The Comicbook Cover!

Without which you cannot tell a book by!

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As you can imagine, the cover is probably the single most important page in any comicbook. If it catches your eye and intrigues you, there's a chance you may buy the magazine. If it doesn't cause you to pick it up, it means one lost sale.

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Consequently, more thought and more work go into the cover than any other page. Usually the editor will create an idea for a cover with the artist who is about to do the illustration. Then, if time allows, the artist may do a number of simple layouts which he'll discuss with the editor until one final version is agreed upon. On the facing page we show what we mean ...

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Since we thought you'd be curious about the comments and criticisms of these layouts, here's a sample for you to mull over:

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  1. The figures of Nova and Spider-Man are too small. They don't have enough punch.
  2. Not bad, but Nova is the star of the magazine and the editor didn't like to have nothing showing but Nova's back.
  3. Too much wasted space on right side of cover. Also, even though Spider-Man is just a guest star in this issue, we'd like to see more of him.
  4. This is the one that was selected. We get a good view of both Nova and Spidey, and they're much larger than in layout 1. Also, the perspective is more interesting because the reader's eye level is up high with the two heroes.

One point to remember—these are all matters of opinion. Actually, cover sketch 2 is really quite interesting, even if we don't see more of Nova, and 3 has a lot of impact because the figures are even larger than in 4. Unlike mathematics, no opinion is ever 100% correct. We just try to show you how we feel about these things, to help you formulate your own decisions and opinions.

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Because of the importance of the cover, and because it serves as a full-color advertisement for the magazine itself, all the elements of the illustration must be very carefully put together. Here are some of the things which the artist must always remember:

  • Always leave enough room at the top of the illustration for the logo (title of the magazine).
  • Nothing important must be drawn at the outside edge of the bottom or the right side of the cover, because some of that paper is trimmed off at the printing plant. This area, approximately a half inch in width, is referred to as the "bleed."
  • There must be a number of "dead areas" on the cover—areas which, although exciting-looking to the reader, are unimportant enough to be covered over by dialogue balloons, captions, and/or blurbs if the editor so desires.
  • Since the color on a cover is vitally important, the artist mustn't use too many heavy black areas in his illustration. The expression employed in the Bullpen is: "Leave the drawing open for color."
  • The drawing must be provocative enough to make the reader want to get the magazine and read the story, but it mustn't give the ending away, or tip the reader off to any surprises.

Well, that's enough for you to cope with at present. Now, once again, let's trace the progress of our drawing from the initial rough stage to the completed pencil version. The final inked cover can be seen, of course, on page 136, where it was used to introduce this unforgettable chapter.

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