Pro artist Khoi Pham joins as visiting faculty & offers critiques on Creators Workshop!

We're pleased to announce that comic book artist Khoi Pham has joined Comics Experience, where he will be acting as visiting faculty for the next few months, providing art critiques to members of our Creators Workshop community!

Before becoming a comic book artist, Khoi Pham was a criminal defense lawyer, and, for a time, simultaneously worked as both a lawyer and an artist. During his acclaimed run on The Incredible Hercules, he left his job as a lawyer, and he is now a full-time comic book artist.

Khoi currently works on books like Scarlet Spider for Marvel and Cyber Force for Image Top Cow.

He is perhaps best known for his work on Hercules, as well as his work on Mighty Avengers with writer Dan Slott. Khoi is also a member of Ten Ton Studios.

The Creators Workshop is an on-going community of writers, artists, colorists, and letterers all dedicated to getting published and improving their craft. It's a community focused on making comics!

Our members post their work, critique each other, and discuss all aspects of creating comics in our members-only forums. But in addition to all that, members are eligible for critique by our instructors and pro members!

Khoi has now joined our regular line-up that includes working comic book editors, writers, artists, colorists and more.

Welcome to the Workshop, Khoi!

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If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

GUEST BLOG: CE Art Alum Seth Teter on Growing with Comics Experience

Today, we're pleased to present a Guest Blog from CE art alum Seth Teter. Seth shares his thoughts on Comics Experience courses, the Workshop community, and provides a cool example of how the artwork for a story progressed during the course of a class.

I have been taking online classes from Comics Experience for a couple of years now. This past October, I went to the New York Comic Con to meet my instructors and fellow classmates from CE.

I was often asked, "What do you do? Do you want to be a pro? Why do you take these classes? What do you want from all of this?" I sheepishly answered that I am just taking classes at CE to learn. To grow. I have learned so much from CE that I can never put into words how much I love the online world that Andy and company have created for people like me.

The first comic book I ever bought gob smacked me from the second I opened it. My senses were overwhelmed in pulpy goodness. The experience of that comic book was enough to hook me for life. It was New Teen Titans #27. What a life changer!

Like many fanboys I grew up wanting to become a comic creator. Rejections to art schools led me down a different path from my one true love of comic books. I took a stab at acting as I had more natural talent in that direction. For over a decade I did theatre all over the country. I loved it...for a while. It wasn't my one true love. So I tried again to become a comic book creator. I applied to art schools and faced more rejection.

I didn't sit around and cry. I became a teacher. Not an art teacher. I became a special education teacher. Even though it isn't what I thought I would do with my life, I love my current job because I help children with learning disabilities grow into the best possible versions of them they can be. I am happy in my current path. I love my job.

Yet...I still have the urge to create comics.

So where do I set my fanboy passion on fire? Where do I learn from the best of the best? Comics Experience!

I have taken many classes from CE. In each class I have struggled, and in each class I have grown leaps and bounds.

There is so much involved in creating comics. First and foremost it is about storytelling. I see a big difference in how I approach the work and laying out panels from where I was before CE to where I am now. If anything, I think I have become a competent storyteller and I've really learned how to place information to tell a good story.

One experience in CE that really stood out for me was an assignment from Introduction to Comic Book Art with Robert Atkins. I took part in an exercise where I illustrated a one-page story with a writer's script from the Creators Workshop. In the Workshop forums, writers had written one-page scripts in the monthly writing challenge. For my class assignment, I used one of the scripts written by a CE workshop member, Kevin Byrne.

This project was the best experience I could ever ask for, as it really turned into a collaborative process between me, Kevin, members of the CE forums, and several critiques from Robert Atkins and pro-contributor, Sean Chen. I learned more than I ever thought possible. Here is a visual progression of where the project started and how it ended.

My love for CE is boundless. Where else can an artist like me learn and grow in an environment where there is so much support and nurturing? Every instructor, guest lecturer, and fellow classmate has been supportive and encouraging. Because of this amazing learning environment I have been living out a dream come true and learning more than I ever thought possible.

I can't recommend the classes and the workshop enough. CE offers a world of learning, growing, and sharing for anyone and everyone. For fanboys like me, for pros, for anyone. Comics Experience is a wonderful place to grow wherever you are in your comics journey in a creative and collaborative wonderland.

-- Seth Teter

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If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

GUEST BLOG: Robert Atkins on the Figure Drawing and Construction course

In this guest blog, Robert Atkins, artist on Snake Eyes, GI JOE, Heroes for Hire, The Amazing Spider-Man, Ultimate Fantastic Four and Instructor of the Comics Experience Introduction to Figure Drawing & Figure Construction, shares his thoughts on the course. Classes will be held live, online, beginning Thursday November 1, 2012.

In nearly every form of entertainment available to the public, there is an artist contributing to its production. Starting with concept designs, storyboards, character designs or comic page layouts, an artist will bring a visual life to an idea.

In many industries and projects those ideas center on stories involving the human figure.

For artists to become successful in any of these industries, they MUST have a foundational understanding of how that figure is constructed and how it moves, then put that understanding into practice.

While I have used this foundational knowledge for figure construction in the comics field, this class is necessary to anyone looking to draw a figure for any entertainment industry.

Just to name a few: character design for video games or toys; fashion design for theater, costuming or the clothing industry; illustrations involving the figure for magazines, package art or websites; concept art for film and animation, and, of course, it is essential for telling stories in comics.

No matter what the finished style looks like, all great work involving the figure in art is based on a solid foundation of figure construction.

In animation, that figure is abstracted and stretched or contorted to show motion. To most effectively abstract from reality, you must first understand that reality. The best animators know how to draw a proportional human figure. They CHOOSE to manipulate those shapes when defining their characters.

It also guarantees for artists in any of the mentioned art fields that a figure they draw will look consistent, from frame to frame, design to design, or panel to panel.

How often have you been in an art portfolio review and heard the phrase, "It looks great, you just need to work on your anatomy", or some variation of that?

It's a universal critique because drawing the figure is a very hard thing to master. Weak figure drawing is also the first thing that will stand out in an amateur portfolio.

This is because everyone knows what a properly proportioned figure looks like. We look at it everyday.

Even though we all come in different shapes and sizes, it is typically within a range of proportion. If you can understand those proportions, and apply them to your art, your figures will start to look more consistent and that figure becomes believable.

So, how do you solve this problem?

Comics Experience is proudly expanding its art curriculum to include a new course in Figure Drawing and Construction starting November 1, 2012.

The course will run 6 weeks, with a 2-hour live, online class each of those weeks. Throughout the week you will be posting your assignments and sketches that I will critique on the dedicated course forum.

I will be using the instruction style I learned while receiving my M.F.A. from the Savannah College of Art and Design as the basis for this class. Building on that instruction, I will also incorporate what I have learned applying these figure drawing concepts over the last 8 years working for Marvel, DC, IDW, Dark Horse and other comic publishers.

For you to tell an effective story, the reader must be convinced of the character's reality. This will start with feeling that the figures look believable in the environments you place them in. If a character is going to look believable, it has to be constructed with a sure knowledge of figure anatomy.

Robert Atkins
Comics Experience Art Instructor

The first session of the live, online Introduction to Figure Drawing & Figure Construction course begins November 1, 2012. Enrollment is still open, but seats are limited, so sign up now!

New Course! Introduction to Figure Drawing & Figure Construction begins 11/1

In just one month -- on Thursday, November 1, 2012 -- the six-week online course Introduction to Figure Drawing & Figure Construction begins with instructor Robert Atkins!

This is our first public announcement about the course and it is already halfway full, so please sign up soon if you'd like to be a part of the class!

In this course, you'll gain a foundational understanding of how to draw the human figure without photo reference. You'll break down the basic formula of the "ideal" human form, and then go into the muscle groups throughout the body.

You'll also study range of motion, perspective and begin to explore figure dynamics.

An ability to draw the human figure is an essential skill in comic art, and this class will help bring more energy and dynamics to your work!

In addition to sketch assignments and feedback throughout the course, you will pencil, ink or color a final assignment for review by Robert!

As an added bonus, you'll receive access to the Human Anatomy for Artists resource website during the duration of the class -- a $75-$100 value, offering over 100,000 royalty-free anatomy photos!

Robert Atkins is a professional comic book artist who has worked on G.I. Joe, Snake Eyes, Amazing Spider-Man, Heroes for Hire, Ultimatum Fantastic Four: Requiem and many others.

The course is limited to keep the class intimate and ensure that every student gets the attention he or she deserves. Please note that all students must be 18 years or older.

Our courses are offered LIVE, online, so you can attend from wherever you live.

You'll be able to see your instructor and his desktop, interact with your classmates, and discuss your classwork in real time.

And you'll be able to communicate with your classmates all week long in a special, dedicated online forum for just you and your class.

We hope you'll join us!

Introduction to Figure Drawing & Figure Construction with Robert Atkins
Begins November 1, 2012!

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If you want to make comics, write, draw, letter, and color comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Into to Comic Book Art begins 8/30! Only 3 slots remaining!

In just one week -- on Thursday, August 30, 2012 -- the six-week online course Introduction to Comic Book Art begins with instructor Robert Atkins!

We only have 3 spots left in the class, so sign up now if you'd like to join the course!

Robert Atkins is a professional comic book artist who has worked on G.I. Joe, Snake Eyes, Amazing Spider-Man, Heroes for Hire, Ultimatum Fantastic Four: Requiem and many others.

In this online course, you’ll learn how to improve your storytelling, what the professional standards are, how to avoid common pitfalls, how to build a great cover, and strategies to break into the business.

Below, we're republishing a guest blog by Robert Atkins where he discussed the Intro to Art class. We hope to see you there!

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Guest Blog by Robert Atkins
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The Intro to Comic Art class provides a great opportunity for me to teach both new and experienced artists about the foundational rules of drawing comics. Within six weeks, you’ll create a portfolio-ready sample story from scratch. We take a professional script and get right to work applying the compositional and storytelling rules gleaned from the lectures each week.

I’ve been teaching this course for over a year now and have had the chance to see many of my students grow throughout the course. Some even come back a second time to put it all into practice again. With each lecture, I’ll lead you through the process of penciling a comic book from start to finish. We’ll also go over cover design and help you create a cover image appropriate to your portfolio sample.

I’ve had the experience of going through the graduate program at the Savannah College of Art and Design’s Sequential Art Department, followed by seven years of work experience drawing monthly comics in the industry. Throughout that time, I’ve found some pretty standard rules that will help you achieve clear storytelling and a finished style that editors are looking for.

Also, during that time, I’ve actively attended many of the comic book conventions across the country and can help advise each student on how to make the most of their convention experience, leading to everyone’s end goal -- getting that job in comics!

I think the class is at its best when supplemented with the Creator’s Workshop offered by Comics Experience. With the Intro to Comic Art class, you’ll get a free month’s access to the Workshop, and I would encourage all the students to make the most of it and explore the site to find how it best suits them. There you can post your work regularly and have industry professionals and other artists comment and critique your work to help you improve.

The Workshop has become a community of like-minded storytellers that are able to encourage and support each other as we all work towards becoming better in our desired fields.

If you enjoy the comics art class, the Workshop is the best way to keep that going, as I’m available there to continue working with you as you go on your way.

So, come prepared to do the work! Like most things in life, you’ll get out of the course as much as you put into it. Bring to the class your excitement for comics, and your creativity and ideas, and I'll give you the foundation and tools you’ll need to put your passion into story.

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The next session of the live, online Introduction to Comic Book Art class begins August 30, 2012. Enrollment is still open, but seats are limited, so sign up now!

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If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

CE Art Instructor Robert Atkins Completes 50+ Covers for GI JOE!

Comics Experience Art Instructor Robert Atkins recently hit a big milestone -- completion of more than FIFTY covers for IDW's GI JOE comic book line!

As Robert said on his blog:

"I started drawing GI Joe for IDW in 2008...I started a run on the book that I hardly expected to be so continually involved with at the time. Four years later I've done over 50 covers for the property."

Robert just completed his latest arc on a GI JOE book with Snake Eyes #16.

Robert has also done work for Marvel, NBC, Dark Horse and DC comics while he's been working on GI JOE, in addition to launching his Kickstarter project for Elders of the Runestone.

On top of all that, Robert also teaches our Comics Experience art classes!

If you'd like to improve your craft and learn about breaking into the comics industry as an artist, Robert's next Introduction to Comic Book Art course begins on August 30, 2012 and there's still time to sign up right here!

But, in the meantime, check out this great graphic of Robert's spectacular cover run from his Robert Atkins Art Blog!

(Click the picture at right for a larger view)

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If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Artist Sean Chen Interviewed by Wall Street Journal Online!

Artist Sean Chen (pro Creators Workshop member) recently was interviewed by the Wall Street Journal Online!

Sean was interviewed by reporter Wendy Bound for a Comics 2.0 story on the Wall Street Journal's "Off Duty" show.

During the segment, recorded in Sean's home art studio, he discussed how he broke into comics, how technology has changed his work, and he even walks viewers through the step-by-step process of creating a cover.

The cover he created featured the super-hero version of WSJO reporter Wendy Bound, which she really seemed to love!

Although Sean appears briefly earlier, you can see his segment starting at about the 8-minute, 50-second mark.


We're lucky to have Sean as a member of the Workshop, offering pro critiques to our members.

Congrats on the Wall Street Journal interview, Sean!

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If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Only 3 Seats Left in our 4/26 "Intro to Comic Book Art" Class!

In just over a week, on Thursday, April 26, 2012, our Introduction to Comic Book Art class begins!

We only have 3 seats left, so if you're interested, move fast!

The class will be taught by professional comic book penciler Robert Atkins (GI JOE, Snake Eyes, Heroes for Hire, Amazing Spider-Man)

In this six week course, you’ll learn how to improve your storytelling, what the professional standards are, how to avoid common pitfalls, how to build a great cover, and strategies to break into the business.

You’ll be asked to complete five pages of sequential comics pages under Robert's guidance and you’ll get all the behind-the-scenes tips he can pack into six weeks!

People at all levels -- from beginners to experienced artists -- are welcome.

If you'd like to read further thoughts from Robert on the class, you can check out his guest blog on the course here:

Robert Atkins on the Intro to Art course

Or check out this guest blog written by one of his former students, Gannon Beck:

Gannon Beck on Teaching Talent

Our courses are offered LIVE, online, and you can attend from wherever you live. You'll be able to see your instructor and his desktop, interact with your classmates, and discuss your classwork in real time.

And you'll be able to communicate with your classmates all week long in a special, dedicated online forum for just you and your class.

Sign up now right here!

Don't hesitate to contact me, Rob Anderson, at rob@ComicsExperience.com if you have any questions about our courses!

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If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Breaking In / Making Comics TweetUp 1/4/12 - Last Questions Answered!

We had a few "breaking in / making comics" questions that went unanswered at last week's first Comics Experience TweetUp (hashtag #CMXEXP), but former Marvel and IDW Editor and Comics Experience Founder, Andy Schmidt, took the time to provide the answers!

You can follow Andy (and Comics Experience) on Twitter at: @ComicExperience.

Now for the Q&A...

@davidbaillie
How important do you think it is it to attend US cons if you're hoping to break the US market but based elsewhere?

Andy Schmidt
This is a tough one and kind of hard to answer without more information, but I'd say if you're looking to get freelance work from American companies, going to American conventions, or at the very least a convention with American publishers, is a really valuable resource. Not being able to attend wouldn't prevent you from breaking in, but it just means that one (of many) resources isn't available to you. You can still reach out to American publishers and their employees via Twitter, Facebook, LinkedIn, and various online communities like the Bendis Boards or Kirkman's boards or Millarworld or a host of others. Heck, the Comics Experience Creators Workshop has several working professionals as a part of the community and that includes a handful of editors. So while it's a slight handicap, it's only that--a SLIGHT handicap.

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@rdouek
When trying to build a relationship with an editor or publisher, can you send them work, without pitching? Or is that seen as annoying? I mean sending them things you've worked on but not looking to pitch them on.

Andy Schmidt
Writer or artist, it's fine to send editors work if they've said it's okay. There's a lot of fear about annoying people, and I get where that's coming from, but if you simply ask if it's okay on a person by person basis, you'll likely avoid falling into that trap. So if an editor says to go ahead and send your work, do so. Don't send them something every day, maybe once or twice a month at most. Often they'll even say something like, "Sure, that's fine with me. No more than once a month though please." I used to say that a lot.

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@JUNgKulture
When dealing with an editor in person, is it a bad thing to pitch more than one story?

Andy Schmidt
When in person, pitching is actually pretty rare unless you already know the editor fairly well. Regardless, it's not bad, per se. I might just start talking to figure it out as you go. Maybe ask to follow up with them with a couple of quick-fire ideas on characters that editor works on. That'll give you time to think and hone those ideas into concise, one-paragraph pitches to send in. That way you're giving him or her something polished and he or she is expecting to hear from you.

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@bebernal
When creating a new story do YOU typically start with character or conflict?

Andy Schmidt
I typically start with character. But that's just me. I usually come up with a character I like. Other ways I've gone are: A title that worked for me and the rest fell into place, a high concept that seemed like fun to explore (then I figure out the right kind of character to go in that concept), a world that seems interesting and the kinds of people who might inhabit it.

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@zipyrich
how often will a penciller ask for/make changes to finishes/inks independent of editor input?

Andy Schmidt
I think you're asking how often a penciler or finisher gets asked to make changes by an editor. If that's the question, it's sort of an avenue of last resort. If I can't cover a minor mistake with a tidy dialogue bit, a color correction, or something like that, and it's not a small error I can live with (and that means doesn't disrupt the story), THEN I'll ask an artist to make a change. There have been times when art has come in that hasn't been up to snuff and I've asked for art corrections at that time.

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@Siennapup1024
What advice would you recommend for a writer trying to pitch a story to a publisher like DC comics?

Andy Schmidt
Have some other work to show in the comics field. Your own creator-owned book is great. Work published by other publishers. Most creators don't start at DC at Marvel. It can happen, but that's becoming rarer. If your only goal in comics is to write Batman, then right now you'll have to be more than better than Scott Snyder. You'll also have to be able to PROVE that you're better than Snyder, prove that you can deliver on deadline and prove that you can do it again and again. And most of that is covered by a body of work to support that assumption. And even then, you'll have to wait for Snyder to leave Batman when he chooses to do so. Sounds harsh, I know, but it's yet another case for why making your own comics with your own characters is such a great and rewarding thing to do.

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@Strong_Within
What was toughest obstacle for you to overcome in your comic career in the beginning?

Andy Schmidt
Wow. I think learning the ropes of editorial at Marvel was really difficult for me. There were specific reasons for that in my case. I was in an office down a long hall from my boss, so it was really difficult to learn from him. In the office with my boss was his other assistant who had been working with him for about two years. They were a well-oiled machine so I was a third wheel for a while. In that six months, the smartest thing I did was talk and make friends with the good and talented people in Marvel's bullpen. I learned a lot about things I didn't know about production work, the importance of file sizes, copy safe, bleed, all these things that are extremely important to publishing good comics that doesn't get talked about a lot. Also, those guys were willing to do a little extra on my projects from time to time because we got along. I also talked with as many freelancers as I could and learned as much as I could from them. For that first six months, I felt like I was pretty useless and was likely to get let go at any moment--and I wouldn't have blamed them. Then, and I'm not sure whose idea this was, it could have been Tom, my boss's idea or it may have been Marc, his first assistant, or someone in management, I honestly don't know--but the decision was made for Marc and myself to swap desks. I moved in with Tom, allowing me to learn from him directly--and what a huge amount there was to learn from him. And it allowed Marc, who had done great work, to start to establish himself independently of Tom a bit more so he could move his career forward a bit more. It was really an elegant solution. But those six months were really tough for me. I think once I was in the office with Tom for a few months, he began to feel like he could depend on me more and that was when I was able to start growing as an editor and a collaborator.

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@TDRBach
As an unknown, do you think I should focus on one idea--start a series--or throw a lot out there, multiple books?

Andy Schmidt
That's a tough one. I think that depends on a lot of factors, the first of which is how you work most effectively. Are you the type of person who really focuses on one thing and only that or do you enjoy bouncing from project to project? Also, your financial situation may come into play. If you're working on multiple projects, that could be a lot of money going away from you before you see any start to head your way. There are a lot of factors, but basically, I think it would come down to how you work and what's comfortable for you in your situation--and ultimately--what your real goals are.

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If you want to make comics, write, draw, letter, and color comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Breaking In / Making Comics TweetUp 1/4/12 - Question & Answer Highlights!

Last week, Comics Experience held its first TweetUp, using the hashtag #CMXEXP, allowing Twitter users to speak directly with comics professionals about breaking in and making comics.

Former Marvel and IDW editor Andy Schmidt, artist Robert Atkins and colorist Chris Sotomayor answered more than 70 questions on the comics craft, networking at conventions, preparing a great pitch and many other topics.

The Tweet Event participants all have Comics Experience courses beginning in January, including Introduction to Comic Book Writing, Introduction to Comic Book Coloring, and Advanced Comic Book Art.

You can follow our instructors on Twitter right here:

@ComicExperience -- Andy Schmidt
@SotoColor -- Chris "Soto" Sotomayor
@RobertAtkinsArt -- Robert Atkins

Here are just a few of the questions and answers from the event. And tomorrow we'll hit some of the questions we weren't able to answer during the live session!

---- WRITING ----
@rdouek
When someone says "good idea, but you need to push it", what are some good strategies for doing that?

Andy Schmidt
For "pushing it" what I do is take my concept and circle it in the middle of a sheet of paper. Then I draw lines out like spokes on an old wheel. At the end of each spoke, I come up with something unique that comes from the concept. How it affects young people, mothers, different races, politics, the weather, the economy, the environment, and so on. Pushing a concept means you may not be getting the full potential out of it yet.

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@joesergi1
What is the one thing I could do today to be a better writer?

Andy Schmidt
Write something you're not good at or haven't done yet. Stretch genre and format. and do the research on those things.

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@bebernal
Do you like when a script has camera angle suggestions often?

Robert Atkins
No, Unless it is specific to story or mood. I take them as suggestions. If I find a better composition I will use it

Andy Schmidt
I don't like camera angle suggestions often. Most artists have better ideas on this than most writers (general rule) .

---- ART ----
@DangerDigest
Do you have any personal rules for when it's appropriate to break action out of a panel border or into the bleed?

Robert Atkins
Only when it leads to the next consecutive panel, never move the action backwards. It's RARELY necessary.

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@trobinson79
What should a penciler focus on first when he hasn't drawn in 8 years (i.e. me)

Andy Schmidt
Panel layout, I think. I could always tell the guys who weren't into telling stories from their panel layouts. The guys who do want to tell stories, have nice, clean layouts. I wanted to know what the story was FIRST

Robert Atkins
Sketching in a sketchbook, figures, places, hands and faces. ALWAYS draw on your free time to get back into a groove.

---- COLORING ----
@LewisJasonR
Any tips on when it's appropriate to add textures and how much?

Chris Sotomayor
As long as it doesn't distract the reader, you're okay. But I always recommend a subtle touch so as not to clutter. Also, more open line art can sometimes support the use of textures pretty well. But again, a subtle touch is best.

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@rdouek
I'm already married. Will taking your coloring class cause me to leave my wife for it?

Chris Sotomayor
No, but it'll make your marriage better. You'll gain a better understanding of each other's needs.

@rdouek
IS THERE ANYTHING YOUR CLASS CAN'T DO? :)

Chris Sotomayor
My class is Supreme and all encompassing!

@RobertEAnderson
For those who didn't ALREADY know Chris Sotomayor’s Coloring class is better than marriage, read here: http://blog.comicsexperience.com/2011/09/soto-on-why-coloring-class-is-better.html

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@lewisjasonr
Any Time management tips for colorists?

Chris Sotomayor
Try to section your day & see how long it realistically takes to color a page. Set small goals & learn the quick keys.


---- CONVENTIONS AND NETWORKING----
@foreignmatter
What is the best way to approach a con? I have no experience in this and am a writer.

Andy Schmidt
I think you want to approach a con as a place to meet people. It's not really a place to pitch your story ideas. Sad but true. But you can really start to get to know people that way and that's great. You can start seeing them as friends instead of intimidating people to talk to. And that's a very cool feeling (and a good sign).

Robert Atkins
If you’re a writer by yourself at a con, have plenty of product and a concise, descriptive salespitch. Also something to give away, postcards, free comic, stickers . Don’t let them leave empty handed. If you cant hit a con (expense or schedule) create a presence online (Facebook, Twitter, Deviantart, etc).

Andy Schmidt
And product could mean more than your books. Dog tags with the logos, shot glasses, nic-nak stuff.

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@RapidCityComic
I have written lots of scripts, and published comics. How can I get editors to read them?

Andy Schmidt
Sadly, I know of no way to force someone to read your comics. I think what you want to do is target where you're sending them. Try to get to know the people you want to read them and see how open to it they are. Additionally, the more coverage you can get on your comics, that always helps. But target the editors you think would like it. Personalize your correspondence with them. A lot of it is networking and that's harder work than a lot of people realize.

---- PITCHING ----
@trobinson79
If I was to pitch art to an editor, what are they exactly looking for in a portfolio?

Andy Schmidt
1. Clean storytelling. 2. Dynamic art. 3. unique execution (or voice). And in that order.

Robert Atkins
Clean storytelling, reproducible pages/style of art, competant figure work and environments. 3-6 pages story, 1 pinup.

@trobinson79
Good tips for the portfolio, but good gosh - my mind's a blur. What's a pinup?

Robert Atkins
Cover image. You only want one, but make it your best. It isn’t even necessary and the editor will focus on your pages.

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@LukeABarnett
How can a pitch really stand out from crowd - for both an email pitch and in-person.

Andy Schmidt
It's easier than you think. Clarity and follow through help. Most pitches have big problems. Just the basics put you at the top of the heap. But be concise and remember to TELL THE STORY. Make your pitch EXCITING to read.

Robert Atkins
Solid art, good story. Quality will always stand out. Editors get a lot of samples, not many are good

---- BREAKING IN ----
@joesergi1
If you had one tip on breaking in, what would it be?

Andy Schmidt
Be yourself and be confident (even if being confident is not being yourself) ;) It really does make a difference though.

Chris Sotomayor
Learn everything about your craft. And don't be a douche when interacting with people in this business. This is a small business. Word gets around if you act unprofessionally.

Robert Atkins
It'll help to define "douche" in this context...basically have a balance: looking out for yourself and helping others

---

@joesergi1
@ComicExperience @RobertAtkinsArt @SotoColor what is a common mistake you see new creators make in artwork, writing, or coloring?

Chris Sotomayor
In coloring, too many FX that don't have any bearing on the storytelling. Nonsense.

Robert Atkins
Overconfidence when they are still amateurs...it's annoying. Poor presentation as well

Chris Sotomayor
Yes, if you're working your way in, don't say you're better than this guy or that. This is a small business, and it'll get around. Again, don't be a douche.

Andy Schmidt
Writers write one type of character, pencilers have messy layouts, colorists rely on special effects. 3 common mistakes.

@PaulAllor
Could you explain what you mean by 'writers write one type of character'?

Andy Schmidt
Usually it's the stoic tough guy. But some will write a bunch of stoic tough guys. I'd like to see a comedic character, children, women, older people, different races, political beliefs, and so on.

---

@HAMMEROFTIM
How old is "too old" to begin a comic career?

Robert Atkins
Never too old, it depends on how good you are, or if you're bringing something original/marketable

@RobertEAnderson
You're NEVER too old, if you've got will & imagination!

@Andy Schmidt
NEVER TOO OLD TO START SOMETHING YOU LOVE! I mean it. I really do. If you love it, DO IT. You can make a comic tomorrow

---- SELF-PUBLISHING, WEB-PUBLISHING AND MARKETING ----
@danriveraprime
Do you feel that putting out a web comic is worth the expense in order to get exposure?

Andy Schmidt
I think you can only determine that on your own goals and finances. It's an option. But if you do that, how are you going to drive people to your site to see it? You need a plan to get folks there to read it!

---

@LukeABarnett
What's the best way 2 get an artist collaborator if u can't pay a page rate early on?

Robert Atkins
Make sure they're not married or have any bills to pay ... I’m not joking. The artist HAS to be just as excited about it or a co-plotter to feel invested.

Chris Sotomayor
Troll Artist Alley at cons and be upfront about expectations. Also, there are other means of compensation besides money. Chances are that they'll be looking for exposure, as much as you.

@GolemLord
Offer them partial page rate or offer them partnership in the enterprise.

Robert Atkins
Partial page rate is better than no page rate every time. fyi

---

Thanks to everyone who participated in the TweetUp Event. To learn more about Comics Experience, check out the classesand Workshop, or sign up for our newsletter.

-- Posted by Paul Allor

TONIGHT! - TweetUp on Breaking In/Making Comics!

Tonight, Wednesday, January 4, 2012 at 8pm Eastern Time, Comics Experience instructors will be answering questions about making comics and breaking in during a live Twitter Event.

You can ask our comic book writing, art, and coloring instructors your burning questions.

Please make sure to use the hashtag #CMXEXP on all your questions or comments, like so:

@Sotocolor Why are you so awesome? #CMXEXP

Starting at 8pm Eastern Time, just begin tweeting your questions to any of our instructors:

@ComicExperience -- Andy Schmidt
@SotoColor -- Chris "Soto" Sotomayor
@RobertAtkinsArt -- Robert Atkins

This "Tweet Event" leads up to the start of our three courses -- Intro to Comic Book Writing, Intro to Comic Book Coloring, and Advanced Comic Book Art -- all beginning in January and open for enrollment right now, with just a couple slots left open in each course!

Don't miss this chance to ask comic book professionals your questions! "See" you at the TweetUp!...

---

If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Twitter Event 1/4/12 on Breaking In & Making Comics!

On Wednesday, January 4, 2012, Comics Experience instructors will be answering questions about making comics and breaking in during a live Twitter Event.

You can ask our comic book writing, art, and coloring instructors your burning questions starting at 8pm Eastern Time!

Please use the hashtag #CMXEXP on all your questions, like so:

@Sotocolor Why are you so awesome? #CMXEXP

This "Tweet Event" leads up to the start of our three courses -- Intro to Comic Book Writing, Intro to Comic Book Coloring, and Advanced Comic Book Art -- all beginning in January and open for enrollment right now!

Starting at 8pm Eastern Time on Wednesday, just begin tweeting your questions to any of our instructors:

@ComicExperience -- Andy Schmidt
@SotoColor -- Chris "Soto" Sotomayor
@RobertAtkinsArt -- Robert Atkins

Don't miss this chance to ask comic book professionals your questions! Here's the full info on each of our instructors and their upcoming classes...

--------------------------
Intro to Comic Book Writing will be taught by former Marvel and IDW Editor and writer, Andy Schmidt.

During his time at Marvel, Andy worked on nearly every major character in the Marvel canon, and edited hit titles such as X-Factor, the Annihilation saga, Alias, and more.

At IDW, he managed major franchises like GI Joe and Transformers. He is also the author of the Eagle Award-winning book, The Insider's Guide to Creating Comics and Graphic Novels, published by Impact Books.

In this six-week course, not only will you learn comic book writing from a pro, but the course will be packed with practical, real-world advice on the industry and "breaking in" to help you pursue your career in comics!

That's why Comics Experience alum, Nick Spencer, tweeted:

"For all aspiring comic pros asking for advice on craft/breaking in, I once again highly recommend Andy Schmidt's @ComicExperience courses."

A few years ago, Nick had to move to New York City to take Comics Experience classes (check out his guest blog here to read that tale). But you don't have to move, now that the courses are online. This one will sell out fast!

Introduction to Comic Book Writing with Andy Schmidt
Begins January 16, 2012!

--------------------------
Advanced Comic Book Art will be taught by Robert Atkins, a professional comic book artist who has worked on G.I. Joe, Snake Eyes, Amazing Spider-Man, Heroes for Hire, Ultimatum Fantastic Four: Requiem and many others.

If you have already taken the Intro to Comic Book Art class (a prerequisite to enrolling for the Advanced class), then this is your next step toward a career in comics!

In this seven-week intensive course, you'll expand on the skills you've already developed with extended workshopping of your storytelling pages, and discussion of networking within the industry, finding good scripts to work from, how to pencil for inking and for coloring, and rendering textures and objects -- all with a focus on achieving a professional level of finishing and getting published!

You can read what one of Robert's former students had to say about his teaching skills right here. Or check out Robert's art and read his own thoughts on the Advanced Comic Book Art course in this recent Guest Blog right here.

Advanced Comic Book Art with Robert Atkins
Begins January 12, 2012!
--------------------------
Intro to Comic Book Coloring will be taught by Chris Sotomayor (aka Soto), professional colorist on countless Marvel titles (Spider-Man, X-Men, The Avengers, etc.).

In this six-week intensive class for colorists, you'll learn all the necessary tools and tricks for not only coloring with Photoshop, but also how to tell great stories through color. You’ll get access to all the tools of the trade, tips on how to break in, and you’ll be working with Chris on the pages you color for the class.
Plus, the class will have a session with special guest Rob Schwager, whose coloring credits include the current Ghost Rider, as well as Jonah Hex, Green Lantern, and Superman.

You can read Soto's own thoughts on the class right here...OR read why the class is even better than marriage right here!

Intro to Comic Book Coloring with Soto
Begins January 9, 2012!

--------------------------
Our courses are now offered LIVE, online, and you can attend from wherever you live. You'll be able to see your instructor and his desktop, interact with your classmates, and discuss your classwork in real time. And you'll be able to communicate with your classmates all week long in a special, dedicated online forum for just you and your class.

We hope to see you in our courses or as part of our Creators Workshop community. Sign up now!

---

If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook

Advanced Comic Book Writing Course coming in Spring 2012!

We have a full slate of classes open for enrollment for January 2012 -- so why mention the Advanced Comic Book Writing course now, before it's even open for enrollment?

The reason is simple: the Introduction to Comic Book Writing class is a prerequisite for enrollment in the upcoming Advanced Class. And January will be the last Intro class offered before the Advanced class opens for enrollment.

As soon as any Intro class ends, the first question we get is -- and we get it often -- "when will the next Advanced class be offered?"

Well, we generally offer the Advanced Courses only once a year...so if you want to join us for both Intro and Advanced Comic Book Writing in 2012 -- and you haven't previously taken our Intro course, NOW is the time to jump on board, before the Intro class sells out.

Make 2012 your year for pursuing your comics career!

Here's the full slate of courses for January:

--------------------------
Intro to Comic Book Writing will be taught by former Marvel and IDW Editor and writer, Andy Schmidt.

During his time at Marvel, Andy worked on nearly every major character in the Marvel canon, and edited hit titles such as X-Factor, the Annihilation saga, Alias, and more.

At IDW, he managed major franchises like GI Joe and Transformers. He is also the author of the Eagle Award-winning book, The Insider's Guide to Creating Comics and Graphic Novels, published by Impact Books.

In this six-week course, not only will you learn comic book writing from a pro, but the course will be packed with practical, real-world advice on the industry and "breaking in" to help you pursue your career in comics!

That's why Comics Experience alum, Nick Spencer, tweeted:

"For all aspiring comic pros asking for advice on craft/breaking in, I once again highly recommend Andy Schmidt's @ComicExperience courses."

A few years ago, Nick had to move to New York City to take Comics Experience classes (check out his guest blog here to read that tale). But you don't have to move, now that the courses are online. This one will sell out fast!

Introduction to Comic Book Writing with Andy Schmidt
Begins January 16, 2012!

--------------------------
Advanced Comic Book Art will be taught by Robert Atkins, a professional comic book artist who has worked on G.I. Joe, Snake Eyes, Amazing Spider-Man, Heroes for Hire, Ultimatum Fantastic Four: Requiem and many others.

If you have already taken the Intro to Comic Book Art class (a prerequisite to enrolling for the Advanced class), then this is your next step toward a career in comics!

In this seven-week intensive course, you'll expand on the skills you've already developed with extended workshopping of your storytelling pages, and discussion of networking within the industry, finding good scripts to work from, how to pencil for inking and for coloring, and rendering textures and objects -- all with a focus on achieving a professional level of finishing and getting published!

You can read what one of Robert's former students had to say about his teaching skills right here. Or check out Robert's art and read his own thoughts on the Advanced Comic Book Art course in this recent Guest Blog right here.

Advanced Comic Book Art with Robert Atkins
Begins January 12, 2012!
--------------------------
Intro to Comic Book Coloring will be taught by Chris Sotomayor (aka Soto), professional colorist on countless Marvel titles (Spider-Man, X-Men, The Avengers, etc.).

In this six-week intensive class for colorists, you'll learn all the necessary tools and tricks for not only coloring with Photoshop, but also how to tell great stories through color. You’ll get access to all the tools of the trade, tips on how to break in, and you’ll be working with Chris on the pages you color for the class.
Plus, the class will have a session with special guest Rob Schwager, whose coloring credits include the current Ghost Rider, as well as Jonah Hex, Green Lantern, and Superman.

You can read Soto's own thoughts on the class right here...OR read why the class is even better than marriage right here!

Intro to Comic Book Coloring with Soto
Begins January 9, 2012!

--------------------------
Our courses are now offered LIVE, online, and you can attend from wherever you live. You'll be able to see your instructor and his desktop, interact with your classmates, and discuss your classwork in real time. And you'll be able to communicate with your classmates all week long in a special, dedicated online forum for just you and your class.

We hope to see you in our courses or as part of our Creators Workshop community. Sign up now!

---

If you want to make comics, write or draw comics, or improve as a comics creator, you'll find like-minded friends and colleagues in our online workshops and courses. We hope to see you there!

Posted by Rob Anderson
rob@ComicsExperience.com
Twitter / Facebook