Posts Tagged ‘Elementals’

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Get Down America!

Monday, August 15th, 2011

Howard The Duck button

Waaaaagh!!! What can I say? Ever since I first laid eyes on a Howard the Duck comic book I was smitten with ducks. I’m not sure why, but I think that what Steve Gerber did with the character opened my eyes to what could be done with comics beyond superheroes. It helped a lot that some of my favorite artists had drawn the character. Val Mayerick, Frank Brunner, Gene Colan, Sal Buscema and Michael Golden always left me wanting more and the iconic image by Bernie Wrightson on that campaign pin just sealed the deal!

howard wearing pants

Later when Gerber launched his creator’s rights battle with Marvel and when Disney challenged Marvel over trademark infringement, causing Howard to be forced to wear pants so as not to look like Donald Duck, Howard the Duck and ducks in general became a symbol to me of some sort of rebellious, creative attitude.

When I was in high school at Bishop Kenrick where I first met Phil Lasorda and Vince Argondezzi, my original partners in Comico the Comic Company, it was tradition to use acronyms to represent our party when we ran for office. When I ran for school president, the name of my party was, of course, D.U.C.K., Demonstrating Unity in the Community of Kenrick. I copied that Wrightson pin and made it school colors of green and gold. I even had a  mascot that crashed a student assembly in a duck costume! I lost… but the power of the duck stuck with me.

My fancy for ducks followed me to the Philadelphia College of Art now called University of the Arts where it did not take me long to establish a group of rogue comic artists called Ducks that strove to publish a small newspaper called DUCKWORK.  The thinly veiled connection to the school was a central courtyard that had two Peking Ducks inhabiting it and a bag lady that “quacked” as she walked in the area by our school earning her the name Duck Lady.

I wrote about  DUCKWORK In a previous blog and in an effort not to be redundant I invite you to check it out for the full scoop here.

Duck SuspenseStories

It dawns on me now that those six issues of DUCKWORK probably have some redeeming collectible value for their role as a precursor to the founding and publishing of Comico comics , CO2 Comics and for representing some of the earliest published works of the widely acclaimed Matt Wagner which can be seen here shown for historical purposes, of course.

Duck Throat

Duck Wish

Raiders Of The Lost Duck

Rollerduck

This peek at the credits and a dedication to Wally Wood who had passed away just prior to that particular issues publication in 1981 shows our devotion comics and  to the comic legend.

Duckwork dedication to Wally Wood

It also offers evidence of our lousy typewriter and some Ducks that went pro, Myself, Bill Cucinotta former Comico Partner and partner here at CO2 Comics, Dave Johnson of ROBOTECH  fame, Matt Wagner, Joe Williams CO2 Comics contributor and missing, somehow, is another ROBOTECH  vet and ELEMENTALS penciller, Mike Leeke.

Punk Duck 1

Ducks were infectious too. Not only did the DUCKWORK crew quickly assimilate to drawing the feathered fowl, I  recently discovered this incredible project by Martha Erlebacher, an anatomy teacher at PCA when we were students there.

Could it be remotely possible that our parodies of Botticelli’s Birth of Venus

Hatch of Venus

and Marcell Duchamp’s Nude Descending a Staircase published in DUCKWORK somehow influenced one of our world class teachers? We may never know the answer to that but I think CO2 Comics contributer and another former ROBOTECH  vet, Reggie Buyers was tipping his hand when he sent me this fax of Jam Quacky in 1991.

Jam Quacky

Jam Quacky #1

Outside of DUCKWORK I had a propensity to parody superheroes as ducks and could often be found at comic conventions drawing Bat Duck, Spider-Duck, Silver Surf Duck, X-Ducks, Red Sonduck, you name it. The ducks were my gimmick, I guess, and littered my sketchbooks. They certainly helped me attract attention in those early days and develop lasting relationships with talented comic artists that helped to build Comico and CO2 Comics.

Bat Duck

Silver Surf Duck

Sonja Duck

I still love drawing those ducks so don’t be surprised if you start seeing them pop up here at CO2 Comics or on ebay. Hey, commissions aren’t out of the question either! If you have a passion to see your favorite character parodied as a duck just drop me a line at gerry@co2comics.com.

Making Comics Because I Want To  “QUACK!“

Gerry Giovinco


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Posted in CO2 Comics, Creationism, The Comic Company | 2 Comments »

Finders Keepers

Thursday, May 12th, 2011

It’s a sad truth that the term Finders Keepers is still a law of the land in the comic book industry, especially when it comes to original art. I thought that this had changed during the 80′s when creators had fought long and hard to insure that their work was returned to them. By then we had already watched too many old timers find their work for sale in dealer rooms at conventions around the country.

Those old guys who had given us the Golden and Silver age of comics created their comics for companies that bought it as “work for hire.” The artists handed in their work and never saw it again until it would come to market selling for grand prices valued far greater than what they had originally been paid to do the work. Those creators watched the dealers make big money while they struggled to pay healthcare bills because comic companies offered no benefit packages. They never saw royalties either and cringed every time the publishers made big deals with their characters while they looked for ways to feed their families.

One of the primary goals of the independent publishers of the 80′s was to change this situation. Indy publishers proudly proclaimed the comics they published as “creator owned” and struck deals with comic creators that included royalties, copyright ownership, and returned artwork so the creators could bolster their income by selling the works in the growing, secondary, collector market. Soon even the major publishers began doing the same, even creating benefit packages that included healthcare!

As one of the publishers of Comico the Comic Company, a brief juggernaut in the industry during the mid-eighties that paved many roads for future indy publishers before its demise, I was proud to have been on the forefront of such a great movement that seemingly impacted the future of the industry forever. Now as a publisher of CO2 comics those same principals of creator’s rights remain the highest priority to myself and Bill Cucinotta who has partnered with me in both publishing ventures.

It is a matter of history that Comico had a very tragic ending from a stellar run as one of the great independents of its time. What is a dirty secret is that Comico was often a very hostile work environment where the threat of verbal, mental and physical abuses were real and frequent. It was this caustic atmosphere that destroyed the relationships in the partnership and drove first Bill and eventually myself to leave Comico. We have both taken great pains to remain focused on positive accomplishments of our experience when we blog about Comico here on the CO2 Comics site, especially since we know that we do have a lot to feel proud about.

When it became news late last year that huge archives of old Comico production material which vaguely stated it included original art of which little was shown was for sale on ebay, Bill and I made sure to be clear that we had no involvement in the auction and to state that we felt any original art should have been returned to the creators as was always the policy when we were part of Comico. Personally and regretfully, the emotional scars of my Comico experience ran too deep for me to take a more proactive role in retrieving the material and insuring that if there was original art it would be returned to its rightful owners.

This week I was contacted by Rick Funk owner of Collector Haven Comics who purchased the archives which includes a number of original pieces of art and plans to inventory it and sell it on ebay. The auctions have already begun.

I know that Rick is only doing what dealers do, hunt and acquire treasured collectibles then capitalize on them. Maybe I’m too idealistic but I had hoped that somehow the “Ruins of Comico” would not result in a creator who trusted Comico with their creation finding their work lining the pockets of somebody else when they never had the opportunity to sell it themselves.

Rick claims to have “Saved the Comico Production Art,” possibly from rotting, lost in some storage facility outside of Norristown, PA but the
principals that Comico were founded on and recognized for are so totally disregarded in this situation that it is hard for me to consider any of that original art “saved.” Rather it is damned to resurrect demons of a bygone era that we had all hoped would never be seen again.

The following is correspondence between Rick and myself. I believe it is very civil on both sides yet clear as to what I would like to see done with the material:

Greetings Gerry,

First and foremost I want to state that Justice Machine, Elementals and Mage were the Comico titles that I followed. so yes I was a Comico fan.

I have read all your comments about the ebay auction that appeared in the last part of 2010 from Coyote storage.

I have researched the history of that ebay listing and I am aware that a couple of art dealers expressed an interest in it, and it attracted a
couple of phone calls too. However when faced with the fact that this accumulation of material that seemed to have once belonged to Phil, was not the original line art and was a large volume of production material, they all passed on it.

I did not.

To be honest we purchased it with the intention of bringing it to market.

We have had experience handling large amounts of material before. In 2000 we purchased the back stock of Passiac Books, one of the original comics dealers from the 60s and we also had a hand in bringing the Jack Adler art collection to market.

This turned out to be about 2500 lbs of material that we are just now starting to inventory and list on ebay.

More of the story will come to light with the upcoming publication of a Comics Buyers Guide article. In comic book culture Comico is a signicant contribution made by you.

I personally wanted to close the loop on the internet story for you, in regards to the original ebay auction.

Here is the arrival of the collection at our store, Collector Haven in Mesa Arizona.

http://www.facebook.com/media/set/?set=a.206168106069592.54106.119884131364657

Sincerely,

Rick Funk
Collector Haven Comics

PS: I read your articles about the color production process, however I have a couple of questions about that process and how some of these production pieces fit into that.

Rick,

I appreciate that you wanted to “close the loop,” for me and I know that you made a significant investment acquiring the material but I still have personal and professional issues with the fact that much of the material should not have been available for sale in the first place by anyone other than the actual owners of the individual pieces, the creators.

The images of the early inventory that you have sent me clearly show original art that in my opinion belongs to the creators of the works. I saw three pieces that were actually mine.

Phil’s or Dennis’ possession of the works, at any time, is in question to me since it should have been returned to the creators immediately after its publication which was the long standing policy of Comico.

Also, as I mentioned in my blog, I would have expected that Andrew Rev would have taken possession of the production proofs when he bought Comico. I would have expected them to have been part of the deal.

Phil’s passing does not make the situation any different besides I am sure that his brother, Dennis, would have been quick to take charge of his estate, especially if he felt it had value.

Regardless of how Coyote came into possession of the material, the right thing would be for at least the original art to be returned to the creators. I know I would like mine returned.

You and Collector Haven have a unique opportunity to do something that publishers like Marvel and other dealers who have sold art that they acquired from publishers like Dell and Gold Key have historically declined to do. Do the right thing and help place those works where they should have been a long time ago, back in the hands of the creators to which they belong.

I think that as another option, if you worked closely with The Comic Book Legal Defense Fund or the Heroes Initiative and used this material to help raise funds for these great organizations in the name of the creators you may either be able to negotiate your investment back or at least write it off.

Regardless of how you might proceed in righting this situation the benefit would be a huge Good Will return to you and your company for setting a remarkable example that I believe would be applauded tremendously throughout the industry.

I will be happy to help you do this I any way I can and I will be your biggest supporter for championing the rights of the creators without whom we would not have a comics industry to feed off of.

I will not, however, be able to help you in any way to sell and profit from these works and I will remain a vocal supporter that they should be returned to their rightful owners.

I hope you understand that as a publisher of Comico and now CO2 Comics, I and my partner Bill Cucinotta have always placed the rights of the creators as our highest priority. It is against everything we have stood for our entire careers in the industry not to take a stand on this issue.

I hope you appreciate our position and will work with us to make an important and valiant statement.

Very Sincerely,

Gerry Giovinco
CO2 Comics

COMICO Original Painted Art And Black Line Overlay

http://cgi.ebay.com/COMICO-Original-Painted-Art-And-Black-Line-Overlay-/280665180072?pt=LH_DefaultDomain_0&hash=item4158f2c7a8#ht_2447wt_907

U.D.I.C. 1 page 6

http://cgi.ebay.com/U-D-I-C-1-Page-6-Original-Pencil-Art-Splash-Page-/280668529028?pt=LH_DefaultDomain_0&hash=item415925e184#ht_1534wt_907

U.D.I.C. Ad

http://cgi.ebay.com/UIDC-TWO-PAGE-AD-Original-Black-and-White-Overlay-/270747384248?pt=LH_DefaultDomain_0&hash=item3f09cd39b8#ht_1331wt_1026

COMICO ORIGINAL PAINTED ARTWORK Grendel Page

http://cgi.ebay.com/COMICO-ORIGINAL-PAINTED-ARTWORK-Grendel-Page-/280665180077?pt=LH_DefaultDomain_0&hash=item4158f2c7ad

U.D.I.C.Page 23

http://cgi.ebay.com/U-D-I-C-1-Page-23-Original-Pencil-Art-Splash-Page-/270743154453?pt=LH_DefaultDomain_0&hash=item3f098caf15#ht_2414wt_907

STAR BLAZERS 4 Original Black Line Artwork

http://cgi.ebay.com/STAR-BLAZERS-4-Original-Black-Line-Artwork-/280674804781?pt=LH_DefaultDomain_0&hash=item415985a42d#ht_1269wt_1026

Trouble With Girls Ad

http://cgi.ebay.com/TROUBLE-GIRLS-Ad-Tim-Hamilton-Original-Pencil-Art-/280674708117?pt=LH_DefaultDomain_0&hash=item4159842a95#ht_1382wt_907

ELEMENTALS Blue Demon Original Pencil Art

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=280668528410#ht_1506wt_907

COMICO CHARACTER ORIGINAL ART Frog Prince Dr Danger

http://cgi.ebay.com/COMICO-CHARACTER-ORIGINAL-ART-Frog-Prince-Dr-Danger-/280672437134?pt=LH_DefaultDomain_0&hash=item415961838e#ht_1372wt_1026

COMICO CHARACTER ORIGINAL ART Vesuvious Red Dragon

http://cgi.ebay.com/COMICO-CHARACTER-ORIGINAL-ART-Vesuvious-Red-Dragon-/280668528220?pt=LH_DefaultDomain_0&hash=item415925de5c#ht_1381wt_1026

COMICO COMMANDER CHAOS Original Pencil Art

http://cgi.ebay.com/COMICO-COMMANDER-CHAOS-Original-Pencil-Art-/270745861291?pt=LH_DefaultDomain_0&hash=item3f09b5fcab#ht_2389wt_907

Elementals Cmdr Cord

http://cgi.ebay.com/ELEMENTALS-Cmdr-Cord-Original-Art-Character-Design-Page-/280674832529?pt=LH_DefaultDomain_0&hash=item4159861091#ht_1570wt_907

ELEMENTALS Demon Original Art Character Design Page

http://cgi.ebay.com/ELEMENTALS-Demon-Original-Art-Character-Design-Page-/270747459270?pt=LH_DefaultDomain_0&hash=item3f09ce5ec6#ht_1580wt_907

ELEMENTALS Kid Chaos Original Art Character Design

http://cgi.ebay.com/ELEMENTALS-Kid-Chaos-Original-Art-Character-Design-/270747459279?pt=LH_DefaultDomain_0&hash=item3f09ce5ecf#ht_1480wt_907

ELEMENTALS Leviathan Original Art Character Design Page

http://cgi.ebay.com/ELEMENTALS-Leviathan-Original-Art-Character-Design-Page-/280674832613?pt=LH_DefaultDomain_0&hash=item41598610e5#ht_1229wt_1026

ELEMENTALS Monolith Original Art Character Design Page

http://cgi.ebay.com/ELEMENTALS-Monolith-Original-Art-Character-Design-Page-/280674832644?pt=LH_DefaultDomain_0&hash=item4159861104#ht_1537wt_907

ELEMENTALS Morningstar Original Art Character Design

http://cgi.ebay.com/ELEMENTALS-Morningstar-Original-Art-Design-and-Notes-/280674832672?pt=LH_DefaultDomain_0&hash=item4159861120#ht_1505wt_907

ELEMENTALS Morningstar Original Art Design and Notes

http://cgi.ebay.com/ELEMENTALS-Morningstar-Original-Art-Character-Design-/270747459323?pt=LH_DefaultDomain_0&hash=item3f09ce5efb#ht_1531wt_907

ELEMENTALS Oblivion Original Art Character Design Page

http://cgi.ebay.com/ELEMENTALS-Oblivion-Original-Art-Character-Design-Page-/270747459339?pt=LH_DefaultDomain_0&hash=item3f09ce5f0b#ht_1522wt_907

ELEMENTALS Vortex Original Art Character Design

http://cgi.ebay.com/ELEMENTALS-Vortex-Original-Art-Character-Design-/270747459358?pt=LH_DefaultDomain_0&hash=item3f09ce5f1e#ht_1497wt_907

RATMAN Comico Original Art Character Design Page

http://cgi.ebay.com/RATMAN-Comico-Original-Art-Character-Design-Page-/270747439895?pt=LH_DefaultDomain_0&hash=item3f09ce1317#ht_2401wt_907

Monolith Pencil Art

http://cgi.ebay.com/ELEMENTALS-Monolith-Original-Pencil-Art-/280668528436?pt=LH_DefaultDomain_0&hash=item415925df34#ht_1413wt_907

Vortex Pencils

http://cgi.ebay.com/ELEMENTALS-Vortex-Original-Pencil-Line-Art-/270743153923?pt=LH_DefaultDomain_0&hash=item3f098cad03#ht_1513wt_907

JUMPSTART SKY SCRAPER Comico Original Character Art

http://cgi.ebay.com/JUMPSTART-SKY-SCRAPER-Comico-Original-Character-Art-/280674814031?pt=LH_DefaultDomain_0&hash=item415985c84f#ht_1498wt_907

JUMPSTART Comico Original Character Art Design Page

http://cgi.ebay.com/JUMPSTART-Comico-Original-Character-Art-Design-Page-/270747449432?pt=LH_DefaultDomain_0&hash=item3f09ce3858#ht_1519wt_907

GHOST GIRL Comico Original Art Character Design Page

http://cgi.ebay.com/GHOST-GIRL-Comico-Original-Art-Character-Design-Page-/280674833001?pt=LH_DefaultDomain_0&hash=item4159861269#ht_1502wt_907

MICROMAN Comico Original Art Character Design Page

http://cgi.ebay.com/MICROMAN-Comico-Original-Art-Character-Design-Page-/270747439804?pt=LH_DefaultDomain_0&hash=item3f09ce12bc#ht_1359wt_966

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Posted in CO2 Comics, Making History | 8 Comments »

The Comic Company: Licensed to Thrill

Tuesday, December 7th, 2010

A number of comic book companies today fill their product line-ups with licensed properties. IDW, Boom, Darkhorse and Ape are among the most significant publishers outside of Marvel and DC who have found value in acquiring licensed properties from other media outlets.

The idea is simple and is a marketing tool used by scores of merchandising companies in nearly every industry. Find an intellectual property with high visibility. Purchase the rights to make an exclusive product featuring the property. Benefit from the sales generated by the customer recognition of the popular property.

Badda Boom, Badda Bing!

Licensing and merchandising is nothing new. Saint Paul built Christianity on its basic premises by marketing the popular teachings of Jesus as a new religious product.

“Merry Christmas,” two thousand and ten years later!

Comic books have used it since the beginnings of the industry. The first comic books featured licensed syndicated newspapers comics that were reprinted in color.

It shouldn’t have been a big deal in 1983 when Comico licensed the rights from Harmony Gold to publish the English adaption of the popular Japanese animated series MACROSS. But it was and it became an even bigger deal that put Comico on the map as a major player in the comic industry.

Robotech/Macross #1 cover, Comico 1984

At the time, and please correct me if I’m wrong, Comico was the first independent comic company to enter into a licensing deal other than one that was of a creator owned property. Only Marvel and DC had a lock on that side of the market and, to the best of my knowledge, no one else was even considering it.

Comico’s deal was innocent enough. It was built on the enthusiasm of Carl Macek for his project that he was working on with Harmony Gold and the Comico crew’s collective interest in Anime. Comico enthusiastically became the first American licensee of MACROSS.

At the same time DC acquired the rights from Revell to publish ROBOTECH, based on a line of toys designed around assorted transforming robot molds that Revell had purchased from a toy company in Japan. When the first issue was published by DC it was clear that a number of the robots in ROBOTECH were from the MACROSS series and many of the other robots were from other series that Harmony Gold also held the rights to.

Needless to say there was lot of wrangling going on but Carl Macek and Harmony Gold held the trump card. They had an entire animated series that could be adapted to TV in the American market. As Stan Lee would say, “‘Nuff said!”

Revell and Harmony Gold worked together to build the ROBOTECH franchise that took America by storm. Harmony Gold proved their honor by awarding Comico the rights to the comic book resting it from DC since we had the original deal for the actual story.

Comico's 1st Color Books

Comico had already established its ability to produce quality product with its first color offerings, MAGE, EVANGELINE, ELEMENTALS and MACROSS. Our production and success of the ROBOTECH comics helped the marketing team behind ROBOTECH to attract more licensees and before long the ROBOTECH logo was everywhere.

Others took notice and soon we were being contacted others, most notably Hannah Barbera who was looking for a publisher for Thundarr the Barbarian. Our interest, however, was in one of their long dormant properties, Jonny Quest.

Jonny had been off their radar for so long that the people we were dealing with thought that it was a Filmation property and were surprised to discover it in their own archives.

Jonny Quest was a huge success for Comico and other properties were soon to follow. Space Ghost, Gumby, and Starblazers were all big hits. We also set our sights on Max Headroom and though we did initially acquire the property and began marketing it, creative differences arose between the editorial staff, creative team and the owners of the property, Chrysalis Records. Max Headroom never became a Comico comic book.

Other comic companies picked up where Comico left off, finding success in licensed properties. Others found even greater success in licensing their own properties following in the insanely successful footsteps of Eastman and Laird’s nearly immortal Teenage Mutant Ninja Turtles.

Now, more than ever before, with the advent of digital content and the internet, we have to closely examine what is the true value of the comics that we make. Is it the comics themselves or is it the intellectual property they are derived from?

We all would love to make money selling our comics and I can tell you from experience that you certainly can but folks, the real money is in the properties themselves.

Disney and Warner Brothers both know this and are in the process of redefining the IP of Marvel and DC for success in the long haul while producers throughout Hollywood are rummaging through comic properties regularly looking for the next Mutant Turtle.

The Internet is the comic creator’s opportunity to develop and establish rights to a property while reaching an audience that is global. Protect your assets, invest your skills and let the best properties sell themselves. This is the greatest time ever to be a comic creator. Take advantage of it!

Hey, I know the economy sucks and the market is in tremendous flux but guess what? That is exactly how it was when Mickey and Superman showed up both borne on the backs of failure and surrounded by the Great Depression. Their strength was the brilliance of their property which still shines today.

Comic properties can have tremendous economic power and there is plenty of proof. Don’t be discouraged if you are a creator or a fan. The future for comics is bright.

David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Vol 1

CO2 Comics is going into 2011 as optimistic as anybody! The content of our site is growing steadily and our readership is expanding rapidly. We have published our first book, David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 and have new products on the horizon.

But our biggest achievement is the honor That Bill and I have of posting the great comics that have been trusted to our site by creators that we love and respect so that all of our valued readers can enjoy them.

Thank you everyone for this opportunity to do what we enjoy most.

Making comics because I want to.

Gerry Giovinco

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Posted in The Comic Company | 7 Comments »

The Greatest Collection of Interviews in the History of Comic Books

Thursday, October 28th, 2010

  

CO2 Comics announces that David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 is ON SALE NOW!  

CO2 Comics has entered into an agreement with David Anthony Kraft and Fictioneer Books Ltd. to publish the complete collection of all 150 issues of David Anthony Kraft’s COMICS INTERVIEW. The collection will consist of eleven huge volumes each over 600 pages in length released one at a time on a regular schedule.  

  

David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 has been spontaneously released with this press announcement and is available exclusively at comicsinterview.com a website built and powered by CO2 Comics.  

Comics Interview Standard Edition

Four editions of the volume are available; The Standard Edition featuring an updated platinum version of the traditional COMICS INTERVIEW logo is available in paperback and hardcover. A Premier Edition that is available only for a limited time features a platinum version of the original classic COMICS INTERVIEW logo that was constructed of type from various popular comic logos is also published in both paperback and hardcover. The Premier Edition will be pulled from the market at midnight on New Years Eve 2010. Each of the eleven volumes of David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection will be released with a Premier Edition that will have limited availability. Paperback editions are now available and will list for $34.99 and Hardcovers will list for $54.99. Paperback editions are available now. The release of Hardcover editions will be announced soon.  

Comics Interview Premier Edition

Gerry Giovinco of CO2 Comics exclaims. “Bill Cucinotta and I are extremely excited and honored to be able to publish this collection of David Anthony Kraft’s COMICS INTERVIEW. We believe that Dave’s work is the most significant gathering of interviews of the greatest comic minds of the 20th century.” This work will be the greatest collection of interviews in the history of comic books”.  

Dick Giordano Interview

“David Anthony Kraft’s COMICS INTERVIEW, which was published from 1983 to 1995 featured interviews with creators, publishers, distributors, marketeers, fans and more. The timing of the original publications is significant because it allowed for interviews with comic legends from the dawn of comic books as well as interviews with young creators who are legends today. COMICS INTERVIEW effectively examined the mindset of the greatest talents responsible for the comics that we have come to revere over the last seventy years.”  

Alan Moore Interview

“Because David Anthony Kraft is a writer editor himself he had the unique ability to interview creators from the position of a respected peer. This perspective is relevant throughout COMICS INTERVIEW where the subjects share their thoughts openly and frankly. “  

Dave was an editor at Marvel and writer on such features as The Defenders, She-Hulk, Captain America, and Creatures on the Loose. He has the distinction of scripting the very first story drawn by John Byrne for Marvel Comics: “Dark Asylum,” published in Giant-Size Dracula #5 and of being the editor of FOOM, Marvel’s popular, self-produced fan Magazine.  

Bill Griffith Interview

CO2 Comics is a web based comics publisher developed by former Comico publishers Gerry Giovinco and Bill Cucinotta. CO2 Comics has been growing in popularity since it first appeared on the web in the summer of 2009. About 700 pages of comics from twenty creators populates the site which is designed and maintained by Bill Cucinotta and features a popular blog by Gerry Giovinco that has been examining the history of Comico and comic book production.  

Comico was the 1980′s Independent juggernaught that published such memorable titles as Grendel, Mage, The Jam, Elementals, Rocketeer, Robotech, Starblazers, Gumby, Space Ghost and Jonny Quest along with many other significant comics and graphic novels.  

“David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 will be our first work in print as CO2 Comics,” says Bill Cucinotta. “It’s publication as a POD (Print On Demand) product provided by Lulu.com will define our commitment to marketing direct to the customer through our web site with high quality productions that have always been our legacy. We plan to redefine how print comics are delivered to readers. We couldn’t have picked a better project than this one, that through its content outlines the history of the comics industry as we know it, to usher in what we expect to be the beginning of a new and successful model for the future.”  

Comics Interview #5

Giovinco reminisces, “Dave was there for us as a mentor when we began publishing as Comico, offering moral support, insight and inspiration. His willingness to trade ad space with us as fledgeling publishers allowed us to grow and establish a significant presence in the dawning days of the direct market.  

His interview with us as Comico in issue #5 of COMICS INTERVIEW was a moment that signified to us that we had arrived as publishers of comics. It is only fitting that we come together again at the forefront of a new era for the comics market and the continual development of the foundation for CO2 Comics, the hottest new place to read comics on the web and, now, in print.  

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Posted in Announcements, CO2 Comics, Making History, The Comic Company | 6 Comments »

The Comic Company:
True Colors – Part 3

Tuesday, September 28th, 2010

Lou Brooks Drug Store

Color in comic books had a specific look for fifty years prior to the 1980′s. Flat color was the norm and part of the charm of the comic books that I grew up reading. There was just something about that limited palette and those pronounced dots that seemed to define the medium as much as the words and pictures that they illuminated. Others agreed and focused on this idiom when referencing comic art in pop culture.

Roy Lichtenstein

Roy Lichtenstein and Lou Brooks are two artists that took full advantage of exploring the idiosyncrasies of comic book color establishing themselves as masters of Pop Art.

Lou Brooks Disgrace Me

The production process that produced the color in comics was intended to print color on highly absorbent newsprint with rubber plates on web offset presses at the World Color Press plant in Sparta, IL. Color separations were done by Chemical Color Plate in Bridgeport, CT. The colors were made by combinations of three percentages, 25%, 50% and 100% of each of the primary colors; blue (cyan), red (magenta) and yellow to be printed with the black line art. CMYK refers to these four colors used in printing.

A layer would be produced for each percentage of each color making nine layers of film that would be compressed to form three negatives, each containing the three percentages for its corresponding color. There was one more film for the black plate which would print the line art. The printing plates would be burned from these final four films.

Colorists used a guide provided by Chemical Color Plate to assist them in making their own color guides for each page that the separators would interpret into films.

Chemical Color Chart

By the 1980′s the alternative independent publishers that began peppering the comic market were using better, whiter paper and were able to produce better color. Many comics were printing with processed or full-color using the coloring techniques that I’ve described in my earlier blogs on this subject. Some publishers were still attracted to the notion of flat color but realized that they were being limited by the old color guide.

The 64 colors with the course dot grid intended for newsprint produced harsh, garish colors on the brighter paper stock. A new color percentage of 70% was added for each color producing 124 different colors as shown by this color guide produced by Eclipse Comics in 1983 and again engraved by Chemical Color Plate. The line screen also changed from 60 to 120 lines per inch making the dots less noticeable on the printed page.

Eclipse Color Chart side 1

Eclipse Color Chart side 2

Murphy Anderson

By the time Comico was ready to make our transition to color there was a new color separator in town. Renowned comic illustrator Murphy Anderson had entered the field with his own company, Murphy Anderson Visual Concepts Inc. that he operated with his son, Murphy Jr.

Murphy had a different scheme for producing colors. By making a minor shift in the color percentages and adding two shades of black Murphy could stretch the color palette to 372 colors! The new formula was 20%, 50%, 70% and 100% of each of the primary colors plus an addition of 10% and 20% of black to every color on the palette.

Elementals 2

Our first color books had been produced using processed color techniques and we were very happy with the results but our next project, Bill Willingham’s Elementals was a clear superhero comic and we wanted it to look like one. We all felt flat color was the way to go and we only had one choice when it came to choosing a separator. Murphy Anderson’s company was already doing most of DC’s prestige work and had proven his incredible quality. Murphy is also one of the nicest guys you will ever meet and proved it with his patience bringing us up to speed on his technique.

In 1987 I designed a color chart that had long been missing from the process. It soon became a staple in every production department in the industry. I would imagine that it would have been the last of the color charts for comics since not long after the computer took over most of the color chores as we know them today.

Comico Color Chart - Click for larger view

I might like to mention that this complex looking piece was not done on a computer. It was done the old fashion way by creating a mechanical with typesetting, tech pens, x-acto knives, photostats and a good old waxer. Of course the color separations were done by hand as well.

To be continued…

Gerry Giovinco

Making comics because I want to!

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The Comic Company:
True Colors – Part 2

Tuesday, September 21st, 2010

The Gray-Line System that I described in last week’s blog helped us to achieve a look that we had always hoped for our comics when we first considered evolving to color.

The fact that most of the alternative independent publishers were taking advantage of the ability to print processed full-color images on the better, whiter paper was not our inspiration or motivation at Comico.

Captain Canuck by Comely Comix

Long before we had even printed our first book we had already fallen in love with how the color appeared in Captain Canuck comics published by Comely Comix and illustrated by George Freeman. The soft processed color printed on newsprint had a quality that was unique compared to the limited 65-color palette of traditional flat-color comic books.

We were not interested in the slick color of the glossy new comics and we definitely did not care for the glare that shown off the pages of the glossy paper stock.

Mage By Matt Wagner

 

Our preference for the more muted color production was evidenced in the fist two issues of Matt Wagner’s Mage.

Matt, who had attended college with Bill and me at the Philadelphia College of Art, had been involved in many discussions concerning how we all thought color in comics should look. We were all on the same page when we made the decision to print Mage on a high-grade newsprint. Mage was a more urban setting and was supported by the grittier look of the newsprint. Besides, we wanted it to look like Captain Canuck.

Evangeline by Chuck Dixon & Judith Hunt

 

Chuck Dixon and Judith Hunt’s Evangeline was a different story. We could see how the finer line quality and more delicate colors would be better served on a whiter stock and though we were reluctant to go to a fully bleached stock we upgraded to a Mando stock which had a creamy quality to it and did not suffer from the glare issue that the more machined paper stocks offered.

Our early color books were printed in Florida at the same press that was printing Bill Black’s Americomics line but we quickly switched over to Sleepeck in Dixon, IL so that we would have more centralized shipping and warehousing of our runs. Once at Sleepeck we decided that our standard comic line, including Mage, would all be printed on the Mando stock.

Wheatly & Hemple's Mars

Around this time we were also introduced to a new coloring system. Mark Wheatly from Insight Studios was producing Mars with Marc Hemple for First Comics. He had told me about a guideline system he was using that employed the use of chemicals from a Fluorographics Services kit. A brief description of how the system works can be seen here.

This system was very similar to the gray-line system in that you had to produce a positive transparency of the line art. The grey line required a negative to produce the grey guide-line on the layer to be painted. The Fluorographics system let you use the film positive to create the non-repo blue guide which eliminated an extra step and expense. You could coat any paper stock you wanted with the chemicals allowing you to paint much more naturally than on the polymer based photo paper of the gray-line.

Blue-Line instruction from The Illustrator's Bible By Rob Howard

Note that though the color was considered non-repo blue this was only effective when shooting in black-and-white. The blue line did appear in the color separations for full-color.

Initially we would coat a paper stock with the sensitizer, place the film positive on top then cover it with a plate of glass to keep it flat then take it outside to expose it to the sun then run in and develop the image. It didn’t take too many rainy days to convince us to purchase a UV sun lamp so that we could do all of this inside and avoid blowing deadlines.

The only problem with this system was that the paper stock was less stable than the photo paper and would shrink when the paint dried, often distorting the registration.

Matt solved the problem by using pre-stretched watercolor blocks of paper that were sealed on all four sides keeping the top layer “stretched” until it was dried and removed. Matt would buy large enough paper so that four pages could be exposed at once. He usually had two blocks set up so that while one block dried, he could be working on the other.

This new blue-line system was a home run but it was not going to help us with our next two projects.

Elementals & Macross Covers

We knew that when we signed on to publish Bill Willingham’s Elementals that we were going to want it to be more like traditional flat-color superhero comics. Down the line would also be a little project called Macross that would press all of our expectations for color in comics. We still had a lot to learn.

To be continued…

Gerry Giovinco

Making comics because I want to!

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The Comic Company:
Duckwork

Tuesday, August 3rd, 2010

 

Enter at your own risk

 
An ominous, orange glow cast its pall across South Philadelphia in the spring of 1981. It was a sign plastered with fluorescent tempera paint on a thirteenth floor window of the ARCO Building on Broad and Spruce streets, home of most of the classes taught at PCA, Philadelphia College of Art which is now known as the University of the Arts, one of the most respected art colleges in the country.
 

Room with a view

 
The letters that read “DUCKWORK” could be seen as far south as Veterans Stadium where the Phillies had won the World Series just months before and marched past PCA in their triumphant parade that rocked the City of Brotherly Love.

Behind the window was the office of a motley group of art students banded together to publish a “student” newspaper by the same name.
 

John "Bondo" Rondeau settles in front of a huge print that we had "aquired" from a show at PCA that featured a famous cartoonist alumnus, Anrnold Roth, who ironically had been expelled from the school when he was a student.

 
DUCKWORK, though tacitly supported by the school, was never a school newspaper. It was a publication commandeered by an assembly of comic art enthusiasts led by myself that defiantly produced comics in an educational environment that, at the time, considered the medium to be kitsch and derivative.
 

DUCKWORK Covers 1 & 2, Cover #1 illustrated by Bill "Fostex" Foster, #2 by Gerry Giovinco with inks by Bill Anderson

 
Our pseudo-fraternity proclaimed each of us as DUCKS and, as a proud rogue clan, we wreaked havoc on the school with our publication and our mischievous pranks some of which might have us arrested if done today.
 

Bill Bryan who is now at CBR Woodworking where thay make incredible furniture for offices and corporate spaces among other things. http://www.cbrwoodworking.com/index.html


 

Evan Nurse was a Jr. Duck who attended a cartooning class on weekends at PCA for young students. Evan's senior prank at Sharon hill H.S. was to join the girls Lacross team. They let him play but they made him wear the kilt. He is now an AV instructor at an area High School.

 
PCA had very little sense of community at the time. Because of this, our little group managed to control Student Council and Arts Council giving us the opportunity to allocate funds and office space for our ventures. The DUCKS ruled!
 

DUCKWORK Covers 3 & 4, both illustrated by Gerry Giovinco

 
DUCKWORK quickly became a magnet for cartoonists especially after it became known that I was attempting to start a comic book company named Comico with two friends of mine from high school, Phil LaSorda and Vince Argondezzi.
 

DUCKWORK Covers 5 & 6, #5 illustrated by Bill "Cooch" Cucinotta, #6 by Matt wagner

 
Bill Cucinotta, my partner here at CO2 Comics, knew of me and Comico from Creation Conventions and was enthusiastically involved with DUCKWORK from the start.

Nick-named Cooch, his loyalty and ability to get the job done whenever needed along with his knowledge of the direct market derived from his experience working retail at Fat Jack’s Comic Crypt, Philly’s premier comic shop made him invaluable. It would later make him the most logical choice to fill the void left by Vince Argondezzi’s abrupt departure from Comico’s initial partnership well before our first book Comico Primer would be published.
 

Edwin Arocho is now a fine artist and musician living in San Juan, Puerto Rico

 
The list of colorful guys and gals that frequented DUCKWORK’s office is peppered with talented artists that went on to creative careers. I’ve included photos of several DUCKS. It is easy to see that besides comics, we were seemingly, also influenced by the movie Animal House!
 

Danny "Hank" Lange followed his dream and actually learned to play that guitar. He recently did a sound track for an award winning film. Check Dan out here: http://www.myspace.com/buskersblues


 

The fall of 1981 brought a new landscape to PCA. Two older buildings across the street had been purchased by the school and turned into dorms. One of these dorms would quickly become a DUCKWORK annex and be dubbed the SWAMP. The SWAMP was home to new DUCKS, Matt Wagner, Mike Leeke, and Dave Johnson, three guys that each would later play a role in the accomplishments of Comico.

 

Joe Cursio was another Jr. Duck who hung out at DUCKWORK and is now living

 
DUCKWORK was populated by students that lived on campus and commuters who often crashed at the office or the SWAMP. SEPTA strikes were usually great bonding experiences for the commuters of which I was one.
 

Joe "Zig" Zigler rarely showed up with clothes on... Joe is a fun pal that we've managed to lose touch with. Joe, if you are out there, drop us a line!

 
One commuting DUCK who recently has emerged on the web-pages of CO2 Comics with his wife and former PCA alumnus, Tina Garceau, is Joe Williams who has recently posted several great flashbacks about DUCKWORK on his blog at www.willceau.com.
You can read Joe’s 5 part DUCKWORK retrospective here.
 
By the time the spring semester had ended in 1982, a total of six issues of DUCKWORK had been published.

It was the end of my junior year at PCA. Phil Lasorda’s older brother Dennis had just purchased a duplex in Norristown for his Physical Therapy practice. He had offered us the opportunity to run Comico out of the half he was not using.

It was time for this DUCK to sink or swim. I left PCA to pursue a dream. Cooch came along as well. Without its leaders DUCKWORK quicky faded away but Comico was about to become official.

When it came time to take the big leap of faith, Vince chose not to commit and Bill took his seat at the drums. Phil, Cooch and I were now the standing partners of Comico as we began to solicit our first publication.
 
Matt Wagner was a prolific contributer to DUCKWORK and continued to contribute as Comico took off. Matt’s feature Grendel first appeared in Comico Primer #2 and went on to become an iconic character in comics. Comico also published Matt’s Mage the Hero Discovered.
 

Matt Wagner, The Comic Artist Discovered.

 
Mike Leeke was significant as an artist on ROBOTECH and later went on to pencil Bill Willingham’s popular ELEMENTALS.
Mike’s contributation to CO2 Comics. The Amazing Liberteens, can be seen Here.
 

Mike Leeke, who would later become the penciler extraordinare of ROBOTECH and ELEMENTALS is just thrilled that he can hide all of his mechanical pencils and rapidograph pens in his tremendous fro!

 
Dave Johnson was also a penciler on the ROBOTECH series.
 

Dave Johnson, former denizen of the SWAMP and penciler on ROBOTECH The Next Generation for Comico.

 
Joe Williams along with his wife Tina Garceau creates Monkey and Bird which is featured here on CO2 Comics.
 

Joe Williams is now a featured artist here on CO2 Comics with his wife Tina

 
Bill and I have ironically redeveloped our webs. We’ve gone from DUCKWORK to Web Comics with a long history in between.
 

Bill "Cooch" Cucinotta reclines on a cardboard 3-D project that was retired to the hall in front of the DUCKWORK office

Ouch! Gerry Giovinco, is another Duck trapped in a world he never made!

 
NOTE: In 1984, two years after the DUCKWORK crew had disbanded at PCA, Jim Carrey makes his Hollywood debut in an NBC television series titled “The Duck Factory” about a quirky group of animators trying to keep their studio alive. Kinda makes you wonder…

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The Comic Company:
In The Bag

Tuesday, July 20th, 2010

This week the comic industry is bracing itself for the forty-first installment of the San Diego Comic-Con International. The San Diego show is by far the preeminent comic book convention in the world and has been for decades.

In the early 1980′s, when we first started to attend as Comico, International was not yet tagged onto the name. Even then it was the biggest and best Comic Convention though in those days 4,000 attendees was an exciting number, nothing compared to the audience that piles in today.

1st five Comico Covers

1983 was our first year attending with a booth and we were quick to realize how easy it was to get lost in the vast auditorium of vendors, publishers and artists. Comico was a small black-and-white publisher at the time featuring five titles: Az by Phil LaSorda, Grendel by Matt Wagner, Slaughterman by myself, Skrog by Bill Cucinotta and our new-talent anthology, Comico Primer. We had our sites set on publishing color books and had begun to promote our intentions.

Colorful AD-spirations by Matt Wagner and Andrew Murphy

When we had decided to attend the convention our first priority was to make sure that we presented ourselves as professionally as possible. We had a number of sales representatives from display companies stop by the studio and pitch their product. Most of them were very expensive and very boring. I made a point out of examining each display meticulously, focusing on how each was built and what features best suited our needs. My conclusion was that I needed to build the booth myself because it was the only way that we could afford the type of booth that we wanted.  I designed and constructed a booth display out of foam core that was quite impressive. It was covered with vinyl graphics that I applied with a tacking iron. It came complete with plexiglass pockets that displayed our books and had overhead lighting built in. The whole thing folded flat and we transported it in an oversized portfolio.

Rich Rankin and Matt Wagner at Comico Studios christening the newly constructed Comico Booth

The design and construction skills that I had developed as a model and costume builder along with the 3-D and sculpture training that I had acquired while attending the Philadelphia College of Art proved to come in handy when it came to selling comic books.

Mage-or Hijinks with Rich Rankin and Matt Wagner in front of the Comico Booth

The booth, which would last us for the next three years, gave us an air of professionalism that we had not yet been awarded by our peers. When fans approached our booth we looked as impressive as Marvel, DC and all of the other major players at the time. Our books then were a bit crude but we were slowly building our reputation on grit, perseverance, creativity and ingenuity.

We left San Diego that year proud of the inroads we had made. We had proven that we could be part of the landscape of industry and we had done well networking with fans, distributors, retailers, artists and other publishers.

When we returned to San Diego in 1984 there was a lot more at stake. Our decision to go to color had been realized but not as we had initially planned. The five titles that we had touted the year before were gone. Our commitment to color forced us to recognize that if we were to succeed we needed to send better work to the presses. The new lineup included Elementals by Bill Willingham, Evangeline by Charles Dixon and Judith Hunt, and Mage by Matt Wagner.

Comico's 1st Color Books

We knew that it was going to take much more than a fancy booth to make sure that our product would be noticed by the attending crowd of comics enthusiasts.

We had come back from San Diego the previous year with a huge pile of brochures, flyers, buttons business card, postcards and photocopied samples of art, most of which had been picked up at the entrance of the convention hall. It was easy to lose even the most lavishly produced piece of promotional material in this wild collection of potential paper cuts.

How was Comico going to separate itself and its promotional material from this knot of collateral material?

Stepping outside the box is a long used cliche but one I have always adhered to, especially when it comes to promoting a product. Ironically, it was the box that was the solution for our marketing approach for Comic-Con that year. The box was the vessel for the usual and the mundane. Once outside of it, all I saw was valuable marketing real estate on the box, itself!

We needed a vessel of our own that everybody else’s promotional material would go into.

I went to S. Walter Packaging in Philadelphia and researched bags and found a plastic one that was reinforced, strong enough to carry a lot of paper goods, and printable on both sides. I designed a catchy slogan that featured our logo in two colors and incorporated an ad that we were running in our books. Finally, I plastered the thing with black-and-white go-go checks that made it pop across the room.

Comico Convention Bag Front

As expected, we were the only company that had a bag that was capable of holding all of the goodies that anyone could pick up at registration and around convention hall. The bag was not only popular it was in demand. When bags ran out at registration a line formed at our table. Nearly every attendee carried a Comico bag that year and it was nearly impossible to not see our logo anywhere at the convention center or in the streets of downtown San Diego.

Comico Convention Bag Back

Our success at San Diego Comic-Con that year was clearly “In the Bag!”

Gerry Giovinco

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The Gutter | Welcome Mike Leeke and Robert Jackson Jr

Monday, July 6th, 2009
Liberteens on CO2

Liberteens on CO2

Former Elementals artist and long time friend of Bill and mine , Mike Leeke has joined with writer Robert Jackson Jr. to bring The Amazing Liberteens to CO2 Comics.
Our relationship with Mike goes back to our college days at Philadelphia College of Art (PCA) which is now the prestigious University of the Arts (UArts) He was part of the gang that produced Duckwork and eventually came aboard at Comico as penciler on ROBOTECH the Macross Saga and eventually Bill Willingham’s Elementals. After Comico Mike went on to work with Bob Layton at Valiant where he illustrated X-O Manowar, H.A.R.D. Corps, PSI-Lords, Deathmate, The Visitor, and Dr. Mirage.

Mike Leeke Cover Art

liberteens_cover_arjack

AmazingLiberty.com

Mike moved to Lone Star Press to provide art for Pantheon and then rejoined Bob Layton to work with Dick Giordano and David Michelinie on Freemind for Future Comics. One Look at The Amazing Liberteens and it is easy to see why Mike has been able to hang with some of the greats in the industry, not only is he an incredible draftsman he is a great visual storyteller.
His partner and creator of The Amazing Liberteens, Robert Jackson Jr. , is the author of the fantasy novels, Turn of the Circle and The Amazing Liberteens as well as the on-line comics Warrior Son and Anarchia. Mike and Robert have some big plans in store for you lucky readers of CO2 Comics so grab your shirt tails and dive into the adventures of the next hot teen super group and let us know what you think!

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The Gutter | Welcome Neil Vokes and Rich Rankin

Friday, June 26th, 2009
Primer 6

Primer 6

Neil Vokes and Rich Rankin are gracing us with the opportunity to present Gauntlet, their first published work which first appeared in Comico Primer #6. Neil and Rich were regular faces around the Comico studio mostly because they were fun guys to be around and true comic enthusiasts like the rest of us. We had no idea at the time that they would each play a role in the huge success of the ROBOTECH  line of comics. Neil’s dynamic pencil work and Rich’s finely inked lines became staples in the craftsmanship that epitomized the series. While Neil was finely focused on the ROBOTECH series and graphic novel Rich spread his wings a bit and inked Matt Wagner’s Grendel DEVIL BY THE DEED and Bill Willingham’s ELEMENTALS as well as the ROBOTECH line.

Eagle 1

Eagle 1

Both moved on to publish their own work Eagle with writer Jack Herman which they produced under the Crystal imprint. Eagle is currently back in print and available as a POD through Lulu.com
eagle_the_original_adventures3Rich later ventured on to start Comic Zone Productions producing a variety of somewhat controversial black and white comics. Today he is a performer in the Atlantic City area.
Neil has been a prolific penciler working continually since those early days. He is a regular on the convention circuit.

GAUNTLET

GAUNTLET

GAUNTLET is an opportunity for us to witness raw talent in action. It is the first work by two great talents and genuinely fine friends. We hope that we will have the opportunity to share more of their work in the future. Thanks Guys!

Gerry G.

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