Home
Star Wars
  Star Wars Misc Art
  Star Wars Insider Art
  Star Wars Sketchbook
  Star Wars Comic Book Art


Star Trek
  Star Trek Misc Art
  Star Trek Comic Book Art

Film & Television
  Film and TV Misc Art

Comic Books
  Comic Books Misc Art
  Doctor Who
  X-Files
  Farscape
  GI Joe
  True Blood
  The Phantom
  Spike Vs Dracula

  Star Wars Sketch Cards
  Bounty Hunters
  The Mandalorian Season 2
  The Mandalorian Season 1
  Women of Star Wars
  Star Wars Rebels
  Masterwork
  Return of the Jedi Widevision
  Perspectives
  The Empire Strikes Back Illustrated
  A New Hope Illustrated
  Galactic_Files_Series_2
  Galactic_Files
  Galaxy_Series_8
  Galaxy_Series_7
  Galaxy_Series_6
  Clone Wars Season 2
  TESB_30th_Anniversary
  Galaxy_Series_5
  Clone Wars Season 1
  Galaxy_Series_4
  Clone Wars 08
  ANH_30th_Anniversary
  RotS
  Heritage
  Clone Wars
  Misc

  More Sketch Cards
  The Walking Dead
  The Avengers
  Marvel Beginnings Series II
  DC Comics Women of Legend
  Indiana Jones
  The Hobbit
  The Lord of the Rings
  The X-Files
  Heroes



Become a Patron!

Shop at my official Art Store

Become a fan on Facebook

Follow me on Instagram

Watch my stream on Twitch

Subscribe on Youtube



Lucasfilm Ltd.

Disney.com: The official home for all things Disney

Discover more at Hi-Fi Design.com!



Gentle Giant Ltd.

IDW Publishing - The home of Star Trek, X-Files, GI Joe and more!



My Art on eBay


Comics 101
Art tips and techniques, reviews and interviews from my studio. Archived here and at World Famous Comics.

Comics 101 Archives

Comics 101 for 04/03/2003
Building The Perfect Portfolio the Marvel Way

Earlier this week I was directed to an article at the official Marvel Comics website by one of my students in regards to developing a comics portfolio. I thought I just had to share it with you here in case anyone has missed it (or is just too lazy to click the following link).

You can check out the full article (complete with a sample vignette story to draw) on how to develop your comic illustration portfolio for Marvel Comics by Editor-In-Chief Joe Quesada here or read on to the following.

Take it away, Joe!

The 3X3X3 Method To Building The Perfect Portfolio by Joe Quesada

I was one of those lucky few that was hired on the spot to begin my career in the comics biz, but it wasn't just talent or sheer dumb luck that got me the gig. Sure, that had something to do with it, but I had a pretty good working knowledge of what editors were looking for because I was also a pretty good student and asked many different artists about their experiences. Now, the following information is from a class I used to teach on building your portfolio for maximum results at comic conventions (where you can meet editors from every company). You should, of course, adapt all of this information when submitting work to Marvel via mail. In other words, keep the samples Marvel specific.

First and foremost, before you submit your portfolio for review there are a few rules that you need to keep in mind.

RULES OF ENGAGEMENT

1.) The editor who is about to look at your portfolio is most likely tired from looking at dozens before yours. You're probably the hundredth person he or she has seen today.

2.) He or she is looking for someone who is going to hit a homerun right off the bat.

3.) The editor is not, I repeat, not your friend. They have a job to do and they're going to look for the person who can do it best. Be courteous and listen and accept whatever critique you get in a professional manner. Arguing with or getting angry with an editor giving you a critique (and I've seen this happen) will not improve your chances ever. You will also be surprised at how quickly word spreads about problem cases.

4.) Presentation is important. Do not have a sloppy portfolio. Have Xerox's with your contact info firmly in place.

5.) Assume that we are idiots. Make your portfolio idiot proof. If you don't believe this to be true of editors, just take a good look at me! If you're a penciler, then don't ink your work, don't letter your work, and don't color your work. JUST SHOW PENCILS!

6.) Do not bore the editor! This is very important. After a long stint of reviewing portfolios, an editor is just like you. They enjoy an entertaining yarn just like anyone else. And there is no better way to get an editor's attention than to make your portfolio easy to view, critic, and above all, entertaining.

7.) Present yourself well. Yes, this is a casual industry, but don't show up looking slovenly.

WHAT TO DRAW?

All right, with that out of the way let's get to the meat of this lesson.

Now aside from the basic remarks that you will receive about anatomy and storytelling, here are some of the usual questions and comments that you will encounter during a critique from editors.

1.) This is nice, but I'd like to see what you could do with our company's characters.

2.) This is nice, but all I see are pages with a single character, I'd like to see what you could do with a team story.

3.) This is nice, but all I see are pages with a team, I'd like to see what you could do with a single character.

4.) This is nice, lots of action and great fight scenes, but can you draw just normal people doing normal things?

Wouldn't it be great to have all your bases cover and you could somehow avoid some of these annoying queries from the onset? Well follow these steps and hopefully you will!

AS FOOLPROOF AS POSSIBLE

  • Three stories.
  • Three pages in length.
  • Three covers for each of your stories.
  • 12 pages total, that's it!

    Most young artist are under the impression that they need to show pages upon pages from a sample script when nothing can be more torturous for an editor or perspective employer to sit through. The reality of the situation is that by page two an editor knows whether you're ready or not, so sixteen pages of a tryout script tells us nothing more than you did sixteen pages. That's why if you're going to spend a lot of effort on a portfolio spend it diversifying yourself and also keeping your stories short so that as you receive critiques you can just pluck sections out of your portfolio and reinstate new and improved vignettes as needed.

    Your stories should be short three page vignettes with a very clear beginning middle and end. No words should be necessary (see 'Nuff Said books), and it's always better if it's something that you've thought up yourself. Penciling samples from tryout scripts is okay, but as stated above, they tend to be run on and are a waste of energy in my opinion.

    1.) Pick three different publishers characters, variety is what you want. (For Marvel mail in submissions try to stick to Marvel characters.)

    2.) Draw a solo character three-page story, let's say Spider-Man. (Marvel mail in submission suggestions = Spider-Man, Daredevil, Elektra, Wolverine or Iron Man.)

    3.) Draw a three-page team vignette maybe using the JLA (DC Comics) (Marvel mail in submission suggestions = X-Men, Fantastic Four, the Marvel Knights.)

    4.) Cap it off with a short three-pager with nothing but normal people doing normal everyday stuff or even better comedic slapstick. How about a Jay and Silent Bob skit (Image Comics)? (Marvel mail in submission suggestions = Alias, Deadline, Ben Urich, Peter Parker and Aunt May, Matt Murdock and Foggy Nelson.)

    Now, I know a lot of up-and-comers like to do pin-ups in their portfolios... the temptation is irresistible! Editors hate to see these because they tell us nothing of your storytelling chops. However, there is a way to do pin-ups and have them serve a purpose in your portfolio. Show off your cover skills! Think of what would be the appropriate cover for each of your three stories and design one for each. Do not, I repeat, do not attempt to do cover logo lettering, just leave the appropriate space at the top, editors are savvy enough to get the whole picture!

    This will leave you with a portfolio twelve pages in length, which is more than enough to show an editor whether you have what it takes to make it at their respective companies. You will have concisely shown how you handle a solo hero, a team and normal people and environments in simple sequences that demonstrate you're skill with sequential storytelling as well as your ability to do covers. You're also giving editors an idea of how you handle characters from varying companies. Now mind you, the publishers I listed as examples are merely that. You can use any three you like, just make sure they're three publishers you would like to work for.

    Have fun and good luck!

    See ya in the funnybooks,
    JQ
  • Thanks, Joe! And check back next week for a new Comics 101 feature!
    -Joe


    << 03/27/2003 | 04/03/2003 | 04/10/2003 >>

    Recent Columns:
    NEWESTTeeKay-421 Magazine #65: A Star Wars Interview (09/05/2013)
    10/28/2010My Top Five Favorite Horror Films, The Horrors of Canada and Movie Review - Dellamorte, Dellamore (a.k.a. Cemetery Man)
    09/09/2010Movie Review - Machete
    07/08/2010Celebration V: The Empire Strikes Back 30th Anniversary Limited Edition Print Artwork
    11/05/2009Star Wars: Clone Wars Season One Widevision Artist Sketch Cards - Step by Step
    11/06/2008You Have the Comic, Number One: A Star Trek Interview
    10/25/2007Download Zombie Prom for FREE at iTunes, My Top Five Favorite Horror Films and The Horrors of Canada
    09/06/2007Movie Review - Rob Zombie's Halloween
    06/21/2007Star Wars: Celebration Europe 30th Anniversary Limited Edition Print - Photo Reference, Finished Pencil Art, In Progress and Final Color Art and Comic-Con International 2007
    05/03/2007Star Wars: Celebration IV 30th Anniversary Limited Edition Print - Photo Reference, Finished Pencil Art, In Progress and Final Color Art and Free Comic Book Day 2007
    03/08/2007Star Trek: The Next Generation: The Space Between #5 Cover - Rough Sketch, Finished Pencil Art, In Progress and Final Color Art
    Archives >>

    Comics 101 Archives


    Home | News | Comics 101 | Stuff to Buy | Bio/Credits


    © 2024 - , 153 Sheffield Way, Sandusky, OH 44870
    All other ® & © belong to their respective owners.
    World Famous Comics Network