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THE COMIC BOOK GUIDE
For Artllt/writer ILetterer
EDITOR ASSOCIATE EDITOR WRllER/ ART DIRECTOR LEITERING ILLUSTRATIONS CONTRIBUTING AR1ISTS GEORGE WILDMAN JOE GILL NICOLA CUTI FRANK BRAVO WAYNE HOWARD

TOM SUTTON JOE STATON
STEVE DITKO

CONTENTS
4/INTRODUCTION
ART 22/B. 22/C. 22/0. 25/E. 25/F. .25/G. YOU BEGIN TO LEITER LEITER STYLES BALLOONS PANELS LETTERINGBOOKS SWIPES

5/A. TERMINOLOGY 6/B. SIZE OF ART 9/C. TOOLS 11/0.' DRAWING FROM THE COMIC GROUPS SCRIPT 26/A. HUMOR 12/E. PANEL ART 26/8. ADVENTURE 12/F. ANATOMY 17/G. REDUCTION AND REp· . 27/(. ROMANCE RODUCTION 28/THE COVER

WRITING
18/ A. 18/B. 20/C. 21/0. 21/E. SCRIPT STORY UNE CODE GRAMMAR SYNOPSIS

COMICS CODE
30/ A. GENERAL STANDARDS 31/B. GENERAL STANDARDS 32/C. GENERAL STANDARDS 32/DIALOGUE 33/RfLlGION 33/COSTUME 33/ MARRIAGE AND SEX

LETTERING
221 A. EQUIPMENT

34/SOME CLOSING ADVICE 34/CONCLUSION

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Youmay want fobe a comic artist but if there's an opening for a letter..ing young talent anxious to present your work to the world . BEGIN! .ror walk into hisoHke hesays.h. however. $0 most of you know what "inks" are but we're going to dart from scratch anyway and read who.:"Beautiful. stuff but it's .... booH The secret af $UCcCess isto first get your foot into the door..ick walts.INTRODUCTION This is not 0 "how to draw or write"instruction course .r ./.The author as· sumes that you afe already a budd.not comics.." What is "comics"? What do you mean: "The 'inks'are sloppy?" What do you mean: "Nice synopsis but we need a script?" Okay. every time you send your portfolio to an edito. take itllt'smuch easier to get work when you're inside the industry than to breal down thebr.. .

3.s of the company.TERMINOLOGY When an editor criticizes your work he's going to use comic jargon. 8. 1.ter. (The amount of room will be explained later. It is usually a large single panel.) 7. Here are some common comic book terms. AI~. It is of intere. wrinkles and shine marks which give lif. OPEN PANEL: A panel which lacks borders. The most com~on balloon iscloud or oval shaped but other sh9pes will be discussed la. Pt:NCILS: The pencil drawings of a story one step before the ink is ap' plied. 12. LOGO: A title design which is repeated from book to book and/or story. '1. PANEL BOID. I 5 .st to the artist because it contains the name of the Editor ond the addres. BALLOONS: Oval shaped areas which contain the dialog. 5. 14. loaded with action or heavy on mood which will grab the reader and 'TIake him want to read the story. 4. A stem points to the character who speaks. 10. and dimension to art work. 6. BLACKS: Areas filled with solid black ink which help to give mood. contfost or dimension to the artwork in the panel.ART A . RENDERING: Details such as shadows. They ore usually accomplished in brush and/or pen. INDICIA: A legal statement located just below t~e splash on the first story In the book. CAPTION: A narrative statement usually located at the top of the panel. 9. SPLASH PAGE: The first page of a story. RASH BACK: Panels which refer to a past action. GREYS: Same as blacks only grey in tone. If you don't want to appear to be the runny nosed kid that you are you should know what he's talking about.I: The lines which surround the panel. 13. 2. INKS: The ink drawings which are applied over the pencil sketches. PANEL: A single framed picture on a page of comics. Their borders are clouds rather than ruled lines. an artist may be asked to leave room on his splash for the indicia.

. COVER BOARD: A large sheet 01 drawing stock on whi'chthe cover of a comic is drawn or pasted in. PA.4THERING: A series of brush strokes used to express soft shadows. FE.SfZE OF ART 1. The following chart will tell you how much room to leave. 18.re spac:e for larger sizes and len forsma'II'er seales. or highlights in the hair.dard -size is 10" x IS" but any size that is r. 2.. it hal to fit through the door. SPLASH PAGE: If your story is the lead story (first SIOry)lhen you will hav·e to leave room 01 the bottom for the indicia. 16. SWIPES: Drawings or photos which an artist uses as a reference for his own drawings.dueeable to a comic page ilze 6" l( 9" is ulually acceptabl .•. Use advisedly . it is notl You will be unable to addmuchdetaili and yoor lines will seem crude and bold . SILVER PRINTS: A Photo of the art reduced to actual comic book size. They are usually found on. Allow mo. Strive to develop your creative talent or swipes will become an all too available '"utch'. Feafheringmay also be used' around bright flashes of light.. 18" allow2Ye" 11'" x 16~" allow 1 15/16" *10" x 15" allow 1~" 9'h" K141h'( allow 1 11/16" 9" x 13'h" allow 1 9/16" "most oomm. These photos are not glossy but printed on special paper so that a colorist may use his dyes to indica"e the (Olor.GE SIZE: AU art must be reduced to the size of a comic book page.only used size 3.The stDn. B. 1'¥' x. Don't get carried away. 17.15. 6 . rounded objects to soften the edges of heavy slmd'ows 0.1' to expreA wrinkles. BORDER S'PACING: A 14" border should surround the panehifyou are working ata~ 10" x 15"$ize. Although it may seem that the easiest way to work is actual size .

SPLASH PAGE 7 .

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TRIANGLES.for cutting out mistakes. preferably on drafting table.2 is preferred. 2. Templates may 0150 be used if you own a ropidograph pen. but never draw by lying the board flat on a kitchen table.. DRAFTINGTABLE:Wooden ones are best but if you can't afford one at least get a drawing board. AN HBor No. PENS: Rapidograph.C . WHITE: Buy a bottle of snopake or white tempro paint to correct inking errors. Wooden ones tend to loosen after use. if you can afford it. If you want to use sketch paper then hang your artwork on the walls . don't send them to comics. S. Hard leads leave lighter lines but dig up the paper. 11. Higgins. 14. Koh-l-noor. CUTTING KNIFE . RUBBERCEMENT . 13. PAPER: Strathmore or bristol board is best. COMPASS: Buy a drafting compass whic. The drawing will be distorted. Use kidd or plate finish whichever you prefer. Soft leads smear but they're easier to erase.. 12. 16. 15. Buy sok erasers. 5.30-60-90andlor 45. the better the ink. 10. art g'um. 7.TOOLS 1. 3. DRAWING BOARD: Set it on an angle.for pasting in art or lettering corrections. 6.2 or 3 is a good size. kneaded.h has an interchangeable point for pencil or ink. ERASERS: You're going to need lots of erasers even if you never make a mistake. Use only black india ink. but any good lettering pen will do. BRUSHES: You can get by with a cheap pen but invest in a good brush even if it means three or more bucks. 4. 9 . tran. If you can afford an electric eraser buy one ALSO but not instead of white. Wet the bristles and see if it will come to a point. and Pelican ore the brands most comic artists use.spa rent. Windsor-Newton series 7 or Grumbacher are fine for comic work. 9. Try speedball and some flexible points. TEE-SQUARE: Metal are the best. Number . If you've bought a bad brush just use it to fill in the blacks. Use the plastic ones for scratching your head. drafting film eraser. RULER:Metal or wooden with metal edge only. X-octo is good. INK: The more you pay. PENCILS: Any kind will do. PUSH PtNS: Not thumb tacks.

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. SCRIPT: Read it thoroughly. get out your swipes to stimulate the creative juices! 2.. 6. Feather your shadows and wrinkles. Erase your pencils or get your kid brother to do it for a dime a page. LETTERING: Turn your work over to a leHerer. There are also dye markers which come in all shades of grey. 4.DRAWING FROM THE SCRIPT 1. Before you use this method. put in your greys and paHerns. trees. This helps to avoid overlooking or forgeHing a balloon later onl You may also prefer to sketch the action. II . LAY OUTS: Layouts are done on the stock you will use for your finished art. Ughtly pencil in the ponel for composition and action. go aheod. Outline first then spot your blacks. Also. Some artists prefer to have the leHering done first and then pencil around the balloons.eavy up the lines in your foreground ond on the lower side of objects.Some artists will prefer to do the break downs on the drawing paper.nd use this os a guide . Be sure to keep a fat swipe file on people. Write a few words in each panel to denote action or dialogue. buildings. 3. Use swipes as a GUIDE. white and grey. Here are some methods: a. Think about what your characters will look like or if you're stuck. INKS: Ink in your pencils. 5. Be sure to leave room for balloons and captions. etc.D . check with your editor since this is rorely used in color comiq. It you rely too heavily on them it will show because some panels will be heavy on detail (the ones you swiped) while others will lack detail which willdestrCSy the balance of your art. You may wont to change some of your lay~uts it you find a good swipe. SWIPES: If you haven't goHen your photos and drawings out ofter reading the script get them out now. BREAK DOWNS: Set up the panels on bond paper (Ex: 8'hn x ·11" typewriter stock) so you will know where to put the large and smoll ponels. if that's you. . letter now. GREYS: For color comics do not use too much black or grey but for comics that will be printed in black and white use a good balance of black. The effect you get is impressive but difficult to reproduce . cars. t. the story telling will be disrupted if the characters in the swipe are posed differently then the characters in the story.7. WASH: A mixture of india ink and water. If you're good enough. Try to picture what's going on. Do this for every page a.

tity.twillnot look ccsuel and bee.notomy. design and dot but dot is most commonly used. Mos1 artists just do certain ponels in craft tint and poste them on to a page of regula" artwork. If the lines are s.p: Close-ups of a face or parts of CI fa.. E. This can become a cop-out. C·raft Tint:Pape. BEN DAY: Plastic sheets of printed patterns with... The patterns become visible when a chemical! is applied .t~e correct proportions. PaHerruare printed in line. 2. d. check with your editor to be sure.each other. i. Middle ground.mor of coune . c. e.propera. Those who draw hu.Iineswhich cross.oming from the same direction paranel to each other. Use your thin nest lines for the background.PANEL ART 1'. should 1'101 be overused.tched patterns printed on them. . Objects in the foreground are derkestexceprln heavy forest. No figures are needed but you may want to draw tiny ones. a~ CI'Df. Panorama: Outside of building.g.hot: One or twochairacte~· fill up. d.5 line. Balloon stems poim in general area of characters.r sheets with invisible cross ha. and Background.30% and 30 t9 42. CROSS HATCHING: A ser. F. b. Bu.nels interes1in.rely use . the panel. For reproduction it is safest to use 10% .atic but .m. career that comic boo'k artists do notu.ceare dra..This is the easiest and most impressive method to use but Ukeall good things it is the most expensive.b. If wal look sloppy.a sticky bock. No back.eground. then outline and blacken in. plane.t . In forests the background objects are dark.. Ughting : Divide your panel into three levels: For. etc.se . forest..ground needed. Silhouette: Sketch in objects in pencil as detailed as you can. tv(o or one and a half headstall but·even those who draw realilfic adventure comics 12 CONrlNVED ON A48817 . 00 the lines free hand but try to keep llnes c. Again. Gimmicks: When there are long stretches with lots of di(dogue end litIleaction use these gimmicks to keep your pe.ra. so do not outline without sketching them in first. ANATOMY Most Amateu~ realize early in their drawing. Details give the silhoueHe life.iesof . era ft tint comes in single and double tone.caHered. Often their ch~ractel1 are three.

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The biggest mistake a budding young artist can make is to cre. sure lines. and if your black and grey areas are too heavy then reduction will be disastrous to your work~ Remember that you are working to create a piece of art that will reproduce well. If your work is too detailed. Bold. G.ate his own proportions before he knows the correct proportions coldl Though it may seem boring and restrictive study your onatomy! Your composition and rendering may be superb but one badly drawn hand will give you a flat rejection from any editor. if your lines are too thin or too numerous. This is not true! Anatomy is exaggerated by eomic book artists but it is not ignored. 17 .seem to throw Grey's anatomy and DoVinci's treatises on anatomy out the window. REDUCTION AND REPRODUCTION Always keep in mind that your work is going to be reduced to comic book size (6/1 )( 9"). . Keep your work clear. good composition and proper spotting of your blocks will help.

. passage of time. usually those who deal almost .. Body: a. Number.. InIhe animaledform Ihe script issketched out by the writer asit win appea'f in the eemks with the panel break downs.Panel: Idenlify each panel .ew page.Describe what is . b.. Ac. STORY UNE I. the number of pages. clothing. the panels .orner of each page in numerical form. setting or to describe an action which took place betwee_n. the title of the book in which the story will appear <ifknown). and your address and phone.WRlTING A.8e brief and let the artist use his imagination. Story Page: Top center of each page of your story in written Ierm.going on in the panel.ry a word or two on the tone of the character's speech. For example·· John (angrily): How could you do this to me! e .. your name below the title. time. c.tten or animated. Movement: 18 00 not bog the actIon down by writi. Caption: Every ponel does not have to have a capt. Dialogue: Note who is talking and if necessa.enfirely with children's humor lille5. c. etc but do.tion.. Horror is hea. 2. 3.by number and start again from "ONE" when you begin a n. 8.: o.There are a few cnmpanies.scripls and that is the form which will be discussed. Script Page: Upper right hand c. b. Use capfions to set a meed. SCRIPT A comic book scripl may be submitted in two forms: typewri.ng page after page of . Include props. Tille Page: Note the title of your story. im· portant details of setting.vy on captions while humor is light to none. 1.ion and how often to use them is up to the . dialogue balloons andstiick figures ac:fingoul the movement .styleof the story .n'tget carried away .. whlch will only accept scripts in animated form but most companiesiinsist on typewritten .

Is anybody h-here? He's seen thru doorframe. Has lamp now.l Edmund seen . Edmund is spooked.is better! It's musty in here .THE SCRIPT 9 PA. eyes EDMUND:· ... musty as the grave! Edmund paused in doorway. He holds match. Th-this .. narrow panel.. AcrION: EDMUND: 4. ACfION: EDMUND: S. Or use whatever ligbt~ ing you like but make it eerie. CAPTION: ACTION: Edmund Higgs tim. years later ..re I left him.9 EDMUND. Hand balding gun is on desk.. you old fool! Remember when you said you'd kill me if I touched-a penny of your money? Remember when you said you'd have the last laugb? 1. 2.. ACfION: Th-the old man is right whe. approaching desk. listens.cd it so he arrived in the night .GE SEVEN 1. Edmund's attitude suggests fear. Y-youcan~t harm me now.stly laugh! Open door. Iimagine Istill bear tbatgha. My nerves are playing tricks on mel Even now . wide. small... Edmund has shake lines. AcrION: EDMUND: 3. afraid.. Hee hee bee hee bee bee laughter is light. . Back of chair. lamp. He approaches house.

C. lead into a time change by using such dialogue as: "I'I~ see you tomorrow at the dance. Do not make the action jumpy. Flow: Days.two characters making long speeches to one another..ng in unnecessary characters. Soturate your mind with story plots by reading as much as you can. change your settings whenever pos. CODE Unless you are writing for the blac. All these statistics are only guides and will change accordi ng to the needs of the story. Take incidents that have occurred to you or friends and exaggerate them. Comics is a visual medium. .k and white. watthing as many movies os money will allow and as much drama on television as you can stand.omicsyou will have to have stories approved by the comics code authority. The average page has from five to seven panels on it.comic magazines or for the underground c. Ideas: Ideas for stories come from everywhere. 5. dialogue or events. 20 . 2.sible and use dose ups from time to time so that the page will not be heavy with detail. Everything must have a direct bearing on the outcome of the plot. Mony great stories were based on scientific. 4. Ideas also come from newspqpers and often from text books.be at the dance but when the dance does occur at least the reader is expecting it and it won't suddenly happen without waming. A copy of the code is included. weeks. There are usually two balloons in a panel with a maximum of thirty words per balloon.icsto show off your pr:ose style. 3. A ride on the subway may take you into the land of the mole people or a rot hole may be the dwelling of a. Conci . even years must pass in the short span of six to eight pages. If you think your story through before typing it out then you won't write yourself into a corner and have to pull in a new character or have a weapon appear out of nowhere in order to save your hero. Another source of stories is life itself. Mechanics: How many panels on a page? How many words in a balloon? It will vary according to the category and script action. Do not bri. : You have a very limited space to tell a story. You are not writing com. Pick out one main panel per page and have all the other panels leading tqward Or away from it. Give the ertist interesting settings. tiny man. Nothing hurts a writer's ego more than to have an artist or editor change his script. Eventually you will learn all of the repeated plots so you can avoid them or at least give them a new twist. Read it before you write." The next panel may not. Put yourself in the artist's shoes and c"anges will not be neeessary. philosophic and even mathematical ideas.

.t.it is wise to send a short .D. the busy editor may not bother to read your script.an'tspell oruse proper grammar you may find your assignments tut no matter how brilliant your ideas are. GRAMMAR Editors and proofreaders ore often fighting to keep a deadline. E.ifyou c. SYNOPSIS Along with yourstript .out'lineof a' few sentences for theedj:tar 10 read fir:s.If you don't. Mistakes slow things down so . 21 .

•. Some leHerers prefer to underline emphasized words. 8-6 is I. 3. Speedball good. Stem points to speaker. •. 6. Rule lines for the leHen with your tee square and leHering guide. TOOLS: 1. BALLOONS: The shapes Clfballoons depict the mood or source of the dialogue. 3. This may also be used for any electronic volce such as robot. Leave larger spaces between leHers you are going to heavy up for emphasis. Dialogue: Cloud or ova1. 1. 5. Wavy: Ghostly voice Open. Italic: Used in captions or to show tension. computer. Ink: Any good grade of Indio Ink. 3. 2. Tee Square . LeHenng pens. LITTER STYLES: 1. 2. 5. YOU BEGIN TO LETTER: 1. points to the character. Telephone: Jagged border. Standard: Used for dialogue and / or captions. Pencil and Erasen. Bold: Emphasis on key words or names . loud speaker. D. instead of a stem. 2. LeHenng Guide: Aimes is best. 22 . TIny.LETTERING A. Sound effect or scream. etc. Cross these guide lines with vertical lines for standard leHering and slanted lines for italic. Thought: Ooud with more curves than dialogue cloud and bubbles. 2. Speedball puts out a good line. C. Whispering.

7'0 STANDARD FOR VERTICAL GUIDELINES USE RICS+iT ANGLE O~ GUIDE 0f0: A TRIANGLE. ITALIC FOR: SLANTED GUIDEL.BOVE (2) AND BEL.MARY!HI.OW (4) LIN/FORM @KEEPA SPACE BETWEEN LETTERS ANO WORDS. ~ AMES TIONS .FRED! ?!" ".INES USE SSO SIDE OF GUIDE..ETTERING GUIDei.CTlCc FOR GOOD LETTERING: @ALWlll.elNARY SOX.. CGW!£S WITH I/lSTfilUC- ON HOW I. AS A. ~BDDB ® HAvE CONI=/QENCE HI.HERE ARE A I=EiW!-INn!! TO P'flA.JS£ IT. ®~ SHOWN TI-fATEVERY LETTER 16 IN AN IMA. A LOT: DON'T ~USH • PIMCTICe ABCDEFGHIJ"KLMNOPQRSTUVW)(YZ 123456T' 890 IN YOUR5EU:! DON'T GNE UP! 6000 LUCK! 23 .Y5 USE GUIDELINES..

... STANDARD WHISPER ~~- --.. - '...' " GHOST ELECTRONIC SCREA..M TITLE LOGOS 24 .----" " ..~ CQV\ES! HERE HE ..... .. .

25 . E. you will also need a swipe file.4. Logos are usually photostats which are pasted onto a"':""ork by a staff artist so you needn't worry about them unless you are asked. 5. The only panels which Ore inked free hand with a brush are flash bock panels. SWIPES: Likethe comic artist. PANELS: LeHerers are expected to ink in panel borders. leojn the basics and practice! G. Whisper: DoHed line border.Higgins and Ko·j·nor.fo design a logo. then send to these companies. Ghostly: Wavy line border. LETTERING BOOKS: There are several booklets on lettering put out by Speedball. If your local art or drafting supply store doesn't corry them. Whenever you see an interesting title design cut it out and save it for when you need to draw a logo or story title. F. Use a straight edge that is slightly raised from the poper so that the ink will not slip under your edge and smear.

HOffo..ke them powerful and/or crafty .wQ. 3 . We.. Dark night. rocket ship interiors. 6.The only necessary ingredients are muscular.machines and uniforms must eeeeeurete. Animol's:: Treat the animal art and story same as people but make use of the fad that your character isan animal. War: 'Details of war . Unework should be bold and sure and ught on the blacks..lete with a t. These books often fin. Story may 'ake place irl" odern setti ng but m keep the mood terrifying. last but not least.v. thunder· storms. Sclen. primitive..Props become very importont • fay ouns.rockets.actly the way it should be to ma. e.: Work out a colorful costume and a unique set of super powen..d thei. flying devices. 2 . your foliage and animals. vampires.ke an exciting story. Hislorical:Oo y'our research thoroughly. outer space. 2. mad scienti st5"afe an standard characters. Artwork should not have too much detail.ostcemicbeek sclenceflcfien is space opera. etc. ADVENTURE 1. Super Heroes.. castles. war·like.sword and Sorcery: Also (ailed Heroic Fantasy. Jungle: Study. set. 26 .e Fiction: M. Use lots of sight gags leading to a funny eenclusion. monsters. Story lines should be simple butdever.. B. Stories may be heroic or anti. crahy. the aliens· intelligent. 7. comp. Villains are tin important fealure.tem: Be 5u~e you can draw hones and six guns well. A.. (Suf do not overlook the other forms of sc.r:Heavy on blacks.HUMOR L People: Bigfoot stuff.sword wielding heroes . 4.icswith comments on the art styles and writing.i. lots of shadows. Next comes setting' alien worlds. 5.COMIC GROUPS IIncluded here are some of the basic groups of com.. Setting and mood ere important. then have him 'live in aggrbage can.r way into classrooms. Ma. or monsters.old houses. .r. space sui.ts. Here you create your own world ell. werewolves.Ifhe's an alley eet.fi). ghosts.

.political. ROMANCE The emphasis here is on pretty girls. colorful with good drahsmanship. handsome men and dothing styles. Boy meets girl and take it from there.. Settings may be ordinary or in foreign lands.. and magical or barbaric villains. C. philosophical and natural. Artwork should be fashion magazine style.. imaginatively grotesque monsters .beautiful heroines . Light. 27 . Aher that you manufacture the laws .

code seol and a cover blurb (e. . The standard cover slze js 121h")( 19". month. "read how :E·Man defeats Captain Cruel"). Also allow for trimming.der. A beginner is rarely assigned to do a cover since this is the art which sells the book to the casual reo.g. Working on cover boards will make your task easier but if you can't get you. All the rules 01 compositIon.e company sea I. when. However. the day comes that on editor is so cornpletely taken with your work that he asks you to accomplish a cover you had best know what to do. But be certain to mo'ke the art simple. Sometimes a cover board win be sent to you with mostof these items Clready glued on but often you will just have to judge how much area willbe needed.r hands on cover stock then . issue number. Ignore the cross hairs (registration marks) and vcndereook outside the cover boarder 'since these are for the engravers a nd a re no concern to the artist. 28 .THE COVER This section on covers is not induded with the chapter on art because coven are usually assigned to the best of the professionals. eye catching and intriguing enough to make the reader want to read the story. Do not allow any important objects to touch the edge. be certain to allow space for such items as the titI. penciling and inking that applied to Ihe panel also apply 10 the cover. Nothing will be cut off on the left hand side but some of the other three sides will be trimmed off by the cutter. Check the proportions by comparing sizes of the large cover with the reduced cover on the comic. identifying character (if any).

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5. If crime is depicted it shall be as a sordid and unpleasant activity. gory and gruesome crime shall be eliminated.. Scenes of brutal torture. 2.or to inspire others with a desi re to imitate criminals. General Standard. 8.CODE OF THE COMICS MAGAZINE ASSOCIATION OF AMERICA.be lawbre. unless an unhappy end results from their ill . INC. judges.ir crime. 3. If any of these is depicted committing an illegal act. In every instence good shall triumph over evil and the criminol punished for his misdeeds.Port A 1. with the exception of those crimes that are so far-fetched or pseudo -scientific that no would' . Criminals shall not be presented in glamorous circumstances. because of th. No comics shall explicitly present the unique detoils and methods of a crime. it must be dedared as an exceptional case and that the culprit pay the legal price. •. Scenes of excessive violence shall be prohibited. 9. 4.. a sordid . government officials and respected institutions shall not be presented in such a way as to create disrespect for established authority. No unique or unusual methods of concealing. 'Instances of law enforcement officers dying as a result of a criminal's activiti..xcept wh. physical agony. 7.n the guilty. . 6.aker could reasonably duplicate. liv.istence and are brought to justice because of the particular crime. Policemen. wespons shall be shown. gotten gains. and creates no desire for emulation. 30 . excessive and unnecessary knife and gun play. Crimes sholl never be presented in such a way as to promote distrust of the forces of low and justice . exgtpt where such concealment could not reasonably be duplicated..s should be discouraged.

shall be eliminated.producing narcotia or drugs shall not be shown or described ilthe prelentotion: (a) Tends in any manner to encourage. Scenes dealing with. 12. mmulate or justify the use of 31 .The word "crime" shall never appea r alone on a cover. Vampires. excessive bloodshed. Nocomic.csor Drug oddictionshc'lI not bepllesentedexcept habit. The letters of the word "crime" Oil a comics magaiine: cover shan never be appreciably greater in dim. Munro). 3. 4.. Dracula and other high calibre literary works written by Edgar Allen Poe. All lurid.ocase shall evil be presented alluringly nor so as to iniure thesenslbili.ties of the reader. These words may be used judiciously in the body of the magazine. Restraint in the use of the word "crime" in fj. H.ension Ihan the ather words contained in Ihetitle .ine shall use the word horror or terror in its title. sadism. gruesome·illustrations crimes. The criminal or the kidnapper must be punished in every case . 6.10. The crime of kidnapping.ever be portrayed in any detail.. Saki (H.dard •• porta 1. lust. masochism sholl not be permitted. General Stan. All scenes of horror. unsavory. ghouls and werewolves shell be permitted to be used when handled in the classic tradition such as Frank.magaz.enstein. nor shall any profit accrue to t'he abductor or kidnapper. or instruments esseeiated with walking dead" or torture shall not be used. 2. 5. shall n. Conan Doyle and other respected authors whose works are read in school5 throughout the wodd. 11. Inclusion of stories dealing with evil shall be used or shall be published only where Ihe intent is to illustrate amoral issue and in n.fleser $ubtitlesshaU be exercised. gory or gruesome depravity. 050 vicious Narcotics or Drug addiction or the iHicittraff:ic in addiction . Nareoti.

of the slory. General Standards . or (f) Involves children who are shown knowingly to use or traffic in narcotics or drugs. or (b) Stresses.Part C All elements ortechniques nat specifically mentioned herein. Although slang and colloquialisms are acceptable. shall be prohibited. by text or dialogue. visually. or ' (d) Shows or describes details of narcotics or drug procurement. obscenity. or (c) Suggests that the narcotics or drug habit may be quickly or easily broken. or words or symbols which have acquired undesirable meanings .are forbidden. excessive use should be discouraged and wherever posslble good grammar shall be employed. references to physicol af- 3. or the implements or devices used in taking narcotics or drugs. or (h) Emphasizes the taking of narcotics or drugs throughout. their temporarily attractive effects.judged and interpreted in terms of contemporary standards . 2. Profanity. smut. DtAlOGUE 1. or (g) Shows or implies a casual attitude towards the to king of no rcotics or drugs.vesthe denouement to the final panels. or (e) Emphosizes the profits of the narcotics or drug traffic. and are considered violations of good taste or decency. or in a major pari. vulgarity. and lea. Special precautions to avoid disparaging flictions or deformities shell be taken.such narcotics or drugs. 32 . or of the taking of nerecties or drugs in arry manner. but which are contrary to the spirit and intent of the Code.

Sedudion moy not be 5. Ridicule or attack on any religious or racial group is never permissible. REPRINTED BY PERMISSION OF COMICS CODE AUTHORITY 33 . Suggestive and salacious illustration is unacceptable. MARRIAGE AND SEX 1. Illicitsex relations are not to be portrayed and sexual abnormalities ore unacceptable . Sex perversion or any inference to same is . 2.tridly forbidden. Rope sholl never be shown or suggested. Females shall be drawn realistically without undue emphasis on any physical quality.RELIGION 1. All situations dealing with the family unit should have as their ultimate goal the protection of the children and family life. 4. COSTUME 1. In no way shall the breaking of the morol code be depided os rewarding. Nudity in any form is prohibited. • 3. Divorce shall not be treated desirable. shown. humorously nor represented as 2.

4. S. Ideas come from within a company. or just plain practice will provide some of this experience.e with your work. Don't come up with a great new ideo for a comic book. Give the company what it wants and after you've had your work published ""gularly by a particular outfit.ow stop reading about comics and start drawing and writing them! . because he respects you 0. M..ake certain your samples only include your best work of the type they're looking for. Read the comics which you .SOME CLOSING ADVICE 1. It will be a tremendous advantage to you if you could get work as Q comic artist's assistant.plan to work for. CONCLUSION Following these directions will nol guarantee you work in comics since a considerable amount of talent and experience are also factors. Note the art style.mentally take them apart. either from the staff or regular free-lance contributors. smCilIl local publications.. story lines. 3. Be neatl Dirt and smudges will erase and whatever won't erose .copy your favorite artists' styles until your own individual style emerges. 2. 6. He will listen. Also. he is legally bound to pay you if he accepts your work. dialogue.. various fan p"blications. School newspapers. The experience and techniques you will pick up under the guidance of a professional cannot be equaled anywhere else. It will tag you right away as an amateur and Ii will not make your material more tempting since the editor Is not spending his own money but his publisher's money. I wish you all the best of luck and n.5 a pro. Don't offer your work for free. Study them and. Include a return envelope and postag. white out or erase with an electric eraser. For practice. meet with the editor to discuss new ideas.