SUPERMAN/BATMAN comes to a close as the Joker attempts to kill his second reporter: Clark Kent. Cautious not to reveal his true identity, Clark must defend himself without making his superhuman strength obvious. His only hope in doing this successfully? The Dark Knight.

SUPERMAN/BATMAN #87, by Joshua Hale Fialkov and Tomas Giorello, hits stores tomorrow.

In the final issue of the current run of BATMAN, The Dark Knight’s past is illuminated. Featuring appearances by a wide array of classic characters including Robin, Catwoman, Batgirl, Nightwing, The Riddler, Jim Gordon and Superman, BATMAN #713 traces the evolution of The Dark Knight and Bat-family.

BATMAN #713 comes from the creative team of Fabian Nicieza, Steve Scott, Daniel Sampere, Andrei Bressan, Walden Wong, Rich Perrotta and Rodney Ramos. This is the final issue of the current arc of the series and it flies onto stands tomorrow.

THE SOURCE: How do you write the first line of a new series?

JH WILLIAMS: It can be tough. You want the first line to grab, but it can’t be overloaded with information either. You want to set a tone, but also lead the reader into the story with ease, not overwhelm too much. It’s a very fine line to walk. But the goal is to write a simple captivating line that has weight and meaning, but it’s full understanding requires you to read the next line, and then the next, and so on. This concern occurs when writing prose work as well.

How do you draw a first panel of a first issue?

For me, first panels of a story need to function much in the same way as what I say about the first written line. I like to place focus on something in a way that when you first look at it, you don’t know what the context is, or it raises questions as to what is happening. By doing this, you provoke the reader to want to learn more.

How do you introduce a new hero?

The goal for any new protagonist in a new story is to get at what makes them tick within the first chapter or issue. But to do so in a form that doesn’t give away all there is to know about them. If a first appearance gives away everything about the lead character, then you’ve created an information bust, and the reader isn’t going to be as compelled to return. You have to keep some mystery, or use complicated motivations for the character’s behavior or actions.

How do you introduce characters?

I find that the best way to introduce new characters into a story is to try finding high points in the plot that could relate to them, giving them a key moment to present themselves. Another way is by use of a scene that defines the new character’s motivations or mission in the story. Sometimes it can seen through the eyes of another character, and if done properly you briefly learn something about 2 characters at the same time.

How do you draw a first appearance?

This relates to how the character is introduced within the written plot. If the plot is showing the character at a relevant point, or at a high point, its easy to set the character within that visually. The scene informing how dynamic or emotionally positioned the character is visually. What does the scene mean to this particular character can inform how to handle them visually.

How do you introduce a new villain?

Villain introduction for me, works best if its revealed at a high point of tension, either related or unrelated to the scene at hand. A villain’s first scene should also always leave questions to the reader on what is their deeper motivations.

What was the first comic you ever worked on?

I believe my first professional paying job was when I was 15 or 16. I did 2 pin-ups for something called Alternate Existence. It was very independently produced. And I was certainly not very good then

Who was the first character you followed?

Spider-Man, Batman, Kamandi, Micronauts.

Who was the first writer you followed?

Bill Mantlo.

Who was the first artist you followed?

Michael Golden.

What was the first convention you attended as a fan?

Probably some small local one in the Bay Area, California.

What was the first convention you attended as a professional?

San Diego Comic Con.

What was your first job in the comic book industry?

My first full issue for a major publisher was a fill-in for Milestone’s Blood Syndicate, which came out okay. Before that I did things like Twilight Zone, Hero Alliance, Demonic Toys, none of it very good, my work on those is pretty unrecognizable to what I do now.

What was the first piece of original art you bought?

I’ve always shied away from buying original art, because I was afraid I’d lose my mind and spend too much money I didn’t really have. So I stayed away from it for a very long time. Until I finally met Michael Golden a few years ago, we actually shared booth space at a couple cons. Of course I drooled unsavorily over his original art for sale. But couldn’t bring my self to make a purchase. I fretted over it so much that I was telling Grant (Morrison) about it, he said I had to have it, as a totem piece for my artistic soul. The piece I kept eyeing all show was a cover to World’s Greatest Comics Magazine: Fantastic Four. I remember having to go off for a panel or something for an hour or so. As I approached the booth, Bruce Timm, another booth mate who sat next to me and my wife Wendy, plops that cover art down on the table saying, “Hey, look what Michael just gave me!” I think my voice rapidly hit 4 octaves higher. I went on and on “HE GAVE THAT YOU?!!” I kept repeating that, I was so thrown off I really wasn’t able to say anything else. It had to be at least a minute thirty seconds but felt like forever, before Bruce finally says “Wendy, I can’t do it anymore, the poor guy is losing it! Jim, look at the bottom of the cover.” And there in bold black ink, causing me to squeal loudly “NO WAY!”, like a kid, it was signed with a personal note from Michael, to me. I literally got weak in the knees, I was shaking. I think that was my geekiest moment ever. So while I was away from the booth, Wendy, the sneak that she can be, bought the art for me, knowing how much Michael’s work meant to me. She managed to pull Bruce into her scheming, I’m sure they found it quite amusing watching me squirm! But I love them to death for it! When growing up, if I had never been exposed to Michael Golden’s art back then, I don’t think I’d be a comics creator today. So its all his fault, hah! I proudly look at it everyday hanging framed in my studio.

Yesterday on THE SOURCE, you got a backstage pass into the insights and personal stories of some of the writers and artists working on the JUSTICE LEAGUE family in DC Comics-The New 52. Today, beginning with BATWOMAN’s W. Haden Blackman, get to know some of the writers and artists working on the BATMAN group books.

THE SOURCE: How do you write the first line of a new series?

W. HADEN BLACKMAN: For us, the first line in the first issue of Batwoman was really driven by the desire to introduce a new villain immediately and set the tone for the entire first arc. We wrote in some placeholder dialogue, which we then revised after we had a strong first draft of the entire issue. As wit all the dialogue, we revisited it a few times, and made revisions after the first round of lettering- when we could finally see how it all fit together.

How do you introduce a new hero?

We hope that we were going to be both reintroducing Batwoman to fans, and also introducing her to new readers, so we do provide some recap to bring everyone up to speed. But it was more important for us to show how Batwoman’s past impacts her decisions, actions, and attitudes in the present. For example, we don’t dwell on the fact that she went to West Point or rehash her expulsion under “Don’t Ask, Don’t Tell” – that story has already been told – but you will see how her training as a soldier influences how she operates as Batwoman and relates to other “superheroes.” In terms of her actual entrance, we wanted it to be heroic, but also immediately set up the central conflict of arc one — it isn’t just a standard “let’s watch her beat up some bad guys to establish that she can” intro.

How do you introduce characters?

For me, it always comes down to trying to identify something unique — or at least interesting — about that character, and building a scene around that. On Batwoman, we’re also very interested in making sure each major character has her own mission as well, which we try to establish as early as possible. The ways in which these missions conflict or complement Batwoman’s own create a lot of interesting dynamics.

How do you introduce a new villain?

It all depends on the villain, I think. With the Weeping Woman, who is introduced in the first issue of Batwoman, I had a lot of goals… I wanted her to be somewhat enigmatic with the possibility of even being sympathetic on some level, but also clearly frightening and monstrous. I also really wanted to be true to the legends that inspired the character, establish right away why she is a threat to Gotham, and suggest some of her powers. So, we approached it from the standpoint of a witness statement from someone who has been victimized by the Weeping Woman and can describe first hand what it is like to see her, be in her grasp, and hear her speak.

What was the first comic you ever worked on?

As a teenager, I did a self-published one-shot with a friend about a group of superheroes trying to survive in a post-apocalyptic world. My first “professional” work was a short story for Star Wars Tales about an alien space pirate.

Who was the first character you followed?

A tie between Swamp Thing, Firestorm, and Green Arrow — I tried to buy everything they appeared in.

What was the first series you collected?

Swamp Thing. I remember traveling to every comic book shop in Southern California trying to find as many issues back issues as I could. I think I have at least two full sets of the original series. I’m only missing a first printing of House of Secrets #92.

Who was the first writer you followed?

Probably a tie between Len Wein and Steve Gerber, both guys who wrote stories about swamp monsters…

Who was the first artist you followed?

Hands down, Bernie Wrightson. I really credit him with getting me to read comics, although I first saw his work in Stephen King’s Cycle of the Werewolf. There are some images in that book that I will never forget – a werewolf stalking after a boy while clutching the string of that kid’s kite, a werewolf embracing a lonely, middle-aged woman, a severed pig’s head on a post… I sought out everything he had done previously, which led me to Swamp Thing. And I still wish that someone would do a proper film version of Frankenstein based on his illustrations — I think it’s the most disturbing yet sympathetic version of the Monster imaginable.

What was the first convention you attended as a fan?

Various small conventions in Los Angeles, mostly in search of back issues.

What was the first convention you attended as a professional?

SDCC, to appear on a Star Wars panel.

What was the first comic book you read?

A weirdly oversized Howard the Duck that had three or four stories in it, including one where he fights a vampire cow. I still have it on my bookshelf.

What was the first piece of original art you bought?

A rejected cover sketch for an issue of Star Wars Republic by Tomas Giorello, which he was kind enough to ink for me as well.

What was the first digital comic book you downloaded?

In general, I still prefer my weekly trip to the comic book shop, but I have been checking out a lot of motion comics lately to see how they handle creating a sense of movement and integrate audio — specifically, the voice acting, which really makes or breaks a motion comic for me.

On your creative process:

When writing any story, I try to start with a one-liner, or even short description of a character arc, that interests me. For a comic book arc, I’ll then turn that into a very detailed outline akin to a film treatment. Next, I do a very quick breakdown of the individual issues, estimating the number of pages required for each scene, just to make sure everything is going to fit comfortably and that I’m taking advantage of even page reveals whenever possible. This becomes my rough skeleton, though I usually throw out big chunks of it when I actually start writing and new (and hopefully better) ideas surface. When I write a first draft, I try to avoid getting bogged down in detailed descriptions or polishing dialogue until it’s “just right,” because I rarely know exactly what needs to be shown and said in every panel until I get to the end of an issue. I do sometimes write some scenes multiple times, though, to try out different ideas, perspectives, or hooks. After I barrel through the first draft, the next revision focuses largely on all the description I think is necessary; then I do at least two dialogue passes, not reading or touching anything but the dialogue. And finally a polish looking for typos or any dialogue that really calls attention to itself (which I hate). Working with Jim on Batwoman has been a similar process. The biggest difference is that we need to be a little more rigid about how many pages we devote to each scene because we are following some rigorous design principles — every first and last page is always three panels, and every scene with Batwoman is a two-page spread. After we get the breakdown done, we divvy up the first draft, lobbying for first crack at the scenes that interest us the most (and if neither of us wants to write a scene, we know that there’s something wrong with just the idea of the scene…). Then we swap our scripts and suggest revisions to one another, and usually end up on the phone for editing sessions where we read and reread the dialogue together.

Artist Greg Capullo is teaming with Scott Snyder for a highly anticipated run on BATMAN as part of DC COMICS–THE NEW 52. Capullo’s also drawn a stunning variant cover for GREEN LANTERN #1, featuring Sinestro (AKA the new Green Lantern of Sector 2814). GREEN LANTERN issue 1 goes on sale on September 14, but here’s the exclusive first look at that cover for those of you who just can’t wait any longer.

If you’ve been surfing the web today, you may have noticed various outlets such as COMIC BOOK RESOURCES, NEWSARAMA,  iFANBOY and COMIC VINE exclusively breaking the solicit information for the titles within DC Comics-The New 52.

Earlier this afternoon, we posted the solicit information for the books within the JUSTICE LEAGUE family. After the jump, take a look at the covers and info for the remainder of the titles, all compiled together here for your reading convenience.
Read the rest of this entry »

Mysteries deepen as secrets begin pouring out. Hidden identities begin to reveal themselves. Alliances form on both sides of good and evil. And as new villains launch attacks, new heroes will emerge onto the scene. This November, nothing is off limits.

JUSTICE LEAGUE #3
Written by GEOFF JOHNS
Art and cover by JIM LEE and SCOTT WILLIAMS
1:25 Variant cover by GREG CAPULLO
1:200 B&W Variant cover by JIM LEE
On sale NOVEMBER 16 • 40 pg, FC, $3.99 US • RATED T
Combo pack edition: $4.99 US
Retailers: This issue will ship with three covers. Please see the order form for more information.
The superstar team of writer Geoff Johns and artist Jim Lee continue to make history as they unleash the amazing Amazon, Wonder Woman, who joins the battle against a bizarre threat! And the not-yet World’s Greatest Heroes need all the help they can get!
This issue is also offered as a special combo pack edition, polybagged with a redemption code for a digital download of the issue.

JUSTICE LEAGUE INTERNATIONAL #3
Written by DAN JURGENS
Art by AARON LOPRESTI and MATT RYAN
Cover by DAVID FINCH
On sale NOVEMBER 2 • 32 pg, FC, $2.99 US • RATED T
With the appearance of four giant, alien Signalmen, the JLI must split up to investigate the mysterious cavern beneath each one. Will the individual teams be able to handle what hides in the dark? Or will it be too late by the time the next phase comes into play…

AQUAMAN #3
Written by GEOFF JOHNS
Art and cover by IVAN REIS and JOE PRADO
On sale NOVEMBER 23 • 32 pg, FC, $2.99 US • RATED T
The secret of the Trench revealed! Where did these cannibalistic sea creatures come from? What fuels their monstrous hunger? Why have they chosen now to invade the surface world? To unravel the mystery of the Trench, Aquaman must seek help from the last person on earth he ever wanted to see again.

WONDER WOMAN #3
Written by BRIAN AZZARELLO
Art and cover by CLIFF CHIANG
On sale NOVEMBER 16 • 32 pg, FC, $2.99 US • RATED T
Hippolyta, the queen of the Amazons, has kept a secret from her daughter all her life – and when it’s revealed, Wonder Woman’s life will shatter like brittle clay. The only one more shocked than Diana by this revelation? Bloodthirsty Hera herself – so why is her sinister daughter, Strife, so eager for the truth to be told?

(Not Final Cover)

THE FLASH #3
Written by FRANCIS MANAPUL and BRIAN BUCCELLATO
Art and cover by FRANCIS MANAPUL
1:25 Variant cover by JIM LEE
1:200 B&W Variant cover by FRANCIS MANAPUL
On sale NOVEMBER 23 • 32 pg, FC, $2.99 US • RATED T
Retailers: This issue will ship with three covers. Please see the order form for more information.
If the Fastest Man Alive is going to capture Mob Rule, he must first tap into his new amped-up super brain to save the citizens of Central City from the EMP that has blacked out the city. Witness a spectacular sequence of out-of-control cars, trains and even airplanes that must be stopped from destroying the city!

CAPTAIN ATOM #3
Written by J.T. KRUL
Art by FREDDIE WILLIAMS II
Cover by STANLEY “ARTGERM” LAU
On sale NOVEMBER 16 • 32 pg, FC, $2.99 US • RATED T
Captain Atom is taking his powers to new heights – saving people all across the world in the blink of an eye. But he’s not the only one who can move at super speed. Enter: The Flash! And when their paths cross, don’t expect them to share the secret hero’s handshake – because Captain Atom may be a bigger threat than any villain.

GREEN ARROW #3
Written by J.T. KRUL
Art by DAN JURGEN and GEORGE PEREZ
Cover by DAVE WILKINS
On sale NOVEMBER 2 • 32 pg, FC, $2.99 US • RATED T
The Jersey Shore of super villains crashes Seattle to stream Green Arrow’s death over the Internet! It’s the final fight between Green Arrow and Rush: media maven vs. media star! The whole world’s watching on their QPhones and QPads. Why aren’t you? Plus: Queen Industries launches their new initiative – and issues a challenge to the world!

THE FURY OF FIRESTORM: THE NUCLEAR MEN #3
Written by GAIL SIMONE and ETHAN VAN SCIVER
Art by YILDIRAY CINAR
Cover by ETHAN VAN SCIVER
On sale NOVEMBER 23 • 32 pg, FC, $2.99 US • RATED T
When someone tries to create a hero of godlike power, there are bound to be a few bumps in the road. And one of those failed, twisted experiments has been kept in a bunker deep underground, far too dangerous and horrific to be allowed to see daylight. Until the mysterious Zither lets this nuclear nightmare free to kill all of Earth’s Firestorms! Presenting the shambling horror that was meant to be a savior: Helix!

DC UNIVERSE PRESENTS #3
Written by PAUL JENKINS
Art by BERNARD CHANG
Cover by RYAN SOOK
On sale NOVEMBER 16 • 32 pg, FC, $2.99 US • RATED T
Ever since he died and became Deadman, Boston Brand has served the deity known as Rama Kushna, inhabiting bodies to complete missions that she dictates. Now, for the first time, Deadman may have a clue how he can gain some control over his “life.” But the cost may be the souls of the bodies he inhabits!

THE SAVAGE HAWKMAN #3
Written by TONY S. DANIEL
Art and cover by PHILIP TAN
On sale NOVEMBER 23 • 32 pg, FC, $2.99 US • RATED T
Using his unique gift for deciphering alien symbols, Carter Hall learns the secets knowledge of his new foe, Morphicius, even as his deadly power continues to grow! Unraveling this mystery is Hawkman’s only chance to
defeat Morphicius before he becomes unstoppable.

MISTER TERRIFIC #3
Written by ERIC WALLACE
Art by SCOTT CLARK and DAVE BEATY
Cover by J.G. JONES
On sale NOVEMBER 9 • 32 pg, FC, $2.99 US • RATED T
With the city of Los Angeles tearing itself apart, Mister Terrific battles the mind-leech known as Brainstorm to stop him from draining its citizens dry. But when a shocking secret from Michael’s past is revealed, a hero is pushed over the edge. Will this be the end of Mister Terrific?D

THE SOURCE: How do you write the first line of a new series?

DAN JURENS: I don’t know if it’s as easy as, “How do you write the first line”. The first line is dictated, or at least suggested by the characters, setting and overall sense of motivation and purpose in the first scene. It’s a natural extension of what is already there. Conjuring up that very first scene, however, is crucial.

How do you draw a first panel of a first issue?

For me, the first panel, which is often a splash page, is always about instant communication. Ideally, it’s something that brings the reader in right away. One way or another, be it a single, powerful visual or compelling scene, the first page should be an instant hook.

How do you introduce a new hero?

Something about a new character should be evident in his first appearance. It can be the way he talks, the way he moves, his power or lack thereof. While there’s always more to be added to a character later, the initial appearance should be typical of him and him alone.

How do you introduce characters?

If it’s a question of introducing characters, which sounds a little like it’s supposed to mean supporting cast, that can be done more enigmatically. I think a writer wants to suggest that there’s more there than meets they eye, that the characters have some sense of depth and backstory that makes them interesting.

How do you draw a first appearance?

When drawing the first appearance of a character it’s important to give them some kind of visual identifier that makes them easily recognizable. That could be a style of clothing, a distinctive build, a cigarette… any number of things. But it should be clear and evident right from the start.

How do you introduce a new villain?

That depends on whether the reader is supposed to know they’re a villain. Sometimes, the most effective villains are the ones who first seem to be squeaky clean and innocent. Though that, in and of itself, could be a tip-off!

If not, however, I think a villain has to have presence. They have to feel like true heavyweights.

What was the first comic you ever worked on?

WARLORD #82.

Who was the first character you followed?

Batman was the first character I followed, due to the TV series. SUPERMAN was the first comic I bought, however, and therefore the first character I started following in comics.

What was the first series you collected?

I think the first series I really made a point of collecting, rather than just reading an occasional story here and there, was THE JUSTICE LEAGUE OF AMERICA. I’m not sure, but as a kid, I think I kind of felt that I was getting more for my money with JLA because there so many heroes inside!

Who was the first writer you followed?

The first writer I consciously followed was Stan Lee. There were DC writers before him that I was attracted to, like Gardner Fox, but I wasn’t really aware of it because they didn’t have credits in those days.

Who was the first artist you followed?

That’s a tie between Curt Swan and Jack Kirby. I remember liking Curt Swan’s Superman more than the other versions and being awed by the power of Kirby’s Marvel stuff around the same time.

What was the first convention you attended as a fan?

I attended a small Con in Minneapolis, right around 1980 or ’81, I think.

What was the first convention you attended as a professional?

Chicago Con, 1982!

What was the first comic book you read?

BATMAN #156, with the classic “Robin Dies at Dawn” cover. A friend of mine had an older brother who had that comic and let us read it. I saw that cover and really thought it meant that Robin was dead and gone forever– never to be seen again! The first comic I ever bought was SUPERMAN #189.

What was your first job in the comic book industry?

Drawing THE WARLORD for DC.

On your creative process:

In terms of my creative process, I’m still kind of reshaping that. Typically, I write and draw my own stories. When I do that, I don’t see it as two different jobs, one writing and one drawing. I see it as one more organic process where one flows into the other.

However, with the New 52, I’m writing one book and drawing another.

For JLI, which I’m writing, it’s a matter of really trying to hone in on Aaron Lopresti’s strengths. I’ve always felt it’s important for writers to establish some sense of mutual vision with their artists, and that means creating the right kind of scenario that allows them to excel. Aaron is doing incredible working and knocking the ball out of the park on almost every page. Within that context, it’s a matter of building intriguing story and character situations right from the start, as well as building a little bit of fun into the story.

For GREEN ARROW, which JT Krul is writing, it’s a question of trying to get into JT’s head a little bit to find out exactly what it is that’s most important to him in terms of the characterization of GA, as well as the rest of the cast. We’re trying to build a new visual identity for GA, to make him younger and more fresh, and that part of it is actually a lot of fun. At the same time, I have to make sure I give inker extraordinaire George Perez everything he needs to take the work to the next level.

THE SOURCE: How do you turn a script page into the art we see in a finished comic book?

FREDDIE WILLIAMS II: The creative environment that Rachel (Captain Atom Editor) and the higher ups at DC Comics have created, is amazing! My collaboration with JT Krul (writer for the new Captain Atom) inspiring! So far all of the arcs, and individual issue stories created for Captain Atom first starts with long, creatively rich- brainstorming sessions. Even calls that are supposed to be “quick questions” between the two of us, usually stretch into hour long conversations! After JT and I lay out the major beats and motivations for the story, JT will make all those suggestions, ideas and riffs a cohesive plot in a word document that he emails to Rachel, for approval/notes/suggestions.

After feedback is received from Rachel, and the higher ups, I get the “okay to start on the art on Captain Atom.

My “Blank – to finished page” process utilizes an imaginary camera (my mind’s eye) to capture the “reality” of the comic script. That sounds cryptic, event to me, so let me decode what that means:

I first read the script, as a “bystander” – just a first pass to lay the groundwork in my mind – to “set the stage” in my mind, for what I will eventually need to draw. This initial read through of the script is strictly to introduce myself to the themes, tone and settings that take place in the script… This is the MOST EXCITING part of the process to me – it’s pure enjoyment, I’m just letting the experience of the events in that issue wash over me, and enjoying it the way I hope I can deliver those experiences to the reader, when they eventually read the book a few months later.

Next, I re-read the script, with more of a “set designer’s” mindset. That second pass is a more clinical reading, where I make a list of any set locations, or characters that I need reference for, gathering some of that reference myself, or request it from my editor.

I then divide each page of comic script into its own Adobe Photoshop document (a digital document for page one of the comic book, another for page two etc) pasting the corresponding comic book script into the appropriate Photoshop document.

After that, I open each Photoshop file, this time, as I read through the script for page (now for a third time) with the mindset of a “Director of Photography.” I sketch, for each panel, small, abbreviated “scribbles” in the margin of the digital file. Often times these scribbles are so abbreviated, that no one but me would recognize what on earth is happening. This can be though of in cinematic terms as “finding my shot” (staging the scene in my mental camera)

After creating “Scribbles” for the entire issue, I’ll begin constructing crude layouts for each of those pages, by resizing, and flipping those scribbles, into more interesting page layouts, creating focus and emphasis on more dramatic panels by giving them more “page space”.

Next, I will make a light blue adjustment layer on top of the “scribbles” in each document, and on new layers, in Photoshop, I start sketching my actual “Roughs” for each page – these roughs are still fast sketches, but they are clear enough to be understood by my writer and editors (I will also use text labels to make clear which characters are doing what on those pages).

After I get feedback from the writer and Editors, and make any appropriate revisions to my roughs, I begin a process I call “Wireframes” (tight structure drawing, devoid of shadow or texture) for each page of the comic. The “Wireframe” stage is an excellent to catch any continuity errors I may have made in the pages (ie, forgetting to draw the correct rank to a military officer, or the correct symbol on a heroes chest).

Once the “Wireframes” are approved, I ink the pages, either through a “hybrid method”, where I print out the Wireframe structure onto the bristol board then ink on that page, using traditional inking tools, such as brush, quill, and pens, or I will ink the page in Photoshop (keeping the page completely digital. The later of those two options is faster, but leaves no original art at the end of the process. (Note much of this process is detailed in my how to book “The DC Comics Guide to Digitally Drawing Comics“)

Lastly, I scan any pages I used the “Hybrid Method” to create, and prep all the files for the entire issue, for upload to the FTP server. That prep includes making notes for the colorist and letterer in a separate layer, so the notes stay with the file, making it easy for the colorists and Letterers, and making them easily discarded, when they are no longer needed.

The last time I see the pages, before I see them in a printed book, is after the colorist has made their first pass. Then myself, my writer and editors all have a last chance to make sure nothing slips through the cracks, especially hair and costume colors etc.

Any little hiccups that occasionally slips through, into the printed book, can be noted, fixed, in the digital files and stored on the servers until they are re-printed in the trades.

That was a long and clinical analysis of the creation process, but it’s like trying to describe how magic happens! This whole process; from chatting with my writer on the phone, to late nights, inking – my fingers covered in India ink, the whole process is a lifelong dream come true for me, and I am forever grateful to DC Comics for affording me this privilege!

If you missed it over the weekend, Grant Morrison had a great interview with NPR’s show, All Things Considered.

Head on over to NPR to listen to the full interview and hear Grant talk about how he got into the industry, what inspires him as a writer, the fundamental differences between Batman and Superman, and the cultural relevancy of comic books. While there, also be sure to check out an exclusive image from ACTION COMICS #1, in stores September 7th.