Posts Tagged ‘Fortress of Solitude’

The Big Bang is Coming

Monday, July 18th, 2011

Did you ever wonder what it would feel like to stare through the lens of the Hubble Telescope at the farthest reaches of space and actually witness the the dawning moments  of the Universe? Imagine turning it around to be able to stare into the future. Why not? That light is moving a lot faster than we are and it must be going somewhere.

This week I got a glimpse of the future while reading the good old fashioned newspaper. That alone will tell you that I am deeply mired in the comforts of the past. Newspapers, magazines, books and comic books are all all things I enjoy for their tactile qualities, tradition and collectibility. I’m so drawn to  the printed page that I became a publisher at a young age and have always enjoyed every aspect of publishing. Even deadlines offer an adrenaline rush that can get me past the tension of a tight schedule.

It is clear, however, that the printed page is the next dinosaur, soon to be extinct with the exception of collections preserved for curiosity in museums called libraries that will be reserved only for those that are interested in viewing the books as artifacts of the human culture in the last millennium.

We have all seen it coming. It has been a discussion that has reached a fever pitch since the iPad came on the scene last year, but there has always been a sentiment that print would not, could not, go away. That’s what I wanted to believe, until I read this syndicated article by Andres Oppenheimer on the Commentary page of my local paper and of course it is easily accessible online through it’s original source the Miami Herald.

The caption that caught my attention was beneath an illustration of a young student at a computer and it read, “South Korea plans to ban all school paper textbooks and replace them with electronic tablets by 2014.”

Mr. Oppenheimer’s article was mostly focused on how much more advanced the South Korean students were compared to the rest of the world, ranked number 2 behind Shanghai China in reading comprehension. U.S. was lagging at 17th, Spain 33rd and the highest ranking Latin American Country, Chile at 44th. He continues to wonder if it is their study habits or their use of technology that supports their educational advancements.

I was focused on the concept of banning all school paper textbooks and replacing them with tablets in the next three years.

The extinction of books is no longer a matter of “will it happen?”  “When will it happen and how soon?” is the question that we need to aim our Hubble at. The Big Bang for print is happening NOW.

The comic book industry is like the fictitious planet Krypton, poised for a cataclysmic eruption of the medium’s entire cultural history to date. We need to jettison our survivor. Who or what will be our Kal-El? My guess is that that answer will be in the form of some type of digital distribution network. My fear will be that it may manifest as some Phantom Zone monopoly.

The distribution network needs to have the wisdom of Jor-El with a keen sense of preservation of the total knowledge base of the medium. This network will flourish from its own Fortress of Solitude which will manifest itself ironically not from being solitary but from being social as digital social networking will be a significant tool in our success of hardwiring the infrastructure and distribution of the knowledge and content base.

This September the comic book industry will be subject to the New 52 from DC, Diamond’s new Digital Distribution package, and a  Marvel New Retailer Incentive. The Superpowers are looking ahead but are they focused on self preservation or the preservation of the medium and the entire comic market?

The answer is the same as it has been since 1939. Show them the money.

The rest of the industry needs to survive too.

There are more comic creators today than there has ever been in history. We have learned to make great comics on our own and we have found new ways to put them in front of readers around the world. Digital distribution will be just as important to every comic creator as it is to Marvel and DC. It is time that we develop a focus so we do not, as individuals or small publishers, get lost in the shadows of the monoliths.

As a group, independent creators have so much more to offer than what we have come to expect as the usual. It is time that this group defines its own market and its own distribution and utilizes its power in numbers.

Comics as a medium and an industry will be better for it.

Let’s not end up shattered like Krypton because we chose to ignore the obvious. Comic books may be on the verge of extinction but there is still a bright future for the art of making comics. That light is moving fast and it must be going somewhere.

Making Comics Because I Want To

Gerry Giovinco


The Process of Penciling for Comics

Monday, April 11th, 2011

There is no doubt that when it comes to penciling for comics the first priority should be to learn to draw as best you can and to become an expert at visual storytelling. Once you have mastered these skills it is time to put the lead to the paper, remembering that comic art is made to be reproduced and that penciling is just one of several disciplines involved in making the finished comic page.

The penciler must be conscious of the script, the lettering, and the inking of the finished work. It is the penciler‘ to produce pencils that will enable the other work on the page to be executed properly. Everything from the type of paper to how final erasures will be made should come into consideration.

The tools are important too. Beginning cartoonists always want to know about the “magic pencil.” There is one but, like a baseball player’s favorite bat or glove, it is a very personal selection for each comic artist as are most of the other tools that will be used to create a comic page.

The space that the comic artist likes to work in has an effect on some of the tool decisions. Some artists like to be mobile and move around their home while they create, others like a studio built to the specifications of the Fortress of Solitude. Regardless of the preference, it is important to have a source of light, a smooth surface to work on and a comfortable place to sit.

The above image is reproduced from The Secrets of Professional Cartooning by Ken Muse-Prentice Hall-1981

Comic artists all begin as young doodlers drawing sprawled-out on the living room floor before graduating to the kitchen table. Those flat surfaces parallel to the ground ultimately cause distortion in the image. To prevent this the paper must be parallel to the eyes of the penciler. The penciler usually compensates for this by either hunching over the work or tilting the work surface.

Lap Boards

The artist’s draft table is the best piece of furniture for the task and comes in many different styles but the beginning cartoonist may not have the space or the money to afford one. This is when a lapboard will come in handy. I’ve seen lapboards that look like small versions of actual drawing boards and I have seen smaller ones made out of masonite. Some artists like to use an oversized clipboard. The board rests in your lap and leans against a table in front of you offering a nice parallel view of your work.

Whichever drawing surface you choose you will want one with smooth strait edge on one side which will be important for ruling the page.

Be sure that wherever you choose to work there is enough light. Many artists like a swing lamp that they can attach to the drawing table. I think it helps your eyes if you can mix fluorescent and incandescent light. Some swing lamps have both types of bulbs just for this reason. It is easy to compensate for the mixed lighting if you can’t find one of these lamps. If your ceiling light is fluorescent you may want an incandescent bulb in your lamp and visa versa.

Take a look at artist studio’s on the web and you will find that they are all very different and very personal. If you plan to be a successful comic artist, expect to spend a ton of time in this space so insure that it is comfortable, inviting, efficient and productive.

In the coming weeks I will look at other tools and techniques that are valuable tip to comic pencilers, please feel free to chime in with your own personal preferences. I think it can become a fun discussion.

Making Comics Because I Want To

Gerry Giovinco


The Comic Company:
The Studio

Tuesday, August 10th, 2010

Gerry Giovinco and Bill Cucinotta

 

Superman has the Fortress of Solitude. Batman has the Bat Cave. Hugh Hefner has Playboy Mansion. (That lucky bastard…)

The great heroes always had a secret lair, a home base, a castle of sorts. These mythic headquarters become a trademarked extension of the person themselves and ad to the legacy of grandeur attributed to their deeds and accomplishments.

 

Gerry's space at the Studio

 

I always had a fascination for a “clubhouse” mentality. I remember being about four years old and having secret meetings with my younger brother, Tom, in a dark closet illuminated only by our dim nightlight which we had drug in before we closed the door. This was our secret place, and though I’m sure my parents knew where we were, it gave us toddlers a sense of independence and awareness of self that we didn’t have when we were supervised by adults.

Two years later, Batmania would grip the world. All my brother and I could dream of was our very own Bat Cave buried beneath our house. We would spend hours scheming secret entrances to our gloriously imagined hangout.

As the years passed, there was always some kind of toy cabin, clubhouse, or tree house that anchored my activities with my three brothers and friends.

 

Room with a view

 

This continued into college where I would hole up with Bill Cucinotta and the other so-called Ducks in our commandeered DUCKWORK office on the thirteenth floor of the Philadelphia College of Art.

Given my own propensity for a hangout it is no surprise to me that the defining catalyst for Comico becoming tangible was the availability of office space at 1547 Dekalb Street in Norristown, PA.

Phil LaSorda’s older brother Dennis had just purchased a duplex in which he planned to operate his physical therapy practice. He offered Phil, Vince Argondezzi and me the opportunity to operate Comico from the space in the adjacent half of the building that he had no immediate plans for.

The iron was hot.

Comico, which until this point was as much a dream for Phil, Vince and me as that Bat Cave under my house, was about to become real. This was the moment of truth. It was time to “shit or get off the pot.”

Vince chose to leave the porcelain vacant and, though he would contribute his comic Mr. Justice to Primer #1, his partnership with Phil and me had ended.

 

Fred the Duck. Gerry Giovinco, Bill Cucinotta and Phil LaSorda

 

Phil and I had grown used to the idea of a third person in the partnership. It especially came in handy breaking stalemates on important decisions. We turned to Bill Cucinotta who had been my right hand man while publishing DUCKWORK at PCA.

Bill knew the Direct Market of the comics industry very well because of his experience working retail at Fat Jack’s Comic Crypt in Philadelphia. As a partner, his knowledge gave us an edge that we did not have before.

 

Partners

 

Comico’s partnership was once more a triumvirate and we had our own headquarters dubbed simply “Comico Studios”. We generally would refer to it just as The Studio never intending to confuse or compare it to The Studio in Manhattan where Bernie Wrightson, Jeff Jones, Michael Kaluta, and Barry Windsor-Smith hung their hats.

 

Recently I have heard stories from various Comico fans that had found their way to Norristown and decided to look up the Comico headquarters which, in their mind, was a shining tower of architectural wonder. They were surprised to find that it was simply an old three-story, stone-fronted, duplex building that was once a family home with a wooden porch located on the corner of a busy street in a tired industrial town whose glory days had long passed.

Our main activities took place in what would have been the living room and dining room of the original house, complete with very dated orange, shag, wall-to-wall carpet that covered beautiful hardwood floors. Eventually the bedrooms would become offices as our staff expanded.

At the time all of the guys that hung out at the studio were college age and we had a very fraternal sensibility that had carried over from our DUCKWORK experience.

We tended to play as hard as we worked and seemed to never leave the building, often crashing on the couch or cots that we had brought in for the many all-nighters that were pulled to meet deadlines or to just hang out. The pizza shop on the opposite corner made it easy for us to always have food and drink.

Our families forgot who we were.

Posters and art covered the walls. There was a riddled dart board that was used to shake out those punchy moments in the wee morning hours. It was not unusual to find the mantel of the fire place lined with empty beer bottles.

 

Bill Cucinotta and Bill Anderson, Trashed and too close for comfort

 

This would all change eventually as Comico became more of a business and less of an adventure but those early days harbor all of the most romantic memories of young guys setting out to conquer the world of comics as they knew it with little more than hope, a dream and some talent.

 

Reggie Byers and a new shipment

 

We would get visitors. Many with portfolios or scripts in hand. Some just curious. The visitors that thrilled me the most though were heros that provided inspiration so great that I get misty thinking about their visits even today.

Murphy Anderson whose Visual Concepts Inc. was our flat color separator and would visit often.

Joe Kubert, whose school we offered a small scholarship to, and whose sons eventually worked on our books, stopped in to say hi.

Dick Giordano along with Pat Bastienne would stop by for holiday parties.

All of them are comic book legends.

They would marvel at our humble space and it would take them back to stories of the good old days when they, themselves were kids in the industry holed up in hotel rooms knocking out an issue by committee overnight.

The twinkle in each of their eyes as they reminisced is something I’ll never forget.

When I write these articles, I get that twinkle and I remember why I love making comics.

It is more than the art of it. More than the love of the medium. More than the camaraderie of other comic artists.

It is being part of it all.

Being part of the history of all the folks that made the comics that put a smile on the face of a reader young or old.

 

Gerry Giovinco, Reggie Byers, Phil LaSorda, Bill Cucinotta. Neil Vokes (in back), Matt Wagner, Rich Rankin

 

Being part of a unique tradition of a wonderful medium and passing it forward to the next generation.

 

Snowmageddon trashed the front porch

The clubhouse is a lot different today. It exists in a technological wonder called the internet. It is not bricks and mortar like the old duplex in Norrisown. It is digital and the visitors stop in from all over the world.

Our new headquarters has a name. It is CO2 Comics.

It has an address: www.co2comics.com

Stop and visit.

Visit often.

Making comics because I want to.

Gerry Giovinco


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