from a guy in the industry is to learn the rules and learn how to break them not to stick to the rules until you are a professional. That makes no sense to me. But what do I know. I don't work at Marvel.
Wasn't this the same guy who got busted for writing under a Japanese pseudonym and pretending to be Japanese? Other than that, his advice is...not good. At least the first two pieces concerning not breaking border panels and not using black gutters aren't good. They come across more as personal preferences rather than an understanding of how to compose a page and how each element traditionally works and why one would chose to do it a certain way. That's bad enough when it comes to helping comic artists figure out how to compose a page and tell the stories they want to tell as clearly as possible. But when he tries to fall on "experienced artists (who so happen to work with Marvel) can do it because they're experienced", as though they were veterans from the very beginning and didn't have to learn and make mistakes to do what they do, it's just insulting and makes his "advice" useless unless you're only in it to impress him. The rest is just generic enough to be inoffensive. And what is the point other than "these are the things you need to do to impress C.B Cebulski?" And considering who he is and the state of the American Comic Book Industry and Marvel, is it really a good idea to listen to his advice?
@@DonVigaDeFierro He created an entire life-story and did interviews in that character and gladly accepted the acclaim of being a minority in a predominately White space while fetishizing a limited idea of Japanese culture for his benefit. This was not some harmless pen name. This was Digital Yellowface and he is a scumbag for doing it.
@@coreybass3231 considering the company was brought to mainstream by stan lee having other people create and draw the characters and just adding his name on it why would they? you can become the owner of marvel just by being the directors nephew and robbing from every artist in the company, then when your company goes bankrupt you can sit around crying whilst all the artists create the characters and books to make money and save the company. the narcissistic psychopath literally sued sony because they didn't let him cameo in first spiderman hence why he has a cameo in all the films
Great advice from Marvel Comics's EiC. A smart thing to listen to him if you are an aspiring comic artist trying to break in and get work from Marvel or DC. But as an independent comic artist myself - no I have no desire to work for Marvel or any other comics publishing company, unless they raise the measly rate page that hasn't increased nor stated with inflation in decades! - and currently working on my AGL PRESENTS issues 1-5, with issue #1 dropping on Kickstarter in April, I use my artistic skills to design and layout each page. Many of my pages are DPS and I have characters breaking panel borders. Comics are about storytelling and as long as I keep that in mind, I can break panel borders as often as I'd like:-) But again: If you are wanting to break into comics and work for Marvel or any other comics publisher, follow their Submissions guidelines. I am old school and have the mindset of the Image Comics founders from back in the early 90s. Best of luck. AGL
I just wonder if you want to work for Marvel, do you have to draw their characters or can make your own (personal work)? I mean if it still is a good portfolio can it make you hired?
If you mean can you have original characters in your portfolio, absolutely! Having your own original designs and stories in there is a great practice. You should be making comics for yourself or other smaller publishers before trying to take a swing at the big companies. That's how you hone your skills.
Seems like in a video like this the examples used would follow the "rules" he laid out. Especially the last examples, but no. The last examples were a convoluted unreadable mess with panel breaking, panel blending, invisible panels and splash all over the place with zero idea where the characters are suppose to be going. Everything you aren't suppose to have in your portfolio, those panels had. Were you showing what not to do in a portfolio? If so that should have been stated.
None of the things said on here are hard "rules". Just suggestions about issues that are seen in a lot of beginner's portfolios. Take the tips if you want or not. All up to you!
1st tip - guy doesnt know what hes talking about, and shouldn't be editing at Marvel. Maybe theres a connection to guys like this being in lead positions, and the failure at Marvel comics division?
He talks about how to break them with intentionality. A common issue is people doing them poorly or without consideration when they're in a stage where they're still assembling a portfolio, rather than their pre-existing work speaking for their skill.
Good Video. I don't have a Portfolio and I don't do Sequential Art well. More of a Cover Artist. Did remind me to buy some 11x17 Comic Book Paper. I was compared to Bernie Wrightson when i did show cover art at a Convention 'Back in The Day'. Lol I was like Yeah Right,I wish! lol
People should absolutely develop their own characters and worlds! But even the most stylized artists like Tradd Moore, Ian Bertram and more work with bigger companies. Those big paying jobs help fund artists getting to take the time to work on their passion projects that we all love! That's true of art throughout human history. We all want to see the great unique work people have in them but bills have to get paid in the meantime.
Love Tradd Moore, but I dislike the hiring practices of companies like Marvel and DC that gatekeep and make cliques over hiring great talent across the board and developing great stories that draw in readers/audiences. Marvel and DC are archaic and are in a doom loop that is barely sustaining themselves. kudos to you all for collaborating but this isn't what I'd considered breaking ground to help with submissions with pencilers, inkers, colorists or writers. Maybe he should show some examples? Do a review on camera of each? How about discussing page rates and the contract process. I mean if they're truly interested in being transparent in their hiring process I still love your guys' content and channel, that won't change, but I hope you're getting a finders fee for the EIC of Marvel & DC.@@ProkoTV
These lessons are all intended to be evergreen advice for comics-making. We're aiming to make something that isn't only useful for now. If we made a video about contracts two years ago, there'd be missing discussion for sections that artists need now for making sure companies don't use your art for training generative AI datasets and more. Same goes for page rates. Inflation would make all numbers mentioned meaningless in just a year. You're bringing up things that people talk about collectively in different places online to provide industry transparency. Those are great and should ABSOLUTELY be discussed! But in a video series about making art that doesn't get updated with new information added to it every year, it's not really possible to include without doing a disservice to the artists who would try to learn from it later. That's part of why we wanted to make this course. The older comics-making educational materials were all out of date! We want a resource that can be used for a long time by people who work in any software or traditionally. Also, Marvel doesn't see any of the assignment submissions for this course, just the instructors, other students and the Proko team. They're legally restricted by their own team from seeing the student submitted work. So, no "finder's fee". Just teaching how to make comics!
Self-publishing is a great route to start! We have Eisner winning artist Daniel Warren Johnson in the course. He published a comic online as a way to learn and develop as an artist and it seems to have paid off! You don't need to use any of the vertical webcomic platforms. You can post to your own site like Kill Six Billion Demons does. That led directly to them getting asked to publish their work with Image. Good luck!
remember guys this is just a suggestion not the rule unless your trying to go to Marvel imitation and inspiration is inseparable and questionable at times since even the techniques of drawing itself is an imitation of the original inventors so everything is basically a copy of a copy. I doubt there is really an original style anymore but unique one nonetheless. I would still advise any artist out there to challenge status quo, not fall for formulaic methods that create carbon copy stories and try break the mould a little. It can be great to do things traditionally and by the current method but then all stories and visual art would be the same and not evolve. so please, just have fun and think out the box a little
These aren't tips on what to do for Marvel or even tips about how to make comics. These are tips about making a portfolio only. Portfolio work and making actual comics is different. When you're at a stage in your career where you're assembling a portfolio, as opposed to having comics you've made speak to your skills, you should be showing your core competencies that collaborators can work with. Everyone can and SHOULD break every "rule" in art. But a portfolio isn't the best place to do it as a beginner.
hmm i thought this was gonna be some great inside on how to make your portfolio by someone with a lot of knowledge about it, but this is just a how to make comics again :/
At the end of the day, making a comics portfolio is about showing you can make comics! These are common mistakes seen especially often in the portfolios editors review.
Good tipds, but a lot of the examples near the end completely contradict what he says at the beginning, i.e. not breaking panels, sticking to grid, leaving space between panels, etc.
Yep! These are tips to address common issues that editors see new artists having a hard time with, not a guide for established artists who know where and when to change things up. A person who's already been working for a long time like Aaron, whose work is shown, will have the experience and knowhow to break those rules. Comics are a storytelling medium that should have you breaking the rules to emphasize and add impact! CB gives the advice to not break the panel but also gives advice on WHY and WHEN to break the panel because it's definitely okay to do on purpose sometimes!
@@ProkoTV Also, s diferent in diferent contexts. European, or japanese, or more indi comics had diferent criteria on this points. He sounds very dogmatic as this is the only way possible, when is just one of multiple paths of doing comics.
Confused why some people clicked on this video. They're much more interested in their own attempt at wit on youtube comments instead of actually learning. Free advice is taken for granted these days. I guess we know the people that won't make it, i guess. Certifed ai program users in the making.
If you're interested in learning how to create good comics, current-day Marvel in general and CB Cebulski in particular are the _last_ ones you should be looking to for advice, free or otherwise. 🤣 Do you actually have any idea what state Marvel comics are in, these days? They sell so poorly, it's only the fact they're subsidised by Disney that keeps them afloat. Disney doesn't even let Marvel publish their Star Wars and other IP comics. For someone promising and promoting creative success, I'm mystified why Stan sought out this collab. Maybe he thought all the kids love them there Marvel movies (a seperate division), so let's get them to pay for lessons on how to draw Robert Downey Jr.! "Certified AI program users in the making." Pure cope. The people making fun of Cebulski are ahead of the game. They _know._
not all advice is good advice, this guy had to pretend to be japanese to get a job but is telling us not to use techniques that japanese artists and the likes of todd mcfarlane used to make their comics slap, he is trying to gatekeep like he's an expert when his company has no idea what is relevant or what their audience wants there is a reason everyone prefers manga and anime over comics and superheroes now
Artists working for Marvel or any other publisher for that matter, don't have hourly commitments they have to do each day. Jobs are measured in pages. Some artists, like Ryan Benjamin who teaches in this course, are absurdly fast. A lot of that comes down to experience or rendering style. But taking on a job at a certain page rate is different per artist, their contract or their managers. There's no one-size-fits-all pay rate.
I've always been told I'm really good at art and I should go work at comics or game concept design. And I keep telling them I'm not good enough yet cause I can't draw everything I should know how to draw. But they just think I sell myself too short. Maybe this video of a pro who is in charge of hiring will finally make them stop bugging me about it.
No way! You only get to use this video to identify some things you might want to work on, not as a way to convince people to stop thinking you're skilled and destined for big things. Identify what you need to work on and aim for the big goals you want and others see you being able to achieve. See the good in your art they do and remember that's part of what people see when they're shown your work. No excuses for not trying! Go out and succeed!
@@ProkoTVI'm far from not trying. I never stop drawing but the problem is that with my 8-5 job and daily chores after work I barely have time to draw so I usually focus on one thing at a time which means progress is extremely slow. And also when I'm too tired I can't even focus enough to learn something new so I just default to what I draw best just so I draw something. Can't really quit my job or work less to go full time art cause I got a mortgage and 2 loans to pay. Oh yeah and also I do it all myself cause I'm not married so no second income for support :/
I do know that you guys have some extremely talented artists onboard, ie. Esad Ribic, but all those things you mentioned combined together make almost a perfect artist by standards of early 2000s not to mention 90', anyone who saw Rob Liefeld feet knows....even some recent art work by some artists I could do better seriously and I'm not even an artist. How did they made the cut? Greetings from Poland
I've been drawing since 1977 at age 9... I sent 12 package portfolios of sketching inking and coloring to Marvel since 1988-1996 I never got a called. I drew just as good as top artist at Marvel
Start learning from Marvel’s incredible comic artists now at proko.com/marvel
Can he stop zeb wells?... like or something 🤔 😕 🙄
Very detailed explanation from Akira Yoshida
Konnichiwa my dude.
Not C B cebulski telling me to go outside
Generally sound advice that Marvel themselves often fails to put into practice.
I had a good laugh at the part where he said "don’t just trace it" as if they didn’t still have infamous tracer Greg Land on their payroll.
For real dude, another thing that pissed me off with this guy is how he's like Don't break these rules while he's displaying the work of other artists that broke the rules. This is why you don't take art advice from a writer, Although some of his advice was pretty good despite the fact it's basic comic knowledge. It's like if I went to Someone who builds figures as a hobby and was like, " Hey don't forget you need to make those things out of plastic!"
@@MightGuy15 It may be basic information to you but not everyone is at that level. Some people are just starting or want to learn.
I took it as, if you're a beginner stick to the basics. The people who are breaking the rules have been doing comics for years upon years, so they have the know how and the skill to pull it off. Where as beginners may just think it looks cool but not understand how to use it effectively (and it will show). He's not a writer, he's the editor in chief. As in the one who will oversee people's work and check for inconsistencies in the art and such. He is literally doing portfolio reviews so he knows exactly what to look for and how to pick up on the nuances of the art and overall work. Also he wasn't necessarily the one who chose those examples, he's just speaking on the topic.
@@MegaKenny9 He is a writer, he started out as an editor but wanted to write stories which is why he lied about being a Japanese man XD. And I agree it's good beginner advice despite the fact they don't abide by those rules themselves. "Don't mimic other artists too much!" He says as they continue to work with Greg Land who is infamous for artwork that looks like shit because he thought it would be a neat idea to start tracing sports illustrated covers and porn.
The issue is this advice is already advice people serious about advancing their craft should have known by this point. Look at the comments section. NOBODY learned anything, everyone is either saying this is good advice or are shitting on Marvel. Nobody is saying they learned anything new, because this information has been readily available for the past 5 decades through books, video tutorials, and schooling. Even worse, from a publisher no one even respects to the same extent as in the past anymore.
I won't go as far as saying this guy was probably lying about some of the submissions he's got, he's clearly learned lying is bad from when he pretended to be Japanese. I'm just saying it would have been more interesting if he would have shown some portfolios breaking his rules that got rejected rather than showing artists that already broke all of the rules he mentioned. Or maybe talk about what made the submissions they choose stand out from the pack. Go into the business end of things, talk about what art styles do they feel would be the most practical. But no, same advice people have been getting for years at this point. Tells people nothing new.
@@MightGuy15 I wont speak on him directly since i dont know much about him but i will agree the advice is very cookie cutter in that sense. Marvel especially in the past has hired some questionable people in terms of talent. Greg Land is one example but there is also Vince Colleta who was pretty bad at inking but he was hired because he was fast. Which shows that they will prefer speed over quality some of the times. I can understand it but I'm not a fan of it being like that.
It would've been nice to kind of see some portfolios that have been accepted and or rejected (or pieces from portfolios) in the past couple years. But I think it could come off a bit mean spirited to beat down a beginner's artist work to prove the point you know. So they have to be mindful. What they could've done is have someone with the know how show their own examples of pages that do it "right" vs "wrong". But i guess they have to keep the more in depth parts of it for the course lol.
@@MegaKenny9 That's a fair point too! I agree they shouldn't beat down on beginners although I imagine in such a situation they would ask for permission to discuss the drawing first because in my lil comic making circle I'm a part of I've noticed many artist crave improvement and criticism, but I agree doing it indiscriminately could hurt talent more than it helps. I also really like that idea of asking a pro artists the right or wrong way to do things, which begs to question why they went to this guy in the first place since he's not an artist. I just really wish he would have went in depth with what they are really looking for, because it's like you said, Vince was hired because he is fast. It would be interesting if he went into detail with how much quality are they willing to comprimise on for the sake of speed, or what they expect out of you once you actually make it in as an artist.
These tips he gave is probably not going to help many people because I can still imagine someone listening to all these tips and getting rejected for being too slow or changing too much about a characters design or maybe they have an artstyle that will make things difficult for them to print or keep up with deadlines. See what I mean? This is stuff I wish he talked about, but instead he's here like..."Tee hee, don't forget to not make the gutter black!"
remember kids, if it says you pretended to be Japanese to get some work, you might just become editor in chief!
Lmfao I thought you're talking about someone else until I looked up this dude's name and what do I see? An article of him pretending to be Japanese. Wild shit. How comes nobody is talking about this?
Akira Yoshida
@miguelorozco4445 why did he fake his name.
Has anyone looked at a marvel book lately?? No way hes holding the current artists to these standards lmao
I feel like everything he said wasn’t bad it actually motivated tf outta me lol tbh
They have years of experience, worth looking at their advices
Because lowering their standards won’t get them more viewers?
Well i think it was much worse before covid because marvel was selling over 70 titles but now after covid where they sell much less comics monthly they mostly stick to better talent
@@eminor9196You have no idea what you're talking about
Great personal preferences- I mean, 'advice' Akira! My favorite part is when you said "I pretended to be a Japanese person to get hired at Marvel and now our entire comic division is being outsold by a single Japanese manga.". Just wonderful! I hear Image is hiring.
What are you talking about?
@@joseoh5856 Cebulski pretended to be a Japanese person by the name of Akira Yoshida to land a job at Marvel because, at the time, they wanted more Japanese style books. For the latter half of that sentence, Demon Slayer itself outsold the entire western comics industry in 2020. I'm not talking a small margin either, it was almost 10 to 1 when compared to comics.
anime fanboy
@@jonovangelion "My cartoons are better than your cartoons!!"
@@samtonnude941cry harder loser 😂😂😂😂
Advice from master comics artist, Akira Yoshida.
I’m old and have no interest in working for a comic company nor creating a portfolio.
That said, this is good advice for anyone wanting to create a comic.
This advice is similar to any artistic pursuit - less is more and focus on the fundamentals.
Thank you Proko for sharing content like this for free.
Less might be more, but hot dang you gotta grind those studies still.
Thanks for the advices Akira!
4:28 #7 is especially important. I spent years copying my idols (McFarlane, Capullo, Mignola) without understanding WHY so it never developed beyond that until I broke free.
Glad you pushed through! Having influences that show in your art is great! but adding your own voice to that work is even better.
Good morning. Do you have social media where I can check out your artwork?
how did you break free? and have you made anything?
This is a great idea for another series on this channel. I hope Proko interviews Animation / storyboard recruiters.
Heard! Maybe someday!
I'd say about 60% if this is disregarded by practically any mangaka and look what's outselling the American comics market, sometimes even just one series on its own.
Because comics are limited to superheroes, such a bland and beaten to death genre. Manga has so much different genres and interesting ideas, not only that but the art is so much more beautiful, marvel characters look weird and grotesque, whereas anime art is more calm, beautiful and simple, not to mention the black and white being so much more interesting
@@anonymousakaanonymous9001 comics is not limited to superheroes, though marvel certainly is, more or less, since that's what it became known for.
The point was more that the things this guy says clearly no longer lead to works that are competitive on the market. It's been more than a year since I saw the vid and I won't bother rewatchifn, but I remember him being super smug about all this too, so I feel quite vindicated that his brand is being outperformed by the east
This isn't about manga, this is about American comics and there are other companies besides marvel and DC which focus on things other than superheros. Don't navelgaze.
@@dennisduncan7561 and you didn't get the point I was making with that
i think people who say don't do things because you haven't been doing it for 20 years and your not allowed or you don't have a right too because you haven't done your time are really just shooting themselves in the foot because some of the greatest minds in science, art, and engineering have been breaking the "rules" or told you can't do that or it won't work and it does..... I'm not saying it always works but when it does its so special.
I think you misunderstood the message. When it comes to principle rules in sequential art, they were set long ago, and they work well. Publishers may for a moment excuse draughtsmen that are not experienced enough, or smart enough, or skilful enough in drawing everything in order to design scenes in a different way. But ALL problems in sequential art, including those with borders, are ALWAYS caused by inadequate drawing skills. If you falsely think you "break the rules" but in fact repeat the same mistakes for 20 years, you are not progressing anywhere.
Very niche advice is given here in this vid. Just saying it doesn’t apply to everything.
@@zvonimirtosic6171 todd mcfarlane was breaking borders from the beginning of his career with like 4 years of experience, I think I'd rather follow his example of making stuff look good than listen to some fat bozo who had to pretend to be japanese
They wanna see you be able to tell a dirty cohesively, not about how creative you are but are you an actual story teller and can a reader follow your stuff easily
This is extremely help for someone like me trying to break into higher publisher company! Thank you Proko for sharing! 🙏❤️
yes. literally any portfolio these days is good enough to get you hired at marvel, since clearly artistic ability isnt their main concern
Well, that's encouraging for amateur artists!
20 bucks says you haven't been in a comic store in ten years
@@toons8744 That's ok, no one goes to comic stores for comics anymore anyways
Marvel art is much worse than it was 10 years ago.
@@harrymason4300 its not. Thats a relative statement but... no it isn't. 10 years ago was 2013 and most of the folks working there now were just getting started. The folks must complain about were there already.
Drawing comics is the hardest part of drawing it forces you to learn different parts of drawings
I'm glad I wasn't the only thinking "good enough to get into a publisher in the midst of it's death throes?"
Well, you and everyone else thinking that missed the point, so maybe not something to be proud of
Akira Yoshida!!!! ❤️❤️❤️
This is honestly helpful thank you, I’m currently rn working on a superhero type comic and honestly trying my very best on it.
and it’s my first ever actual complete story comic and trying to learn everything ofc the story and how it goes and flows with it and it’s amazing
If u have a dream, don’t give up on it, it’s not impossible because if others can do it and achieve it, so can you too as well! ^^
I love the artwork of Olivier Coipel. This artist is so talented. Mark Morales inking complements Olivier’s artwork so well. Olivier just does covers these days, which are great, but i would like to see Olivier and Mark return to creating comics again one day.
Mark Morales is my favorite inker - I loved him on Children's Crusade with Jim Cheung
This feels like a manager at a staff meeting telling us how we're all doing it wrong
Great and very detailed explanations! I wish he took it a step further and showed a portfolio that hit all the main talking points he spoke on.
I’m sorry to sound rude, but I’ve noticed that many Marvel artists fail to draw characters consistently. Not only do they fail to stay on model for certain characters, they often fail to make the character recognizable, removing iconic design traits that have been long associated with said character.
Another problem I’ve seen in marvel comics is the constant style change that occurs all throughout a single issue, suggesting that artists are being replaced by people who aren’t skilled enough to replicate the starting artist’s style to ensure the issue looks uniform.
Toad is a character that illustrates my complaints well. No one seems capable of staying on model for him, and many artists have removed the iconic design traits that made him recognizable in several titles. You can play around with a character’s design if you wish to change it up, however, you need to keep the traits that character always had or else it’s not that character anymore. Professional artists should know this.
As for the drawing consistency problem within a single issue, and sometimes within an entire short issue run, the Wolverine and the X-Men comic is a very good example of this; ironically it’s Toad once again who showcases it. The artists were changed out a few times, and none of them replicated a predecessor’s work to create uniformity. This is something else a professional artist should be able to do, recreate another drawing style.
It seems that the artists Marvel hired aren’t even good enough to work there.
Not only is Marvel not holding any of their own in-house artists to any of these standards, but Manga pretty much ignores all of this advice and outsells comics like 30 to 1.
Also…isn’t this the guy that pretended to be Japanese? Lmao he’s marvels EiC now? Embarrassing.
I love this advice but what I recommend the most is to simply make comics yourself and read and re-read comics until it goes from fun to study.
because a lot of things are difficult to learn until you do it yourself, do critiques or find someone to critique it for you and improve
Absolutely! One of the best ways to learn to make comics is to make comics.
You learn the "why" of the things you've seen on the page as a reader.
That's a big intention of this course. It's not just some videos you watch and try to learn from. There are real assignments that are like the jobs you'd get while working. Artists should develop their own work and post it online regularly, but the assignments are a great taste of the professional experience.
Bang up job, CB. Really pushing the comic book industry forward with your amazing insight and standards. Nobody needs to say anything, let's allow the sales numbers speak for everyone. Your pay should be directly linked to the performance of the books you edit. You'd be in a cardboard box in a day.
This is just a general guideline for common issues seen in beginner portfolios, not rules that any creator has to live by.
It's odd to bring so much frustration to some pretty standard tips presented without any malice.
As for sales, the rest of this course features instruction from comic creators with currently huge sales like Daniel Warren Johnson, Sanford Greene, Jim Zub and more. Think what you will about CB and Marvel but those instructors and the others in the course have a good chunk of Eisner wins and nominations between them and some pretty freaking great books.
@@ProkoTV I dig your stuff, but I've been in a room directly impacted by CB's 'wisdom', and were anyone in the industry to listen during that conversation, my comments would not seem out of place. There are genuinely talented editors pushing artists, writers, and creators, and the medium as a whole, to the next level. The same advice given by another editor would carry weight
@@RichardBirdsall Absolutely understand that one! Sorry you had that experience with him. Any higher up doing their job poorly should have critiques of their performance heard. He's just not going to know about a comment on this year-old video about a course he had no hand in past this interview segment. There are plenty of things to critique him and the company about, to be clear!
We just want to make sure no one stretches out the critique of them into thinking that the common artist mistakes are part of that and worth ignoring.
@@ProkoTV now that, is wisdom. The channel puts out some brilliant content and knowledge every artist should know, please keep crushing it. The industry needs all the passionate and talented people contributing to the art form possible if it's ever going to be the juggernaut of dynamic storytelling and inspiration it once was.
First off, love the channel and there are some good tips here. That being said, I would much rather see a generation of young artists and writers creating and self publishing their own original books instead of trying to work at a place like Marvel. I know I sound negative, but in general, sales in the American comic industry are not what they used to be to put it mildly. I hate to discourage comic artists who dream of working at Marvel or DC, but there are artists and writers who currently work at these companies who are literally begging for money on the internet. Do what you want but people need to be aware and cautious when entering this industry. Just my humble opinion
We love indie creators too! The concepts in this course will apply to superheroes, journal comics or anything else a person wants to make. Doesn't have to be any particular publisher or genre.
oh my god its akira yoshida
Isn't the same guy that pretended to be Japanese just to get work?
YUP!
Yyyyyup
Yup Akira Yoshida@@marczwaneveld2663
Honestly, what is the problem with that?
I use a Japanese @ to put my arts in Japanese sites. Yeah, some of them don't like a "western name" drawing mangas. What is the problem in an artistic name?
@sr_ryoadm are you pretending to be Japanese? I'm assuming not. But that's exactly what he did to get work. It is not an artistic name. Look up the controversy around him
1:20 "Please, leave your panel gutters white" followed by a cutscreen with black panel gutters.
Yep! As C.B. said, it makes it's all blend together and can ruin a page as a reading experience. We don't want you to try to read that background, just process that it's comics lookin' texture and then look at the important stuff in the image.
Comics, graphic design, and all forms of art are all about doing things with intention. That's a great example of where you apply the concepts you learn!
@@ProkoTV no you feature a lot of artists who black out gutters for a better reading experience. having such a one track thought about what one move can do to a whole page is close minded. black gutters offer a lot of different advtanges or feelings and emotions to a page
@ You mentioned specifically the image that's shown after that quote. That's designed the way it is for a purpose, like when people intentionally use blacked out page gutters.
Blacked out gutters do not equal a better reading experience across the board. Some books apply them for effect throughout a book, while others use them denote flashbacks and more. They're not "bad", they just should be used with intention.
This video, as mentioned within it, is not how to make comics. It's a list of common areas where people first building a portfolio make mistakes and from an editor who's seen countless submissions.
Break every "rule" in art and do it with intention! But when you're first learning a thing, keep and eye to where those before you have made unwitting mistakes and learn what people perceive from those mistakes so that you can apply it on purpose to communicate your vision.
I was the submissions editor at Marvel in 90-91. What a horrible job that was! I had to break a lot of kids' hearts. No one ever gets hired that way.
Sounds like a dream Job
How do they get hired?
1. Hilarious he'd say not to trace when they have known tracers still employed.
2. Why is he so against drawing outside of the grid? "Let the people with 20 years experience do it"
Ok but if it looks good who cares? this makes me dread ever imagining working at Marvel if this is their attitude, no thanks lmao.
This advice is addressing common issues seen in beginner's portfolios, not a guide for your entire career. The 20 years experience is hyperbole.
There are always going to be outliers to what's a common problem, though.
Work for Image then!
you're in the right here. "let the guys with 20 years experience do it' is such a bullshit statement I'd be embarrassed to defend it like this channel does. half the things in this video were all reasons why the creators of Image comics left marvel back in the 90's.
@@johnisdeadeven McFarlane has said that though, he said in a video something along the lines of “remember marvel/DC are NOT trying to hire you! They’ll find any reason not to, stick to the rules and break them once you’re in, little by little”
I read the thumbnail thinking that it was going to be a satirical video about what modern day marvel has become XD
Really great and practical advice for beginners. So many great artists at Marvel and DC these days, pumping out consistently great work. Would love to hear his thoughts on cover art and how it pulls in a reader today compared to years before.
Stan Lee said: "If you have an idea that you genuinely think is good, don't let some idiot talk you out of it"
This is the kind of guy like the publisher who told Stan Lee that Spider-Man was a bad idea. They have a limited mind, they only see value in something similar to what they have seen, and simply because they see the numbers. And they only value new ideas after seeing sales figures.
I recommend everyone watch the video of Stan Lee telling the story, but here's an excerpt:
"" The reaction he (the publisher) gave me: "Stan, that is the worst idea I have ever heard, first of all, and he started to give me his very, a very logical man, very intellectual, first of all, people hate spiders so you can't call a hero spider-man, you want him to be a teenager, teenagers can only be sidekicks and you want him to have personal problems? Stan don't you know what a superhero is? They don't have personal problems".
So we were about to kill a magazine, I think it was called amazing fantasy, it wasn't selling well and we were sending the last issue to press, when you do the last issue of the magazine nobody cares what you're putting it because the book is dying, just to get it out of my system I put spider-man in amazing fantasy, feature them on the cover, forgot about it, a month later all the sales figures came in, my publisher came racing into my office, "Stan, Stan, you remember that character we both loved so much spider-man?".
If you have an idea that you genuinely think is good, don't let some idiot talk you out of it. That doesn't mean that every wild notion you come up with is going to be genius, but if there is something that you feel is good, something you want to do, something that means something to you, try to do it because I think you can only do your best work if you're doing what you want to do and if you're doing it the way you think it should be done "".
Just a reminder that these are tips for beginner artists putting their portfolios together. These are things that many artists can get over-ambitious on when a portfolio is to communicate strong fundamentals.
It's not guidelines on what to do or not do in comics and is never stated to be that. Those breakout skilled talents aren't going to be assembling a portfolio. They have work they've done that gets them hired and are well past a portfolio stage.
People should go and do everything they want to do, break the medium and explore! Chart new paths. But in those early stages, knowing where others have gone wrong is a good thing and helps you to be a better artist. We stand on the shoulders of giants, after all.
Idc if he's from marvel, or dc or any other comic book company, he's giving really good advise for making comic books. I really enjoyed the lessons
well... he is from Marvel 😂
He literally said he's the editor in Chief of Marvel Comics in the very beginning. Focus Lemmy
I think they might have meant to type "idc". Y'all are savages about a typos in the comments lol
@@ProkoTV i know but i couldnt resist 😂 sorry. love you guys!
@@ProkoTVit was a typo.
In the realm where creativity thrives, one truth demands acknowledgment: the universe of an emerging comic artist extends far beyond the realm of MARVEL. While certain aspects of this statement resonate, abiding solely by these guidelines can't help but feel futile. Countless superior platforms and publishing avenues exist, ones that embrace your unique talents and essence, beckoning for your artistic prowess. Simply put, it's worth contemplating.
Am I the only one that saw the thumbnail and was like “oh god Tobey McGuire what happened??”
Yeah, I wouldn't wanna apply there. But good information nonetheless for those of us who want to be apart of the Iron Age 🤘 Hail to the creatives!
I'm surprised he didn't mention changing your name to something Japanese to get work 😮
Very useful insight but I don't know if I agree about the "storytelling not changing", especially since Marvel is a company where visual artists are usually paired with screenwriters, rather than doing both things on their own.
Which brings me to next point, which is: I was surprised to see him not mention original stories as part of the important parts of a portfolio.
I've not applied for Marvel nor do I ever plan to, but most artists in the business always recommend bringing not only sample pages or redraws of stories, but also your own.
Also it might sound obvious, but it always feels appropriate to remind everyone to apply to marvel with art of characters from their IPs and to stick to one sector you'd like to work in. A portfolio of cover arts only, an inking portfolio, a coloring portfolio or a pencils or layouts portfolio.
I get what you mean. This is more of a list of common pitfalls in portfolios submitted, not so much a list of what to include. But you mention good things!
Ahora, a donde tenemos que enviar nuestros portfolios? No hay E-mail, ni pagina web o red social para contactarse con el editor?!
They have a "talent relations" department. Not sure how to get in contact with them but hopefully, having that department title can help you out in your search.
these are generally just good tips for anyone looking to tell a story in this medium, marvel or not. Thanks for the tips and knowledge CB!
Super useful information, it’s a great collab for PROKO the business… it’s a shame marvel is in the gutter, atleast from a PR position.
Maybe if I pretended to be Asian I would have a chance. I should show my portfolio to Akira Yoshida and get his opinion.
Im guessing since you were politically motivated you dont have any art to actually show at all?
@@toons8744Not to bigoted defenders of this culture vulture.
@@toons8744 has nothing to do with the point
I agree the storytelling is king, but I also feel like the style Hass to connect with people. Because the best storytelling in the world isn’t gonna connect with me. If I don’t like the style or it doesn’t excite me. I think this is what made the 90s artists so big in their time.
skill comes before style
@@trahapace150 I don’t disagree.. I believe I mentioned something to that affect in my opening post.. But let me clarify by adding that my prior comment assumes all the basics are covered.
This mentality explains so much about how terrible Western comics are.
@@nmr7203imo the issue with western comics is the disconnect between drawing and story
In manga for example since the writer is also usually the artist the end result is that the art complements the story, the artists can use the art to enhance the narrative since he or she is the one with the entire concept on it's head and can mend the two seamlessly, the drawings themselves tell the story
In cómics meanwhile a single comic page goes through soo many hands that the story gets diluted and disconnected from the action which is why huge walls of texts are common place in comic books but a little rarer in manga because those are the only way to explain the story if the visuals arent helping because the page goes through 5 or 6 people before it's finished so the writer is 5 or 6 people disconnected from the end product
Great video. But what's the difference between the first rule (don't break panel borders) and the fifth rule (stick to the grid)?
While the example shown for 5 is mostly demonstrating breaking a panel border, there's a lot more that artists do when trying to reinvent the page layout for a special page. They'll have panels above bleed into the ones below, have wild diagonal panels that cut through the whole page and more.
These things can be done BEAUTIFULLY and CB would never be saying people should do just the vintage 9 panel page like in Miracleman. It's just easy to go wrong and miscommunicate something important while trying to do something cool and losing sight of the whole thing and how a reader may misinterpret it.
My goal is to make a portfolio for somebody like Marvel/DC when improved. Gotta work on backgrounds and poses more. Cropping hands and feet in a comic style is a tendency sometimes! Shout-out Rob Liefield lol
The best way to get better at making comics is to make them! You don't have to make work that you publish on any of the online web comic platforms but drawing some pages will be the fastest way to see where your weaknesses are so you can improve.
Good luck with it!
@@ProkoTV THANK YOU! I will get motivated to buff up my writing skills and art skills and try to put some pages out anywhere I can! Gotta take the leap and go from thinking to doing
I wonder how much artists get paid.
So, how long do people working on comics have to write the story and whatnot after taking the job? I’m a slow worker and I don’t know if I could function under tight deadlines.
This really depends on the writer's experience, the book they're being brought onto and what step on the process they're brought in on. There's unfortunately not a blanket answer for that.
Some writers who are well-known can be working on a story for a long time because of their reputation. Other writers may be working on something that needs a fast turnaround because of a tie-in with another book or because they're jumping in where another writer left or couldn't fulfill their commitment.
As with all forms of contract-based work, it's goof to try to find a system for you to be able to lay down a structure quickly and then hone in the details afterwards, rather than discovering the structure along the way. This works for drawing as well as writing and finding that system helps you to create work you're happy with while doing it quickly enough for the companies you're submitting the work to.
The most important portfolio comment, which can be applied universally to any artistic industry? It doesn't matter how good you are, unless you know someone that currently works at [insert company here] you're not getting a job.
Solid advice for beginners. As someone who has made comics and taught figure drawing for a living I would say take figure drawing classes until you really understand how to draw the male and female figure very well and all the anatomy. Faces, hands, feet' gestures, etc from a realistic figure. That seems obvious but there are so many comics today with bad drawing and anatomy - especially people copying manga styles and not understanding the real figure. Look at the old great comic artists likey Byrne, Windsor Smith, Romita, Janson, Zeck, Adams etc to see evidence of artists that spent the time to really learn to draw and compose. After that I would say dont be a slave to all the studying and practice you did - be yourself and draw the way you would like - that is be comfortable being yourself and dont try to copy anyone else style. The fun of comics is the diversity of styles and interpretations there are. Just my two cents.
Im making a portfolio for an upcoming review opportunity and ive been very excited to play with panels and breaking out if them. Now im worried ive made the wrong call.
That advice is a cautionary piece of wisdom, not the end all way to do things.
If you're motivating the panel breaks in the way he mentioned, you're probably doing just fine!
This man delivers nothing but hard-hitting facts in just 7 minutes! 🎉
This is practically a list of why indie comics are better lol.
Listening to this guy? No thank you I'm good. 👍🏾👍🏾 I'll just do my own thing
Ok.
I agree. If he knew comics, they would be flying off the shelves. It's hilarious that Marvel is now trying to open "submissions" and help up and coming artist. It is absolutely insane.
1. Compared to what? 2. Marvel has actively scouted and outsourced from other countries at lower page rates including South America, Southeast Asia and so on. @@xombiekat13
@@mindandbody7971Yeah, if you manage to pass their purity test and actually get hired, you're forever locked in one lane. Black people work on black characters, gay people work on gay characters, etc. And don't even think about trying anything new. You're working on Secret Wars 15 for so little money you'll be begging for your rent on Go Fund Me.
Yeah maybe they're still trying so hard to make you draw in a certain way because that's how they sell! Suggestions don't work for them!!!!! I would only draw in a certain way to get the money like if I can't draw spiderman the way I want too then the writer can give me the story I do the gimmick and then I get my paycheck! Done and simple! While If I wanna draw my own way then I'll just go independent!!!!!!!! If you want more freedom not just in artstyle but also creating your own story maybe work for Image comics or create your own platform!!!!!!!!!!
Idk why but his first 2 points sounded like “don’t give me no manga shit, we doin comic books” lol maybe it’s just because I grew up reading way more manga than comics even in America
Definitely not. This man loves his manga.
thank goodness I'm an architect, and is easy for me to draw interesting buildings. The rest of the tips are very important: use the rules well before breaking them is always better. I like 90s comics too )))))
3:18 greg land should take notes
I think these sound more like “suggestions” rather than rules cuz I’ve seen a ton of Marvel comics break these rules all the time.
Absolutely! These are tips for beginners who are still building their portfolio. These things are done poorly by new artists whose work they've reviewed, not things to NEVER do.
Black gutters can be used for flashbacks or for other purposes. But for most western comics, that has a certain meaning and should be used for those purposes, unless it's a very intentional plan.
Every "rule" should be broken! But if you're putting together a portfolio early in your career, consider whether you're in the group of artists who are doing these things poorly.
I always wanted to break into comics. I was never good enough to get in Marvel or DC. I got into the animation industry instead as a storyboard artist. It's still a fun job tho.
Nice! That's a fun field to be in!
@@ProkoTV all that practicing and improving to break into comics just got me into animation as a story artist.
@@OrFennSchuller That's the story of so many artists! You're training to be in one field but an opportunity to be in another comes up and the skills you're honing translate over.
Glad you found a place that welcomed you!
This is dope! 🤯 Perfect collaborators
As a former college artist who moved on with different career, I love hearing all of this wonderfully insight from Cebulski! Enjoying the high quality, keep it up!
Don't break the panel borders? Wouldn't it be best to advise something like learn how to break your panel borders?
This is general advice for newer artists who are still working to build a portfolio.
Early on, artists of all mediums and styles benefit from learning the "why" and "how" of common guidelines.
Most people aren't ready to break those "rules" until they have more experience under their belt. They need to learn what the panel break means to a reader and how best to implement it.
There are going to be some talented new artists who can, of course! But this is general advice.
He did very briefly touch on the correct way to break a panel border (as a device to lead the eye to the next panel or towards the bottom of the page).
@@dannycruz5446 and then he said leave that for professionals.
@@ProkoTV I'm a graphic designer. The first thing I was taught were the rules and the second thing I was taught after that was to break them. Even in my first year I was taught about David Carson. Best form of advice from a guy in the industry is to learn the rules and learn how to break them not to stick to the rules until you are a professional. That makes no sense to me. But what do I know. I don't work at Marvel.
Wasn't this the same guy who got busted for writing under a Japanese pseudonym and pretending to be Japanese?
Other than that, his advice is...not good. At least the first two pieces concerning not breaking border panels and not using black gutters aren't good. They come across more as personal preferences rather than an understanding of how to compose a page and how each element traditionally works and why one would chose to do it a certain way. That's bad enough when it comes to helping comic artists figure out how to compose a page and tell the stories they want to tell as clearly as possible. But when he tries to fall on "experienced artists (who so happen to work with Marvel) can do it because they're experienced", as though they were veterans from the very beginning and didn't have to learn and make mistakes to do what they do, it's just insulting and makes his "advice" useless unless you're only in it to impress him.
The rest is just generic enough to be inoffensive. And what is the point other than "these are the things you need to do to impress C.B Cebulski?" And considering who he is and the state of the American Comic Book Industry and Marvel, is it really a good idea to listen to his advice?
“Akira Yoshida” it’s wild man
@@LimboSmith Apparently, Marvel doesn't care if you pretend to be another ethnicity so long as you hit them deadlines.
@@coreybass3231It's called a "pen name".
Pretty common practice even among "serious writers". What gets people so damn worked up?
@@DonVigaDeFierro He created an entire life-story and did interviews in that character and gladly accepted the acclaim of being a minority in a predominately White space while fetishizing a limited idea of Japanese culture for his benefit.
This was not some harmless pen name. This was Digital Yellowface and he is a scumbag for doing it.
@@coreybass3231 considering the company was brought to mainstream by stan lee having other people create and draw the characters and just adding his name on it why would they?
you can become the owner of marvel just by being the directors nephew and robbing from every artist in the company, then when your company goes bankrupt you can sit around crying whilst all the artists create the characters and books to make money and save the company. the narcissistic psychopath literally sued sony because they didn't let him cameo in first spiderman hence why he has a cameo in all the films
I aspire to become a manga artist and these tips are useful. Thanks
Looks it's Akira yoshida. The man responsible for half the garbage coming out of Marvel.
Dont trace. Yeah tell Greg Land that.
Good Inspiration and Motivation.
Great advice from Marvel Comics's EiC. A smart thing to listen to him if you are an aspiring comic artist trying to break in and get work from Marvel or DC. But as an independent comic artist myself - no I have no desire to work for Marvel or any other comics publishing company, unless they raise the measly rate page that hasn't increased nor stated with inflation in decades! - and currently working on my AGL PRESENTS issues 1-5, with issue #1 dropping on Kickstarter in April, I use my artistic skills to design and layout each page. Many of my pages are DPS and I have characters breaking panel borders. Comics are about storytelling and as long as I keep that in mind, I can break panel borders as often as I'd like:-) But again: If you are wanting to break into comics and work for Marvel or any other comics publisher, follow their Submissions guidelines. I am old school and have the mindset of the Image Comics founders from back in the early 90s. Best of luck. AGL
Amazing, all of a sudden I understand Japanese~!
I'm sorry, but you mean Akira Yoshida, right?
It's always been a dream to be a part of the Marvel universe. Thanks for the tips CB!!
Ylol
Read manga and other forms of comics from all around the world to learn more about how comics and other people's art style
I just wonder if you want to work for Marvel, do you have to draw their characters or can make your own (personal work)? I mean if it still is a good portfolio can it make you hired?
If you mean can you have original characters in your portfolio, absolutely! Having your own original designs and stories in there is a great practice.
You should be making comics for yourself or other smaller publishers before trying to take a swing at the big companies. That's how you hone your skills.
Thanks! @@ProkoTV
This is great advice!
Top-notch advice.
Seems like in a video like this the examples used would follow the "rules" he laid out. Especially the last examples, but no. The last examples were a convoluted unreadable mess with panel breaking, panel blending, invisible panels and splash all over the place with zero idea where the characters are suppose to be going. Everything you aren't suppose to have in your portfolio, those panels had. Were you showing what not to do in a portfolio? If so that should have been stated.
#1 rule! There are no rules just personal taste!
None of the things said on here are hard "rules". Just suggestions about issues that are seen in a lot of beginner's portfolios.
Take the tips if you want or not. All up to you!
"If you don't like drawing it, practice drawing it"
Sh*t! Time to draw some animals!
1st tip - guy doesnt know what hes talking about, and shouldn't be editing at Marvel. Maybe theres a connection to guys like this being in lead positions, and the failure at Marvel comics division?
He talks about how to break them with intentionality.
A common issue is people doing them poorly or without consideration when they're in a stage where they're still assembling a portfolio, rather than their pre-existing work speaking for their skill.
Good Video. I don't have a Portfolio and I don't do Sequential Art well. More of a Cover Artist. Did remind me to buy some 11x17 Comic Book Paper. I was compared to Bernie Wrightson when i did show cover art at a Convention 'Back in The Day'. Lol I was like Yeah Right,I wish! lol
Yeah, maybe that's why Marvel is doing so well as a reading experience? LOL My 1st and foremost don't submit to Marvel or DC. Create your own work.
People should absolutely develop their own characters and worlds!
But even the most stylized artists like Tradd Moore, Ian Bertram and more work with bigger companies. Those big paying jobs help fund artists getting to take the time to work on their passion projects that we all love!
That's true of art throughout human history. We all want to see the great unique work people have in them but bills have to get paid in the meantime.
Love Tradd Moore, but I dislike the hiring practices of companies like Marvel and DC that gatekeep and make cliques over hiring great talent across the board and developing great stories that draw in readers/audiences. Marvel and DC are archaic and are in a doom loop that is barely sustaining themselves. kudos to you all for collaborating but this isn't what I'd considered breaking ground to help with submissions with pencilers, inkers, colorists or writers. Maybe he should show some examples? Do a review on camera of each? How about discussing page rates and the contract process. I mean if they're truly interested in being transparent in their hiring process
I still love your guys' content and channel, that won't change, but I hope you're getting a finders fee for the EIC of Marvel & DC.@@ProkoTV
These lessons are all intended to be evergreen advice for comics-making. We're aiming to make something that isn't only useful for now.
If we made a video about contracts two years ago, there'd be missing discussion for sections that artists need now for making sure companies don't use your art for training generative AI datasets and more. Same goes for page rates. Inflation would make all numbers mentioned meaningless in just a year.
You're bringing up things that people talk about collectively in different places online to provide industry transparency. Those are great and should ABSOLUTELY be discussed! But in a video series about making art that doesn't get updated with new information added to it every year, it's not really possible to include without doing a disservice to the artists who would try to learn from it later.
That's part of why we wanted to make this course. The older comics-making educational materials were all out of date! We want a resource that can be used for a long time by people who work in any software or traditionally. Also, Marvel doesn't see any of the assignment submissions for this course, just the instructors, other students and the Proko team. They're legally restricted by their own team from seeing the student submitted work. So, no "finder's fee". Just teaching how to make comics!
Great video. Makes me feel like I am close. Now just gotta find a publisher that wants an awesome artist
Self-publishing is a great route to start!
We have Eisner winning artist Daniel Warren Johnson in the course. He published a comic online as a way to learn and develop as an artist and it seems to have paid off!
You don't need to use any of the vertical webcomic platforms. You can post to your own site like Kill Six Billion Demons does. That led directly to them getting asked to publish their work with Image.
Good luck!
Good morning. Do you have social media where I can check out your artwork?
The question these days is, "why would anyone want to work for the big two these days anyway"?
more like mid two
remember guys this is just a suggestion not the rule unless your trying to go to Marvel
imitation and inspiration is inseparable and questionable at times since even the techniques of drawing itself is an imitation of the original inventors so everything is basically a copy of a copy.
I doubt there is really an original style anymore but unique one nonetheless.
I would still advise any artist out there to challenge status quo, not fall for formulaic methods that create carbon copy stories and try break the mould a little.
It can be great to do things traditionally and by the current method but then all stories and visual art would be the same and not evolve.
so please, just have fun and think out the box a little
These aren't tips on what to do for Marvel or even tips about how to make comics. These are tips about making a portfolio only.
Portfolio work and making actual comics is different. When you're at a stage in your career where you're assembling a portfolio, as opposed to having comics you've made speak to your skills, you should be showing your core competencies that collaborators can work with.
Everyone can and SHOULD break every "rule" in art. But a portfolio isn't the best place to do it as a beginner.
hmm i thought this was gonna be some great inside on how to make your portfolio by someone with a lot of knowledge about it, but this is just a how to make comics again :/
At the end of the day, making a comics portfolio is about showing you can make comics! These are common mistakes seen especially often in the portfolios editors review.
Good tipds, but a lot of the examples near the end completely contradict what he says at the beginning, i.e. not breaking panels, sticking to grid, leaving space between panels, etc.
Yep! These are tips to address common issues that editors see new artists having a hard time with, not a guide for established artists who know where and when to change things up. A person who's already been working for a long time like Aaron, whose work is shown, will have the experience and knowhow to break those rules.
Comics are a storytelling medium that should have you breaking the rules to emphasize and add impact! CB gives the advice to not break the panel but also gives advice on WHY and WHEN to break the panel because it's definitely okay to do on purpose sometimes!
@@ProkoTV Also, s diferent in diferent contexts. European, or japanese, or more indi comics had diferent criteria on this points. He sounds very dogmatic as this is the only way possible, when is just one of multiple paths of doing comics.
Its Akira Yoshida!
Confused why some people clicked on this video. They're much more interested in their own attempt at wit on youtube comments instead of actually learning. Free advice is taken for granted these days.
I guess we know the people that won't make it, i guess. Certifed ai program users in the making.
If you're interested in learning how to create good comics, current-day Marvel in general and CB Cebulski in particular are the _last_ ones you should be looking to for advice, free or otherwise. 🤣
Do you actually have any idea what state Marvel comics are in, these days? They sell so poorly, it's only the fact they're subsidised by Disney that keeps them afloat. Disney doesn't even let Marvel publish their Star Wars and other IP comics.
For someone promising and promoting creative success, I'm mystified why Stan sought out this collab. Maybe he thought all the kids love them there Marvel movies (a seperate division), so let's get them to pay for lessons on how to draw Robert Downey Jr.!
"Certified AI program users in the making." Pure cope. The people making fun of Cebulski are ahead of the game. They _know._
not all advice is good advice, this guy had to pretend to be japanese to get a job but is telling us not to use techniques that japanese artists and the likes of todd mcfarlane used to make their comics slap, he is trying to gatekeep like he's an expert when his company has no idea what is relevant or what their audience wants
there is a reason everyone prefers manga and anime over comics and superheroes now
Thank you!
Good stuff, thank you
They give you insane deadlines… 14h of work everyday. Who wants that?
Artists
Artists working for Marvel or any other publisher for that matter, don't have hourly commitments they have to do each day. Jobs are measured in pages.
Some artists, like Ryan Benjamin who teaches in this course, are absurdly fast. A lot of that comes down to experience or rendering style. But taking on a job at a certain page rate is different per artist, their contract or their managers. There's no one-size-fits-all pay rate.
Go solo
Actual great advice. These comments are bugging out.
I have no problems reading a comic if the panel borders are black. I mean todd MacFarlane's Spawn comics comic have black borders. 🤷🏿♂️
Oh my god its Akira Yoshida
Ok "Akira"
I've always been told I'm really good at art and I should go work at comics or game concept design. And I keep telling them I'm not good enough yet cause I can't draw everything I should know how to draw. But they just think I sell myself too short. Maybe this video of a pro who is in charge of hiring will finally make them stop bugging me about it.
No way! You only get to use this video to identify some things you might want to work on, not as a way to convince people to stop thinking you're skilled and destined for big things.
Identify what you need to work on and aim for the big goals you want and others see you being able to achieve. See the good in your art they do and remember that's part of what people see when they're shown your work.
No excuses for not trying! Go out and succeed!
@@ProkoTVI'm far from not trying. I never stop drawing but the problem is that with my 8-5 job and daily chores after work I barely have time to draw so I usually focus on one thing at a time which means progress is extremely slow. And also when I'm too tired I can't even focus enough to learn something new so I just default to what I draw best just so I draw something.
Can't really quit my job or work less to go full time art cause I got a mortgage and 2 loans to pay. Oh yeah and also I do it all myself cause I'm not married so no second income for support :/
Good morning. Do you have social media where I can check out your artwork?
I do know that you guys have some extremely talented artists onboard, ie. Esad Ribic, but all those things you mentioned combined together make almost a perfect artist by standards of early 2000s not to mention 90', anyone who saw Rob Liefeld feet knows....even some recent art work by some artists I could do better seriously and I'm not even an artist. How did they made the cut? Greetings from Poland
If u could draw than u are one $stupid. U could betterb😂
I've been drawing since 1977 at age 9... I sent 12 package portfolios of sketching inking and coloring to Marvel since 1988-1996 I never got a called. I drew just as good as top artist at Marvel
Did you submit anything to Image Comics?
@@Johnny0lovely69 Yes in 2000
Do you have social media where I can check out your artwork?
@@resistancepublishing I'm 55 years of age now I'm done drawing
@@sinchman1 ok I understand. thank you