franco belgian comics

korrasforevergirl  asked:

Would it be okay to ask how comics are actually made? Like are the panels drawn out first and the story put in them or does the story have to be planned and drawn before the panels go down? I would use bing but I don't know how to word the question right to where I don't get everything but I was looking for so I can make panels the right way. There was something that lets you make it on tablet, but I have no tablet

Sure! This might get long, so hold onto yer butts.

Creator-Owned IPs vs Licensed IPs
We’re gonna start off with a broader understanding of the different directions comic creation start from. Creator-owned books (we call them ‘books,’ though we mean comics, and this umbrella includes both single issue series and GNs) are exactly what they sound like: IPs that are owned by the creator(s), series like Saga and most Image titles; original graphic novels; and designated creator-owned series from publishers who handle both licensed and creator-owned works. Contracts differ for exactly how much a creator-owned IP is owned by either publisher or creator, and this is why people like the Image comics model, because creators own all of it. This sounds like the best case scenario, of course, but it’s a tough road, because you need to have a pitch ready, your pay is almost always back-end (meaning you get the profits after you sell; advances are either small or rare), and it helps to have notoriety to get the right eyes and ears on your work. Licensed IPs on the other hand are works that already exist, and then are licensed out into comic form. Think of video game comics, or comics series like Adventure Time and Legend of Korra. Licensed work also tends to have lots of chefs in the kitchen, which is its own kind of hell, since things need to stay on-brand or follow age conventions for narrative/visuals.

DC and Marvel also fall under this label. More generally, we call it ‘work-for-hire,’ and it means you own none of the art, property, etc. But it also usually means you’re paid for the work before sales, and, depending on the publisher, it can mean more money upfront. In general, comics pays absolute shit unless you’re working for the Big Two (Marvel/DC) or have a successful creator-owned title at Image or elsewhere. 

Writer/Artist/Editor Relationships
Creator-owned work processes vary greatly, since their circumstances are all different (story & concepts could’ve been done together, or a writer may have found an artist to work on her idea, etc). I’m going to mostly talk about the work-for-hire process, since it’s a little more consistent across the board. The publisher will hire a writer, who will in turn write a script, and the script will be sent to the artist to draw. For Mike, Bryan, Nickelodeon, and me, we communicate through our editor Dave, and his assistant Rachel (a saint, truly). If I’m being honest, it was a little overwhelming for me in the beginning to receive so much feedback from many many people, which I was not used to from previous comics experience. But we’re all growing to understand each other, we all respect each other deeply, and our editor does an amazing job making sure communications between all of us remain clear and effective. I’m leveling up like crazy from the constructive commentary I receive on every page!! I can’t wait to come out of this project a total badass, haha.

I also can’t forget to mention the colorist, who is a very crucial part of the process. As it is, the industry severely undervalues colorists, and moreso, the flatters that sometimes help them (they basically do simple color fills so the colorist can get right to rendering, etc). After I’ve uploaded my linework, the pages go to Jane for colors. After another round of edits and approvals, they will go to the letterer, which I also find to be an underappreciated craft.

Process
1/ Mike writes the script
2/ Editor reviews. After edits & approval, it is sent to me
3/ I send back thumbnails of what all the pages in the GN will look like
4/ Edit/approval review, edits are made, and then I start on pages
5/ I don’t have a pencils step; I blow up my sketches onto my pages at low opacity and ink right over them
6/ Uploaded for review. If it requires edits, I fix and send it back
7/ Colorist receives pages and does her thang,
8/ and after reviews/edits, it is sent to the letterer.

And that is all the process I am closely tied into, but beyond that (the publishing and marketing deets, etc), I am not.

Artistry, Paneling, Tools
As for the actual technical part of comic making, it’s harder to get into the specifics only because it’s super different for each artist, and our education comes from different sources. Growing up in Japan, I read a lot of manga and Franco-Belgian comics, so my layouts and style will more closely resemble that stuff. Many people still work on special comics paper or just 11x17 bristol board, but I work exclusively in Photoshop on my Cintiq, on special Dark Horse formatted comic page files. If you want to read more about how comics are made and the concepts behind good composition, paneling, etc, I’d pick up Scott McCloud’s UNDERSTANDING COMICS. It’s a good primer, and fun to read, since it’s just one giant comic!

Industry Thoughts
I think I need to add this here, because understanding the general atmosphere of the industry informs why creators are/act/work a certain way, or have a specific kind of online presence, etc. The industry is still very much a white boy’s club, and it is a constant battle for the marginalized to work in an industry that seems to hate us with every microaggression (and just outright bigotry) at every corner. Additionally, as mentioned above, comics pay is super garbage; some of us are full-time freelance and some of us still have day jobs; we get no benefits, etc; and, as in most entertainment industries, it’s just as much about who you know versus how good you are. Networking is key, and you’re much more likely to get hired for being a polite person who gets their work in on time over being an amazing talent who is always behind and a jerk. Unless you are certain dudes are certain big publishing companies. *side-eye*

Being a comics creator is grueling, and you definitely put in more than you get back. We also feel a need to maintain some amount of online presence, and I take the effort to curate my social media feeds, both what I consume and what I put out. Me being me, I wear my heart on my sleeve, my loud mouth says whatever the fuck it wants, and sometimes I’m super crude; but I am trying to not be so curt with the over familiar or well-meaning folks who appreciate my work, and maybe just overstep some bounds. (The creepers can fuck right off, though.)

ANYWAY. Hope that’s all helpful to know and gives y’all some perspective! :)

2

Spirou et Fantasio  is one of the most popular classic Franco-Belgian comics. The series, which has been running since 1938, shares many characteristics with other European humorous adventure comics like The Adventures of Tintin and Asterix. It has been written and drawn by a succession of artists. The comic strip was originally created by Rob-Vel. Franquin developed the strip from single gags and short serials into long adventures with complex plots, and is usually considered as the definitive author of the strip.

I got so much better that I went and did the draw-your-squad thing! Made up of characters from this RP thing I’m doing with friends, as staff members of a hotel! :D My character is at the far left, I’m taking serious inspiration from Spirou! (literally almost everything visual as well as the name, because I’ve only read about him in Le Petit Spirou and not the Spirou et Fantasio BDs)

why does no one talk about the fact that monoma neito LOVES franco-belgian comics thats so fucking adorable?? you know he just has this absolutely huge collection of comics that he’s been saving since he was little! i bet the boy has the entirety of the adventures of tintin!
i love the thought of monoma curled up on his bed under the covers just binge reading his favorites even if its the sixth time he’s read through them. I bet if you ask him about them his eyes light up like the freaking STARS what a cute boy i love him

medacris  asked:

Thank you so much for including manga in your cover scans. I feel like a lot of comic websites leave out non-superhero western comics, webcomics, Franco-Belgian comics, and manga in their coverage, and it's a damn shame, because it's all comics to me, and there's great art and storytelling in every culture, if you're willing to look.

We’re glad to hear that!

To be honest, for me i’m not really a big anime guy and i’m more likely a comic book guy, but i kind of tired of post just Marvel & DC comics every day like the most others does this nowadays, so i’m try to do something different that no one have done this before (which i’m pretty sure the others had done it before us) and i want to post these covers that no one ever heard of it, we definitely would love to queue any different graphics whatever its comic books, manga, a books, webcomics, anything! After all, this is an art of the cover, not just an art of the comic book. If you got a request, let us know!

~ Max

Valerian and the City of a Thousand Planets is a fan project, in the best and worst ways
Writer-director Luc Besson encapsulates the soul of his latest movie, Valerian and the City of a Thousand Planets, in its first three scenes. Valerian is based on the long-running Franco-Belgian comic Valérian et Laureline, which chronicles the exploits of two time-traveling “spatio-temporal agents” and freelance adventurers. In Besson’s film, Major Valerian (played by The Amazing Spider-Man 2’s Dane DeHaan) and Sergeant Laureline (Suicide Squad’s Cara Delevingne) are a pair of non-time-traveling special agents in the 28th century, protecting the interests of humanity and order. Read more