CREATING COMIC BOOKS & GRAPHIC NOVELS: THE ULTIMATE SEMINAR
NOW AVAILABLE TO ART SCHOOLS, COLLEGES, AND CONVENTIONS!
Powered by an in-depth Powerpoint visual presentation and peppered with scores of anecdotes and examples from throughout his 25-year career, David offers CREATING COMICS in 3-hour, 6-hour, full-day, two-day, and three-day incarnations, including versions tailored for younger artists wishing to learn the craft or for established professionals wanting the creative edge in today’s market. Longer versions of the Seminars include ample drawing and sketching opportunities, plus one-on-one and group portfolio review sessions.
(NOTE: This is NOT a how-to-draw and how-to-write Seminar. It is designed to teach the craft to artistic professionals and talented amateurs.)
Asking some questions of those attending; introducing Glass House Graphics and its services; talking about money and successes from internationally-based artists getting work through Glass House and its international offices; answering some
basic audience questions before we really start. The Seminar’s mission: To get artists to think differently about storytelling and
illustrating, so they can actually GET JOBS making excellent money drawing comic books. Four steps are needed to be a working
professional: Ability to draw; ability to tell a story dramatically and clearly in pictures; a saleable style editors are willing to buy; and a professional attitude. We teach artists the second, third, and fourth steps with facts and anecdotes — but the first step is up to them.
A CAPSULE HISTORY
A swift run-through of the history of American Comics, and what got us to the industry we have today that enables internationally-based artists to work for U.S.-based publishers’ comics.
BASICS EVERY ARTIST NEEDS TO KNOW
This Seminar assumes artists already know how to draw, but this section emphasizes tips and ideas for perspectives, drawing
faces, body language and gesture and facial expressions, and much more. Art tools are also reviewed.
DRAWING & THINKING
This is a drawing exercise where a simple scene is described, and attendees are asked to lay out the scene in a dramatic situation.
Results are then compared and evaluated.
This is the single longest, most intensive part of the Seminar. The “think differently” part is focused upon, including multiple
layout and drawing opportunites and comparing those sketches with published layouts. Expression, body language, pacing,
compressing and expanding time, and many other techniques are explained. Entire stories and scenes, classic and new, are
visually dissected to understand the thinking behind the storytelling and the “acting” of characters on the page. Offers guest
lecturers, depending on location, such as Wilson Tortosa, best-selling artist of Top Cow’s CITY OF HEROES, Carlo Pagulayan of
Marvel ‘s FANTASTIC FOUR, Will Conrad of Dynamic Forces’s RED SONJA, and Mike Deodato, superstar artist of SPIDER-MAN
Reviewing multiple styles an artist can develop, what works, what doesn’t, and why.
Tools, techniques, and comparisons discussed and detailed by example. Depending on location, guests lecturers include inkers
Will Conrad, Jeffrey Huet, Aries Mendoza, Will Conrad and Joe Pimentel.
A short discussion of lettering techniques, both by hand and by computer, including balloon shapes and the skills of balloon
placement. Free computer lettering fonts are supplied to those who are interested.
A discussion with plenty of examples of varying methods of hand and computer coloring for comics. Joseph Caesar, Rainier
Beredo, and other digital designers and colorists may speak on the processes involved in both color and digital design for ads,
text pages, photo features, and letter columns.
An overview of popular painters for covers, trading cards, and comic book stories.
Depending upon the length of the Seminar, a section on comics writing may be included, dealing with plot and script formats,
structure, concept creation, pacing, thinking visually, characterization, and more — both for comic book and newspaper comics
PREPARING YOUR PORTFOLIO
The hard facts of precisely what is needed in a portfolio to gets jobs for artists, plus developing contacts, preparing project
proposals, etiquette of meeting editors, and professional follow-ups to get, and keep, the jobs.
QUESTION AND ANSWER SESSIONS
These are liberally sprinkled throughout the Seminar.
By individual and group.