Rough Stuff #5

No. 5 Summer 2007

$6.95

Celebrating the ART of Creating Comics!

Featuring

STEVE RUDE Interview & Art Gallery

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Hulk, Doctor Doom, TM & ©2007 Marvel Characters, Inc. Nexus ©2007 Steve Rude. Wonder Woman TM & ©2007 DC Comics.

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82658 27766

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Volume 1, Number 5 Summer 2007

Celebrating the ART of Creating Comics!

EDITOR

Bob McLeod PUBLISHER

John Morrow DESIGNER

Michael Kronenberg

FEATURED ARTISTS PROOFREADERS John Morrow and Christopher Irving COVER ARTIST

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Cully Hamner

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Gil Kane

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Dale Keown

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Paul Smith

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Ashley Wood

Steve Rude

CIRCULATION DIRECTOR Bob Brodsky, Cookiesoup Periodical Distribution, LLC

ROUGH STUFF INTERVIEW SPECIAL THANKS John Albano Chris Bailey Michael Browning Jim Cardillo Michael Eury Tom Fleming Cully Hamner Matt Huesman Gil Kane Dale Keown Daryl Kuxhouse Michel Maillot David Mandel Stephen Molnar J. Hiroshi Morisaki Gene Poonyo Jaynelle Rude Steve Rude Paul Smith Gerry Turnbull Ashley Wood ROUGH STUFF™ is published quarterly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Bob McLeod, Editor. John Morrow, Publisher. Editorial Office: ROUGH STUFF, c/o Bob McLeod, Editor, P.O. Box 63, Emmaus, PA 10849-2203. E-mail: mcleod.bob@gmail.com. Fourissue subscriptions: $26 Standard US, $36 First Class US, $44 Canada, $60 Surface International, $72 Airmail International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Central cover art by Steve Rude. All characters are © their respective companies. All material © their creators unless otherwise noted.

All editorial matter © 2007 Bob McLeod and TwoMorrows Publishing. ROUGH STUFF is a TM of TwoMorrows Publishing. Printed in Canada. FIRST PRINTING. ISSN 1931-9231.

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Steve Rude

ROUGH STUFF FEATURE 3

The Legend of Jonah Hex Michael Browning

ROUGH STUFF DEPARTMENTS 2

Scribblings From The Editor Bob McLeod

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Cover Stories Steve Rude and Cully Hamner reveal the process of creating a cover.

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PrePro Art by Steve Rude, done before he turned pro.

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Editor’s Corner Bob McLeod

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Rough Critique Editor Bob McLeod critiques an aspiring penciler’s sample page.

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Rough Talk Comments and opinions from our readers.

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FREE! Preview of BACK ISSUE #23

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SCRIBBLINGS FROM THE EDITOR:

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his issue begins the second exciting year of Rough Stuff! Thanks so much for joining us. I hope you enjoyed our first year as much as I did. I’d like to also welcome those of you who downloaded the new digital version of Rough Stuff (now available in high-res PDF format for just $2.95 at www.twomorrows.com!) If you just

discovered Rough Stuff, be sure to order the print version of the first four issues from our publisher to check out all the great artists and features you missed. In our first four issues, we’ve shown you a whole lot of great art and insightful comments from the artists, but we’ve still just barely scratched the surface of all the fantastic comic art out there.

There’s a terrific totally new line-up still awaiting you in this year’s issues!

We open this issue with relative newcomer Cully Hamner, who has a very engaging style that’s sure to please, and then..... How could we have done four issues and just now be getting around to the legendary Gil Kane?! Gil had one of the longest careers in comics, and was incredibly prolific, so my boy (as he always called everyone), all we can do is a small sampling of his art, but we found some goodies. And good doesn’t begin to describe the art of Dale Keown, who I had the pleasure to ink on his first issues of The Incredible Hulk. He was one of my favorite artists to ink because his pencils were just gorgeous. He’s followed by the lovely art of fan-favorite former X-Men artist Paul Smith. And then, dude, things really get going as I interview The Dude, Steve Rude, who graced us with that fantastic new painting of his character Nexus for our cover! And bringing up the rear is the unique art of Ashley Wood.

Mixed into all that magic is our Cover Story feature, showing the pencils and inks of covers by Steve Rude and Cully Hamner. Michael Browning tells us all about the late John Albano’s creation of that most unusual of western gunfighters, Jonah Hex. This issue, for the first time in these pages, I also offer a small sampling of my own pencil art in a new occasional feature called The Editor’s Corner. Then once more I give a constructive Rough Critique of a new young penciler, Stephen Molnar. You’re bound to be seeing his work soon in a comic shop near you. And of course, we have your own always welcome and appreciated letters of comment.

As usual, be sure to visit the Rough Stuff page of my web site to see even more great art and comments that didn’t fit into the magazine, at www.bobmcleod.com/roughstuff.htm. And don’t forget to check out the web sites of our featured artists, some of whom accept commissions: Cully Hamner: www.gaijinstudios.com/index.php?pg=about&sub=cully Dale Keown: www.fullbleed.com Steve Rude: www.steverude.com Stephen Molnar: www.stephenmolnar.com Bob McLeod Editor mcleod.bob@gmail.com www.bobmcleod.com PO Box 63 Emmaus, PA 18049

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the legend of

By MICHAEL BROWNING

L

ong-time comic book writer John Albano was working for DC Comics in the early 1970s when editor Joe Orlando came to him with a

request: Create a new western hero for DC Comics’ All-Star Western, which was soon changing to Weird Western Tales. Albano created Jonah Hex, a ruthless bounty hunter who had been scarred during the Civil War, to fill a spot in All-Star

Jonah Hex TM & ©2007 DC Comics

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Western #10 in 1972. Jonah was featured in All-Star Western #11 and then, when the title was changed to Weird Western Tales with issue #12, he carried over as the star of the comic.

Albano wrote both of Jonah’s All-Star Western appearances, in addition to those in Weird Western Tales #12-14, 16-19 and 21 before leaving the title to incoming writer Michael Fleisher. Albano’s only other work on Jonah Hex was in the form of a four-page satire originally intended for a DC comic to be called Zany, which was never published. The story, drawn by Tony DeZuniga, was published in The Amazing World of DC Comics #13.

Sadly, this was Albano’s only interview with the comics media. He died only weeks after it was conducted in early 2005. Albano passed away at the age of 80 in

late May, and he was still working in comics right up until a few weeks before his death. His last comics work appeared in Archie Comics and he was working on a stage play days before his passing.

Artist Tony DeZuniga is still alive and well and has drawn at least two Jonah Hex adventures in the new, ongoing series written by Justin Gray and Jimmy Palmiotti.

DeZuniga still continues to produce fine artwork and commissioned drawings of Jonah Hex and other comic and literary characters.

In this excerpt from the three-hour long interview with the writer, Albano discussed the creation of Jonah Hex, how he drew the breakdowns for artist Tony DeZuniga, and gives hints at an unknown origin for the western anti-hero. “Tony drew, I’d say, 99 percent of the stories I did on Jonah Hex,” Albano said, fondly recalling his work with DeZuniga. “He had told someone that he had created Jonah Hex. He did create what the character looked like after I described him, how he had half his face hit Jonah Hex TM & ©2007 DC Comics

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with a cannonball and was ugly as heck.

He was a great artist. I loved his art.”

Albano said he had an idea of what he wanted the artist to draw, so he’d do the breakdowns himself fully lettered for the artist to draw. “I always storyboarded my work,” Albano said. “I was a cartoonist prior to getting into the comic book business and I had been an editor at The National Enquirer, as well as being a freelance cartoonist. I used to do cartoons for magazines like Saturday Evening Post and Collier’s, which were weeklies and I made a good living doing that. So, when I started doing comic books, I storyboarded all of them, including some of the humor stuff, like Binky.”

At the request of then-DC Comics President Carmine Infantino, Albano drew a larger Jonah Hex in his initial breakdowns and in his first couple of appearances in All-Star Western, but DeZuniga opted for a slimmer western gunfighter. “We decided to slowly change him. Carmine wanted us to produce a western character that looked like the Incredible Hulk. Oh man, Albano just hated the idea,” DeZuniga said. “That’s

Jonah Hex TM & ©2007 DC Comics

why in the first issues of Jonah Hex he was bulky. We were trying to please Carmine with that idea. Finally, John and myself were just about ready to give up and we said ‘Carmine, we can’t do it that way.’ So, John brought up the idea about, ‘Why don’t we do something like a fresh character, like he’s battle-scarred?’ He was a Confederate soldier. It took like two weeks of arguing with Carmine. Then, finally, he decided to say ‘Okay, let’s do it this way. I’ll give you, like, three issues and if it doesn’t click, your idea, then we’ll just kill off the book.’

All-Star Western lasted only two issues with Jonah Hex as its star, but Weird Western Tales took up the numbering of All-Star Western and Jonah Hex was a hit with fans. He soon took over the entire book and, eventually was moved from Weird Western Tales to his own magazine. Albano said Infantino was uneasy about putting a SUMMER 2007 • ROUGH STUFF

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and look like you’d expect them to look. You don’t have an ugly hero. If you’re going to have any romance, you have to be a good looking guy.”

John Albano

BOB McLEOD As you can see from these examples, John Albano was a cartoonist as well as a writer. Visit the Rough Stuff pages of my web site to see some of his non-Hex cartoons, and some more Jonah Hex art by the great Tony DeZuniga!

scar on a hero’s face, but, when sales figures rolled in, the comics executive was more than happy to let the scar stay. “I think Carmine thought that the scarred face was not good for a super-hero comic book,” Albano said. “I think Carmine thought it was a little repulsive. To me, it was similar to the Hunchback of Notre Dame-type character, which was sympathetic in the sense that he was an outcast because of the face. They called him a half-monster. In that time, we didn’t have plastic surgery, so Jonah was condemned to have that face for his whole lifetime”.

“I wanted Tony to draw him with a scar on his face. If you look at every super-hero character, they all have the same face. They might have different hair, but they all have the same face. They’re all handsome, hero types Jonah Hex TM & ©2007 DC Comics

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D U R E F E A T

I S T A R T

R E N M A H Y L L U C

e to me, was a new nam Cully Hamner EEN rst work on GR fi is h ce n si t bu books ciled many top n pe s e’ h N R L ANTE s an origand others. He’ C D l, ve ar M r fo tlanta’s g member of A in u BL ACK n ti n co d inal an working on the y tl en rr cu s e’ , his and h DC. To my eyes r fo Gaijin Studios, s ie er i-s in dark, EAR ONE m LIGHTNING: Y h air from the es fr of th ea br e is a open, clean styl nt today. mics so abunda co d re de en -r overly

CULLY HAMNER This is from the first issue of my aborted run on The Authority. I have a tendency, for good or ill, to grid out perspective during the early stages of a layout. For some reason it works with my thought process, helping me see the space the characters are occupying and making the dynamics and movement work for me. As you can see from the layout, I work in a “tight, but loose” format: tight in the sense of all the construction being there; loose because there’s no detail. It’s all body language and narrative.

Also, three penciled pages from the Hawksmoor story Warren Ellis and I did for the Gaijin Anniversary book, Wildstorm Summer Special. This was one of the last times I worked with an inker, my brilliant studio mate Karl Story. To me, it’s an interesting lesson in penciling too tightly, as I don’t get anywhere close to this level nowadays inking my own stuff. I’ve always liked this progression, though; Warren and I were really in sync on this story. It’s one of those rare times in my career when everything, from the script to the inks to the lettering to the colors, just totally worked for me. And I went nuts on the architecture!

The Authority TM & ©2007 Wildstorm Comics

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CULLY HAMNER

CULLY HAMNER Batman: Tenses Here, we have a couple of rejected cover sketches for Batman: Tenses.

I’d say more, but my original notes to editor Bob Schreck are reproduced below…

Next, the sketch and final cover for Tenses #2, in which Batman faces of against a nebbish clairvoyant with nothing to live for. Fairly simple, straightforward montage.

Batman TM & ©2007 DC Comics

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CULLY HAMNER The covers on Red were an interesting proposition for me. Since it was a creator-owned book, I had no art director or editor to have to get past; I was on my own, design-wise. The theme of the number 3 had occurred to me: Three letters in the title and three issues. So I had the idea to have every cover use three consecutive images— like a strip of film, almost (which also nicely dovetailed the kineticism of Warren’s story and my approach to it). On top of everything, I used the three colors of a traffic light: The first one was monochromatic red; the second, yellow; the third, green. I had a lot of fun on these covers.

CULLY HAMNER Spider-Man Another one of those times that the idea was fully-realized from the start, this time for an insert with a Spider-Man 2 DVD box set. Notice how Spidey, in the foreground, frames his own reflection on the building in the background? Another thing to notice is that I put the reflected Spidey smack-dab on top of the awake vanishing point, in order to Spider-Man TM & ©2007 Marvel Characters, Inc.

draw the eye. Yes, it’s a cheap trick.

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CULLY HAMNER Another aborted run, this time on The Punisher; I had a weird stretch where this kept happening.

Anyway, this double-page spread is another example of getting the structure in place in advance, doing all my thinking before doing anything finished.

Also, the editor, Axel Alonso, wanted to see my take on the character before I started—I’m assuming to make sure I didn’t give Ol’ Frank breasts or make him a midget, or something—so I provided a quick model sheet.

Punisher TM & ©2007 Marvel Characters, Inc.

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BOB McLEOD Here’s an interesting step-by-step look at Cully’s cover for TwoMorrows’ The Blue Beetle Companion.

Beginning with the thumbnail layout sketch in the top middle, he then moves on to a simple actual size line rough on the top left, and then refines the figure drawing with some subtlety on the top right, puts in all the details on the lower left, and inks it on the lower right.

Blue Beetle TM & ©2007 DC Comics

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CULLY HAMNER The Ride Here’s the cover to The Ride: Die Valkyries! #2; the comic is by my pals and 12 Gauge cohorts Doug Wagner and Brian Stelfreeze

Two-page progression from “Big Plans,” a story I wrote and drew for 12 Gauge Comics’ The Ride. I like to write, and I don’t get to do it nearly often enough. It’s nice to be able to totally control the storytelling experience once in a while. I had no editor, though I did route my story synopsis through some people whose opinions I trust.

(By the way, is it obvious by now that I love to choreograph fights? When I work a fight scene with a writer, my general rule is to do everything I can to give him or her exactly what’s written. But my first responsibility is to the story’s logic, readability, and interest, so I will deviate from the particulars from time to time as long as I can maintain the intent of the scene and improve upon what’s in the script. With this story, though, the middle man didn’t exist, so good or bad, it’s all mine.)

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CULLY HAMNER Couple of private commissions for Spirit fans. I love, love, LOVE Will Eisner’s body of work, and have since I first discovered him in my teens. His design and storytelling haven’t ever had peer, in my estimation. I can’t get close to his sensibility, but I thought it was worth the shot on these commissions, just for experimentation’s sake.

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CULLY HAMNER X-Men I wrote and drew a Wolverine/Colossus story for X-Men Unlimited a few years back, and as you may have guessed, I have a habit of doing model sheets in preparation. Again, for me, it’s good to do my interpretive thinking ahead of time.

I like to remain as true to a character’s original intent as I can, allowing, of course, for current editorial needs, so I wanted to do Wolverine as much a runty, ugly, little malcontent as the editor would let me. Note his smile, about which there’s nothing pleasant.

Colossus and Wolverine TM & ©2007 Marvel Characters, Inc.

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D U R E F E A T

I S T A R T

GIL K ANE

e Eli Katz, Kane (real nam il G d n ge le s ic the ’40s Com d in comics from k on ke or w 0) 00 -2 1926 his wor is death. I loved AN right up until h SP ATOM, IDER-M E TH , N R TE N GREEN LA e far too achievements ar ention that some consider is H .

N A N O C d an ould m hic t here, but I sh be the first grap to K R A numerous to lis M K C perback BLA HAWKS was his innovative pa mic strip STAR co er ap sp ew n is work was ily o-tier format. H novel, and his da tw l u rf de on w a y of using influencing man g, noteworthy for tin ci ex d an d dynamic always solid an ts. today’s top artis

BOB McLEOD Heritagecomics.com

Alter Ego #10 While I was still busy graduating from high school, Roy Thomas used this for the cover of his fanzine Alter Ego #10, way back in 1969. The great Marie Severin, who’ll be featured in Rough Stuff #7, drew the caricature of Gil in the middle, and then I think Gil himself added the montages on the sides. Gil was very tall, and had a lofty attitude about him, and Marie captured him perfectly.

BOB McLEOD Gil kept sketchbooks and did practice sketches every day.

This is an example from one of his sketchbooks. He knew the human form so well I think this was mostly because he just liked to draw. He wasn’t learning anything new here, just putting his thoughts down on paper.

Notice the threedimensional way he pictured the forms in

Heritagecomics.com

his mind, though. He was sculpting with a pencil.

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BOB McLEOD

GIL KANE

His Name is Savage! #2 While most of his contemporaries were content to just work in mainstream comic books, Gil was continually pushing the boundaries of comics. Even before his landmark Blackmark project in 1971, Gil also conceived, plotted, with scripting by Archie Goodwin, and illustrated His Name is... Savage in 1968, a self-published 40-page

m Heritagecomics.co

comics novel in magazine-format.

BOB McLEOD Gil drew this tribute card for editor Julius Schwartz’s 80th birthday in 1995. That’s Julius in the middle, surrounded by several characters from comics he edited. It was then mounted on posterboard and signed by many people at DC Comics. As usual, he inked it in Heritagecomics.com

marker, which had started to fade.

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Unfortunately, that marker ink will eventually fade to near invisibility.

BOB McLEOD I don’t know what this was used for, but it’s large features a much more detailed inking style than he employed later in his career. Like many artists, he pared his

GIL KANE

size (20" x 30") and

style down to more essential techniques as

Heritagecomics.com

he matured.

BOB McLEOD Tarzan While drawing his own Star Hawks newspaper strip, in his spare time Gil also took on the Sunday Tarzan strip from 1979-1981, following Russ Manning. I always enjoyed Gil’s jungle technique. As usual, he made everything look easy in this sequence, but just think of all he was asked to draw in each panel here.

Courtesy Matt Huesman

Panel three alone would challenge most artists: “Show Tarzan in the jungle battling a tribe of great apes”. He probably batted it out in an hour.

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BOB McLEOD These unpublished drawings were for a 1977 adaptation of the TV series The Prisoner, starring Patrick McGoohan, which I used to like a lot.

Jack Kirby also did a version, but apparently neither project was ever printed. The logic of replacing Kane with Kirby on a project like this escapes me, but perhaps it was just a scheduling

GIL KANE

problem.

courtesy heritage.com

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BOB McLEOD Rawhide Kid #141 Gil did many many westerns. This cover rough has a fantastic doubleframing layout, first framing the hero between the two near gunslingers and lining up all their hands along the same line of sight as they hover above their guns, but then also framing the other gunslinger in the distance.

A wonderful use of one-point perspective.

Courtesy Daryl Kuxhouse

GIL KANE

Rawhide Kid TM & ©2007 Marvel Characters, Inc.

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BOB McLEOD Amazing Spider-

Courtesy Michel Maillot

tion, allowing his many inkers to add their own style and create a unique blend. His work makes a great textbook for aspiring comic artists with its wonderfully designed compositions. He always varied the size of his shapes from panel to panel, as shown here, and except for the traditional panel grid, I think his style is remarkably contemporary. Of course, many of today’s top pencilers were influenced by Gil. This was drawn from a plot, so he had some input in deciding how many panels to use and how exactly to show the events described. I love the very dramatic upshot view from the grave, as if Gwen is watching the crowd.

Courtesy Michel Maillot

Man #123 pgs. 2-4 This is a great example of Gil’s storytelling style from the “Death of Gwen Stacy” storyline. Gil always moved the camera around a lot, and he had a terrific graphic sense for adding blacks. His style was tight and finished in its own way, but also very open to interpreta-

GERRY CONWAY ON WORKING WITH GIL KANE: In general, working with Gil, I would write a fairly tight outline describing the action by groups of pages as they broke naturally into sequence. (For example, page 1-3, Spidey swings over the city on his way to the Daily Bugle office, recalling the events of the previous issue, building up a head of steam for an angry confrontation with JJJ. Midway through the swing, he’s spotted by two kids on a rooftop who try to catch his attention, hoping for an autograph, but Spidey is so lost in his own thoughts he doesn’t see them.

side, etc.) Gil had a good sense of pace. His pencils were always a delight to write dialogue for; he was a natural storyteller and a brilliant draftsman and a very good writer in his own right. It was a pleasure working with him.

Spider-Man TM & ©2007 Marvel Characters, Inc.

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Courtesy Richard Martine

One of the kids is resentful, makes an angry wisecrack, but the other kid takes Spider’s

BOB McLEOD Amazing SpiderMan #102 pg. 5 A layout rough. This is the real meat of penciling comics.

Everything beyond this is gravy. He’s deciding on panel shape, then choosing a camera angle and placing his figures, going for variety in all, and using a lot of diagonals and foreshortening. Gil always tried to design his pages to be balanced as a whole in addition to balancing each panel individually.

This layout stage is where I think Gil Kane really excelled.

GIL KANE

Spider-Man, Lizard and Morbius TM & ©2007 Marvel Characters, Inc.

courtesy heritage.com

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Courtesy Hiroshi Morisaki

BOB McLEOD

Kid Colt TM & ©2007 Marvel Characters, Inc.

Western Gunfighters #18 cover Punched right out of a moving stagecoach! That’s gotta be one of the most powerful punches ever. In the inked version there’s a gun in the bad guy’s hand, making it even more painful. Westerns were very popular during Gil’s career, and he drew a passel of them. You can see a better scan of the inked version at Hiroshi Morisaki’s Comic Art Fans site: http://tinyurl.com/28ocqk. The darker lines here were done with blue and red markers, evidencing Gil’s supreme confidence.

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BOB McLEOD Creatures on the Loose #30 As an inker, it’s fascinating to me to study the difference between Gil’s pencils here and the finished ink version, which I believe is by John Romita. The changes are subtle, but many.

The facial expressions are much more emotional in the inks, and notice how the man’s left shoulder has been moved forward, more protective of the girl. The clothing folds, well designed and totally acceptable, are smoothed and more complete in the inks.

The werewolf, quite hairy in the pencils, is totally furry in the inks.

His right leg (and shorts!) are longer and he’s grown deadly claws to boot. Two vent pipes and a skyline have also been added in the inks, and of course the moon has moved.

Beneficial changes like this were routine back in the days when inkers were also pencilers, and routinely unrecognized and uncredited.

Man-Wolf TM & ©2007 Marvel Characters, Inc. courtesy heritage.com

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BOB McLEOD Giant-Size Conan #1 pg. 1 The changes in Tom Sutton’s inks from this layout are really staggering. But just study the way Gil places all the various forms, interweaving them to create this interesting layout.

However, back in 1973 when I was in the production department at Marvel trying to learn penciling, the then-art director John Romita pointed out to me that two elements like the demon’s sword and Conan’s scabbard should not be placed at the same angle, as Gil has done here. The Conan head looking back over the shoulder was chosen, by the

Heritagecomics.com

way.

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BOB McLEOD Green Lantern #41 pg. 1 This is a full-size rough, which I’m sure Gil then lightboxed and added refinements for the inker to ink.

Storytelling was very important to Gil, but he was also always trying to draw a dynamic composition with a lot of variety in viewing angles and shape size. He designed his pages to be balanced as a whole, in addition to balancing the contents of individual panels. He’s leading the viewer’s eye from panel to panel here, also, by the way he’s positioning the various elements. You follow the body of the jets down into the view screen in the second panel, then to the central figure, then up to the figure on the stairs, then to the feet of the figure in panel three, down Heritagecomics.com

through his arms into the bottom panel.

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BOB McLEOD Tomb of Dracula #27 As good as they were, Gil’s pencils were not meant to be followed exactly.

He was from the generation where the inker was expected to bring a lot to the table. So he drew in a way that gave the inker information from which to embellish and innovate. The lines on Dracula’s cape here, for example, could either be traced or turned into black.

Inker Tom Palmer chose to ignore them entirely and render folds instead, in addition to several other changes.

Interestingly, this cover was printed in reverse, with Drac

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Courtesy of Jim Cardillo

GIL KANE

on the left.

BOB McLEOD John Carter #4 Gil brought Edgar Rice Burroughs’ John Carter to life for many issues, usually graced with the beautiful inks of Rudy Nebres. Boy, do I miss the ’70s.

Check out Pablo Marcos’s inks for this cover on the Rough Stuff page of my web site, where you can also see the usual horrendous coloring most comics were burdened with then. If the colorists had ever run out of red ink, I guess they would have had to quit publishing color comics. The colorists back then used a set of Dr. Martin’s watercolor dyes with thirty-six colors, but I swear thirty of them were never used. If you see a cover with anything besides bright red, yellow, green, blue, and brown, it’s an

Courtesy of Tom Fleming

exceptional cover.

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BOB McLEOD Star Wars #7 Another in the long line of Gil kane covers, this one partially inked by Tony DeZuniga.

This version wasn’t used, but the published cover, also

by Kane and DeZuniga, is almost identical but with an outdoor setting (You can see it on the Rough Stuff page of my web site). As is often the case with unpublished covers, I like this version better in many respects.

Chewie did get a much needed facelift on the published version, however. Kane’s style was so extreme he was almost a caricature of himself sometimes, but it’s a wonderful style and always dynamic. Gil studied George Bridgman’s anatomy books, but then added his own

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Courtesy David Mandel

twists.

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BOB McLEOD Amazing SpiderMan #150 This is a nice montage cover to Amazing Spider-Man #150. It was later inked by Frank Giacoia, I believe.

This would likely have been considered breakdowns, even though there are blacks indicated.

Gil’s breakdowns were an inker’s paradise, allowing even more freedom than his finished pencils.

Spider-Man TM & ©2007 Marvel Characters, Inc.

GIL KANE

courtesy heritage.com

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COVER STORIES

W

hat happens between the initial layout of a cover, and the finished, printed piece? Usually a lot of changes—some brought about by the pencil artist, some by the inker (assuming they’re not the same person as the penciler), and some at the request of an editor or publisher.

When an artist is self-publishing, however, as in Steve Rude’s case on Nexus #5, everything is totally on his own shoulders.

Here, the changes were made as Steve edited himself, improving on his original idea as he progressed from rough sketch to finished painting. You can see the color painting on the Rough Stuff pages of my web site.

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BOB McLEOD He began with a basic symmetrical design idea of Nexus in the middle of the two secondary figures.

After some consideration, he decided a raised fist and twisted torso, with one foot forward and one back, would be more dynamic for the Nexus figure.

Before proceeding to color, he did a value study to establish and balance the lights and darks. Who needs editors, anyway?

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CULLY HAMNER Blue Beetle #15 I don’t often get the opportunity to do any Superman stuff, so this was a fun cover to do. I started out with a fairly small thumbnail, about the size of a couple of postage stamps; my editor, Joan Hilty, never saw this, as it was just to work out the basic idea. It was fairly fully-formed from the outset, but I feel that when you do a design this small, you have an easier time seeing if the whole design will hang together.

I did a grayscale marker comp for DC to look at. They liked it, but they wanted some more interaction between Superman and BB, and Joan had joked about having him tug on Superman’s cape. I took her seriously, though, and that’s just what we ended up doing on the final piece. They did ask me right before it went to press to change Superman’s expression to one of annoyance, but the version presented here is what I turned in.

Superman and Blue Beetle TM & ©2007 DC Comics

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D U R E F E A T

DALE KEOWN

I S T A R T

ene at to the comics sc on t rs bu n w eo Dale K ing everyone the 1990s, wow uely Marvel back in ndered and uniq re y sl u lo bu fa is with h as lucky edible Hulk. I w envisioned Incr ent on e inking assignm th abandoned ag sn to gh enou e. I reluctantly tim t ea gr a ad h next , and COMICS for the N O his early issues TI AC in an ncil Superm ned the Hulk inking Dale to pe left, Dale abando I r te af g n lo o overlynot to eating his own cr two years, and s, ic om C e ag edgling Im and joined the fl ter, Pitt! muscled charac

DALE KEOWN This Gray Hulk piece is pencil and white paint .

Once I start working on a pure pencil piece, It seems there is never a dark enough pencil.

By the time it’s finished, it’s a smudgy mess. I clean it up with a gum eraser and then white paint on the main figure.

Hulk TM & ©2007 Marvel Characters, Inc.

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For a lengthy, art-filled interview with Dale Keown, be sure to pick up TwoMorrows’ new book Image Comics: The Road To Independence, on sale now.

DALE KEOWN The Abomination was a commission and is pencil and white paint. When the main penciling is done, the art takes on a brownish gray tone.

When the white paint is applied, it’s an interesting contrast of

DALE KEOWN

warm and cool.

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DALE KEOWN Top Cow’s Inferno cover. This was back when I first started scanning my own artwork. I discovered one could adjust the contrast of a penciled piece and color directly from there.

BOB McLEOD I’m still trying to explain the concept of “rough pencils” to

DALE KEOWN

Dale.......!

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DALE KEOWN Sketchbook cover.

Messing around with pencil. Maybe a self-portrait.

BOB McLEOD Well, for a selfportrait, I think he needs to work a bit on the likeness. The ears look too big to me. I don’t know if Dale sculpts or paints, but I’d love to see him do both.

His figures have such a three dimensional feel of form and space and weight. They’re so solid they look like sculptures. In this one, that tongue just comes so far forward and back in

DALE KEOWN

space.

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BOB McLEOD Dale didn’t comment on this one, but it’s a good example of Composition 101.

So many artists I critique have trouble with cropping the scene to focus on what needs to be shown, and placing things properly in the panel. In that first skinny panel, all we need to see is his eyes, and the rocks, placed offcenter with everything on diagonals.

In the second panel, his arm is raised on the right side of the page to balance the face on the left in the first panel. If you reverse this figure, the page is unbalanced.

DALE KEOWN

Hulk and Thing TM & ©2007 Marvel Characters, Inc.

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DALE KEOWN A page from the Hulk/Darkness crossover. Pencil and white paint.

BOB McLEOD It looks so obvious and simple when it’s done right: Everything composed off-center on diagonals, and pulled in to focus only on what’s important to see. Then use light and shadow to create form. Oh yeah, and study anatomy for a few years!

DALE KEOWN

Hulk TM & ©2007 Marvel Characters, Inc.

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BOB McLEOD Dale had penciled issue #367, but this was the first issue I inked over him, and the first time I inked his version of the Hulk. At this early point in his career, his influences were still readily apparent, and I loved the bits he had picked up from Neal Adams (the detailed rendering) and John Byrne (the exaggerated cartooniness). His pencils were usually tightly rendered, but the drawing was loose enough that I still felt like I was contributing a lot.

DALE KEOWN

Hulk TM & ©2007 Marvel Characters, Inc.

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BOB McLEOD This famous shot was about as rough as Dale’s pencils ever got, and I was surprised he didn’t go tighter for a pinup scene like this.

But the monthly deadline was grinding on him. I don’t remember why, but I decided to use duo-tone paper for it. I inked it, then printed the inks onto a sheet of duotone paper with my Xerox machine.

Duo-tone is a paper with chemically treated lines printed on it and comes with two bottles of chemicals. You brush on one chemical and light lines magically appear.

Then if you brush on the other chemical, darker lines appear.

I did the version that was printed in the comic, then went even further with the duo-tone in this previously unpublished version.

Hulk TM & ©2007 Marvel Characters, Inc.

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PRE-PRO

D

id you ever wonder what a pro’s art looked like before he turned pro?

Was he really any better than you as a kid, or in high school? Steve Rude shows us he had the chops even back then.

STEVE RUDE Hey! It’s my favorite animal—the Cheetah Leetah! I was probably 9 when I drew this. I always loved drawing my animals.

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STEVE RUDE Myself and Mark “The Best Of Friends” Prey wrote this little onepager in hopes of selling it to Heavy Metal. Course, this was waaaaay before all that racial P.C. crap took hold of the country and we could actually do things how we thought best. Course, it might be hard to tell that the “savages” are actually the white ones in this story.

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INTERVIEW

STEVE RUDE Interviewed by Bob McLeod

S

teve Rude first became known in the early ’80s for his collaboration with writer Mike Baron on their independent comic Nexus. Since then, he’s done work for several of the major publishers, but is now recommitting himself to self-publishing, with the creation of his new Rude Dude Productions. We started out

recording this interview in late May, and got into discussing morning people versus night people. Steve and I, like many artists I know, prefer to work late into the night, and are slow to get going in the morning. Steve’s wife, Jaynelle, told me he often works until 2 a.m. But just as the interview was picking up steam and really going well, I glanced down and saw that the tape had stopped! I couldn’t get my recorder working properly, so I reluctantly decided to continue the interview through e-mails. Steve is doing a lot of interviews lately, as his new Nexus comic is about to debut, and he was very pressed for time, but we e-mailed back and forth and with his wife Jaynelle’s help, we finally got this interview in under the wire. I’ve always liked Steve’s clean, open style, uncluttered by all the unnecessary rendering so many of today’s comic artists use.

But I know many fans prefer all that rendering, so I asked Steve about that.

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STEVE RUDE Moth #5, pg. 5 Here’s what my pencil work looks like on the Moth. Now that The Moth is part of Rude Dude Productions, I can’t wait to fly back into it. This is for the yet unseen issue #5.

STEVE RUDE Moth #5 rough And here’s what I do when my oversimplified brain can’t figure things out. I

BOB: Not to dive right into the deep well of controversy, but

STEVE: My style is the opposite of where mainstream

throw some tracing

your style is kind of the opposite of where mainstream comic

comic art is going, and has been since the mid-’90s. I

paper over the figures

art has been heading in the last few decades, I suppose

grew up with Kirby, Romita, and ultimately studied the

and work out the

maybe beginning with Barry Windsor-Smith, and accelerating

illustrators from the magazine era of the ’40s and ’50s. I

lighting from there.

wildly with the advent of Image Comics in the ’80s and

am a product of the time I grew up in, which was the

really to extremes in some cases today. Are you confident

’60s and ’70s. The traditional approach I use is my style

you can capture the interest of today’s fans with your more

and is here to stay.

traditional approach?

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STEVE RUDE Nexus #99, pg. 4 Ah yes, my beautiful Sunny Honey floating in a tank as she awaits delivery. Of the baby kind. From the upcoming debut of our first Nexus book in 10 years! Yes, you read it right—10 years! Look for it in mid-July! It’s a stunner!

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STEVE RUDE Nexus #99, pg. 6 Another page from Nexus #99. And to think we got him in costume by page 6!

Amazing!

MIKE BARON I’m so used to the Dude’s genius it doesn’t surprise me.

He fits everything into the story clearly, beautifully, with room left over for word balloons. He always puts in the word balloons; note to artists. Notice how he moves the camera on the running assassin without ever losing the audience.

We move with the camera and are oriented at all times.

I advise most young illustrators to hold their cameras still and let the figures move.

You have to be a master to violate this rule and make it work.

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BOB: So then do you think good art is timeless

STEVE: I’d rather collaborate. I don’t need inkers to

regardless of trends, and quality will win out in the end?

venture too far from what I give them, but I like them to

Do you just work to your own standards and hope

add textural things that come from their natural style. Zip,

there’s enough of a market out there to support your

some dry-brush, things like that... as long as the drawing

efforts? Because I’m enough of a cynic to wonder if even

stays intact. That’s the hard part! So people really have

Jack Kirby himself could make it self-publishing in

to know how to draw before they can represent my work

today’s market.

in ink correctly.

STEVE: Yes, I believe good art is timeless regardless of

BOB: That’s exactly how I always felt about inkers on my

trends. And I always work to my own standards. I don’t

pencils. The drawing ability of the inker is key. If they

pay much attention to current “market” preferences,

don’t draw well, they misinterpret things and lose the

which have very little meaning to how I guide my life.

structure. It’s easy to make a nose look too big when it’s

Trends are transient. I’m not here to produce transience.

only 1/8 of an inch tall! Could you be happy with an inker whose style was somewhat dominating? I like

BOB: Well, inking can have a big impact on your style,

Klaus Janson’s inking a lot, for example, but I wouldn’t

as was shown in Gary Martin’s book, The Art of Comic-

want him to ink my own pencils.

Book Inking, when he had several different inkers ink the same page of your pencils. Does Gary now do all of the

STEVE: I doubt that I’d be happy about that. For example,

inking on Nexus and The Moth, and how open are you to

an inker that likes to put 10 lines down where I’ve put 2,

any changes he might make?

probably wouldn’t be a good match for me.

STEVE: I use Gary Martin as inker on most of my books

BOB: But how important do you think the inking is? If

because he’s good and knows what I want. He even

the inking is competent but somewhat bland, it’s OK

survived the Steve Rude boot camp I put him through

with you? I’m inferring from your influences and style

one weekend, when he flew down for a refresher course.

that inking is not something that interests you all that

Right now, getting Gary to ink my books is a problem

much. I mean, I just loved Tom Palmer’s inking on

because Rude Dude pays on the back end, and he needs

Buscema’s Avengers, and Russ Heath’s inks on Sgt.

the bread to pay the rent now. I’m probably going to have

Rock, for example. The inking was always a large part of

to begin inking my own work again, though I have

the allure of comic art to me, but I get the feeling it’s

brought in some freelancers to help out on the new

somewhat irrelevant to you.

Nexus books. Aside from a few textural things I ask him to use, Gary sticks pretty much to what I’ve given him in

STEVE: Actually, that’s funny. It certainly was a big deal

the drawing.

when thinking of other artists and their inkers. It was such a big deal whenever the wrong inker worked on my

BOB: Well, do you draw any looser when you ink your

favorite artist’s book. The older I got, the more I got into

own pencils, so you save some time?

the inker preference thing. I wish Dan Adkins had inked every issue of Master of Kung Fu, or the Big G [Paul

STEVE: Gino and other people ask me that a lot. No, I

Gulacy] himself. I never cared much for the other guys

tend to pencil the way I always do regardless of whether

Marvel threw in. When I finally met Gulacy in person, I

I ink myself or not. Interestingly, it’s different with commis-

couldn’t wait to put in my 2 cents on the inkers he had. I

sion drawings, however. I seem to be able to go into

could’ve talked forever on these things. We know the

them much looser and still feel comfortable going to the

inker’s style can change everything about the artist. Most

finish with ink.

of the time it was fun to see how different guys handled masters like Kirby. It was certainly a big deal to us fans.

BOB: Gary aside, how important is inking to you in

For my own work, they just have to know how to draw.

general? Do you think of it as just a necessary step in

Ask them, they’ll tell ya. And that’s why I want the actual

production, or do you like the inker to bring something

inking and lettering always done on the original art. I

more to the table than just a steady hand? To be totally

believe in these crafts for all the time-honored reasons

blunt, do you want to collaborate with an inker or just

they were there from the beginning.

basically be traced?

BOB: Yeah, I think the lettering is very important as well.

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STEVE RUDE This page has never been seen before by the public. This was me back in the late ’70s trying my best to be Paul” Big G” Gulacy. I think I used a ballpoint to letter this stuff.

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STEVE RUDE Looks like an all-out Hulk vs. Superman page here. Bizarrely, I did this book by adapting the Shuster Superman, and the Kirby Hulk. Why am I the only guy who draws these characters they way they’re supposed to look??

Superman TM & ©2007 DC Comics

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STEVE RUDE Ahh, the World’s Finest book I did with Dave Gibbons (use a british accent when you say that name).

I like this page, even after they made me replace the bat-pole with a bunch of clunky stairs.

Batman TM & ©2007 DC Comics

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What’s your penciling process like? Do you always

BOB: Do you paint totally in oils, or do you start with

do roughs or thumbnails first? Use a lightbox? How

acrylic or watercolor and then go over it with oils for the

methodical are you, and how spontaneous?

finish? Do you ever use gouache?

STEVE: My process for producing the final page hasn’t

STEVE: I use everything, mostly to keep from getting

changed in 30 years. I read the script, do the thumbnails

bored. I’m set up for oils, acrylics, my cel-paint, watercolor,

(very important, this is where your unique storytelling style

gouache and pastel. I don’t mix mediums. Too complicated

comes thru) and then I go right to the final from there. If

for my simple brain.

there’s something not right somewhere, it’s almost always a result of incomplete thought given to the thumbnails. It takes

BOB: Do you usually paint on canvas or illustration

me about a week to breakdown 22 or so pages in thumb-

board, or what?

nails. I’ve slowed down since the old days.

STEVE: Oils are usually on canvas; water-based paint on BOB: So do you enlarge your thumbnails and lightbox

cold-press illustration board, and pastels on Canson

them, or just use them for reference? And do you place

paper. The smooth side.

word balloons as you draw, or leave that to the writer?

BOB: Do you draw in pencil and transfer it before you STEVE: From the thumbnails I’ll just draw in the 10" x15"

start the painting, or do you just draw in paint? What’s

area ( I always draw on the back side, without all the

your process there?

dotted blue nonsense to confuse me) and scale up the thumbnails by eye, with placement for the balloons.

STEVE: For covers and other illustration work, I’ll work out the painting in miniature, then work up a comic-size

BOB: After you’ve done the thumbnails, do you draw

pencil drawing, blow that up on my xerox machine and

about a page a day, or more?

transfer it to the board with transfer paper. Any direct lifedrawing or whatever is just blocked straight with paint. I

STEVE: Speed-wise, I’ve slowed down even more since

don’t like the hassle of careful pencil block-ins with those.

the old days. I barely even get a page done in a day. Not sure why, except that’s it’s pathetic. I always wonder

BOB: Have you considered doing a painted comic, like

what it would be like to draw as fast as Jack, to always

Alex Ross? You’d seem to be a natural for that.

turn out 3 pages a day, or a book a week. Man! STEVE: I’ll be producing my first fully painted story in BOB: Well, Jack was very fast, but many of his pages

Nexus #100. It’s an 11-page Sundra Peale story, done

only had four panels. And you spend a lot more time

all in watercolor. I wanted to produce a first for this

designing your panel layouts than he did. Speaking of

landmark #100th issue. I’m still in the drawing stage

style, I love your painting style. Where did you learn

right now.

to paint?

BOB: Are you doing it any bigger than you would for an STEVE: It took me until I went to art college in ’77 before

inked job, and are you using illustration board, or what

I ever touched any kind of paint, basically. Even then,

kind of paper?

when I finally got there, the program itself was poorly run.

Lots of kids start in high school, but mine was so small

STEVE: Yes, it’s the twice-up size—12" x 18". Alex Ross

that we never really touched the stuff to speak of. But I

convinced me to go that size. I’ve got some good water-

always remember the beautiful paintings from the Loomis

color paper I’ll be using for that.

books I found at the library, and knew I’d want to try and learn it one day. It wasn’t until I met Owen Kampen in

BOB: Do you like the idea of painted comics, or are they

Madison that I finally began to learn real art fundamentals.

too removed from traditional comic art to interest you?

Kampen used to be a paperback book cover illustrator

Would you prefer to go back to the days of four-color

from the ’50s until he finally retired to teach painting,

comics on newsprint?

drawing, and filmmaking at MATC in Madison, WI. That was the start of things; the rest was 25 years of practice.

STEVE: I think it’s great that some people want to paint their books. Comic-books can be pretty much whatever

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STEVE RUDE Spider-Man—at a time when he still looked like a human— in a costume! But that’s all that “retro,” “old school,” ancient history (am I missing something?) whatever junk, right? Sing it with me, friends— How the tiiime’s they keeeep a chaaaangin’...

Spider-Man TM & ©2007 Marvel Characters, Inc.

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STEVE RUDE This is interesting. I don’t remember drawing this rough back then, but then I considered the name of this magazine.

Here’s an old Nexus reject page from Capital Comics’ color #4 comic—The Ziggurat! Check out your original issue or the latest Dark Horse Archive books to see how it really ended up.

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STEVE RUDE Oh look—it’s SunnyHoney bossing around a couple 8 ft. Quatro’s as they prepare for the 4-armed Olympic ringtoss. My pencils from the Executioner’s Song Nexus mini-series.

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STEVE RUDE Hey, me and Mark Evanier’s Jimmy Olsen Special, er, the Legends of the whatever- the-heck they called it from a few years back. Sure, I get it. How fun it was to visit this prime J.K. ’70s DC material that so endeared itself to a kid in high school.

Those were the days...

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people want them to be. Remember how Kirby once

that just fine. I just know when something’s bad or good.

envisioned his time at DC to be? He wanted comics as big as newspapers. In all sizes and formats. Everything

BOB: How did you learn to pencil comic books, as

he ever did was entertaining. As long as they’re illustrated

opposed to just drawing in general? Trial and error?

stories, things will be fine.

Analyzing Kirby?

BOB: Do you do any digital coloring, or are you strictly a

STEVE: Well, I’m sure the way I learned is a pretty tradi-

paper and brush guy?

tional way. I compulsively doodled since Kindergarten, and then when high school hit, I started to get more serious

STEVE: I’m a traditionalist. Don’t expect me to ever

about it. I mostly copied Kirby and the “Big G” at that

produce art with a computer, though I do know some

time. Gulacy was the greatest storyteller I’d ever seen

Photoshop basics from having to recolor the Nexus

when he did Master of Kung Fu. I just drew and drew

archive books that Dark Horse is putting out.

hoping something would stick. When I entered art college in Milwaukee I finally had to take an interest in more

BOB: Well speaking of that, who’ll be coloring Nexus?

academic subjects, the nude body and all that.

STEVE: Glenn Whitmore handles the digital color for the

BOB: Can you explain a bit for our readers what you

Rude Dude books.

think makes Gulacy so good? What is it about his storytelling you like, maybe as opposed to John Romita,

BOB: Do you oversee his coloring, or give him any

whom you also like?

direction, or just give him free reign? Being a painter, I’d think color was very important to you.

STEVE: Gulacy was the first guy I’d ever seen to take storytelling into a Citizen Kane type level. Starlin started it

STEVE: The guys I picked for the 5-person staff at Rude

off with his first three Master of Kung Fu stories. That in

Dude, Princess Gino-Jaynelli, Baron, Gary, Glenn, and

itself began the change of what’s possible to me. When

Mike Jones doing the designing, are the best to me. And

Gulacy came along, it took me into a realm that shows what’s

we’ve got Todd Klein on the lettering. No one has to be

possible to do within a comic-sized page area. People need

baby-sat. I wouldn’t have time for that anyway. I do go

to see them for themselves to see what I mean. Steranko

over everything with a fine tooth comb when the final

perfected this style with his 8-page Tower of Shadows

stuff is handed in. Many times I’ll ask for modifications to

story. Unrestrained brilliance that may never be equaled.

improve things. Everyone knows how versed I am in all things art and comics. It’s a Walt Disney-type role.

BOB: What attracted you to Jack Kirby and Andrew

Everything has to meet my personal, neurotic standards.

Loomis? They’re not very similar artistically.

BOB: I assume you could probably make a decent living

STEVE: I loved Kirby because of his style. It was the

painting or illustrating, so are you just driven to draw

greatest I’d ever seen.

comics and tell stories?

BOB: Greatest style in what way? I know what I like STEVE: I’m driven to draw comics. I wouldn’t be happy

about Kirby, but believe it or not, some of our younger

just doing illustrations. I need to tell stories. The painted

readers may not have seen much Kirby, or understand

work I do was pretty much just a way to expand my

how much he’s influenced everyone. Was it his design,

boundaries, because if I had to stick just to black and

his power, the whole package...?

white, I’d be equally unhappy.

STEVE: Those too young to understand what the whole BOB: Do you have any desire to actually do the writing?

Kirby thing is all about—besides earning my deepest

Forgive my ignorance, but have you written any stories?

sympathy—need to go to any of the dozens of times Marvel had reprinted Jack’s work and never paid him a

STEVE: I suggest plots mostly. I seem to have a lot of

cent for it, to around the mid-1960s period of the F.F.,

ideas of where I want things to go; the overview that

Thor, or Cap. The rest is in the eye of the beholder.

make up the big picture. I don’t really feel qualified to do any actual scripting or writing. Baron and Gary can do

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STEVE RUDE More from the same book. Imagine what it’s like to have the kind of imagination that can invent machines and guns like Kirby could.

We’re all rather earthbound when compared to the great Jack.

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reading Mad in the ’60s, and by the time I got into

BOB: Well, speaking of playing by the rules, do you

comics in the mid ’70s, John Buscema was already taking

think it’s important for a comic artist to get a college

what Kirby had done and he was doing the same thing

degree?

with, to my eyes, more attractive figures, while Barry Windsor-Smith was applying Kirby dynamics to Conan

STEVE: Though I’ve been to art college and have continued

with a lot of cool rendering. And then Kirby himself had

through various schools throughout my life, I have no

become extremely stylized and was over at DC with an

actual degree to show for it. To me, those things were

inker I didn’t like. So it wasn’t until I finally picked up

useless unless you really knew how to draw. If I didn’t

some reprints and saw the stuff you’re talking about from

like a school or particular teacher, I’d move on until I

the ’60s that I realized that all these other artists I was

found one who could actually teach me something. There

admiring had learned it all from Jack! The more I saw of

was no time to waste on amateurs.

Kirby after that, the more I liked him. And what was it you saw in Loomis?

BOB: That’s exactly what I did, but now I regret not finishing college. Would you recommend that course of

STEVE: With Loomis and the illustration side of things,

action we took to others, or do you think it’s a good idea

it was because his people were so beautiful. The hand-

to get a degree to fall back on? Is it too defeatist to have

somest guys and the most gorgeous of women.

a backup plan?

BOB: Well, I love all the great illustrators from that era.

STEVE: Well, if I played by the rules, I might know about

Loomis’ Figure Drawing For All It’s Worth is kind of my

that kind of stuff. Degrees and back-up plans are for

figure drawing bible. Do you have any relatives who are

normal, play-it-safe types. I don’t think I even have the

artistic? Was your talent obvious at an early age?

intelligence to do things like that.

STEVE: No relatives as far I know, except for maybe my dad.

BOB: I doubt that. But moving on... You recently drew

I have fond memories of my dad and me having drawing

some Captain America for Marvel, right? How was that

contests when I was about 8 or 9. We’d draw animals like

experience?

lions and wolves. I always drew animals back then because I thought I wanted to be like Marlin Perkins and chase animals

STEVE: Other than hating the editor, it was fun.

all around the world. Still do. Bizarrely, my brothers and sisters all had some kind of drawing talent, but never pursued

BOB: What, hate a Marvel Comics editor? I can hardly

it. My brother Bucky could’ve been an easy contender,

imagine such a thing. What do you expect out of an

but he settled for trimming trees for a living. Bucky likes

editor? Do you just want them to basically stay out of

being outdoors and has my distaste for life in a cubicle.

your way, or do you like them to be more involved?

What qualities make for a good editor in your view? I

BOB: What did your dad do for a living?

usually just like them to give me a deadline and send me a check, but I did enjoy working with Mike Carlin on

STEVE: My dad was a normal guy—nothing like me. I

Superman because I felt he knew what he was talking

know he worked for a trucking transfer company, but

about whenever he made artistic suggestions. All I ask

beyond that, I couldn’t even relate to it. How my mom

for from an editor is what I feel they should ask of me,

and dad produced an oddity like me, I’ll never know.

which is honesty, competence and professionalism.

Those qualities seem to be rare in comics editors in my

BOB: How did your parents feel about you wanting to

experience, however.

draw comics for a living?

STEVE: Editors are best explained by two of my life’s STEVE: They loved the fact that I had something in my

proverbs—Life is who you work with and life is a perspec-

life like comics. They never forced me into anything that

tive. I would love to work with an editor who can teach

wasn’t me, like I’ve heard other parents do. Steve Rude

me things, assuming we naturally think along the same

does not fit into square boxes. Most people I see appear

lines of what makes a good book, but for that you need

to be the drone-like, lockstep people you see on the

a person with actual wisdom. It seems to be a rare

street everyday; no outward emotion or distinguishing

commodity these days.

personality, play by the rules... all that stuff.

SUMMER 2007 • ROUGH STUFF

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BOB McLEOD Here’s a good look at Steve’s progression of his cover for The Moth #5.

He begins with a mostly symmetrical design, though weighted a little too much on the left side.

Then he does a quick value study in marker to work out the lighting...

...and then inks it with a brush and encases it all in the light bulb shape which, along with the blacks, compensates nicely for the more heavily weighted left side in the composition.

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STEVE RUDE Here’s proof when I tell people I learned to draw from Jack Kirby.

These were probably done right after high school when I had to get serious with some kind of life. I just practiced from everyone and everything till something finally clicked.

Mister Miracle and Orion TM & ©2007 DC Comics

SUMMER 2007 • ROUGH STUFF

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Spider-Man TM & ©2007 Marvel Characters, Inc.

in the end. That is the school of thought I grew up on and loved, as per the Stan and Jack comics from the ’60s.

Relevance was a new thing in comics at that time.

Violence was flying everywhere, but cushioned with the right amount of fantasy to keep things from going too far.

The other is to depict the world the way it really is— showing, rather than tastefully implying—the way the TV news and the scandal mags like to show it; as the ugly, brutal and traumatizing way the world “really” is. Comics today seem to enjoy riding the razor’s edge, as though nothing less than blood, sex, and flying guts will prove their maturity as an art form. Nexus and the Moth are kind of middle ground players between the two extremes.

Real life—filtered within the boundaries of good taste.

BOB: Did you and Mike Baron collaborate to create Nexus, or did he bring the character and story to you and you created the visuals?

JAYNELLE (stepping in for Steve, as he was temporarily unavailable): It was completely Baron’s idea. He even came up with the visor and lightning bolt. Steve just had to draw it up.

BOB: Agreed. Some of our readers may be too young to

BOB: Will we see more Moth comics?

be familiar with your Nexus comic. Can you tell us a little about it and the latest news on the return of Nexus in

STEVE: You bet. After the four-issue run of Nexus, we’ll

your new Rude Dude Productions?

move over to Amazing Dude Tales, an anthology book with tons of fun—Nexus, the Moth and other Dude/ Baron

STEVE: Nexus takes place 500 years in the future and is

and Dude/ Martin creations will see their debuts there,

literally a “space soap-opera”, with a super-hero named

and then it’s on for more fun at the circus with the Moth. I

Nexus, his girlfriend Sundra, his simian friends, Dave and

can’t wait for more Moth stories.

Fred, and the other wacky alien types that populate his little moon of Ylum. Nexus acts as the consciousness of

BOB: How can you afford to self-publish? Isn’t it really tough

the human race, using his power to target mass murderers,

to make a profit? How are you marketing your comics?

the worst of the worst, who have somehow escaped justice. How he knows where and how to find the well-

STEVE: It’s all thanks to the fans. They keep us afloat

hidden human monsters (all are inexplicably from the

with store sales from original art, commissions, and other

human race), as well as the source of his power,

things that Rude Dude does to keep solvent, since we

remained unknown for many issues. It’s like real life in a

have no budget to speak of. So thanks all you fans, now

comic book. But not in the sense of the overboard way

and yet-to-be!

they carry on today. It’s a lot more fun.

BOB: Will your comics maintain a regular monthly schedule, BOB: What do you mean by “the overboard way they

or just come out as you complete them?

carry on today”?

STEVE: We’re trying to do all four books as monthlies, but STEVE: There are two different ways of depicting “real

with me and my slow pace, who knows? The main thing is

life” and all that relevancy crap they talk about in comics

just to keep the retailers, Diamond, and therefore the fans,

today. One is to take the flavoring and foundation of real

always on the up and up if scheduling begins to go awry.

life and use it in a parable sense and showing the hero overcoming his great trial and how he will ultimately win

BOB: Well, thanks very much for your time and thoughts, Steve! I wish you the best of luck.

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ROUGH STUFF • SUMMER 2007

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65

D U R E F E A T

I S T A R T

PAUL SMITH

imahis career in an d te ar st h it Sm D Paul Bakshi on LOR ph al R h it w g n tion worki P d AMERICAN PO an S G IN R E TH early OF Marvel in the to on g in ov m before E and then -MEN, g DR. STR ANG on UNCANNY X re u 1980s, drawin n te g n lo ’s Cockrum a lasting following Dave s. But he made th on m w fe a r te l was the which he left af te work by Pau ri vo fa y M s. n NCE, a his fa AVE IT TO CHA LE impression on g in n in w d ner Awar Harvey and Eis s. younger reader fun comic for

GERRY TURNBULL I contacted Paul Smith last September with the simple brief of Doc in the Sanctum.

Three days later Smitty sent me the scan of his first prelims. On a single sheet of A4 paper were seven of the coolest designs.

Each prelim was a winner in its own right, but my eye was drawn to the landscape format at the bottom, with Doc and the Orb of Agamotto. It looked suitably dramatic and magical. My eye also kept being drawn to the Black Knight cunningly drawn at the side of the page, so I asked Smitty if he could integrate the two images. Four days later he sent me the final design sketch, asking modestly “How’s about this?” and after I had picked myself up I immediately told him to go for it. Smitty kept in contact the whole way through and after I asked how he was progressing, replied with “I’d show you what I got but at the end of stage two, things aren’t pretty. Kinda like popping in on your girl before the big date and finding her in curlers and half make-up. You know she’s going to be gorgeous but at the moment ... eek.” Couple days after that Smitty sent me the scan of the final inked piece, with the accompanying words “Hope you enjoy the work as much as I did doing it, much fun and giggling and theme song singing and sound fx making was had.”

And then about a week later I had the page in my hands. Included was the full size blue pencil version Smitty had done. It’s the prize of my collection. Paul Smith is a true master. His art more than anyone out there is open and honest; he doesn’t use flashy techniques to obscure bad drawing or composition. His line is beautiful and clean and deceptively simple looking. It’s only when you look closely you see just how detailed the work is with the different variety of textures and techniques he uses .The whole experience was just wonderful. Smitty is really down to earth with a wicked sense of humor, and allows you to feel fully involved in the process.

The inked final of the Paul Smith commission of Dr. Strange will be featured in Back Issue #24, shipping in September from TwoMorrows.

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SUMMER 2007 • ROUGH STUFF

67

PAUL SMITH Marvel Fanfare #1 Gotta’ start somewhere. My first professional comic page. Note the superfluous notes.

Doing storyboards for Filmation at the time, there was an unofficial, “Tell, don’t show,” policy.

Everything was explained because showing meant animating and that meant money. Eek!

PAUL SMITH

X-Men TM & ©2007 Marvel Characters, Inc.

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ROUGH STUFF • SUMMER 2007

PAUL SMITH X-Men #168 Bob (Wiacek) and I wanted to craft a style just for this title. So we stripped and sleeked and simplified and then, simultaneously but independently, put down our brushes and switched to pens. This was the issue and sequence where it all came together.

PAUL SMITH

X-Men TM & ©2007 Marvel Characters, Inc.

SUMMER 2007 • ROUGH STUFF

69

PAUL SMITH X-Men #173 Here I provide Bob the engine and frame. Whatever happens after that is none of my business.

I’m the rookie. Bob’s got ten years of experience on me.

Beyond that, when you’re not allowed to play, you leave your good stuff at home.

Bob may not have gone Woody on me but he’s as responsible for the final look as I am (he had it last, Mom). If you enjoyed the art on our run, give Bob his due. If not, blame me for being lazy.

PAUL SMITH

X-Men TM & ©2007 Marvel Characters, Inc.

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ROUGH STUFF • SUMMER 2007

PAUL SMITH The Golden Web Unpublished SpiderMan Graphic Novel Peter having an affair with a married woman was a hard enough sell when he was single. Once he got married, the story was dead. Shame, it’s the second greatest Spider story ever and Barry Windsor-Smith was slated to ink.

PAUL SMITH

Spider-Man TM & ©2007 Marvel Characters, Inc.

SUMMER 2007 • ROUGH STUFF

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PAUL SMITH Codename Danger #3 When blowing off a publisher with ridiculous demands, make your demands truly ridiculous.

Otherwise, you get stuck with double rates, front row tickets for Springsteen in the Meadowlands and airfare. I turned down the offer of a supplied “date” to maintain my amateur status.

P.S. The ending as published was the opposite of what I

PAUL SMITH

drew.

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ROUGH STUFF • SUMMER 2007

PAUL SMITH Leave It To Chance #13 Chance had morphed into a comedic romp.

James Robinson and I wanted to retool after this storyline so I decided to push the art as far as possible to accentuate the change. With no “look” in mind, I picked up my Series

PAUL SMITH

7, #5 and let fly.

SUMMER 2007 • ROUGH STUFF

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PAUL SMITH Leave It To Chance #13 Longfellow I love the old Marvel Annuals with the

PAUL SMITH

Rogues Galleries.

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ROUGH STUFF • SUMMER 2007

PAUL SMITH Second sketch.

Extreme close-up chosen.

PAUL SMITH What if Doom ...

My initial cover sketch. Rejected with a request for a close-up of Doom on the castle walls.

PAUL SMITH A rare use of “photo

PAUL SMITH

swipe” to help with

Original

lighting. Modeled from

Cover sketch

Sculpty, it’s the size of a

retooled as

ping pong ball.

opening Splash.

PAUL SMITH layout.

Dr. Doom and Fantastic Four TM & ©2007 Marvel Characters, Inc.

PAUL SMITH

Final half size

SUMMER 2007 • ROUGH STUFF

75

PAUL SMITH X-Men: Kitty Pryde Shadow & Flame #1 Thumbs are approximately 2" x 3", eight to a page. Note western style windowpaning.

Not page designs, just fitting the story into X number of pages (pardon the pun.)

Layouts are slightly smaller than “half size,” two to a page.

Note Manga influence on layout, gutters, vertical balloons. Not much, but I’m just getting started.

Enlarged, and lightboxed with a Hunt School Pen and rendered out with the more flexible 103 Mapping Point.

PAUL SMITH

X-Men TM & ©2007 Marvel Characters, Inc.

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PAUL SMITH X-Men: Kitty Pryde Shadow & Flame #5 More of same but, with one additional step as Joe Rubenstein comes on as inker. Normally I wouldn’t go this tight (Joe can draw most of us under the table) but was trying to maintain an established look.

PAUL SMITH

X-Men TM & ©2007 Marvel Characters, Inc.

SUMMER 2007 • ROUGH STUFF

77

PAUL SMITH Doctor Strange #68 I inked #65.

Traumatized, I made Carl Potts swear never to let me do it again. That lasted an issue as Terry Austin and I switched off and on over the next few books. This is the period I decided to ink as much of my stuff as possible.

PAUL SMITH

Dr. Strange TM & ©2007 Marvel Characters, Inc.

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D U R E F E A T

ASHLEY WOOD

I S T A R T

Britain’s his career on n ga be d oo W y le d Image. In Australian Ash Marvel, DC an to g in ov m re befo movies JUDGE DREDD has worked in so al e h , gh ou ics, th addition to com t! His METAL ing and fine ar is rt ve ad as l ics for and T V, as wel rst digital com fi e th of e on as g with digital GEAR SOLID w nes oil paintin bi m co e H . le rtab PlayStation Po ive style. a very distinct techniques for

BOB McLEOD I contacted Ashley in September 2006 to see if he’d agree to be featured in Rough Stuff, and he responded enthusiastically. I checked back again in December and February, and each time Ashley said he’d be sending some art and comments right away. Unfortunately, I never received anything and haven’t been able to get in touch with him since. I very much regret not being able to offer a better feature on this very talented artist, but we’ll try again for a future issue. I wasn’t able to find any appropriate preliminary art by Ashley in time for this feature, but collector Gene Poonyo graciously sent these three examples of Ashley’s inked art.

SUMMER 2007 • ROUGH STUFF

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ASHLEY WOOD 80

ROUGH STUFF • SUMMER 2007

ASHLEY WOOD SUMMER 2007 • ROUGH STUFF

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EDITOR’S CORNER

by Bo b Mc Le od

S

ince I began editing Rough Stuff last

every issue, and the right occasion just hasn’t come up

year, several people have asked me

before now. But this issue we have some extra room,

why I haven’t shown any of my own

since a couple of our featured artists didn’t provide as

prelim art in these pages. I figured it

much art as we’d hoped, so I decided to take this oppor-

was enough for me to be writing

tunity to share some previously unseen work of mine with

editorials, articles, interviews, and my “Rough Critique”

you. After over thirty years in comics, it’s hard to decide where to begin, so I decided to just show a sampling from various jobs.

I’m probably still best known for something I did 25 years ago, co-creating a younger group of X-Men still attending The School for Gifted Students called The New Mutants. This was the splash page of issue #1. It’s an establishing shot to introduce the characters, and I tried to make each character an individual, and imbue them with a lot of personality. This was my first regular penciling assignment and we were behind schedule from the start, due to squeezing in the graphic novel first. I eventually left the series rather than rush out less than my best effort.

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BOB McLEOD Following the New Mutants, I penciled several issues of Star Wars for Marvel, doing breakdowns for my idol Tom Palmer to ink. After years of inking other artists, the finish was very important to me, and it was difficult to focus just on layout. But I wanted to see what Tom would do, and it was fascinating to see. He did almost nothing the way I would have done it.

He added a lot of juicy detail, especially with Chewbacca and all robots and the space ships. In this scene, he had to change Han to Luke because Han was away on an adventure by the time this was published.

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BOB McLEOD In the early 1990s, while inking the Hulk over Dale Keown, I was offered the chance to pencil Superman in Action Comics. It was the main comic I had read as a kid, and I jumped at the chance. I began by doing breakdowns once again, but in an effort to gain more control over the finished look, I eventually went to finished pencils. I enjoyed doing Superman because the characters have strong personalities, just like the New Mutants.

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BOB McLEOD In the late 1990s, after tiring of the office politics of Marvel and DC, I began penciling and inking The Phantom for the Swedish publisher, Egmont. He’s very popular in Sweden, and it was nice to do full art. I painted this cover in Photoshop.

I hope you enjoyed this brief portfolio of my work. Next time, whenever that may be, I have some more unusual pieces I want to show you.

SUMMER 2007 • ROUGH STUFF

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ROUGH CRITIQUE

By Bob McLeod his issue’s sample page comes from the obviously very talented Stephen Molnar. This is a real beauty of a sample page, and I like it a lot. But it’s also an example of my pet peeve, the modern “no inker needed” school of penciling. One of the problems with the penciler doing so much of the inker’s job is that all that time and energy could often be much better spent on the penciler’s main job, which should be layout and figure drawing.

T

Spidey and the Bugle lettering are the focus of the panel, so why have all that wasted space below them? Place Spidey first, well into the panel, not shoved up in the corner. Then place the Bugle lettering to balance him, a bit lower down in the panel. Even without anything else in the panel, this much should be a balanced design. I tilted mine so the diagonals in the panel all go toward the Spidey figure. In yours, everything in the panel seems to be sliding off the page to the right, away from Spidey. I’ve deliberately placed my buildings and the shadows on them to frame Spidey, making him the

The first thing that struck me about this page was the excellent perspective, and the nicely done buildings. You don’t often see that in beginners. The figures have a very nice feel to them, with a lot of movement and life. And he does have an impressive, highly finished rendering style. I’m thinking Stephen is probably a pretty good inker, at least in the rendering department. I like the amount of black he’s using, too. This is a very solid page, with a lot of depth and form. And he’s moving the camera around well and using good visual storytelling. We know just what’s happening without a single word of script. I really think the big publishers should give him a chance. I’m sure he’ll improve by leaps and bounds once he’s drawing 22 pages a month. But let’s take a closer look beneath all of that nice finish at the underpinnings.

Stephen, the main thing you need to work on at this point is your composition. You can place the main elements and focal points (usually the heads and hands) anywhere you please, so be very deliberate about it. You should design your backgrounds to lead the eye to the center of interest and frame the focal points, not conflict with them.

In panel 1, for instance, the hands are lost in a maze of grey patterns, with costume webbing and building windows all melding together into a confusing mess. You don’t want to place background objects where they’ll interfere with the foreground, especially the hands and heads. In panel one, your main building on the right distracts from the left hand. It’s also a little too obviously contained within the panel. Mine partially goes off-panel, keeping it more firmly in the background. Simplifying or eliminating the windows removes the conflict with his hand. I’m sure you’ve noticed that I repositioned the arms at more divergent angles, creating a more dynamic pose and placing the hands so they’re unobstructed. Your arms and the left leg are all basically parallel, creating an awkward silhouette. And, uh, speaking of silhouettes, I think maybe you should move that right foot.....!

The weakest panel compositionally is the second one.

Spider-Man TM & ©2007 Marvel Characters, Inc.

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ROUGH STUFF • SUMMER 2007

focal point of the panel. Notice I deleted the building behind Spidey. You don’t want a grey pattern behind the grey pattern of his webbing, because it flattens out the depth and just distracts from the center of interest.

In panel 3, Spidey’s hands are a bit too large and too randomly placed.

Why is his left hand exactly where you put it, touching the beam? Place it more carefully. Spidey’s right arm and leg are vertical. Diagonals are always better! There’s an awkward tangent where Spidey’s elbow bumps up against JJ’s head, and Spidey’s head looks squeezed by the vertical lines of the building behind him. You should also vary the size of the main elements from panel to panel. I think your two Jonahs are too similar in size, so I came in closer on mine here. Notice I also arched Spidey’s back. Yours looks a bit too much like he’s been flattened by a bus. I also think the angle of the window in the lower left corner tends to lead the eye off the page. I think it should go the other way, which turns the panel into an up-shot instead of a down-shot. In panel 4, all the heads (the main focal points) are in the top of the panel.

Where is the dialogue balloon going to go?

I’d rather see it above JJ instead of covering up Spidey’s arm. And I like the depth created by diagonals better than flattening horizontals, so I’d angle the picture frames on the wall.

When you add blacks, you want to use them to focus the viewer’s eye on the center of interest and add depth. Don’t put black on black or white on white or grey on grey. So in panel 1, you don’t want that black next to his right foot, because you have a black above it on his leg. You don’t want grey window patterns behind his costume webbing patterns, as you have behind both his feet and hands and head. In panel 2, you have black on the center of interest, Spidey, so surround him with mostly white and place some blacks on the right to help frame him. In panel 3, the black chair flattens into Spidey’s black costume, which flattens into the blacks on the buildings behind him, and his costume web patterns flatten into the building window patterns. Yes, color can help a lot with this, but you can’t depend on good coloring, so get it solid in b&w. Then it’ll be even better in color.

After composition, work a bit more on your figure drawing. In panel 1, with the right arm in that position, it’s actually painful to point your thumb down at that angle. Try it.

His right leg is too short and his left leg is a bit too long, especially since it’s foreshortened coming toward us. And his left foot is a little small. You’d see a bit of his buttock in this pose, behind his left leg. And as his right arm comes forward, his shoulder comes forward

with it (feel your own shoulder move as you extend your arm). In panel 2, his arms are too long and rubbery and his legs are awkwardly posed. Angle his right leg (stay away from verticals and horizontals!) and angle his left foot. In spite of all these problems, though, I do think you’re about ready for the big time. Keep doing new samples and knocking on doors. Persistence pays off.

Any brave readers who’d like me to critique their sample page should email me at mcleod.bob@gmail.com, or mail me a sample at P.O. Box 63, Emmaus, PA 18049.

SUMMER 2007 • ROUGH STUFF

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ROUGH TALK I just wanted to drop you a line of congratulations regarding the

Who did they enjoy working with, who did they idolize when breaking

Rough Stuff magazine! It’s a great idea to do a magazine featuring

into the business and did they finally have a chance to work with

rough and preliminary artwork. To be honest, that’s the artwork I’m

that artist? The more insight into the whole creative process the

most interested in seeing because I enjoy the insight rough art has

better. We as fans see the final product, we want to know how it

to offer!

arrived there—what was changed, and for what reasons.

Keep up the great work,

I really dig the magazine, and thought the first issue was a blast!

I love the TwoMorrows mags because they focus on the comics,

Rich Cirillo

artists and writers that I tend to care about. My favorite artist was always John Buscema, so I loved seeing an issue with a focus on

I have been a fan of your work for many years and wanted to write

his rough artwork! John was one of the greats, and his work

you about your newest work: the Rough Stuff magazine.

inspired me more than any other artists in comics. Any chance to

I cannot draw a straight line, but I love to collect original art of

see you penciling a step-by-step sort of thing in there? I know the

my favorite comics that I enjoyed as a kid. Now, I am in my 40’s and

emphasis is on rough art, but it might be good to see a feature on

I pass my comics to my sons: Tyler age 12 and Ryan age 10.

preparing “finished pencils.” It might prove helpful—just a thought.

(Married, recently retired from the local Police force as a Detective

Anyway, I hope this email finds you well, and I look forward to

Sgt.) and continuing with another job....

Which brings me to Rough Stuff. I am learning so much about

seeing more Rough Stuff!

Kindest regards,

how the artist would draw and how the inking is done. I am also

Loston Wallace

interested in how the production of the page gets it to comic book

www.lostonwallace.com

form. I enjoy your critiques and comments on the artists appearing in each book.

I do have a request for an artist to review: Gentleman Jim

Hi Bob, personally I like more visual stuff than interviews and such. I

Mooney. I loved his work with Batman, Super Girl, Dial H for Hero,

think issue 2 was a perfect balance. I’ve got the first 2 issues of

Man-thing, Omega and of course Spidey. I am sure he would be a

Rough Stuff and it’s on my subscription and really like the variety of

great choice.

artists instead of focusing on one artist. I like the Pre-Pro section,

Please keep up the great work with your new magazine. I love issue #3.

the Rough Critique section and the letters are cool too.

Ray Falcoa

Tom Lavier I’ve been enjoying the Rough Stuff magazine immensely. I will say the thing I enjoyed the most so far was your article on how things

I meant to write you regarding Rough Stuff for quite some time

have changed over the years with pencilers doing tighter illustrations

now—in fact, since issue #1 was released. Like so many comics

and less room for inkers to embellish on the art. It gave great insight

fans and artwork collectors, I’ve been looking for such a magazine

on the creative process that the average person may not realize

for a very long time. It is a real treat to discover so many beautiful

seeing only the finished page. I think more revealing articles about

pencils, roughs and sketches from talented artists each issue.

how a veteran artist sees the industry changing and how their

Adding comments from you or from the artists is also a great

approach to penciling or inking may have changed over the years.

idea. If only all of them could be as “talkative” as Brian Apthorp in

I’d love to hear who certain artists feel was their favorite inker to

issue #2. He has some very interesting comments and analyses

work with and why. A fan may think a grouping of two certain artists

regarding each piece... Issue #3 was also a treat thanks to the nice

is spectacular, but be surprised to hear they didn’t mesh well stylis-

selection of John Buscema and Lee Weeks artwork.

tically or personally behind the scenes. I’d also enjoy more articles

I hope to read more articles from you as I enjoyed “Tight Pencils:

with inkers since their job has changed a lot over the last decade.

The Answer or the Problem” as much as your other article concerning

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ROUGH STUFF • SUMMER 2007

Vince Colletta in another TwoMorrows publication (can not remem-

Thank you for including me in the Wonder Woman Day article. And

ber which one). [ed. note: It was Back Issue #20]

thanks for making me look so good... much appreciated! I also

Now, what about a feature on Sandy Plunkett?! He would have

enjoyed the previous RS issue that was sent. I hope you won’t mind

his place on a magazine like Rough Stuff as his roughs, sketches,

if I use your brilliant observation when the situation calls for it.

pencil and finished work are just fantastic. I am sure Sandy would

When folks ask for inking portfolio reviews at conventions: “You

be more than glad to contribute to your publication and that your

took something that was poorly drawn, and somehow managed to

readers would love discovering his amazing work...

make it even worse” is probably going to become my mantra... and I will do my best not to smirk while I say it. Hah... that’s classic... and

Can’t wait for issue #4...

Sincerely,

pure comedy!

Thanks again.

Ivica

Franchesco! www.franchesco.com

I recently had the pleasure of reading Rough Stuff #2. Great fun, and I loved the critique segment. It gave me such a greater appreciation what you do as an artist and the thought that goes

I picked up Rough Stuff issues #1,#3. I really like it and will be

into each panel. I’ll be buying each issue and wish you a long

getting the others I missed. Thanks for putting out a great book.

tenure as editor. Let me also add that I loved the Gulacy interview.

Thanks,

It is fascinating to learn the process you (the artists) use to create

Michael Kasinger

the images we enjoy.

Michael Dunne SEND YOUR ROUGH COMMENTS TO: I have just read Rough Stuff #3. I really do love looking at the Buscema stuff. He has amazing line flow in his figures that just is so unique.

email: mcleod.bob@gmail.com (subject: Rough Stuff) or snail mail: Bob McLeod, Editor- Rough Stuff, P.O. Box 63 Emmaus, PA 18049

Also, I like that you have been adding your comments to the Featured Artist segment, on what the artist is doing right. It kind of pinpoints why they are of a professional status, and how an aspiring artist can get to that level.

Keith Grachow Wanted to say how much I love Rough Stuff! I am constantly rereading the back issues. In the interviews, can you get more detail as to the tools the artist use, their preferences, etc.? I would love to see photos of their work space also. I also would like if the captions with the pictures were different then the text. I like learning what artist influenced the artist that is being interviewed. Maybe a side bar with tips from the artist, etc.....

I am sure I’ll be writing again with more praise, thoughts, and ideas. I can hardly wait till the next issue.

Sincerely, Warren Nast I just picked up the latest issue of your magazine and really liked it.

I’m based in the UK and was wondering what the easiest way would be for me to pick up the back issues especially the Alex Toth issue.

All the best Dylan [You can easily order back issues online from www.twomorrows.com -ed.]

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www.romitaman.com SUMMER 2007 • ROUGH STUFF

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We hope you enjoy this FREE

BACK ISSUE #23 PREVIEW! Edited by former DC and Dark Horse editor MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments such as “Pro2Pro” (a dialogue between two professionals), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more! Issue #23 is our “Comics Go Hollywood” issue, featuring a “Pro2Pro” roundtable examining Spider-Man’s love life, with STAN LEE, JOHN ROMITA, SR., JIM SHOOTER, ERIK LARSEN, and other top Spidey creators! Then, in the first part of a second roundtable, Star Trek writers including PETER DAVID, MICHAEL JAN FRIEDMAN, and MIKE W. BARR compare notes on writing for the space franchise in comics and in other media. Also: star-studded behind-the-scenes looks at TV’s ISIS and THE FLASH, with celebrity interviews including Flash star JOHN WESLEY SHIPP; and spotlights on SUPERMAN movie adaptations and some of your favorite TV tie-in comics (including ISIS and WELCOME BACK KOTTER). Bonus: An 8-page color “ADAM HUGHES GOES HOLLYWOOD!” art gallery and cover. Bi-monthly!

(100-page magazine) SINGLE ISSUES: $9 US SUBSCRIPTIONS: Six issues in the US: $40 Standard, $54 First Class (Canada: $66, Elsewhere: $90 Surface, $108 Airmail).

BACK ISSUE #14

BACK ISSUE #17

BACK ISSUE #18

BACK ISSUE #21

MIKE GRELL • DAVE COCKRUM GARCÍA-LÓPEZ • JACK KIRBY

BRUCE TIMM • ADAM HUGHES CARMINE INFANTINO

NEAL ADAMS • DAVE GIBBONS JOHN ROMITA SR.

FRANK MILLER • MIKE MIGNOLA JOHN ROMITA JR. • MIKE ZECK

TwoMorrows. Celebrating The Art & History Of Comics.

TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com

Marriage isn’t an institution for the timid, especially in today’s world. Most husbands and wives are under terrific stress as they strive to have it all while balancing their careers and their home life. But can you imagine what it must be like to also have to deal with the likes of the Green Goblin, Dr. Octopus, and the Kingpin on top of everything else? No doubt about it, it’s not easy being Mr. and Mrs. Parker, but Peter and Mary Jane have been making a go of it for an incredible 20 years since tying the knot in 1987 in The Amazing Spider-Man Annual #21.

In honor of their anniversary, BACK ISSUE gathered together some of Spider-Man’s most famous creators— Stan Lee, Sal Buscema, Gerry Conway, Tom DeFalco, Danny Fingeroth, Erik Larsen, David Michelinie, John Romita, Sr., Paul Ryan, Jim Salicrup, Jim Shooter, and Marv Wolfman—to examine:

by

ters, arvel Charac © 2007 M

Dan Johnson

DAN JOHNSON: Stan, as the creator of both Peter Parker and Mary Jane Watson, I was wondering what it was in 1987 that made you realize it was time for these two kids to finally tie the knot.

STAN LEE (Spider-Man cocreator): I had always wanted the Spider-Man series to be as realistic as possible. After a few years of Peter and MJ having a romance, their marriage just seemed like the most natural event. It had to happen.

JOHNSON: Jim Shooter, what were your first thoughts when you found out that Stan wanted to have Peter and Mary Jane get married?

JIM SHOOTER (Marvel editor-in-chief at the time of the wedding storyline): First of all, that’s not the way it happened. It was my decision. The way that came about is this: Both Stan and I were guests at the Chicago Con the summer before the wedding, 1986 (I think). Stan was supposed to do a one-man panel Q&A, but at the last minute, he asked me if I’d come up onstage with him because he knew that most, if not all, of the questions would be about things going on in the comics, with which he was very out of touch. I was happy to help. We worked pretty well as a team in such situations, with me handling the comics questions and Stan adding color commentary, anecdotes, reminiscences; essentially doing snappy patter and being entertaining, as only he can.

Starting in 1979 or 1980, Stan was based at the animation studio in L.A. I don’t remember what his title was, but his job was more or less just being Stan.

He served as a creative advisor to the animation people and our face to Hollywood, trying to get film people interested in Marvel properties. Who wouldn’t take Stan’s call? He also wrote the Spider-Man strip, of course. Other than that, he wasn’t in charge of anything. I don’t think anyone reported to him except his secretary.

I was EIC [editor-in-chief] and VP of Marvel then, head of creative for everything but the animation studio. I reported to the president, Jim Galton, and on some business affairs and other matters to publisher Mike Hobson, who was mainly in charge of Marvel Books, the children’s book line. As Stan used to say, I was Marvel’s “entire editor.” I used to say I had Stan’s old job. I did, actually, and I was the only one besides Stan ever to hold that lofty position. No one else, before or since, has had exactly the same job with the same authority and clout.

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Technically, even the Spider-Man strip fell under my authority because the “Special Projects” department reported to me. That said, I didn’t mess with the strip at all, ever.

Sometimes, when he had a little spare time, Stan would call me up and ask for work! Talk about surreal.

I recall an Erik Larsen job that he scripted on one of those occasions.

This is not meant to diminish Stan in any way. It’s just that, at that point in his career, he was just not involved in the governance of the properties and uninvolved with publishing except as a writer of the strip, and occasionally a comic book. Technically, the wedding was my call, and Stan respected that, because that’s the kind of guy he is. That said, all technicalities aside, he was still Stan Lee, my mentor, the resident legend/genius, and I would have deferred to him about almost anything.

So there we were on this panel and someone asked whether Spider-Man and Mary Jane were ever going to get married. Stan said that it was up to me but that he thought they should. He turned to face me and asked me, extra politely, if they could get married. The audience was screaming. Trapped!

Nah. Actually, if Stan thought it was a good idea, I sure didn’t have a problem with it.

TOM DeFALCO (former Amazing Spider-Man writer): I guess you could blame the whole marriage thing on Ron Frenz and me. When we were on The Amazing Spider-Man, we proposed a storyline where Peter asks Mary Jane to marry him, she accepts but eventually— in true Spider-Man fashion—leaves him at the altar.

Jim Owsley was our editor and took the idea to Jim Shooter, who mentioned it to Stan … who thought the couple really should get married. Shooter agreed and went ahead with the idea after Ron and I were taken off Amazing.

At the time, I thought it was a veryyyyyy bad idea.

History has proven me wrong. I now think Mary Jane and Peter really work well as a couple and their relationship is one of the cornerstones of my Spider-Girl series.

SHOOTER: Tom is mistaken. I never asked Stan about his proposed story. It happened exactly as I said. There were no preliminaries.

JOHNSON: It’s still pretty interesting though to hear about what might have been with the Peter and Mary Jane relationship. What else can you tell us about this idea?

RON FRENZ (former Amazing Spider-Man penciler): One way to look at it is the best way to write a Spider-Man story is to make a list of all the sh*ttiest things that can happen to a human being, then you eliminate all the things that other writers have already done, and what is left are some story ideas.

Certainly being left at the altar is the hugely sh*ttiest thing that can happen to a human being.

First Loves No one is as dear to Peter Parker’s heart than his Aunt May; here she’s terrorized by the Green Goblin in a Ron Wilson/Mike Esposito illo for a 1975 British reprint. And Peter’s first crush, Betty Brant, tied the knot in Amazing Spider-Man #156 (May 1976); cover art by John Romita, Sr. Courtesy of Heritage Auctions. © 2007 Marvel Characters, Inc.

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Get Me to the Church on Time The splash page to Amazing Spider-Man Annual #21 (1987). Note the tribute to dress designer Willi Smith below the story credits.

Original art scan courtesy of Richard Morgan, whose collection of Spider-Wedding art and memorabilia is simply astounding! © 2007 Marvel Characters, Inc.

Tom and I made Pete and Mary Jane best friends, and we kind of left it at that, and then a lot of the other writers started taking that into the romantic realm. We had talked about the idea that now that they were romantically involved, they would get engaged, and we would get to the point of the marriage. Spider-Man would then be off battling the Sinister Six or something like that, and be completely out of contact for several days, and Mary Jane would get the opportunity to reconcile with her sister who she was estranged from.

Then Mary Jane would use that as an excuse to bug out because she’s been having second thoughts. She would try to get a hold of Pete, but he’s fighting for his life up to the last minute. [In the end,] Pete would race to his apartment, throw on his tuxedo, and web-swing to the church where Harry would be waiting for him out in front. There would be a silent sequence where they talk for a couple of minutes, Harry would hand Pete the ring and then he would walk away. Pete would be standing in front of the church, and we would pull back and the ring would drop to the ground, and there is the end of your sequence.

Where this would then go is: Pete would have moved back in with Aunt May and take over the attic and turn that into an apartment. Then we would experiment with shifting their relationship a little bit as Pete would be moving back in to take care of Aunt May. We had an idea for a cool scene where occasionally the phone would ring, and Aunt May would answer it and it would be Mary Jane calling Pete. She would beg to speak to Pete, and May’s response would be, “There is no one here who wants to speak to you, young lady!” Then Peter would come down the stairs and ask who was on the phone, and Aunt May would tell him, “No one you need to concern yourself with, dear.”

JOHNSON: Jim, the continuity of the comic strip and the Spider-Man comic books have always been kept fairly separate. Was there ever any thought about having Peter and Mary Jane tie the knot in the strip and not in the comic books? If there were, what finally made you decide that they would get married?

SHOOTER: Regarding the wedding, for once we actually tried to coordinate the strip with the comics.

But then, the PR people got involved, things started to get complicated—“too many cooks”—and we botched it up some. I was on my way out then, barely paying attention to what was going on, so I wasn’t quite the firm hand on the helm I might have been otherwise.

MARV WOLFMAN (former Amazing Spider-Man writer): I never thought Spidey and MJ getting married was a good idea, but I also always thought the Spidey newspaper strip was a very different entity from the comic and had to appeal to a very different audience where that kind of soap opera was fine. I just think for the comics Peter should have stayed single and still be struggling.

FRENZ: I didn’t like it either. I had a lot of the same concerns that fandom in general seemed to have had in response to that whole everyman-being-married-to-asupermodel thing. I’m still a big proponent of comics being wish fulfillment for your adolescence, or arrested adolescence, and I don’t think marriage is a part of that.

I feel comics should still be done the way Stan did them in that they are very, very palatable for adults, and written for adults, but kids should still enjoy them.

Let’s put it this way: There is a 15-year-old in all of us, and I don’t think any 15-year-old’s wish fulfillment is accomplished by marriage. There was also an element of the stewardship of the character to me. I understand the illusion of change—as a storyteller we do it all the time— but I don’t think it’s necessarily a good thing to have a major change like that in a character. Every decision you make about a character should be about the stories it

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brings to the table, and whether or not the story has legs. I don’t think that’s an idea that necessarily has legs to open up any particular character.

JOHNSON: Jim, what was the general consensus at Marvel at the time this marriage was announced? Would you say most of the Spider-Man creators were for this or against it?

SHOOTER: Hmm. I don’t remember any major dust-ups about it. I think people got adjusted pretty quickly.

Everyone realized that it was a ground-breaking event.

Pretty cool.

JOHNSON: And the rest of you, what did you think when you found out that Peter was taking himself off the market?

JOHN ROMITA, SR. (former Amazing Spider-Man penciler): I merely reminded everyone of Li’l Abner and Daisy Mae getting married and how soon after the strip seemed to wane. But, as usual, my business thoughts were ignored, and it was a huge PR success.

GERRY CONWAY (former Amazing Spider-Man writer): This happened after I left, so I didn’t have any input. If I’d had input, I would have argued against it. I would’ve argued against Peter graduating from high school, too, and at the very least, I would’ve kept him in college.

Some aspects of a character are defining, some are not.

Peter Parker, single and in need of approval from the world and those he loves, is a defining aspect of the Spider-Man character. Marrying him off destroyed an essential part of his character dynamic, but that’s a mistake Stan made before when he married Reed Richards and Sue Storm. I call it the Rhoda Morgenstern effect. If you know why, you’re as old as I am.

DAVID MICHELINIE (former Amazing Spider-Man writer): To be honest, I wasn’t thrilled. Having Peter get married would change the character forever; he could never be single again. He could only be widowed or divorced, which is an awful lot of baggage to carry around. Of course, that was before the era of “reimagining,” which allows series to start over from

Save the Date!

This May 17, 1987 press release announced Marvel’s promotional plans for the web-slinger’s wedding. From a Spider-Wedding press kit, courtesy of Richard Morgan. © 2007 Marvel Characters, Inc.

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scratch every few years, correcting old mistakes while creating new ones.

The Amazing Spider-Man was the title that got me back into comics in college, and I loved the character and the stories. So it was a little disappointing when I was finally given the chance to write Amazing, literally my dream job, only to find that I wouldn’t be able to write the same character I had been reading about for all those years. I have to admit that it was still fun, and provided a lot of interesting story opportunities, but it was definitely something I had to adjust to.

DANNY FINGEROTH (former Spider-Man group editor): I thought it made sense in terms of the idea that Marvel’s characters in general behave in a relatively realistic manner.

SAL BUSCEMA (former Spider-Man penciler): I liked the idea. I thought it was a very natural transition.

DeFALCO: I didn’t think it had any material effect on the character of Spider-Man. Peter is still Peter. He just has a wife to think about whenever he risks his life. It’s a situation that any cop or fireman knows very well.

PAUL RYAN (former Amazing Spider-Man penciler): I thought it was a good idea at the time! I identified with Peter Parker for most of my life. Spider-Man debuted when I was in grammar school. I was the second smallest boy in my class and occasionally got picked on during recess. It was pretty much the same in high school. I was not part of the “jock” set. I got a motorcycle around the same time that Peter did. My first girl friend was a brunette, the second was blonde, and I eventually married a redhead. Get the picture?

I was elated to hear that Peter, the perpetual underdog, was getting the girl of his dreams.

ERIK LARSEN (former Amazing Spider-Man penciler): I don’t recall what I thought. The marriage in the comics was pretty abrupt because, at the time, the two hadn’t even been dating and MJ had previously refused Peter’s proposal some years earlier. Their reconciliation and following nuptials came out of left field.

For the rest of this roundtable, don’t miss BACK ISSUE #23, on sale now from TwoMorrows!

ARTIST BIOGRAPHIES FROM TWOMORROWS PUBLISHING

JOHN ROMITA...

AND ALL THAT JAZZ!

SECRETS IN THE SHADOWS: THE ART & LIFE OF GENE COLAN

DICK GIORDANO CHANGING COMICS, ONE DAY AT A TIME

BRUSH STROKES WITH GREATNESS: THE LIFE & ART OF JOE SINNOTT

The ultimate retrospective on COLAN, with rare drawings, photos, and art from his nearly 60-year career, plus a comprehensive overview of Gene’s glory days at Marvel Comics! MARV WOLFMAN, DON McGREGOR and other writers share script samples and anecdotes of their Colan collaborations, while TOM PALMER, STEVE LEIALOHA and others show how they approached the daunting task of inking Colan’s famously nuanced penciled pages! Plus there’s a NEW PORTFOLIO of never-before-seen collaborations between Gene and such masters as JOHN BYRNE, MICHAEL KALUTA and GEORGE PÉREZ, and all-new artwork created specifically for this book by Gene!

Available in Softcover and Deluxe Hardcover (limited to 1000 copies, with 16 extra black-and-white pages and 8 extra color pages)! Written by TOM FIELD.

MICHAEL EURY’s biography of comics’ most prominent and affable personality! Covers his career as illustrator, inker, and editor, peppered with DICK’S PERSONAL REFLECTIONS on his career milestones!

Lavishly illustrated with RARE AND NEVER SEEN comics, merchandising, and advertising art (includes a color section)! Also includes an extensive index of his published work, comments and tributes by NEAL ADAMS, DENNIS O’NEIL, TERRY AUSTIN, PAUL LEVITZ, MARV WOLFMAN, JULIUS SCHWARTZ, JIM APARO and others, plus a Foreword by NEAL ADAMS and Afterword by PAUL LEVITZ!

During his 56-plus-year career in comic books, JOE SINNOTT has worked in every genre, and for almost every publisher, from 1940s Timely Comics to Charlton Comics, Treasure Chest, and Dell as a top penciler. But his association with Marvel Comics in the ’60s as its top inker cemented his place in comics history. This book celebrates his career, as he demonstrates his passion for his craft. In it, Joe shares his experiences working on Marvel’s leading titles, memories of working with STAN LEE and JACK KIRBY, and rare and unpublished artwork from his personal files. It features dozens of colleagues and co-workers paying tribute to Joe, plus an extended Art Gallery, and a Checklist of his career. Written by TIM LASIUTA, with a Foreword

by STAN LEE, and Afterword by MARK EVANIER.

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“Jazzy” JOHN ROMITA—the artist who made THE AMAZING SPIDER-MAN Marvel’s #1-selling comic book in the 1960s—talks about his life, his art, and his contemporaries! Authored by former Marvel Comics editor in chief and top writer ROY THOMAS, and noted historian JIM AMASH, it features the most definitive interview Romita’s ever given, about working with such comics legends as STAN LEE and JACK KIRBY, following Spider-Man co-creator STEVE DITKO as artist on the strip, and more! Plus, Roy Thomas shares memories of working with Romita in the 1960s70s, and Jim Amash examines the awesome artistry of Ring-a-Ding Romita! Lavishly illustrated with Romita art—original classic art, and unseen masterpieces—as well as illos by some of Marvel’s and DC’s finest, this is at once a career overview of a comics master, and a firsthand history of the industry by one of its leading artists! Available in Softcover and Deluxe Hardcover (with 16 extra color pages, dust jacket, and custom endleaves).

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R! WINNE! D R A AW ORY EISNESRT SHORT ST BE

HERO GETS GIRL! THE LIFE & ART OF KURT SCHAFFENBERGER COMICS INTROSPECTIVE VOL. 1: PETER BAGGE Profusely illustrated bio of KURT SCHAFFENBERGER,

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the preeminent Lois Lane artist and important early Captain Marvel artist who brought a touch of humor and whimsy to super-hero comics! Covers his LIFE AND CAREER from the 1940s to his passing in 2002, and features hundreds of NEVER-SEEN PHOTOS & ILLUSTRATIONS from his files! Also includes recollections by family, friends and fellow artists such as MURPHY ANDERSON, WILL EISNER, CARMINE INFANTINO, JOE KUBERT, ALEX ROSS and MORT WALKER! Written by columnist MARK VOGER (Schaffenberger friend for the final 13 years of the artist’s life), with a Foreword by KEN BALD.

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STREETWISE Featuring NEW autobiographical comics stories by:

TwoMorrows’ new book series spotlights INDY COMICS TALENT with an outside-the-box approach, combining original photography, multiple art gallery sections, and an introspective dialogue with each subject. Volume One features PETER BAGGE, whose work runs from political (his strips for reason.com), to absurdist and satirical (the Batboy strip for Weekly World News), and dramatic (Apocalypse Nerd). From his Seattle studio, Bagge lets us in on everything from what was on his mind with his long-running Gen X comic Hate!, to what’s going on in his head as a political satirist. Written by CHRISTOPHER IRVING. (128-page trade paperback) $21 US ISBN: 9781893905832 Diamond Order Code: MAY073779

ART OF GEORGE TUSKA A comprehensive look at GEORGE TUSKA’S personal and professional life, including early work at the Eisner-Iger shop, producing controversial crime comics of the 1950s, and his tenure with Marvel and DC Comics, as well as independent publishers. The book includes extensive coverage of his work on IRON MAN, X-MEN, HULK, JUSTICE LEAGUE, TEEN TITANS, BATMAN, T.H.U.N.D.E.R. AGENTS, and many more! A gallery of commission artwork and a thorough index of his work are included, plus original artwork, photos, sketches, previously unpublished art, interviews and anecdotes from his peers and fans, plus the very personal and reflective words of George himself, making this book a testament to the tremendous influence Tuska has had on the comic book industry and his legion of fans! Written by DEWEY CASSELL. (128-page trade paperback) $19 US ISBN: 9781893905405 Diamond Order Code: DEC042921

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Each artist presents their work STEP-BY-STEP, so both beginning and experienced artists can learn valuable tips and tricks along the way! Cover by BRET BLEVINS!

Compiles material from issues #3 and #4 of DRAW!, including tutorials by, and interviews with, ERIK LARSEN (savage penciling), DICK GIORDANO (inking techniques), BRET BLEVINS (drawing the figure in action, and figure composition), KEVIN NOWLAN (penciling and inking), MIKE MANLEY (how-to demo on Web Comics), DAVE COOPER (digital coloring tutorial), and more! Cover by KEVIN NOWLAN. (156-page trade paperback with COLOR) $22 US ISBN: 9781893905580 Diamond Order Code: APR063421

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PANEL DISCUSSIONS

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(168-page trade paperback) $24 US ISBN: 9781893905313 Diamond Order Code: FEB042700

(108-page trade paperback with COLOR) $18 US ISBN: 9781893905603 Diamond Order Code: APR063422

• WILL EISNER • SCOTT HAMPTON • MIKE WIERINGO • WALT SIMONSON • MIKE MIGNOLA • MARK SCHULTZ • DAVID MAZZUCCHELLI • MIKE CARLIN • DICK GIORDANO • BRIAN STELFREEZE • CHRIS MOELLER • MARK CHIARELLO If you’re serious about creating effective, innovative comics, or just enjoying them from the creator’s perspective, this guide is must-reading!

Documents two top professionals creating a (208-page trade paperback with COLOR) $29 US comic book, from initial idea to finished art!

ISBN: 9781893905146 In this feature-filled DVD, WRITE NOW! Diamond Order Code: STAR19844 Magazine Editor DANNY (Spider-Man) FINGEROTH and DRAW! Magazine Editor MIKE (Batman) MANLEY show you how a new character evolves from scratch! Watch the creative process, as a story is created from concepts and roughs to pencils, inks, and coloring—even lettering!

“The closest thing you’ll find to Packed with “how-to” tips and a comic creation tutorial; an tricks, it’s the perfect companion to the WRITE NOW #8/DRAW essential reference for anyone who’s #9 CROSSOVER, or stands ever hoped to self-publish or make a alone as an invaluable tool for amateur and professional serious bid at a career in the field.” comics creators alike!

(120-minute DVD) $35 US ISBN: 9781893905399 Diamond Order Code: AUG043204

ink19.com on HOW TO CREATE COMICS

MODERN MASTERS SERIES Edited by ERIC NOLEN-WEATHINGTON, these trade paperbacks and DVDs are devoted to the BEST OF TODAY’S COMICS ARTISTS! Each book contains RARE AND UNSEEN ARTWORK direct from the artist’s files, plus a COMPREHENSIVE INTERVIEW (including influences and their views on graphic storytelling), DELUXE SKETCHBOOK SECTIONS, and more! And don’t miss our companion DVDs, showing the artist at work in their studio!

MODERN MASTERS DVDs (120-minute Std. Format DVDs) $35 US EACH

GEORGE PÉREZ

ISBN: 9781893905511 Diamond Order Code: JUN053276

MICHAEL GOLDEN ISBN: 9781893905771 Diamond Order Code: MAY073780

VOL. 1: ALAN DAVIS

V.2: GEORGE PÉREZ

V.3: BRUCE TIMM

V.4: KEVIN NOWLAN

V.5: GARCÍA-LÓPEZ

(128-page trade paperback) $19 US ISBN: 9781893905191 Diamond Order Code: STAR18345

(128-page trade paperback) $19 US ISBN: 9781893905252 Diamond Order Code: STAR20127

(120-page TPB with COLOR) $19 US ISBN: 9781893905306 Diamond Order Code: APR042954

(120-page TPB with COLOR) $19 US ISBN: 9781893905382 Diamond Order Code: SEP042971

(120-page TPB with COLOR) $19 US ISBN: 9781893905443 Diamond Order Code: APR053191

V.6: ARTHUR ADAMS

V.7: JOHN BYRNE

V.8: WALTER SIMONSON

V.9: MIKE WIERINGO

V.10: KEVIN MAGUIRE

(128-page trade paperback) $19 US ISBN: 9781893905542 Diamond Order Code: DEC053309

(128-page trade paperback) $19 US ISBN: 9781893905566 Diamond Order Code: FEB063354

(128-page trade paperback) $19 US ISBN: 9781893905641 Diamond Order Code: MAY063444

(120-page TPB with COLOR) $19 US ISBN: 9781893905658 Diamond Order Code: AUG063626

(128-page trade paperback) $19 US ISBN: 9781893905665 Diamond Order Code: OCT063722

V.11: CHARLES VESS

V.12: MICHAEL GOLDEN

V.13: JERRY ORDWAY

V.14: FRANK CHO

V.15: MARK SCHULTZ

(120-page TPB with COLOR) $19 US ISBN: 9781893905696 Diamond Order Code: DEC063948

(120-page TPB with COLOR) $19 US ISBN: 9781893905740 Diamond Order Code: APR074023

(120-page TPB with COLOR) $19 US ISBN: 9781893905795 Diamond Order Code: JUN073926

(120-page TPB with COLOR) $19 US ISBN: 9781893905849 Diamond Order Code: MAY078046

(128-page trade paperback) $19 US ISBN: 9781893905856 Ships December 2007

T H E U LT I M AT E C O M I C S E X P E R I E N C E !

TM

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments such as “Pro2Pro” (a dialogue between two professionals), “Rough Stuff” (pencil art showcases of top artists), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

Go online for money-saving BUNDLES, including an ULTIMATE BUNDLE with the entire run at HALF-PRICE! “Even though I was an eyewitness to much of the comics history covered in BACK ISSUE, I was fascinated and even surprised by the info provided by Eury, his contributors, and their interview subjects. I learned something on darn near every page. It’s a terrific magazine!”

BACK ISSUE #1

BACK ISSUE #2

“PRO2PRO” interview between GEORGE PÉREZ & MARV WOLFMAN (with UNSEEN PÉREZ ART), “ROUGH STUFF” featuring JACK KIRBY’s PENCIL ART, “GREATEST STORIES NEVER TOLD” on the first JLA/AVENGERS, “BEYOND CAPES” on DC and Marvel’s TARZAN (with KUBERT and BUSCEMA ART), “OFF MY CHEST” editorial by INFANTINO, and more! PÉREZ cover!

“PRO2PRO” between ADAM HUGHES and MIKE W. BARR (with UNSEEN HUGHES ART) and MATT WAGNER and DIANA SCHUTZ, “ROUGH STUFF” HUGHES PENCIL ART, STEVE RUDE’s unseen SPACE GHOST/ HERCULOIDS team-up, Bruce Jones’ ALIEN WORLDS and TWISTED TALES, “OFF MY CHEST” by MIKE W. BARR on the DC IMPLOSION, and more! HUGHES cover!

(100-page magazine) $9 US Diamond Order Code: SEP032621

(100-page magazine) $9 US Diamond Order Code: NOV032696

Tony Isabella on BACK ISSUE!

BACK ISSUE #3

BACK ISSUE #4

BACK ISSUE #5

BACK ISSUE #6

BACK ISSUE #7

“PRO2PRO” between KEITH GIFFEN, J.M. DeMATTEIS and KEVIN MAGUIRE on their JLA WORK, “ROUGH STUFF” PENCIL ART by ARAGONÉS, HERNANDEZ BROS., MIGNOLA, BYRNE, KIRBY, HUGHES, two unknown PLASTIC MAN movies, Joker’s history with O’NEIL, ADAMS, ENGLEHART, ROGERS and BOLLAND, editorial by MARK EVANIER, and more! BOLLAND cover!

“PRO2PRO” between JOHN BYRNE and CHRIS CLAREMONT on their X-MEN WORK and WALT SIMONSON and JOE CASEY on Walter’s THOR, WOLVERINE PENCIL ART by BUSCEMA, LEE, COCKRUM, BYRNE, and GIL KANE, LEN WEIN’S TEEN WOLVERINE, PUNISHER’S 30TH and SECRET WARS’ 20TH ANNIVERSARIES (with UNSEEN ZECK ART), and more! BYRNE cover!

Wonder Woman TV series in-depth, LYNDA CARTER INTERVIEW, WONDER WOMAN TV ART GALLERY, Marvel’s TV Hulk, SpiderMan, Captain America, and Dr. Strange, LOU FERRIGNO INTERVIEW, super-hero cartoons you didn’t see, pencil gallery by JERRY ORDWAY, STAR TREK in comics, and ROMITA SR. editorial on Marvel’s movies!

Covers by ALEX ROSS and ADAM HUGHES!

TOMB OF DRACULA revealed with GENE COLAN and MARV WOLFMAN, LEN WEIN & BERNIE WRIGHTSON on Swamp Thing’s roots, STEVE BISSETTE & RICK VEITCH on their Swamp work, pencil art by BRUNNER, PLOOG, BISSETTE, COLAN, WRIGHTSON, and SMITH, editorial by ROY THOMAS, PREZ, GODZILLA comics (with TRIMPE art), CHARLTON horror, & more! COLAN cover!

History of BRAVE AND BOLD, JIM APARO interview, tribute to BOB HANEY, FANTASTIC FOUR ROUNDTABLE with STAN LEE, MARK WAID, and others, EVANIER and MEUGNIOT on DNAgents, pencil art by ROSS, TOTH, COCKRUM, HECK, ROBBINS, NEWTON, and BYRNE, DENNY O’NEIL editorial, a tour of METROPOLIS, IL, and more! SWAN/ANDERSON cover!

(100-page magazine) $9 US Diamond Order Code: JAN042880

(100-page magazine) $9 US Diamond Order Code: MAR042973

(108-page magazine with COLOR) $9 US Diamond Order Code: MAY043051

(100-page magazine) $9 US Diamond Order Code: JUL043389

(100-page magazine) $9 US Diamond Order Code: SEP043044

BACK ISSUE #8

BACK ISSUE #9

BACK ISSUE #10

BACK ISSUE #11

BACK ISSUE #12

DENNY O’NEIL and Justice League Unlimited voice actor PHIL LaMARR discuss GL JOHN STEWART, NEW X-MEN pencil art by NEAL ADAMS, ARTHUR ADAMS, DAVID MAZZUCCHELLI, ALAN DAVIS, JIM LEE, ADAM HUGHES, STORM’s 30-year history, animated TV’s black heroes (with TOTH art), ISABELLA and TREVOR VON EEDEN on BLACK LIGHTNING, and more! KYLE BAKER cover!

MIKE BARON and STEVE RUDE on NEXUS past and present, a colossal GIL KANE pencil art gallery, a look at Marvel’s STAR WARS comics, secrets of DC’s unseen CRISIS ON INFINITE EARTHS SEQUEL, TIM TRUMAN on his GRIMJACK SERIES, MIKE GOLD editorial, THANOS history, TIME WARP revisited, and more! All-new STEVE RUDE COVER!

NEAL ADAMS and DENNY O’NEIL on RA’S AL GHUL’s history (with Adams art), O’Neil and MICHAEL KALUTA on THE SHADOW, MIKE GRELL on JON SABLE FREELANCE, HOWIE CHAYKIN interview, DOC SAVAGE in comics, BATMAN ART GALLERY by PAUL SMITH, SIENKIEWICZ, SIMONSON, BOLLAND, HANNIGAN, MAZZUCCHELLI, and others! New cover by ADAMS!

ROY THOMAS, KURT BUSIEK, and JOE JUSKO on CONAN (with art by JOHN BUSCEMA, BARRY WINDSOR-SMITH, NEAL ADAMS, JUSKO, and others), SERGIO ARAGONÉS and MARK EVANIER on GROO, DC’s never-published KING ARTHUR, pencil art gallery by KIRBY, PÉREZ, MOEBIUS, GARCÍA-LÓPEZ, BOLLAND, and others, and a new BUSCEMA/JUSKO Conan cover!

’70s and ’80s character revamps with DAVE GIBBONS, ROY THOMAS and KURT BUSIEK, TOM DeFALCO and RON FRENZ on Spider-Man’s 1980s “black” costume change, DENNY O’NEIL on Superman’s 1970 revamp, JOHN BYRNE’s aborted SHAZAM! series detailed, pencil art gallery with FRANK MILLER, LEE WEEKS, DAVID MAZZUCCHELLI, CHARLES VESS, and more!

(100-page magazine) $9 US Diamond Order Code: NOV043081

(100-page magazine) $9 US Diamond Order Code: JAN053136

(100-page magazine) $9 US Diamond Order Code: MAR053333

(108-page magazine) $9 US Diamond Order Code: MAY053174

(100-page magazine) $9 US Diamond Order Code: JUL053295

T! LD OU O S , Y SORR

BACK ISSUE #13

BACK ISSUE #14

BACK ISSUE #15

BACK ISSUE #16

BACK ISSUE #17

CARDY interview, ENGLEHART and MOENCH on kung-fu comics, “Pro2Pro” with STATON and CUTI on Charlton’s E-Man, pencil art gallery featuring MILLER, KUBERT, GIORDANO, SWAN, GIL KANE, COLAN, COCKRUM, and others, EISNER’s A Contract with God; “The Death of Romance (Comics)” (with art by ROMITA, SR. and TOTH), and more!

DAVE COCKRUM and MIKE GRELL go “Pro2Pro” on the Legion, pencil art gallery

by BUSCEMA, BYRNE, MILLER, STARLIN, McFARLANE, ROMITA JR., SIENKIEWICZ, looks at Hercules Unbound, Hex, Killraven, Kamandi, MARS, Planet of the Apes, art and interviews with GARCÍA-LÓPEZ, KIRBY, WILLIAMSON, and more! New MIKE GRELL/BOB McLEOD cover!

“Weird Heroes” of the 1970s and ’80s!

MIKE PLOOG discusses Ghost Rider, MATT WAGNER revisits The Demon, JOE KUBERT dusts off Ragman, GENE COLAN “Rough Stuff” pencil gallery, GARCÍALÓPEZ recalls Deadman, DC’s unpublished Gorilla Grodd series, PERLIN, CONWAY, and MOENCH on Werewolf by Night, and more! New ARTHUR ADAMS cover!

“Toy Stories!” Behind the Scenes of Marvel’s G.I. JOE™ and TRANSFORMERS with PAUL LEVITZ and GEORGE TUSKA, “Rough Stuff” MIKE ZECK pencil gallery, ARTHUR ADAMS on Gumby, HE-MAN, ROM, MICRONAUTS, SUPER POWERS, SUPER-HERO CARS, art by HAMA, SAL BUSCEMA, GUICE, GOLDEN, KIRBY, TRIMPE, and new ZECK sketch cover!

“Super Girls!” Supergirl retrospective with art by STELFREEZE, HAMNER, SpiderWoman, Flare, Tigra, DC’s unused Double Comics with unseen BARRETTO and INFANTINO art, WOLFMAN and JIMENEZ on Donna Troy, female comics pros, art by SEKOWSKY, OKSNER, PÉREZ, HUGHES, GIORDANO, plus a COLOR GALLERY and COVER by BRUCE TIMM!

(100-page magazine) $9 US Diamond Order Code: SEP053303

(100-page magazine) $9 US Diamond Order Code: NOV053296

(100-page magazine) $9 US Diamond Order Code: JAN063431

(100-page magazine) $9 US Diamond Order Code: MAR063547

(108-page magazine with COLOR) $9 US Diamond Order Code: MAY063499

BACK ISSUE #18

BACK ISSUE #19

BACK ISSUE #20

BACK ISSUE #21

BACK ISSUE #22

“Big, Green Issue!” Take a tour of NEAL ADAMS’ studio (with interview and art gallery), DAVE GIBBONS “Rough Stuff” pencil art spotlight, interviews with MIKE GRELL (Green Arrow), PETER DAVID (Incredible Hulk), a “Pro2Pro” chat between GERRY CONWAY and JOHN ROMITA, SR. (Green Goblin), the unproduced She-Hulk movie, and more. GREEN LANTERN cover by ADAMS!

“Unsung Heroes!” DON NEWTON spotlight, GERBER and COLAN on Howard the Duck, MIKE CARLIN and DANNY FINGEROTH on Marvel’s Assistant Editors’ Month, “Greatest Stories Never Told” on the unrealized Unlimited Powers TV show, TONY ISABELLA’s aborted plans for The Champions, MARK GRUENWALD tribute, art by SAL BUSCEMA, JOHN BYRNE, and more! NEWTON/RUBINSTEIN cover!

“Secret Identities!” Histories of characters with unusual alter egos: Firestorm, Moon Knight, the Question, and the “real-life” Human Fly! STEVE ENGLEHART and SAL BUSCEMA on Captain America, JERRY ORDWAY interview and cover, Superman roundtable with SIENKIEWICZ, NOWLAN, MOENCH, COWAN, MAGGIN, O’NEIL, MILGROM, CONWAY, ROBBINS, SWAN, plus FREE ALTER EGO #64 PREVIEW!

“The Devil You Say!” issue! A look at Daredevil in the 1980s and 1990s with interviews and art by KLAUS JANSON, JOHN ROMITA JR., and FRANK MILLER, MIKE MIGNOLA Hellboy interview, DAN MISHKIN and GARY COHN on Blue Devil, COLLEEN DORAN’s unpublished X-Men spin-off “Fallen Angels”, Son of Satan, Stig’s Inferno, DC’s Plop!, JACK KIRBY’s Devil Dinosaur, and cover by MIKE ZECK!

“Dynamic Duos”! “Pro2Pro” interviews with Batman’s ALAN GRANT and NORM BREYFOGLE and the Legion’s PAUL LEVITZ and KEITH GIFFEN, a “Backstage Pass” to Dark Horse Comics, Robin’s history, EASTMAN and LAIRD’s Ninja Turtles, histories of duos Robin and Batgirl, Captain America and the Falcon, and Blue Beetle and Booster Gold, “Zot!” interview with SCOTT McCLOUD, and a new BREYFOGLE cover!

(100-page magazine) $9 US Diamond Order Code: JUL063569

(100-page magazine) $9 US Diamond Order Code: SEP063683

(104-page magazine) $9 US Diamond Order Code: NOV063993

(100-page magazine) $9 US Diamond Order Code: JAN073984

(100-page magazine) $9 US Diamond Order Code: MAR073855

ROUGH STUFF celebrates the ART of creating comics! Edited by famed inker BOB McLEOD, each issue spotlights NEVERBEFORE PUBLISHED penciled pages, preliminary sketches, detailed layouts, and unused inked versions from artists throughout comics history, before-and-after comparisons, critiques, early work, and more from top comics pros!

ROUGH STUFF #1

ROUGH STUFF #2

ROUGH STUFF #3

ROUGH STUFF #4

DAVIS • PÉREZ • TIMM • NOWLAN GARCÍA-LÓPEZ • ARTHUR ADAMS BYRNE • SIMONSON

BRIAN APTHORP • FRANK BRUNNER PAUL GULACY • JERRY ORDWAY ALEX TOTH • MATT WAGNER

MIKE ALLRED • JOHN BUSCEMA YANICK PAQUETTE • JOHN ROMITA JR. P. CRAIG RUSSELL • LEE WEEKS

BISSETTE • CHAYKIN • COLAN KALUTA • ANDREW ROBINSON JOHN TOTLEBEN

(116-page magazine) $9 US Diamond Order Code: APR063497

(100-page magazine) $9 US Diamond Order Code: AUG063714

(100-page magazine) $9 US Diamond Order Code: NOV064024

(100-page magazine) $9 US Diamond Order Code: FEB073911

TwoMorrows. Celebrating The Art & History Of Comics.

TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com

TwoMorrows Publishing 2007 Catalog Update JUNE-DECEMBER 2007 • ORDER AT: www.twomorrows.com TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: twomorrow@aol.com

Introducing: COMICS INTROSPECTIVE!

All characters TM & ©2007 their respective owners.

TwoMorrows Publishing proudly presents a new book series that spotlights indy comics talent with an outside-the-box approach.

Through a combination of original photography, multiple art gallery sections, and an introspective dialogue with each subject, COMICS INTROSPECTIVE is unlike anything being published. Printed on deluxe glossy stock to maximize the impact of the art and photography, the goal is to make the series as breakthrough as the innovators it covers.

Volume 1: PETER BAGGE

Volume 2: DEAN HASPIEL

With a unique, expressive style, PETER BAGGE’s work runs the gamut from political (his strips for reason.com), absurdist and satirical (the BATBOY strip for WEEKLY WORLD NEWS), and dramatic (APOCALYPSE NERD). From his Seattle studio, Peter Bagge lets journalist CHRISTOPHER IRVING in on everything from just what was on his mind with his long-running Gen X comic HATE!, to what’s going on in his head as a political satirist. This debut volume of COMICS INTROSPECTIVE features an assortment of original photography, artwork picked by Bagge himself, and a look at where Bagge’s work (and mind) is taking him.

Volume Two shines a light on DEAN HASPIEL, the multi-genre cartoonist behind BILLY DOGMA, the existentialist bruiser hero, and the artist on Harvey Pekar’s AMERICAN SPLENDOR mini-series and THE QUITTER graphic novel. Writer/editor CHRISTOPHER IRVING hangs with Dean in his Brooklyn apartment for the day, talking about Haspiel’s diverse and unique approach to comics, his use of Dogma as a semi-biographical “avatar”… and just what “Aggro-Moxie” really is. Featuring galleries of original Haspiel art, as well as original photographs by RYAN ROMAN, and an introduction by Y The Last Man’s BRIAN K. VAUGHAN, we continue this experimental and bold new series.

(128-page trade paperback) $21 US • ISBN: 9781893905832 Diamond Order Code: DEC063948 • Ships July 2007

(128-page trade paperback) $21 US • ISBN: 9781893905900 Ships January 2008

Coming in 2008: Volume 3 featuring JAY STEPHENS, and Volume 4 featuring BOB FINGERMAN!

UPCOMING BOOKS: MODERN MASTERS SERIES Edited by ERIC NOLEN-WEATHINGTON, these trade paperbacks are devoted to the BEST OF TODAY’S COMICS ARTISTS! Each book contains RARE AND UNSEEN ARTWORK direct from the artist’s files, plus a COMPREHENSIVE INTERVIEW (including influences and their views on graphic storytelling), DELUXE SKETCHBOOK SECTIONS, and more!

Vol. 14: FRANK CHO

Vol. 15: MARK SCHULTZ

Vol. 16: MIKE ALLRED

(120-page TPB with COLOR) $19 US ISBN: 9781893905849 Ships October 2007

(128-page TPB) $19 US ISBN: 9781893905856 Ships December 2007

(120-page TPB with COLOR) $19 US ISBN: 9781893905863 Ships February 2008

MORE MODERN MASTERS VOLUMES ARE COMING IN 2008: GAIJIN STUDIOS AND JOHN ROMITA JR.!

SEE OUR JANUARY CATALOG FOR DETAILS!

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KIRBY FIVE-OH! (JACK KIRBY COLLECTOR #50) ALTER EGO: THE BEST OF THE LEGENDARY COMICS FANZINE

(10TH ANNIVERSARY EDITION) In 1961, JERRY BAILS and ROY THOMAS launched ALTER EGO, the first fanzine devoted to comic books and their colorful history. This volume, first published in low distribution in 1997, collects the original 11 issues (published from 1961-78) of A/E, with the creative and artistic contributions of JACK KIRBY, STEVE DITKO, WALLY WOOD, JOHN BUSCEMA, MARIE SEVERIN, BILL EVERETT, RUSS MANNING, CURT SWAN, & others—and important, illustrated interviews with GIL KANE, BILL EVERETT, & JOE KUBERT! See where a generation first learned about the Golden Age of Comics—while the Silver Age was in full flower—with major articles on the JUSTICE SOCIETY, the MARVEL FAMILY, the MLJ HEROES, and more! Edited by ROY THOMAS & BILL SCHELLY with an introduction by the late JULIUS SCHWARTZ.

Picks up where Volume 1 left off, covering the return of the Teen Titans to the top of the sales charts!

Featuring interviews with GEOFF JOHNS, MIKE MCKONE, PETER DAVID, PHIL JIMENEZ, and others, plus an in-depth section on the top-rated Cartoon Network series! Also CHUCK DIXON, MARK WAID, KARL KESEL, and JOHN BYRNE on writing the current generation of Titans! More with MARV WOLFMAN and GEORGE PÉREZ! NEAL ADAMS on redesigning Robin! Artwork by ADAMS, BYRNE, JIMENEZ, MCKONE, PÉREZ and more, with an all-new cover by MIKE MCKONE! Written by GLEN CADIGAN.

(192-page trade paperback) $26 US ISBN: 9781893905887 Ships February 2008

(224-page trade paperback) $31 US ISBN: 97801893905870 Ships March 2008

TITANS COMPANION VOLUME 2

The publication that started the TwoMorrows juggernaut presents KIRBY FIVE-OH!, a book covering the best of everything from Jack Kirby’s 50-year career in comics! The regular columnists from THE JACK KIRBY COLLECTOR magazine have formed a distinguished panel of experts to choose and examine: The BEST KIRBY STORY published each year from 1938-1987! The BEST COVERS from each decade! Jack’s 50 BEST UNUSED PIECES OF ART! His 50 BEST CHARACTER DESIGNS! And profiles of, and commentary by, the 50 PEOPLE MOST INFLUENCED BY KIRBY’S WORK! Plus there’s a 50-PAGE GALLERY of Kirby’s powerful RAW PENCIL ART, and a DELUXE COLOR SECTION of photos and finished art from throughout his entire halfcentury oeuvre. This TABLOID-SIZED TRADE PAPERBACK features a previously unseen Kirby Superman cover inked by “DC: The New Frontier” artist DARWYN COOKE, and an introduction by MARK EVANIER, helping make this the ultimate retrospective on the career of the “King” of comics! (A percentage of profits will be donated to the JACK KIRBY MUSEUM AND RESEARCH CENTER.) (168-page tabloid-size trade paperback) $24 US ISBN: 9781893905894 Ships December 2007

HOW-TO MAGAZINES

DRAW! is the professional “How-To” magazine on cartooning and animation, featuring in-depth interviews and step-by-step demonstrations from top comics professionals. Edited by MIKE MANLEY.

WRITE NOW! features writing tips from pros on both sides of the desk, interviews, sample scripts, reviews, exclusive Nuts & Bolts tutorials, and more! Edited by DANNY FINGEROTH.

ROUGH STUFF features never-seen pencil pages, sketches, layouts, roughs, and unused inked pages from throughout comics history, plus columns, critiques, and more! Edited by BOB MCLEOD.

DOWNLOAD DIGITAL EDITIONS OF OUR MAGS FOR $2 95, STARTING IN JULY! SEE PAGE 4 FOR DETAILS! 2

NEW MAGS: T H E U LT I M AT E C O M I C S E X P E R I E N C E !

TM

BACK ISSUE celebrates comic books of the 1970s, 1980s, and today through a variety of recurring (and rotating) departments, plus rare and unpublished art. Edited by MICHAEL EURY.

ALTER EGO focuses on Golden and Silver Age comics and creators with articles, interviews and unseen art, plus FCA (Fawcett Collectors of America), Mr. Monster & more. Edited by ROY THOMAS.

BACK ISSUE #23

BACK ISSUE #24

BACK ISSUE #25

BACK ISSUE #26

“Comics Go Hollywood!” Spider-Man roundtable with STAN LEE, JOHN ROMITA, SR., JIM SHOOTER, ERIK LARSEN, and others, STAR TREK comics writers’ roundtable Part 1, Gladstone’s Disney comics line, behindthe-scenes at TV’s ISIS and THE FLASH (plus an interview with Flash’s JOHN WESLEY SHIPP), TV tie-in comics, bonus 8-page color ADAM HUGHES ART GALLERY and cover, plus a FREE WRITE NOW #16 PREVIEW!

“Magic” issue! MICHAEL GOLDEN interview, GENE COLAN, PAUL SMITH, and FRANK BRUNNER on drawing Dr. Strange, Mystic Art Gallery with CARL POTTS & KEVIN NOWLAN, BILL WILLINGHAM’s Elementals, Zatanna history, Dr. Fate’s revival, a “Greatest Stories Never Told” look at Peter Pan, tribute to the late MARSHALL ROGERS, a new GOLDEN cover, plus a FREE ROUGH STUFF #6 PREVIEW!

“Men of Steel”! BOB LAYTON and DAVID MICHELINIE on Iron Man, RICH BUCKLER on Deathlok, MIKE GRELL on Warlord, JOHN BYRNE on ROG 2000, Six Million Dollar Man and Bionic Woman, Machine Man, the World’s Greatest Super-Heroes comic strip, DC’s Steel, art by KIRBY, HECK, WINDSOR-SMITH, TUSKA, LAYTON cover, and bonus “Men of Steel” color art gallery!

Includes a FREE DRAW! #15 PREVIEW!

“Spies and Tough Guys”! PAUL GULACY and DOUG MOENCH in an art-packed “Pro2Pro” on Master of Kung Fu and their unrealized Shang-Chi/Nick Fury crossover, Suicide Squad spotlight, Ms. Tree, CHUCK DIXON and TIM TRUMAN’s Airboy, James Bond and Mr. T in comic books, Sgt. Rock’s oddball super-hero team-ups, Nathaniel Dusk, JOE KUBERT’s unpublished The Redeemer, and a new GULACY cover!

(108-page magazine) $9 US Diamond Order Code: MAY073880

(100-page magazine) $9 US Ships September 2007

(104-page magazine) $9 US Ships November 2007

(100-page magazine) $9 US Ships January 2008

ALTER EGO #72

ALTER EGO #73

ALTER EGO #74

ALTER EGO #75

ALTER EGO #76

SCOTT SHAW! and ROY THOMAS on the creation of Captain Carrot, art & artifacts

by RICK HOBERG, STAN GOLDBERG, MIKE SEKOWSKY, JOHN COSTANZA, E. NELSON BRIDWELL, CAROL LAY, and others, interview with DICK ROCKWELL, Golden Age artist and 36-year ghost artist on MILTON CANIFF’s Steve Canyon! Plus FCA, MR. MONSTER, and more!

FRANK BRUNNER on drawing Dr. Strange, interviews with CHARLES BIRO and his daughters, ROY THOMAS’ 1971 synopsis for the origin of Man-Thing, interview with publisher ROBERT GERSON about his 1970s horror comic Reality, art by BERNIE WRIGHTSON, MICHAEL W. KALUTA, JEFF JONES, and others FCA, MR. MONSTER, a FREE DRAW! #15! PREVIEW, and more!

STAN LEE SPECIAL in honor of his 85th birthday, with a cover by JACK KIRBY, classic (and virtually unseen) interviews with Stan, tributes, and tons of rare and unseen art by KIRBY, ROMITA, the brothers BUSCEMA, DITKO, COLAN, HECK, AYERS, MANEELY, SHORES, EVERETT, BURGOS, KANE, the SEVERIN siblings—plus FCA, MR. MONSTER, and more!

FAWCETT FESTIVAL—with an ALEX ROSS cover! Double-size FCA (Fawcett Collectors of America) with WALT GROGAN and P.C. HAMERLINCK on the many “Captains Marvel” over the years, unseen Shazam! proposal by ALEX ROSS, C.C. BECK on “The Death of a Legend!”, MARC SWAYZE, interview with Golden Age artist MARV LEVY, MR. MONSTER, and more!

JOE SIMON SPECIAL! In-depth SIMON interview by JIM AMASH, with neverbefore-revealed secrets behind the creation of Captain America, Fighting American, Stuntman, Adventures of The Fly, Sick magazine and more, art by JACK KIRBY, BOB POWELL, AL WILLIAMSON, JERRY GRANDENETTI, GEORGE TUSKA, and others, FCA, MR. MONSTER, and more!

(100-page magazine) $9 US Ships September 2007

(100-page magazine) $9 US Ships October 2007

(100-page magazine) $9 US Ships December 2007

(100-page magazine) $9 US Ships January 2008

(100-page magazine) $9 US Ships March 2008

DRAW! #15

WRITE NOW! #17

WRITE NOW! #18

ROUGH STUFF #6

ROUGH STUFF #7

BACK TO SCHOOL ISSUE, covering major schools offering comic art as part of their curriculum, featuring faculty, student, and graduate interviews in an ultimate overview of collegiate-level comic art classes! Plus, a “how-to” demo/interview with B.P.R.D.’S GUY DAVIS, MANLEY and BRET BLEVINS’ COMIC ART BOOTCAMP series, a FREE WRITE NOW #17 PREVIEW, and more!

HEROES ISSUE featuring series creator/ writer TIM KRING, writer JEPH LOEB, and others, interviews with DC Comics’ DAN DiDIO and Marvel’s DAN BUCKLEY, PETER DAVID on writing STEPHEN KING’S DARK TOWER COMIC, MICHAEL TEITELBAUM, C.B. CEBULSKI, DOUGLAS RUSHKOFF, Nuts & Bolts script and art examples, a FREE BACK ISSUE #24 PREVIEW, and more!

More celebration of STAN LEE’s 85th birthday, including rare examples of comics, TV, and movie scripts from the Stan Lee Archives, tributes by JOHN ROMITA, SR., JOE QUESADA, ROY THOMAS, DENNIS O’NEIL, JIMMY PALMIOTTI, JIM SALICRUP, TODD McFARLANE, LOUISE SIMONSON, MARK EVANIER, and others, plus art by KIRBY, DITKO, ROMITA, and more!

Features a new interview and cover by BRIAN STELFREEZE, interview with BUTCH GUICE, extensive art galleries/commentary

by IAN CHURCHILL, DAVE COCKRUM, and COLLEEN DORAN, MIKE GAGNON looks at independent comics, with art and comments by ANDREW BARR, BRANDON GRAHAM, and ASAF HANUKA! Includes a FREE ALTER EGO #73 PREVIEW!

Features an in-depth interview and cover

by TIM TOWNSEND, CRAIG HAMILTON, DAN JURGENS, and HOWARD PORTER offer preliminary art and commentaries, MARIE SEVERIN career retrospective, graphic novels feature with art and comments by DAWN BROWN, TOMER HANUKA, BEN TEMPLESMITH, and LANCE TOOKS, and more!

(80-page magazine with COLOR) $9 US Ships October 2007

(80-page magazine) $9 US Ships October 2007

(80-page magazine) $9 US Ships January 2008

(100-page magazine) $9 US Ships October 2007

(100-page magazine) $9 US Ships January 2008

3

Digital Editions: $295 Pros@Cons!

Summer 2007 Update Edition • Hype and hullabaloo from the publisher determined to bring new life to comics fandom • Edited by John Morrow

New Cover Art!

For various reasons, we’ve had to change cover art on a couple of items since we published our January catalog. Above are new covers for WRITE NOW #16 (shipping in July), and MEGO 8” SUPERHEROES: WORLD’S GREATEST TOYS (shipping in October)! For WRITE NOW, we’ve added a roundtable of Silver Surfer writers, including STAN LEE, STEVE ENGLEHART, JIM STARLIN, J.M. DEMATTEIS, and RON MARZ, so we felt this new cover painting by MIKE ZECK seemed spot-on. And the MEGO cover changed at the polite request of our friends up at DC Comics, so who are we to argue? Same great pubs, but with great new fronts! Get ’em soon!

Beginning with our July issues, we’ll begin offering digital editions of all our new magazines at www.twomorrows.com, for only $2.95 PER DOWNLOAD (way less than HALF THE PRICE of the printed versions)! Not only that, but these new PDF editions will feature much of the art from our printed magazines’ black-andwhite pages in FULL COLOR! As a special bonus, subscribers to our printed magazines will get FREE ACCESS to the digital versions of the issues in their subscription, which will generally be available 2-3 weeks BEFORE copies are even printed. So if you’ve hesitated to subscribe because our mags show up in your local comics shop before they’re in your mailbox, you can now see the whole issue digitally (and in color) weeks earlier, for no extra charge!

We’re offering these digital editions as a test to see if there’s a market for them, not as a way to do away with printed magazines.

But we’re relying on the honesty of our readers, to NOT share their digital editions with others. Since we rely on sales from every printed copy and download to keep the magazines going, if readers illegally share these files with others, the TwoMorrows mags you love so much could cease to be published in ANY format. So enjoy the files, but make sure you pay for yours! And if you’re a subscriber, send your e-mail address to www.twomorrows.com to get free access to these new digital editions!

During the second half of 2007, we’ll be exhibiting at the following comic cons: COMICON INTERNATIONAL (San Diego, CA, July 25-29, 2007) WIZARDWORLD: CHICAGO (Chicago, IL, August 9-12, 2007)

BALTIMORE COMICON (Baltimore, MD, September 8-9, 2007) SPX (Small Press Expo) (Bethesda, MD, October 12-13, 2007)

ULTIMATE SINNOTT

So stop by our booths and buy something!

We Built And Diamond Order Codes It, They Came...

Here’s a list of Diamond Order Codes that weren’t yet available when we printed our January Catalog: Alter Ego #68: MAR073852 Alter Ego #69: APR074098 Alter Ego #70: MAY073879 Alter Ego #71: JUN074006 Back Issue #22: MAR073855 Batcave Companion: NOV068368 Brush Strokes With Greatness: Joe Sinnott: MAR073744 Comics 101: FEB070050 Draw! #14: MAY073896 Image Comics: The Road To Independence: MAR073745 Jack Kirby Collector #49: JUN074028 John Romita... And All That Jazz! (HARDCOVER): APR074019 John Romita... And All That Jazz! (SOFTCOVER): APR074018 Rough Stuff #5: MAY073902 Write Now #16: MAY073903 Modern Masters Vol. 12: Michael Golden: APR074023 Modern Masters Vol. 13: Jerry Ordway: JUN073926 Modern Masters: Michael Golden DVD: MAY073780 Working Methods: MAR073747

BATCAVE DELAY

Our upcoming book THE BATCAVE COMPANION (by MICHAELS EURY and KRONENBERG) has been pushed back to April, to allow extra time to make it the most outstanding “Companion” we’ve ever done.

Stay tuned! We guarantee it’ll be worth the wait!

Over 25,000 copies of COMICS 101 (our Free Comic Book Day publication) were handed out on May 5 at comics shops across the country, and from our webstore.

And thousands more have been given away at conventions we’ve attended. If you somehow missed your copy of this great sampler of our mags (featuring “how-to” and history lessons from our editors), you can still get one online for a measly $2 IN THE US (which covers our postage costs to send it to you). Get it while the gettin’s good!

Only at www.twomorrows.com, we’re offering an ULTRA-LIMITED EDITION (only 52 copies, lettered “A” to “Z” and “AA” to “ZZ”) of our Joe Sinnott bio, BRUSH STROKES WITH GREATNESS! Joltin’ Joe has drawn 52 pencil drawings, and one has been bound into each copy, making a truly one-of-a-kind edition! So hurry online to get yours, and you can choose which character you want before they sell out! NOT SOLD IN STORES!

New Subscription Sell Outs!

Rates: (due to postage hikes)

JACK KIRBY COLLECTOR: Four tabloid issues in the US: $44 Standard, $56 First Class (Canada: $64, Elsewhere: $76 Surface, $120 Airmail).

BACK ISSUE!: Six issues in the US: $40 Standard, $54 First Class (Canada: $66, Elsewhere: $90 Surface, $108 Airmail).

ROUGH STUFF, DRAW! & WRITE NOW!: Four issues in the US: $26 Standard, $36 First Class (Canada: $44, Elsewhere: $60 Surface, $72 Airmail).

ALTER EGO: Twelve issues in the US: $78 Standard, $108 First Class (Canada: $132, Elsewhere: $180 Surface, $216 Airmail).

NOTE: IF YOU PREFER A SIX-ISSUE SUBSCRIPTION, JUST CUT THE PRICE IN HALF!

These items are now SOLD OUT: HEROES & VILLAINS: THE WILLIAM MESSNER-LOEBS TRIBUTE SKETCHBOOK WRITE NOW! #12 DRAW! #9 and #12 COMIC BOOK ARTIST COLLECTION, VOLUME 2 COMIC BOOK ARTIST #11 To get periodic e-mail updates of what’s new from TwoMorrows Publishing, sign up for our mailing list! http://groups.yahoo.com/group/ twomorrows

NEW RATES: Prices include US Postage. Outside the US, ADD PER ITEM: Mags & DVDs, $2 Canada ($7 Surface, $9 Airmail) • Books, $4 Canada ($12 Surface, $22 Airmail)

TwoMorrows. Celebrating The Art & History Of Comics.

TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com

NOW SHIPPING FROM TWOMORROWS!

ALTER EGO #70

BACK ISSUE #23

DRAW! #14

WRITE NOW! #16

KIRBY COLLECTOR #49

Spotlight on ROY THOMAS’ 1970s stint as Marvel’s editor-in-chief and major writer, plus art and reminiscences of GIL KANE, BOTH BUSCEMAS, ADAMS, ROMITA, CHAYKIN, BRUNNER, PLOOG, EVERETT, WRIGHTSON, PÉREZ, ROBBINS, BARRY SMITH, STAN LEE and others, FCA, MR. MONSTER, a new GENE COLAN cover, plus a FREE ROUGH STUFF #5 PREVIEW!

Comics Go Hollywood! Spider-Man roundtable with STAN LEE, JOHN ROMITA, SR., JIM SHOOTER, ERIK LARSEN, and others, STAR TREK comics writers' roundtable Part 1, Gladstone’s Disney comics line, behindthe-scenes at TV’s ISIS and THE FLASH (plus an interview with Flash’s JOHN WESLEY SHIPP), TV tie-in comics, bonus 8-page color ADAM HUGHES ART GALLERY and cover, plus a FREE WRITE NOW #16 PREVIEW!

Features in-depth interviews and step-bystep demos with DC Comics artist DOUG MAHNKE, OVI NEDELCU (Pigtale, WB Animation), STEVE PURCELL (Sam and Max), plus Part 3 of editor MIKE MANLEY and BRET BLEVINS’ COMIC ART BOOTCAMP on “Using Black to Power up Your Pages”, product reviews, a new MAHNKE cover, and a FREE ALTER EGO #70 PREVIEW!

An in-depth TODD McFARLANE interview, STAN LEE, STEVE ENGLEHART, JIM STARLIN, GEORGE PÉREZ, and J.M. DeMATTEIS on writing the Silver Surfer, Nuts and Bolts script and pencil art from BRIAN BENDIS and FRANK CHO’s MIGHTY AVENGERS and from DAN SLOTT’s AVENGERS: THE INITIATIVE, STAR TREK comics writers' roundtable Part 2, cover by MIKE ZECK, plus a FREE DRAW #14 PREVIEW!

WARRIORS, spotlighting Thor (with a look at hidden messages in BILL EVERETT’s Thor inks), Sgt. Fury, Challengers of the Unknown, Losers, and others! Includes a rare KIRBY interview, new interviews with JERRY ORDWAY and GRANT MORRISON, MARK EVANIER’s column, a pencil art gallery, a complete 1950s story, a wraparound Kirby Thor cover inked by JERRY ORDWAY, and more! SHIPS IN AUGUST!

(108-page magazine) $9 US Diamond Order Code: MAY073880

(84-page magazine with COLOR) $9 US Diamond Order Code: MAY073896

(84-page magazine) $9 US Diamond Order Code: MAY073903

(84-page tabloid) $13 US Diamond Order Code: JUN074028

IMAGE COMICS

COMICS INTROSPECTIVE VOLUME 1: PETER BAGGE

WORKING METHODS

MODERN MASTERS VOLUME 12: MICHAEL GOLDEN

(100-page magazine) $9 US Diamond Order Code: MAY073879

JOHN ROMITA... & ALL THAT JAZZ! The artist who made AMAZING SPIDERMAN Marvel’s #1-selling comic book in the 1960s talks about his life, his art, and his contemporaries! Authored by former Marvel Comics editor in chief and top writer ROY THOMAS, and noted historian JIM AMASH, it features the most definitive interview Romita’s ever given, about working with STAN LEE and JACK KIRBY, following Spider-Man co-creator STEVE DITKO as artist on the strip, and more!

Lavishly illustrated with Romita art, it’s a career overview of a comics master, and a firsthand history of the industry by one of its leading artists! Available in Softcover and Hardcover (with 16 extra color pages, dust jacket, and custom endleaves).

(192-page softcover) $29 US ISBN: 9781893905757 Diamond Order Code: APR074018 (208-page hardcover w/ COLOR) $49 US ISBN: 9781893905764 Diamond Order Code: APR074019

THE ROAD TO INDEPENDENCE In 1992, seven artists shook the comic book industry when they left their top-selling Marvel Comics titles to jointly form a new company named IMAGE COMICS! IMAGE COMICS: THE ROAD TO INDEPENDENCE is an unprecedented look at the history of this company, featuring interviews and art from popular Image founders ERIK LARSEN, JIM LEE, TODD MCFARLANE, WHILCE PORTACIO, MARC SILVESTRI and JIM VALENTINO. Also featured are many of finest creators who over the last fifteen years have been a part of the Image family, offering behind-thescenes details of the company’s successes and failures. There’s rare and unseen art, making this the most honest exploration ever taken of the controversial company whose success, influence and high production values changed the landscape of comics forever! Written by GEORGE KHOURY. Introduction by DAVE SIM.

First volume of TwoMorrows’ new book series spotlighting INDY COMICS TALENT with an outside-the-box approach, combining original photography, multiple art gallery sections, and an introspective dialogue with each subject—all on deluxe glossy stock to maximize the impact of the imagery. Volume One features PETER BAGGE, whose work runs from political (his strips for reason.com), to absurdist and satirical (the Batboy strip for Weekly World News), and dramatic (Apocalypse Nerd). From his Seattle studio, Bagge lets us in on everything from what was on his mind with his long-running Gen X comic Hate!, to what’s going on in his head as a political satirist. Written by CHRISTOPHER IRVING.

Art professor JOHN LOWE puts the minds of comic artists under the microscope, highlighting the intricacies of their storytelling and creative processes stepby-step. For this book, three short scripts are each interpreted in different ways by professional comic artists to illustrate the varied ways in which they “see” and “solve” the problem of making a script succeed in comic form. It documents the creative and technical choices MARK SCHULTZ, TIM LEVINS, JIM MAHFOOD, SCOTT HAMPTON, KELSEY SHANNON, CHRIS BRUNNER, SEAN MURPHY, and PAT QUINN make as they tell a story, allowing comic fans, artists, instructors, and students into a world rarely explored.

Hundreds of illustrated examples document the artists’ processes, and interviews clarify their individual approaches regarding storytelling and layout choices.

(280-page trade paperback) $39 US ISBN: 9781893905719 Diamond Order Code: MAR073745

(128-page trade paperback) $21 US ISBN: 9781893905832 Diamond Order Code: MAY073779

(176-page paperback w/ COLOR) $26 US ISBN: 9781893905733 Diamond Order Code: MAR073747

Features an extensive, career-spanning interview lavishly illustrated with rare art from Golden’s files, plus huge sketchbook section, including unseen and unused art!

By ERIC NOLEN-WEATHINGTON. (120-page TPB with COLOR) $19 US ISBN: 9781893905740 Diamond Order Code: APR074023

MODERN MASTERS: MICHAEL GOLDEN DVD Shows the artist at work, discussing his art and career!

(120-minute Std. Format DVD) $35 US ISBN: 9781893905771 Diamond Order Code: MAY073780

SUBSCRIPTIONS: JACK KIRBY COLLECTOR: Four issues US: $44 Standard, $56 First Class (Canada: $64, Elsewhere: $76 Surface, $120 Airmail).

BACK ISSUE!: Six issues US: $40 Standard, $54 First Class (Canada: $66, Elsewhere: $90 Surface, $108 Airmail).

DRAW!, WRITE NOW!, ROUGH STUFF: Four issues US: $26 Standard, $36 First Class (Canada: $44, Elsewhere: $60 Surface, $72 Airmail).

ALTER EGO: Twelve issues US: $78 Standard, $108 First Class (Canada: $132, Elsewhere: $180 Surface, $216 Airmail).

FOR A SIX-ISSUE ALTER EGO SUBSCRIPTION, JUST CUT THE PRICE IN HALF!

For the latest news from TwoMorrows Publishing, log on to www.twomorrows.com/tnt

TwoMorrows. Celebrating The Art & History Of Comics.

TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com