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Penciller

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831:, if she intends to have it inked by her husband and collaborator, Jimmy Palmiotti, but will do the pencils "lighter and looser" if she intends to ink it herself, as she already knows how she wants the artwork rendered. Conner has created her own paper stock and blue line format on her drawing paper, because, she explains, she likes having those configurations pre-printed on the page, and feels that "sometimes the rough is too toothy and the smooth is too slick." The stock she uses is the 10 in × 15 in (250 mm × 380 mm) Strathmore 500 series, but she also orders a custom 8 in × 12 in (200 mm × 300 mm) stock because she sometimes finds those dimensions more comfortable and easier to work on more quickly. She also finds the Strathmore 300 series "pretty good" likes its nice texture and greater affordability, but says that must occasionally content with getting a "bleedy batch". Conner uses mechanical pencils with .03 lead because she found it easier to use than regular pencils that require her to stop and sharpen them frequently. 585:" at twice the printed comic size, and also drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he is not accustomed to. Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally. 1094:, though her process for that series is different from previous ones, for which she characterizes it as "one intense, ongoing experiment." She begins with thumbnails, roughly drawn on printed paper templates. During this stage Staples does not use reference, but does so later in the inking stage. During the thumbnail stage, she gives copious thought to the layouts and staging, making it, in her words, the most important part of the process. After scanning the thumbnails, she enlarges them and uses them as rudimentary pencils, and "inks" over them in 1140:," to assist the penciller in scene composition. If no breakdowns are included, then it falls to the penciller to determine the layout of each page, including the number of panels, their shapes and their positions. Even when these visual details are indicated by a script, a penciller may feel when drawing the scene that there is a different way of composing the scene, and may disregard the script, usually following consultation with the editor and/or writer. 736:, which he introduces after the rough stage. He chooses not to put too much time or polish into this stage, preferring to work quickly, lightly and instinctively. He uses a mechanical pencil with 0.9mm 2H lead at this stage for fine outlines and detail work, and a traditional pencil for more organic work, including softer lines, shading large areas and creating more fluid motion. The "best tool of all", according to him, is a traditional pencil cut with a 400: 45: 728:
selections with colored pens, continuing to attempt different variations. He will then, depending on how late in the day it is, either redraw the illustration on a sheet of layout paper or use his lightbox to tighten and clean up the drawing, emphasizing that the lightbox should not be a mere exercise in tracing, but an opportunity to refine or change elements in the drawing to make it "clean" enough to be inked.
652:, in part due to impatience, and in part because he enjoys the serendipitous nature in which artwork develops when produced with greater spontaneity. He also prefers to use reference only when rendering objects that require a degree of real-life accuracy, such as guns, vehicles, or characters of licensed properties that must resemble actors with whom they are closely identified, as when he illustrated the cover to 619:, which he uses for its softness and darkness, and for its ability to provide a "sketchy" feel, with a minimal amount of powdery lead smearing. He uses this lead because it strikes a balance between too hard, and therefore not dark enough on the page, and too soft, and therefore prone to smearing and crumbling. Campbell avoids its closest competitor because he finds it too waxy. Campbell has also used 1038:, completing details that the modeling programs cannot perfect, such as facial expressions, hair, filling in blacks, rendering clothes and wrinkles, etc. To finish the art, he will either print out the "pencils" directly onto Bristol board and finalize them with an HB Tombow pencil and ink them with a #2 nib, or will apply the finishes in Photoshop. 844:
will sometimes photograph his friends pose as the central characters, or use a full length mirror to draw himself. He renders minor characters from his imagination. Irrespective of how much sunlight he has on a given day, he prefers to use a 500W incandescent photo lamp, though he believes a 500W halogen lamp is also adequate. He prefers to use a
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obtains a script, he makes "tiny" thumbnail sketches of each page, and then makes layout sketches on shrunked copies of comic art board, two per page. It is at this stage that he works out the light/dark balance of the page. Though he says about 90% of his artwork are done without photo reference, he
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explains that he uses a Staedtler Mars Lumograph 100 2H pencil, and a Staedtler Mars Plastic Eraser. However, on the site's Frequently Asked Questions page, he states that he uses a standard Dixon Ticonderoga #2 pencil with HB lead, explaining, "It's mushy as all hell but it doesn't slow me down like
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when he desires to do a "tighter" digital layout of an illustration. When sketching figures, he will sometimes use photographic reference, and incorporate the photos directly into his sketches during the process of finalizing a layout. Once he makes a final decision on a layout, he will then print it
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employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox, whereas he does convention drawings on 11 x 14 Strathmore bristol,
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says that he cannot work unless he is listening to music, which he does via stereo speakers placed above his drawing board, and an extensive music collection in his studio. Bianchi uses extensive photo reference and a lightbox to give his artwork a realistic look. He uses a wooden drawing board that
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lines printed on them. By 2000, he switched to Crescent board for all his work, because it does not warp when wet, produces sharper illustrations, and are more suitable for framing because they lack the non-photo blue lines. Charest usually prefers not to employ preliminary sketching practices, such
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for shading, which he sharpens with a rotary lead pointer, believing that such leads can be sharpened better than a traditional pencil. He blows up a scan of each page layout to 8.5 in × 11 in (220 mm × 280 mm), and draws "tight" pencils on top of these, which are then
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Hitch is particular about his studio workspace, which does not contain a TV or sofa, stating that such things belong in the lounge for relaxation. Despite using a professional drawing board, he emphasizes that any inexpensive board large enough to hold the paper is sufficient, as he mostly uses a
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and F lead. He maintains sharpness of the lead with a Berol Turquoise sharpener, changing them every four to six months, which he finds is the duration of their grinding ability. Campbell uses a combination of Magic Rub erasers, eraser sticks, and since he began to ink his work digitally, a Sakura
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does tiny thumbnail sketches with stick figures corresponding to the story indicated on each page, in order to help her design the page's layout. She then does tighter, more elaborate sketches, though still fairly small compared with the finished artwork, approximately 4 in × 6 in
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begins his pages with 7 in × 5 in (180 mm × 130 mm) ink thumbnail sketches with which he shows his overall ideas to his editor. When he begins the actual pencils, he keeps them "loose", because he will eventually ink over them himself, and does not require greater
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begins with multiple rough sketches employing different camera angles on paper with a blue pencil, which traditionally does not photocopy or scan, and then selects the desired elements from the rough sketch with a graphite pencil. After picking the initial shapes, he will further emphasize his
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light-blue pencil, because it is not too waxy, and erases easily. When working on the final illustration board, he does so on a large drawing board when in his basement studio, and a lapboard when sitting on his living room couch. After tracing the thumbnails, he will then clarify details with
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begins drawing thumbnail layouts from the script he is given, either at home or in a public place. The thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will then enlarge the thumbnails and trace them onto
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that he had not used traditional materials like Bristol board, pens or brushes in years. After sketching layouts, which he says are "pretty tight", and include the full script, he scans them into an 18-inch tablet/monitor to use them as a guide for lettering them in
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was a noted penciler whose breakdowns included all the structural essentials that enabled inkers to complete the art. Other pencillers prefer to create detailed pages, where every nuance that they expect to see in the inked art is indicated. This is known as
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industry, the penciller is the first step in rendering the story in visual form, and may require several steps of feedback with the writer. These artists are concerned with layout (positions and vantages on scenes) to showcase steps in the plot.
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uses 300 series two-ply Strathmore Bristol board. He does not use non-photo blue pencils or any other equipment purchased at specialty stores for preliminary sketching, but uses .9 mm mechanical pencils that he purchases from
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When Hitch transfers the drawing to the final art board, he does initial layouts with a 2H pencil, which he feels provides the necessary accuracy and detail, and uses an erasable blue pencil to mark panel frames and
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approach, in which the penciller does not take much care to reduce the vagaries of the pencil art, leaving it to the inker to interpret the penciller's intent. In those cases, the penciller is usually credited with
1290: 740:, which he says can produce a variety of marks, and be used for detail, shading and general sketching. Hitch believes the best results combine both the mechanical and the knife-sharpened traditional pencil. 1121:, produce complete, elaborate, and lengthy outlines of each page. Others send the artist only a plot outline consisting of no more than a short overview of key scenes with little or no dialogue. 679:, because he feels regular pencils get worn down to the nub too quickly. As he explained during a sketch demonstration at a comic book convention, during this process he uses a Sanford Turquoise 1026:, he arranges the angles and other aspects of the scene before rendering them, such as placement of background objects or modifying gestures, while the computer corrects elements such as 2005: 1004:. These allow him to take three-dimensional models and break them down into simplified two-tone line forms. He purchases the models from catalogues, or uses ones that he built for 699:, and to erase large areas, he uses a larger, hand-held white eraser, the Staedtler Mars plastic, which he calls a "thermonuclear eraser", because it "takes care of everything". 548:
worked out of a ten-foot-wide basement studio dubbed "The Dungeon" by his family. When starting with a clean piece of Bristol board, he would first draw his panel lines with a
527:, preserving the original pencils. The artwork is later photographically reduced in size during the printing process. With the advent of digital illustration programs such as 481:. Beyond this basic description, however, different artists choose to use a wide variety of different tools. While many artists use traditional wood pencils, others prefer 1903: 905:
uses 14 x 17 Strathmore Bristol board, which he cuts into 11 x 17 pieces on which to draw. He draws using a 2H pencil, and after inking his pencils with a
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paper because he feels that the surface of marker paper tends to get smudgy or oily. When importing art to modify in his computer, he uses
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out at full size, and use a light box to pencil it, sometimes altering elements in the design such as lighting or other details.
1911: 1873: 683:, a soft lead, though when working at home in Atlanta, where the humid weather tends to dampen the paper, he sometimes uses a 1064:. After completing the lettering, he exports the files to Photoshop, where he fully renders the art at a resolution of 1,200 970:. He describes his pencils as "just awful", and inks them himself, as he cannot envision giving them to someone else to ink. 1329: 675:
surface rather than smooth paper, preferring smoother paper only for brush inking. He does preliminary undersketches with a
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mechanical pencil, completing two or three penciled pages a day, sometimes even inking all three by the end of the day.
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to the proper original comic art size, which is 10 inches x 15 inches. She then uses "very tight pencils" to
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begins with sketches much smaller than the actual size at which he will render the final drawing. He employs a Cintiq
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or drafting leads. Pencillers may use any lead hardness they wish, although many artists use a harder lead (like a
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with other artists, who provide inks, colors and lettering in the book, under the supervision of an editor.
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specificity. The penciling stage is the fastest stage for Takara, who does all of his pencil work with an
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usually works directly over the penciller's pencil marks, though occasionally pages are inked on
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Artist who works in the creation of comic books, graphic novels, and similar visual art forms
1419:. The Official Unofficial Travis Charest Gallery. December 1, 2000; Accessed August 30, 2010 493:) for finishing phases of the drawing. Still other artists do their initial layouts using a 1300:. Word Balloon Comic Books Podcast. Retrieved January 3, 2014. Interview begins at 1:19:55. 1228: 327: 1432:
The Official Unofficial Travis Charest Gallery. December 1, 2000. Accessed August 30, 2010
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The Official Unofficial Travis Charest Gallery. December 1, 2000. Accessed August 30, 2010
946: 597: 8: 2006:"True Tales Of Appreciation And Condemnation Of INKERS Behind The Lines Of Marvel Comics" 1844:"Making Comics: How writers can foster stronger and healthier relationships with artists" 1291:"Word Balloon Podcast Greg Pak, Cincy Comicon Panels with Art Adams and Ethan Van Sciver" 628:. He often sharpens the eraser to a cornered edge in order to render fine detailed work. 465: 203: 171: 66: 1330:"Reinventing the pencil: 21 artists who changed mainstream comics (for better or worse)" 489:) to make light lines for initial sketches, then turn to a slightly softer lead (like a 1309: 1210: 967: 565: 531:, more and more artwork is produced digitally, either in part or entirely (see below). 773:
he used to draw on flat, but angled it due to back pain that he began having in 2006.
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scanned and printed on 11 in × 17 in (280 mm × 430 mm)
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before rendering greater detail. For more detailed erasures, he uses a pencil-shaped
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Most US comic book pages are drawn oversized on large sheets of paper, usually
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was known to prefer this latter form, and thus it came to be known as the
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entirely on a computer. He prefers uses mostly Macintoshes, but also uses
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produces his artwork on Strathmore 300 Series Bristol Pad, which has a
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on copy paper, before transferring it with brushed ink via a lightbox.
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Comic book scripts can take a variety of forms. Some writers, such as
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A comic book penciller usually works closely with the comic book's
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Another artist who does her work almost entirely digitally is
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another light-blue pencil, and finalize the details with a
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On the Biography & Bibliography page of his website,
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Another artist who listens to music while working is
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uses mainly 2H lead to avoid smearing, and sometimes
1465:"Adam Hughes - Anatomy of a sketch, Pt3 - The Tools" 1777:"Chris Samnee: The Devil is in the Details, Part 1" 1765:"Chris Samnee: The Devil is in the Details, Part 2" 1483:. YouTube. May 15, 2006. Accessed September 8, 2010 1481:"Adam Hughes - Anatomy of a sketch, Pt1 - The Idea" 1467:. YouTube. May 15, 2006; Accessed September 8, 2010 1636: 1523:, Comic Book Resources, accessed January 10, 2011. 949:. For erasure, he uses both a Vanish eraser and a 1841: 1625: 1623: 1132:Sometimes a writer or another artist (such as an 2032: 1996: 1994: 768:In contrast to Hitch's work environment, artist 707:Artist and former Marvel Comics editor-in-chief 655:Star Trek: The Next Generation: Embrace the Wolf 2000: 1790:"Austen in the Machine: Chuck Austen Interview" 1475: 1473: 1459: 1457: 1455: 909:, he edits his line work on a graphics tablet. 1898: 1620: 1353: 1991: 1952: 1782: 1533: 1531: 1529: 1376: 500:because that color tends to disappear during 422: 1581:"Erik Larsen - Biography & Bibliography" 1470: 1452: 1435: 1270: 941:surface. To pencil his artwork, Cho uses a 814:While reading each page of a script, artist 748:leaning on the edge of his desk. He uses an 449:) is an artist who works on the creation of 1674: 1560: 1495:. Just Say AH! Retrieved November 11, 2011. 1486: 1868: 1767:. Toucan: The Official Blog. June 7, 2013. 1730: 1633:, 2010, Rockport Publishers, pp, 34 and 35 1526: 1449:. May 15, 2006. Accessed September 8, 2010 1276:George Khoury and Eric Nolen-Weathington. 1234: 429: 415: 1393: 1603: 1049:also does his work almost entirely on a 671:as he prefers penciling on the rougher, 515:comics industry is 11 by 17 inches. The 1687: 1430:FAQ: "Do I use any type of references?" 1278:Modern Masters Volume Six: Arthur Adams 581:. He drew the first three chapters of " 14: 2033: 1812: 1770: 1136:) will include basic layouts, called " 472: 1746:from the original on January 10, 2023 1555:"Studio Tours: Artist Simone Bianchi" 1511:. Comic Book Resources. June 12, 2009 1322: 1289:Siuntres, John (September 11, 2013). 1253: 1101: 535:Notable creators and their techniques 1570:. Image Comics. October 2012. p. 27. 1566:"The Third Degree: Marc Silvestri". 1542:Bryan Hitch's Ultimate Comics Studio 1110:, who commissions a script from the 603: 1694:Interview with the Luna Brothers at 1682:Empire State: A Love Story (Or not) 1553:Weiland, Jonah (January 10, 2007). 887:Empire State: A Love Story (Or Not) 24: 1876:. M<arkWaid.com. Archived from 1874:"THE JOB OF THE COMIC BOOK EDITOR" 1788:Giles, Keith (September 6, 2011). 1629:Salavetz, Judith; Drate, Spencer. 1594:.com. Retrieved February 20, 2011. 1225:"Comic Book Legends Revealed #190" 1223:Cronin, Brian (January 15, 2009). 1018:. After importing the models into 789:while working, in contrast to the 666:The penciling process that artist 25: 2062: 1960:. Artists Network. Archived from 1240:Kirby, Neal. "Growing Up Kirby". 776: 763: 760:to modify his artwork digitally. 631: 1684:Abrams Comicarts; New York: 2011 1079: 1041: 912: 896: 885:penciled his 2011 graphic novel 809: 544:From 1949 until his retirement, 398: 43: 1988:#52 (Marvel Comics, June 1979). 1976: 1946: 1926: 1892: 1862: 1842:O'Keefe, Matt (July 25, 2019). 1835: 1795: 1758: 1724: 1714:The Incredibles: Family Matters 1706: 1655: 1597: 1573: 1547: 1514: 1498: 1422: 1409: 1404:FAQ: "What materials do I use?" 1370: 1114:and sends it to the penciller. 973: 956: 555: 1347: 1303: 1283: 1280:, 2006, TwoMorrows Publishing. 1217: 1195: 998:, and when using a PC, usings 876: 796: 793:he listens to at other times. 785:, who says that he listens to 719: 702: 661: 13: 1: 1826:). "Fiona's Process" 1717:trade paperback. (July 2009) 1189: 945:mechanical pencil with 0.7mm 539: 163:Comics by country and culture 1822:), Staples, Fiona ( 1779:. Toucan Blog. May 31, 2013. 1606:"Frequently Asked Questions" 992:. When using a Mac, he uses 929: 7: 1172: 10: 2067: 1846:. The Beat. Archived from 1379:"Drawing Supplies Erasers" 834: 648:as layouts, thumbnails or 588: 1807:William Morrow Paperbacks 1521:"Cup O' Doodles" Archives 1417:FAQ: "Working techniques" 1261:"The Art of Arthur Adams" 806:a harder pencil would." 615:, and Sanford Turquoise 523:paper, such as drafting 2046:Visual arts occupations 1801:McCloud, Scott (2006), 1792:. Comic Book Resources. 1557:. Comic Book Resources. 611:does his pencil with a 1267:#17, November 15, 2001 787:down-tempo chill music 1982:"Bullpen Bulletins", 1937:Kirby: King of Comics 1872:(February 12, 2009). 1818:Staples, Fiona ( 744:piece of roughly cut 600:for his pencil work. 570:non-photo blue pencil 477:A penciller works in 1964:on December 22, 2021 1734:(January 10, 2023). 1646:Creator-Owned Heroes 1544:, Impact Books, 2010 1354:Campbell, J. Scott. 1229:Comic Book Resources 572:, sometimes using a 328:South African comics 1377:Campbell, J. 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Studios 1716: 1715: 1709: 1702: 1698: 1695: 1690: 1683: 1677: 1670: 1666: 1663: 1658: 1651: 1647: 1642: 1640: 1632: 1626: 1624: 1607: 1600: 1593: 1592:Savage Dragon 1589: 1585: 1582: 1576: 1569: 1563: 1556: 1550: 1543: 1539: 1534: 1532: 1530: 1522: 1517: 1510: 1506: 1501: 1494: 1489: 1482: 1476: 1474: 1466: 1460: 1458: 1456: 1448: 1444: 1438: 1431: 1425: 1418: 1412: 1405: 1401: 1396: 1380: 1373: 1357: 1350: 1335: 1334:The A.V. 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He prefers 864: 860: 855: 851: 847: 842: 832: 830: 829:Bristol board 826: 822: 817: 816:Amanda Conner 810:Amanda Conner 807: 804: 794: 792: 788: 784: 774: 771: 761: 759: 755: 751: 747: 741: 739: 735: 729: 726: 717: 714: 710: 700: 698: 694: 690: 686: 682: 678: 674: 669: 659: 657: 656: 651: 646: 642: 638: 629: 627: 622: 618: 614: 610: 601: 599: 595: 586: 584: 580: 575: 571: 567: 562: 553: 551: 547: 532: 530: 526: 522: 518: 514: 510: 509:Bristol board 505: 503: 499: 496: 492: 488: 484: 480: 470: 467: 462: 460: 459:collaboration 456: 452: 448: 444: 432: 427: 425: 420: 418: 413: 412: 410: 409: 406: 401: 396: 395: 390: 387: 385: 382: 380: 377: 375: 372: 370: 367: 365: 362: 361: 360: 359: 355: 354: 349: 346: 344: 341: 339: 336: 334: 331: 329: 326: 324: 321: 319: 316: 314: 313:Polish comics 311: 309: 306: 304: 301: 299: 296: 294: 291: 287: 282: 279: 277: 274: 272: 269: 267: 264: 262: 261:Indian comics 259: 257: 254: 252: 251:German comics 249: 247: 244: 242: 239: 237: 234: 232: 229: 227: 224: 220: 215: 212: 210: 207: 205: 202: 198: 194: 190: 185: 184: 180: 178: 175: 173: 170: 169: 168: 167: 164: 161: 160: 155: 152: 150: 147: 145: 142: 140: 139:Graphic novel 137: 135: 132: 130: 127: 125: 124:Digital comic 122: 120: 117: 115: 112: 111: 110: 109: 106:Media formats 105: 104: 99: 96: 94: 91: 90: 89: 88: 84: 83: 78: 75: 73: 70: 68: 65: 64: 63: 62: 59: 56: 55: 51: 46: 42: 41: 38: 35: 34: 19: 2020:December 22, 2018:. Retrieved 2014:the original 1983: 1978: 1968:December 22, 1966:. Retrieved 1962:the original 1948: 1936: 1928: 1918:December 22, 1916:. Retrieved 1912:the original 1894: 1884:December 22, 1882:. Retrieved 1878:the original 1864: 1854:December 22, 1852:. Retrieved 1848:the original 1837: 1827: 1814: 1809:. pp 196-197 1802: 1797: 1784: 1772: 1760: 1748:. Retrieved 1726: 1712: 1708: 1689: 1681: 1676: 1657: 1650:Image Comics 1645: 1630: 1610:. Retrieved 1599: 1575: 1567: 1562: 1549: 1541: 1538:Hitch, Bryan 1516: 1505:Quesada, Joe 1500: 1488: 1437: 1424: 1411: 1395: 1385:February 13, 1383:. Retrieved 1381:. DeviantArt 1372: 1362:February 13, 1360:. Retrieved 1358:. DeviantArt 1349: 1338:. 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