#ArtCred: Tips for Properly Crediting Comics Creators

The past week or two has seen the comics Twittersphere abuzz with discussion about credit – specifically, giving artists the credit they deserve for their work. One of the main instigators of the conversation was this retailer survey, particularly the note that people are almost 7 times more likely to buy a comic because of a writer than an artist. There are a number of reasons that this could be the case; mainstream superhero comics are far more likely to see a long-term writer supported by rotating artists than the other way around. Writers are seen as the masterminds behind the story, while artists are treated more like visual translators than storytellers in their own right. Writing takes much less time, so a writer can be working on multiple books (for multiple companies) at once, while artists tend to be confined to one or two. Listing multiple people on art duties (pencillers, inkers, colour artists….) leads to confusion about what a person at any of these stages actually does. It doesn’t help that publishers give far more credit to writers than artists (and many books still don’t put inkers or colour artists on covers). Covers will almost always display the writer’s name before the artist’s, although there are exceptions – starting with issue 25, Saga co-creators Fiona Staples and Brian K. Vaughan alternate top billing with each issue. It’s a start.

33.3% will order a book for a writer - 4.8% for an artist

33.3% will order a book for a writer – 4.8% for an artist

None of this is new information; the fight for creator rights and credit has been going for for decades, but it’s been a hot topic lately. If you haven’t been following it, I recommend checking out the #ArtCred tag on Twitter, and reading this post by Matt Fraction about collaboration (incidentally, this came a week after Fraction was left off the ballot when co-creator of Sex Criminals Chip Zdarsky was nominated for a Harvey Award for the series and refused the nomination unless his partner was included too). I don’t have anything to add to this conversation that hasn’t already been said, but I think this is an important topic, particularly as I meet more artists and see how hard they work.

It’s one thing if individual fans get more excited about writers than artists, but it’s a different matter for comics journalists. Publishers, retailers, and journalists help curate conversation around comics, and it’s important that we give credit where it’s due. I know that’s easier said than done – I’ve been writing about comics steadily for about 2 years now, and I don’t always properly credit everyone involved.

Artist Fiona Stapes is credited before writer Brian K Vaughan.

Artist Fiona Stapes is credited before writer Brian K Vaughan.

I grew up reading voraciously – but not reading comics – and graphic literature was barely present in my university English studies. So it’s easy to talk about the story, characters, and plot, but I’ve had to teach myself how to discuss art. Once I started reading comics, I immediately latched onto the work of particular artists since I quickly found that their distinct styles (as well as their interests) tend to lend themselves to certain kinds of stories, and I follow their books the same way you might follow the work of a particular actor or director. Still, I know a lot of readers who find that the writing impacts their enjoyment of a book far more than the art – and that’s okay! We all have preferences! But in a setting that requires a balanced and informed opinion (such as a review), it’s important to balance personal feelings with educated critique that recognizes all of comics’ components. If you like or dislike something, you should be able to articulate why, and you’re hardly supporting your argument if you ignore or discount such a huge component of the visual storytelling (and one that frankly takes a lot longer).

Learning on such a broad topic can be daunting, but I’ve tried to put together a list of tips for improving conversation about art in comics reviews and journalism. As a newbie, these are all things I’m still learning too, but I hope this helps anyone else who struggles to talk about comics art in a meaningful way:

1. Do research! If you’re going to be reviewing comics, you want to have at least a basic understanding of what you’re discussing, and there are tons of people out there who are willing to help you! This post by Matt Romeo at Multiversity gives a great overview of how to talk about art in comics reviews. Here’s a brief how-to on colouring by Amy Reeder, and the basics of lettering from Todd Klein. The internet is full of resources put together by professionals for amateur artists, and they’re just as useful for new journalists. There’s also Scott McCloud, whose Understanding Comics should be required reading. You’d be surprised how much you can learn from a few Google searches!

2. Learn your vocab. This is easy enough to do by reading other reviews and conversations on social media, but it takes some getting used to (here’s a list of basics on Wikipedia). I’m surprised how often I see folks generally use incorrect terms, so if you’re unsure, look it up! Learning proper terminology will also help you credit people correctly, another issue I see frequently, especially on books with bigger teams. It’s easy enough when you’re looking at a comic by one cartoonist, or by a single writer and artist (such as the team on Saga), but things can get complicated, particularly in cape comics – what does “finishes” mean? How about “layout assistance”? And don’t forget the trusty letterer, they’re doing important work, and you should at least know how to consider how the letterer’s job affects the whole.

Bedlam

Ryan Browne’s erratic lines, Jean-Paul Csuka’s intense colours, Riley Rossmo’s character design, and Kelly Tindall’s fractured captions collaborate to create this panel’s sense of paranoid terror. From Bedlam.

3. Know the difference between art that’s bad and a style that you don’t like. I won’t name any names, but there are artists whose work I’d argue is bad; artists who steal from other artists, or don’t seem to grasp basic human anatomy. But there are also artists who encompass the facets of good art, but whose style doesn’t work for me. It’s important to consider the difference if you’re going to be critiquing.

4. Read a wide variety of comics. If you’re only reading Marvel and DC superhero books, you’re only being exposed to a tiny sliver of what comics can look like and can be. Read comics from the other major publishers, like Image and Dark Horse and Boom! Read indie and self-published comics. Read experimental comics. Read web comics, and manga, and European comics – these will all expose you to different art styles, and while you’ll have preferences, the more you’re exposed to, the wider your idea of what “comics” means will be.

Frazer Irving is responsible for the storytelling and emotion for silent Black Bolt.

Frazer Irving deftly handles the storytelling and emotion for silent – and masked! – Black Bolt. From Silent War.

5. Understand how the art impacts the storytelling. Now this one’s tougher, and could come as a sub-point of my first one. It’s also something I’m still learning myself! What I’m trying to do is look at artists whose work I really like (or really dislike), and try to determine what differentiates their work. I try to look at how panels are arranged, how characters are placed in relation to each other (and to the reader), and how the colour and font choices contribute to mood or character. Also look out for striking or unique choices – creative page layouts, odd angles, or more detailed panel borders, for example. More than the other points, I’ve found this one comes with time, and will also benefit from research. It’s vital that journalists treat the art as an integral part of the storytelling, not as window dressing for the story. If other people have recommendations for this, I’d love to hear them!

This is just a start – there’s a lot more you can do, and that I have to do to improve. This is a visual medium, so the visuals are important. Storytelling relies heavily on the artist, and it’s important that they start being recognized for their work. Unfortunately, there’s no guidebook or lesson plan for being a comics journalist, so we’ve got to figure it out as we go along, but the more we do to learn, the better our writing will be!

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