Fuck yeah Oglaf!
guardians of the galaxy 11.NOW
don’t even look at me I’m so embarrassed for this nerd
MS. MARVEL (February 5th 2014)
G. WILLOW WILSON (W) & ADRIAN ALPHONA (A)
The legend has returned! Marvel Comics presents the all-new MS. MARVEL, the ground breaking heroine that has become an international sensation! Kamala Khan is just an ordinary girl from Jersey City—until she is suddenly empowered with extraordinary gifts. But who truly is the all-new Ms. Marvel? Teenager? Muslim? Inhuman? Find out as she takes the Marvel Universe by storm, and prepare for an epic tale that will be remembered by generations to come. History in the making is NOW!
Avenging Spider-Man Annual #1
Spiderman and the Thing fucking made out in Avenging Spider-Man Annual #1 this shit is gold.
Thank you Rob Williams
Why the fuck doesn’t anyone ever talk about this shit?
oh my god this is fucking cute I am upset
As promised! This is how I letter my work. Hope this is helpful to someone!Here’s some more useful links:
Best lettering tutorial in a while!
A study in panel borders:
Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.
I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:
* You can get away with smaller panels than you think
* Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
* Simple is not bad.
* There are actually a LOT of possible combinations.
Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.
DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.
Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.
The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…
Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.
Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.
Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.
My newest story This Was Our Pact is FINISHED! You can download a high resolution DRM free PDF of the whole thing (80 pages) right here:
This Was Our Pact by Ryan Andrews
Just name your price, download, and start reading it on your reading device of choice.
Thank you so much to everyone who has been sharing this along the way.
edit: Paypal is not available at this time, and I’m not sure yet if I’m going to be using it at all. Gumroad makes it a lot easier for everyone :)
you guys should check this out it’s A REALLY GOOD AND CUTE COMIC!!! I got it along w/ another one by Ryan Andrews from a kickstarter and dang
This comic has made me legitimately happy, just saying.
Something a bit different. I had so much fun drawing this comic.
He was sentenced to life e-prisonment.
“Wrong Century” — Brilliant illustration by artist Tomas Kucerovsky depicting the fate of plus-size beauty in the modern age.
Click here to see more.