Comic-Con International has announced this year’s nominees for the Russ Manning Promising Newcomer Award, which is given to a comic artist “who, early in his or her career, shows a superior knowledge and ability in the art of creating comics.” This year’s nominees are:
• Rem Broo, artist of The End Times of Bram and Ben (published by Image)
• Craig Cermak, artist of Voltron, Year One (published by Dynamite)
• Bryan Coyle, artist of Babble (published by Com.x)
• Paul Roman Martinez, writer/artist of The Adventures of the 19XX (self-published)
• Russell Roeling, artist of Wasteland (published by Oni)
Both Cermak and Martinez are previous nominees.
The award is named for Russ Manning, the prolific artist who worked on Tarzan and Star Wars, and created the classic comic series Magnus, Robot Fighter. Started in 1982 as a joint presentation of Comic-Con International and the West Coast Comics Club, this award honors a comics artist who, early in his or her career, shows a superior knowledge and ability in the art of creating comics. Previous winners of the award include Dave Stevens, the first winner in 1982, as well as Art Adams, Jeff Smith, Gene Ha, Jerome Opeña, Steve Rude, David Petersen, R. Kikuo Johnson, Marian Churchland, Nate Simpson and Tyler Crook.
The winner will be announced July 13 during the Eisner Awards ceremony at Comic-Con International in San Diego.
Hurricane Sandy left a wake of devastation across the East Coast last week, and following the superstorm’s destruction come efforts to help those who were affected by it. One of the great things about the comic industry is that there are always people who work in it willing to do what they can to help people out, and this time is no different.
Art for Sandy Relief is an effort by Rich Ginter and Jim Viscardi. Viscardi currently works at Marvel in New York, while Rich left Marvel earlier this year to take a job as a digital designer in Disney’s publishing department in Glendale, Calif. He made the move to California just two months before the hurricane hit his former home.
Both gentleman were kind enough to answer some questions about the initiative. Before getting into it, though, their first art auctions went live today, and you can head over to eBay to bid on them now. Rich also shares some other ways that you can help out below, either via direct donation, by donating art or just by spreading the word.
Here are the auctions that are currently up:
- Amazing Spider-Man #577 page 19 artwork by Paolo Rivera, donated personally by him. If the piece raises $400 or more, he will donate another piece.
- Fear Agent #28 page 22 by Tony Moore and Mike Hawthorne, donated by Zack Rosenberg
- Batman TV Series Villains by Ejay Russell
- Doctor Doom by Tommy Lee Edwards, donated by Pat Loika
- Captain America by John Paul Leon, donated by Pat Loika
“Kubert was a giant of our industry, a singular talent up there on the mountaintop with masters like Gil Kane, Will Eisner and Jack Kirby,” J.M. DeMatteis wrote on his blog. “His art was dynamic, powerful and, most of all, rich with humanity and emotional impact. Like Kirby, he was one of comics’ greatest cover artists. Like Eisner, Kubert got better with time and age (one look at his recent graphic novel, Yossel, more than proves that point): his work achieved a kind elegance and simplicity that made storytelling seem effortless, easy.”
In a lengthy remembrance, Mark Evanier shares a story from a mid-1970s San Diego Comic-Con:
Everyone loved Joe. Everyone respected Joe. He was among a handful of artists whose speed and natural ability caused others to gape and express their envy. One year at the Comic-Con in San Diego (the same mid-seventies con where I took the above photo), Joe was asked to do a drawing for a charity art auction. He stepped up to an easel with a big, yard-high piece of drawing paper on it. He picked up a box of pastel chalks. He turned to the easel —
— and in under a minute, there was this drawing there of Hawkman. It was an incredible, detailed drawing that might have taken another artist an hour and been a third as good. Other artists working on nearby easels stopped and blinked in amazement.
Tom Richmond, J.H. Williams III, Ben Katchor and Jon Rosenberg were among the winners of the 2012 National Cartoonists Society Divisional Awards, which were presented last night in Las Vegas, Nev.
Richmond, a cartoonist known for his work on MAD Magazine, won the Reuben Award for Outstanding Cartoonist of the Year. Williams’ work on Batwoman was honored in the comic category, while Katchor won the graphic novel category for The Cardboard Valise. Rosenberg won the online comic strip category for his webcomic Scenes from a Multiverse.
You can find a complete list of all the winners after the jump.
Comic-Con International announced today that submissions are being accepted for the 31st annual Russ Manning Promising Newcomer Award, which will be presented in July during the Eisners ceremony at the San Diego Comic-Con. The award was named after Russ Manning, the prolific artist who worked on Tarzan and Star Wars, and created the classic comic series Magnus, Robot Fighter.
Started in 1982 as a joint presentation of Comic-Con International and the West Coast Comics Club, this award honors a comics artist who, early in his or her career, shows a superior knowledge and ability in the art of creating comics. Previous winners of the award include Dave Stevens, the first winner in 1982, as well as Art Adams, Jeff Smith, Gene Ha, Jerome Opeña, Steve Rude, David Petersen, R. Kikuo Johnson, Marian Churchland and Nate Simpson, who won last year.
Below is the criteria for the award that was sent out by CCI:
“When anyone challenges the worth of comics as an art, you can always bash them with Moebius,” wrote writer Jeff Parker on his blog this morning.
The artist worked under both names, serving as artist of the popular Western Blueberry under his real name, while working on The Airtight Garage, Azrach and The Incal, just to name a few, under his pseudonym.
“I was just looking through my Moebius Oeuvres Complètes from Les Humanoïdes Associés yesterday, marveling at his drawings. The Hermetic Garage, Arzach, Le Bandard Fou… And Blueberry that he did with Charlier. It’s an amazing body of work,” wrote creator Jason this morning.
Fans on this side of the pond will remember his Silver Surfer miniseries with Stan Lee, as well as the series of posters he did of various Marvel characters, including Spider-Man (right), Iron Man, Wolverine and The Thing.
Libraries | A committee recommended Monday that Stuck in the Middle: 17 Comics from an Unpleasant Age, an anthology of comics about middle school edited by Ariel Schrag, should remain in the Buckfield Junior-Senior High School library in Dixfield, Maine, after the mother of a student challenged its appropriateness because of “objectionable sexual and language references.” The local school board will make a final ruling in January. The Comic Book Legal Defense Fund and the American Library Association’s Office for Intellectual Freedom sent a letter of support for the book prior to the hearing. A school board in Sioux Falls, South Dakota, pulled the graphic novel from middle-school libraries in November 2009, but allowed teachers to continue to use it in class. [Sun Journal]
Digital | Charlie Sorrel looks at the iPad comic reader called, appropriately enough, Comic Reader. [Wired]
After a too-long hiatus, Shelf Porn is back! Today’s shelves come to us from Alison Sampson in the UK, an architect and comic creator who, as you can see in the image above, drew her shelves. How cool is that? The image above is part of a four-page story she did for a UK anthology, and she breaks down what was on them for this edition of Shelf Porn (and provides some photos of what they look like now).
If you’d like to submit your shelves to us, it’s easy — just send me a write-up and some images at firstname.lastname@example.org.
And now here’s Alison …
Last year around 140 creators participated in The 30 Characters Challenge, where they attempted to create a brand-new character every day in November. They’re doing it again this year, and already they have more than 350 creators signed up. But there’s still room for more — today’s the last day to sign up, so head over to their registration page if you think you’ve got what it takes to create 30 new characters over the next month.
“My not-terribly insightful comic book epiphany of the day: right now, we’ve got a bunch of top-flight writers in the field, and the next generation on the horizon. But what we could really use is a new, young generation of break-out artists. Don’t get me wrong, we’ve got a lot of excellent artists. But who was the last hot young guy who just exploded into the field? I feel like the pump is primed for one or more fresh young artists to just explode in a major, commercial way. When was the last time that happened? We could use an infusion of visual excitement in the books–across all companies.”
–Thus spoke Tom Brevoort, Marvel Senior VP – Executive Editor, on Twitter last night. Personally, I think he’s probably right to wonder about this. Like he says, the point isn’t that there are no good or even great relatively young/relatively new artists right now — there are plenty. Personally I’ve been knocked out by Gabriel Hardman‘s work on Atlas and Hulk over the past year or so, just for example. But what Brevoort is looking for is an artist who just skyrockets to superstardom more or less out of the blue. That requires quite a delicate alchemy. The artist in question must be young enough or new enough or have been working far way enough from the Big Two’s audiences for their work to have “the shock of the new” when fans first see it. They must bring something different to the table than what established artists are doing, so that their work stands out, but they must also be working in a style that’s recognizable and acceptable to large numbers of superhero fans. Their work doesn’t necessarily have to be to your taste, but you should at least be able to understand what others see in it, even if you don’t see it yourself.
The artistic folks over at the Comic Twart blog have a theme this week that no doubt is a lot harder than you’d think — minimalism. Chris Samnee’s Justice League, above, probably offers the most detail of the pieces they’ve shared so far, while Tom Fowler’s Fantastic Four, below, probably wins the prize for being the most minimal … especially his Invisible Woman.
Today kicked off the month-long 30 Characters Challenge, where more than 150 writers and artists are attempting to each create a brand-new character for each day in November. And just a few hours into it, the world has already been introduced to Mike Gallagher’s Roadkill Santa, Red by Tyler James, Daniel Govar’s Chondra Flicker (above) and Captain Cavity by Jess Kirby, among many others.
This will be a fun one to watch all month.
Jim Munroe, writer of the graphic novel Sword of My Mouth, kept track of the time he and artist Shannon Gerard put into the project. Not surprisingly, the scales don’t balance:
So here’s a breakdown of how much time we each spent working on the book.
Jim’s hours: 283.8 (writing: 23%, revisions and editing: 16%, publicity: 20%, publishing business: 38%)
Shannon’s hours: 1000+ (drawing)
So basically, Shannon put in 80% of the time even considering I took on publicity and publishing roles. (If I was just doing the writing, it would have been closer to a 90/10% split.)
We’re dividing the money we make 80/20%, but it still feels weird. I mean, I knew it took a long time to draw, but it really takes a long time to draw. This wonky division of labour is something to keep in mind when if you’re ever approaching someone to draw a comic. Even if you’re a slow writer and they’re a fast drawer, you’re still asking them to spend much more time realizing something than you spent creating it. What are you bringing to the project beyond amazing ideas and sparkling prose?
“The image above comes from Amazing Spider-Man #33, 1 of 2 Spider-Man comics that happened to be in my household while growing up (thanks, Dad). Of course, it happened to be one of the greatest Spidey stories ever told, but how was I supposed to know? I couldn’t drive, and I spent what allowance I had on toys. Looking back on the issue now, it’s hard not to draw parallels between Spidey’s dedication and my own work ethic. My adolescent mind was in awe of Spidey’s resolve: he “rested” while being pummeled by Doc Ock’s henchmen in order to gather strength for the final fight. What? Mind: blown. People ask me how I can sit in my room for months on end (the “Bat Cave” and “Fortress of Solitude” comments are incessant). The answer is very simple: I love my job. It’s extremely challenging, but that’s the point. It makes finishing a project feel just like lifting tons of steel machinery off your back to reach the serum that will save your dying Aunt May. Love can give you power you didn’t know you had.”
–Artist Paolo Rivera, on completing his work on the Amazing Spider-Man: One Moment in Time storyline
The Twitterverse was all abuzz yesterday about this post, in which a cynical game producer advises skipping the professionals and trolling Deviantart to find game artists. A few of the comments really set people off:
These guys aren’t used to making a lot of money for their work so they will be more appreciative of the chance even if they are being payed slightly less than what professionals are payed. Second of all, they’re better… Unless you have a specific price you want to pay in mind, ask THEM what they are willing to charge for the project. This usually causes people to give offers that are lower than what you normally pay, and will make them happy.
If an artist knows how much their artwork will increase the value of the game they will then feel they deserve that amount of money. This is not how a market economy works, you hire whoever is able to do the best job for the lowest amount of money, anything else is a loss of money on your end.
The original post has garnered 948 comments so far, and there’s a lively discussion going on at The Beat and Colleen Doran’s blog as well. Meanwhile, Bleeding Cool has another cautionary tale, about Bluewater Comics offering an artist two copies of their Justin Bieber comic in exchange for the copyright to the painting he posted on DeviantArt.