How to break in comics, tips on process, tools, and more!

I’m extremely fortunate to work as a full-time comic book artist, and I know all too well how hard it is to get started, to learn the language of comics and to navigate the industry. In this video, I answer some of your questions and I pass on some of the things I’ve learned!
Directed & edited by Pierrick Colinet
French translation by Arnaud Kikoo
Musics by Lvly, "Everlasting Ego"
Logo by Tom Muller
▶ Copyright
The work is protected by copyright. This is applied to the video recording of itself as well as all artistic aspects including special protection on the final outcome. Legal steps will have to be taken if copyright is breeched. Music is used from the KZbin audio library and or sourced with permission from the author

[@ElsaCharretierChannel]

⚡️ Get my new artbook here! www.bigheadlittlearms.com/shop My answers to more of your questions: Q: Tate Harmon: Favourite manga A: I have recently read and loved Ping Pong by Taiyō Matsumoto. I don’t read enough manga (I should!) to know if it’s my favorite but it’s definitely up in the running. Q: Next Issue Podcast: Do you have any art that you keep for yourself? A: It’s rare, but sometimes. Some of the prints I’ve been releasing through Patreon are pieces I did in my spare time and never showed until now. Q: Danny M: Is there a project that you would consider your favorite so far? even if it is something that changes. Also why is it that project? A: I’m very proud of my latest series of graphic novels, November (co-created with Matt Fraction). I loved the characters and I feel that my art in this book was a bit of a step up. Q: R. Bramaditya Ario: Could you give some tips on how to navigate Angouleme as a beginning professional cartoonist? Any tips on Comic Cons in general? A: I’ve only done Angouleme once, years ago, so I won’t be much help, but for Comic Cons, I'd suggest to go talk to as many people as you can. Be polite if they don't have the time, be professional, and have business cards on hand at all times! Q: Borna Jamshidi: If someone has no drawing experience but wants to become the best comic book artist. What books, strategies or game plan would you recommend for that person to become the best in five years? A: Let me start off by saying that no one can become the best artist in five years, even with the best plan, the best practice, the best mentors. Drawing comics requires not only one very difficult skill, but two: drawing, and sequential storytelling. That being said: to get the best of the next five years of your practice, this is the game plan I’d suggest while keeping in mind that you likely have a job during the day. Draw 2-3 hours a day, and as much as you can fit in the week-ends. Draw pages doodles and pinups are fun, but they won’t teach you to tell a story in pictures. If you don’t have a script, you can find some online. Buy books to understand anatomy, storytelling and perspective (I’m leaving a list of recommended reads in the description box). Study, copy, draw over the work of experienced artists, break down your favorite comics and get out of your comfort zone. Q: Emma Hiperbólica: I’ve noticed that you have mostly covered material created by cis male creators; are there plans to explore work from more diverse creators (i.e. women, BIPOC, LGBTQ+, and all possible intersections?) A: Most definitely- until now we focused on the books that shaped me (from an era that sadly wasn’t so diverse), but we’re moving toward more diversity. Have you seen my interview with Amanda Conner?

[@ericherz-obrien757]

Thank you for all of this! What would your recommended reads be for learning anatomy, storytelling, and perspective?

[@gcastro3d]

You mentioned you were going to share a list of recommended reads/books? that includes how to draw books? is that still happening?

[@ZethKeeper]

My colorist brain: putting on yellow clothes and Flash earrings against blue BG is a nice touch.

[@HampireHunter]

Read Framed Ink, amazing book. I consult it every project I do.

[@ElsaCharretierChannel]

yes, I've got it too, it's a great tool.

[@coledeaver6538]

This channel is quickly becoming one of my favorites on KZbin. Super inspiring, incredibly well-edited, and unbelievably entertaining! Question: if you could adapt any novel into a graphic novel, what would it be?

[@sarahferris7892]

Yes! My question made it in! Thank you Elsa! I personally identify as a Gardener in Space,

[@ElsaCharretierChannel]

Haha, well put!

[@gregorywatine8522]

A really interesting video !!

[@claudiocubillos8286]

You need to do more of these QaA! Super insightful 😁

[@EasterlyArt]

5:53 You actually can have more than one action in one panel. You solve that with the Deluca Effect which has been common in comics for a number of decades now. I do agree though that a writer needs to make sure they're doing their best to effectively communicate their intent to the artists so that the story can be properly conveyed. Never assume someone will just "get it" per se, especially if you're new. Nonetheless, the Deluca Effect is where multiple iterations of a character are shown in a single panel. Sometimes doing a single action or a series of actions. The Deluca Effect can also be used as a visual device to move the reader along in the book. Effectively using the Deluca Effect can be tricky though and shouldn't be used so casually, but it is great when you're trying to get across either a slow motion effect or a lot of things happening. There is a sort of magic to comics that once you understand "the rules" you can start breaking them left, right, up, and down.

[@ElsaCharretierChannel]

You are absolutely right! One action per panel is the general rule, but like you said, after a point you can start breaking that rule and introduce the Deluca Effect (I actually didn't know it was called that way!). I use myself sometimes, though rarely. Naturally it influences the way time is perceived, and introduces a distance with the reader that should be used sparingly. Thank you for the suggestion!

[@jasonrafalak]

great video!

[@CaptainJim87]

Fascinant comme toujours, merci pour tout la team !

[@lastshanty]

Your channel is an absolutely invaluable resource for a comics noob like me! 🙏🙏 Thank you so much! :')

[@shazang0]

You're one of my absolute favorite artists so this channel has been very inspiring. Thank you for taking the time to elaborate on all these different aspects of making comics. For what it's worth, to me you are already as great as Darwyn Cooke and Tim Sale.

[@GrandaComics]

$250 page rate as an starting point? Wow, you were very lucky, most people start at $50 per page (I was one) and only once I was offered a comic at a $250 page rate (most of the time is half of that) , and I know other artist that have starter with a $25 page rate

[@TheKevphil]

Amen, Brother! I hear ya. Nice channel you got, btw.

[@GrandaComics]

@@TheKevphil thank you 😁

[@ElsaCharretierChannel]

I should have specified these rates apply to DC Comics & Marvel. At $25 or $50 a page, which you are right, is what beginner artists sometime get offered, I would suggest to think about creating your own book and self-publish it (through Kickstarter for example). You’ll get to work on what you want, sharpen your skills, and own 100% of your creations!

[@GrandaComics]

@@ElsaCharretierChannel Again, very lucky to start in the US industry at DC, most people start on small press, small indies or creator owned stuff, heck most people stend their whole career there, very few people get to work for DC or Marvel, don´t get me wrong I'm not attaking you or anything, just saying. And yeah, Crowdfunfing seems like the way to go these days, I'm launching my own project next year.

[@ElsaCharretierChannel]

@@GrandaComics Oh I haven't started at DC right away ! I self-published my first books through crowdfunding, then I did creator-owned books and only then I got contacted by the big two. But I totally get what you mean. Good luck with your new project!

[@jontnoneya3404]

Fascinating insights - thank you for this. I don't draw but your channel makes me think it's entirely possible even if my past has proven that's not the case. My stick figures don't have perspective. haha

[@mumenwriter6450]

Thank you so much for your answer(s). Loved your bunker exercise of studying of the artist's pages to sharpen your story telling. I'll have to give it a try myself.

[@nosocialize]

You rock Elsa!

[@Joohhhnnn]

Hi Elsa. Thank you so much for reading out my question, and for such a thoughtful answer! It was really helpful. I really love the channel by the way.

[@vincentlee8787]

Super informative, thank you for this, Elsa!

[@rafaelfcf]

What about writers who can't draw. Any hints on how to pitch, or finding a drawing partner?

[@baileyfulton492]

Thank you, Elsa. I really value what you've been sharing in these videos! I like what you mentioned about how it's okay if a drawing is imperfect if your storytelling is great. I'm studying as a colorist but that still feels like some wisdom I can integrate.

[@kickassets6414]

Thank u!

[@alfredojulio1004]

Thanks for this!! It's really helpful!!

[@catlawyerwilldefendfortrea6038]

One of the most helpful videos ever!! I would someday love to know more about networking as a new creator with publishers or even other artists.

[@ElsaCharretierChannel]

I'll try to do a video where I go more in depth on that, thanks for the suggestion.

[@pedrojesusperaltalopez6861]

What advice could you share with us to arrive at a comic drawing style and how was your process to have the style with which you draw. Merci pour votre temps et les jours où vos vidéos apparaissent, salutations

[@Chandasouk]

Go Elsa!

[@spinynorman9068]

I appreciate your channel! I want to have a career making comix too! I see that you have a Cintiq tablet behind you. What model is it and why did you choose that particular hardware for your work?