Halfway through his explanation, Lee realizes that the margin notes are his own, written as reminders to him, prior to final scripting. Lee started to explain the Marvel Method of writing, wherein he would give Kirby a rough idea of the plot, Kirby would elaborate the plot, pencil the book and deliver to Lee with Kirby’s notes for scripting in the margins. One of the first things that caught Lee’s eye were the margin notes in the panel borders, that he initially assumed belonged to Kirby. Recently, I saw a film clip of Stan Lee looking at Jack Kirby’s original artwork for Fantastic four #12 for the first time since it had been published. Certainly, in the case of Jack Kirby, he was correct.
Lee believed that his artists were strong plotters and allowing them creative freedom would result in a better story. Once the story was drawn the artist would supply the writer with explanatory notes in the page’s margin, whereupon the writer would fill in the final script. Lee is famous for having instituted the Marvel Method, wherein an artist would plot a story based on the sketchiest of outlines provided by the writer.
#SIMPLE COMIC PAGE MARGIN FULL#
In conventional comic production involving a separate writer and artist team, the writer provides the artist with a full script to work from. There has been a good amount of ink used discussing just who did what in that process. However, there are many who believe that Kirby’s best and certainly most commercially successful work was in collaboration with writer Stan Lee. From what we know about the King, he was generally happiest working more or less independently of other writers.
#SIMPLE COMIC PAGE MARGIN FREE#
It's painful.Īnyway I love printing/resolution/bookmaking talk if you wanna talk about it/have more questions feel free to dm me! Goes for anyone reading this too, it's a super confusing topic but I love to chat about it, happy to chat to fellow interested folks.I’d like to change the focus this time and discuss Kirby’s creative process involving collaboration in greater detail. my 11x17 pages are 24% of their usual size upon upload. Traditional comic pages look really, really bad on here and webtoons just because of the resolution, so keep that in mind as well if you're doing delicate linework! Eg. Publishing on tapas/webtoons you're best off doing those big tall strips rather than pages, because they're optimised for scrolling (tall and skinny with a straight downwards flow, while a normal page you go more left and right in a zigzag). 600dpi or higher for black and white traditional manga artists scan at >2400dpi, and work huge it's how they get those amazing fine lines. Non standard sizes will be more expensive but it can be done. If you're getting your books professionally printed, you can have them in whatever size you very well please. You can also have a look at this link, which is all about page ratios. Basically work bigger than you want to print. Your lines will be crisper and smoother when working bigger and you don't have to do that 400% zoom thing where it's all pixelly and gross. If you like the A4 ratio, work bigger than A4 (A3 if your computer can handle it, or size up the canvas and keep the same ratio). Compared to the A4 ratio, it's slightly taller. If you want it printed to look like a traditional comic book that you might see printed up in a shop, that's a good size. It also means you don't have to zoom to 400% to work in detail (my rule is never zoom more then 150% or I'll lose all that information when publishing).
It lets me work big enough that I can get detailed, but not so detailed that I lose information on the web or in print if I choose to print. I personally work in 11x17" for my comic pages, which is the same size bristol board as used by pros that work traditionally (plus two inches round the edges for me to scrawl that gets trimmed before upload, so my "new doc" preset on CSP is 13x17). If you want it to look like manga, measure a book you have and work out that ratio. Advantages: you can print it and bind it yourself, which is really cool. If you want to be able to print it out yourself and staple it up like a zine, an A4 ratio is the best bet it translates neatly down to A5 for an A5 zine neatly. Ratio is more important that size, it determines what your finished book will be like. Work backwards: what would you like your final book to look like? I enjoy the slightly taller than wider books on my shelf and got my ratio from measuring up the Scott Pilgrim books and looking at what people use in industry. I love printing, I could talk about it all day!
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