Interview by Avery Kaplan and Rebecca Oliver Kaplan
We don’t know the way most individuals’s dinner discussions go, however ours go one thing like this:
ROK: “Who [designed/lettered] that First Second book?”
Avery: “I don’t know. Ask?”
Well, we lastly requested.
The Beat caught up with First Second Creative Director Kirk Benshoff to study extra about what goes into his work designing graphic novels. We requested about the steps in the design process, about particulars like the lettering process at First Second, and about how Benshoff’s expertise as a photographer informs his work on comics.
ENSIGNS KAPLAN: Can you are taking us via the design process? E.g., what’s the first step for you? Do you speak to the cartoonist, learn the manuscript, and so on.?
KIRK BENSHOFF: Oh my god, I LOVE speaking about this. So a lot so, it’s slightly embarrassing. To get inside my head slightly bit, I can’t be artistic if there’s muddle surrounding me. It’s to the level that I would like to scrub any workspace earlier than I can focus on the work itself. I’ve discovered over the years that this headspace isn’t distinctive.
Many artists I work together with have an analogous want for order earlier than they are often artistic. So the workflow we’ve developed at First Second is designed to permit for full flexibility so our artists could make artwork nevertheless they should, whereas nonetheless having construction and predictability from our facet, the writer facet. Metaphorically maintaining the undertaking “space” organized so everybody can focus on the mandatory components of their undertaking and have enjoyable.
The very first thing I do is about up calls with creators. Ideally video calls so we will meet one another nose to nose. We set-up a shared drive undertaking folder and supply a number of belongings to the staff. On the name, I find out about the undertaking, how the creator(s) envision the completed ebook, and most significantly learn the way everybody plans to work on the undertaking. I wish to perceive their total work fashion all the method right down to what software program is getting used.
This is a HUGE assist for me and my staff, as a result of one thing so simple as the software program to what medium can be utilized in a selected stage can significantly influence how we do issues on our finish. One of the advantages of the assembly is it permits me to assist with any rapid requests, i.e., determining how we wish to deal with totally different languages in the ebook to the lettering font.
Ultimately, we break our initiatives into two components: editorial and ebook construct. The focus of the editorial half is the manuscript to pencils to inks to paint with lettering in-between. We very not often do meeting line manufacturing. More usually than not, there’s one artist with one stage help in the event that they want it: flatting, shade, or lettering.
Baked into this editorial half is what we name our “Proof of Concept” stage, which is the place we take a look at how in any respect the visible instruments that can be utilized in the ebook: shade palettes, any shade palette adjustments, inking types, lettering situations, structure situations, and so on. This stage was modeled after “sample pages” in prose ebook design which is a method for everybody to see all the artistic selections for a ebook earlier than implementing these artistic selections again and again in the closing development.
So our Proof of Concept stage permits for suggestions to come back with minimal influence to the creator. The aim is to ship notes to creators BEFORE these artistic selections are repeated again and again. Once everybody concerned is on a unified entrance with the number of Proof of Concept pages, the creator then has a mode information for the ebook!
The Proof of Concept stage culminates into check proofs on our precise paper choices: matte coated and uncoated paper. These check proofs are actually a gown rehearsal for closing artwork supply. So we have now our creators add the Proof of Concept pages precisely as required for closing supply, and people are what’s despatched to get proofed. This step is especially helpful since EVERY CREATOR MAKES THEIR COMICS DIFFERENTLY. It’s superb how totally different it may be, however one thing small can have profound results on the closing output of the recordsdata. So if one thing isn’t trying proper, these check proofs permit us to catch the repair early and handle the problem early earlier than repeating the error again and again in the closing art work.
Finally, we will verify to see how the chosen colours will print on the paper inventory. Uncoated has a extra tactile really feel that some folks like, but it surely soaks in the ink and might flatten out the palette, whereas matte coated paper has a easy really feel and the shade tends to be extra vibrant since the ink sits on the floor of the paper. We often do the Proof of Concept pages and check proofs in the pencil stage, once more, permitting us to make any adjustments and changes earlier than selections are repeated again and again in the closing artwork.
The closing a part of our workflow is the ebook construct, which is the place my design staff works with our creators and takes their closing inside artwork recordsdata and constructs the closing mechanical. We do two issues instantly: we reset the textual content from the place it was initially lettered into InDesign and design the different pages in the ebook. InDesign is superior. We love InDesign. InDesign has many, many, MANY advantages. One of which is getting all of the dialog textual content into one file, which is large.
While that’s being carried out, my staff can work with our creators on how the back and front pages of the ebook will look. These pages are helpful actual property, so I would like folks to appreciate that these pages can be utilized to border the story in the similar method that the film business makes use of opening and shutting credit to border a movie. We can take a look at the ebook as an entire and actually make enjoyable selections to tug the ebook collectively and create an expertise from the second a reader opens the entrance cowl all the method until they flip the final web page.
After a few years of studying from our errors and being a continuing work in progress, this workflow is First Second’s method to give our creators construction. Now, we all know higher when to make sure selections and when to attend on others. We make ourselves out there as wanted, and set issues up with predictable milestones as a way to liberate the creator’s mind for the enjoyable and artistic work, which matches so a lot better whenever you’re not placing out fires.
KAPLAN: Have any books introduced a very satisfying design problem?
BENSHOFF: For me, what’s fascinating is navigating how every artist works. Some folks begin digitally then transfer conventional. Others that begin conventional, then transfer their art work into digital. Some folks solely use Photoshop, Clip, or Procreate. Some folks will use all the applications! After doing this for so long as I’ve, I’m nonetheless amazed at how I nonetheless meet artists who create their comics in new modern methods. Some artists wish to take on new strategies they haven’t carried out earlier than!
So the problem for me all the time is, how can we take this artwork and make a ebook. Thinking two steps forward and anticipating what the artistic terrain can be like and the best way to transfer effectively round it.
I’ve one title the place the creator’s artwork fashion is utilizing this insanely detailed hatching with inks. It’s so detailed, in actual fact, that it pushes the boundaries of what might be reproduced on press. But working with him utilizing particular scanning and printing strategies is leading to a completely stunning ebook!
This is considered one of the many issues I really like about my job. Every undertaking presents its personal set of challenges. So there’s by no means a boring second!
KAPLAN: What parts come below the purview of design that readers could not count on?
BENSHOFF: Design is liable for being a useful resource for our artists all through the artwork creation process and discipline any questions that may come up. We assist our creators determine the best way to set-up their recordsdata relying on any particular printing results: 2-color printing, 1200 dpi bitmap inks, and so on. Design will assist navigate a workflow if an artist has a novel artwork creation process. We will even brainstorm concepts for issues as they arrive up. Design can provide suggestions on lettering, shade, character designs, or perhaps a themed strategy to one thing in the ebook.
An excellent designer retains a watch on a ebook’s inside to maintain the complete bundle as cohesive as attainable. Design takes the closing artwork and builds a closing mechanical, working with the creators on the best way to deal with entrance matter (title web page, copyright, dedication, and so on.) and any again matter (afterwords, additional artwork, and so on). We assist with any designing the artist wants, like chapter openers or name outs. Design will ship the ebook to Copyediting after which enter revisions as wanted. Design will even clear up the inside as finest as attainable, getting the ebook prepared for launch to the printer. Once it’s at the printer, we additionally evaluation proofs to verify the whole lot is trying the method it ought to earlier than it goes to press.
The design division can be creating materials for our gross sales division to promote the books to retailers. That is usually a digital PDF or an early printed copy of the ebook known as a “galley.” Design will even assist create any additional materials that goes in particular editions: posters, collector playing cards, and so on.
We will even work with the creators on the cowl of the ebook, liaising between the creators and our inner groups. Taking suggestions from our gross sales division, from advertising, publicity, college & library, and extra to search out the simplest method to place a ebook in the market. Once we have now a closing entrance cowl, design will structure the full cowl/jacket mechanicals and finally launch the whole lot to the printer.
KAPLAN: How does the lettering process work at First Second? Is there an in-house staff? Is there an in-house fashion?
BENSHOFF: Unless an artist particularly asks for lettering assist, lettering is often dealt with by that artist. And until there’s a letterer, we don’t deal with the lettering as a singular step, slightly lettering is included into the total artwork creation process. So beginning with pencils, artists are carving out the area the place they anticipate the balloons will stay and setting in the textual content as they go. This serves a pair vital functions for us. First, our editors are in a position to edit the ebook with each the textual content and the artwork. I truthfully can’t consider every other print medium in addition to comics the place artwork is the different half of storytelling. So having the artwork and textual content collectively for the editor is important. Second, the artwork on the pages might be adjusted to maximise the area round the lettering as finest as attainable. Especially for books which have small trim sizes, planning the area for lettering is important for the artist’s visible compositions.
This workflow, balloons, and textual content are inseparable from the different comedian parts. For instance, balloons might be in the similar inking fashion as the artwork. We attempt to see the ebook as an entire and combine all of the comedian parts (inks, shade, and lettering) cohesively.
KAPLAN: What position does the artwork director play when designing a ebook cowl?
BENSHOFF: When design artwork directs a ebook, the aim is to find THE cowl. I’ll say, with out hesitation, the finest covers come after we take a look at choices. The extra choices mentioned, the higher. What’s working and what’s not. What might be pushed vs what could possibly be dialed again. How to deal with any inner notes from different departments. It’s fascinating, as tough as it’s, at any time when there’s suggestions that wasn’t anticipated, it all the time ends in a greater cowl.
The problem of an excellent cowl is it should strike the steadiness of a ebook that pops out in a crowded market and can be true to the writer’s imaginative and prescient on the inside. So, we take note of suggestions from retailers who see what works and what doesn’t on the market. But actually, artwork route is refining a canopy step-by-step. Drilling down from the total idea to the closing artwork, finessing all of the parts of shade, sort, and structure till, as Mark Siegel says, “…the cover sings!”
KAPLAN: Are there any covers that you simply’re significantly pleased with?
BENSHOFF: I completely LOVE my design staff. Not a day goes by the place I don’t suppose how fortunate I’m to work with designers who’re so passionate and devoted.
Sunny Lee did an unimaginable job on He-Man Effect. She was in a position to work with Brian Brown to get a picture that instantly communicates the essence of the ebook. Her selections on the case cowl and inside are simply superb.
Molly Johanson‘s A Guest in the House is so beautiful. It’s such a classy look, and it actually screams horror and suspense. The closing ebook is simply cool and spooky.
Yan Moy had a lot enjoyable on Dog Trouble, and it reveals! One take a look at the cowl, and also you get excessive journey and cute doggies! Her consideration to element actually pulls the ebook collectively.
Casper Manning‘s Monster Locker is an actual deal with for the eyes. He labored carefully with Andrés Vera Martínez to nail down a cinematic idea and colours for the cowl. It got here collectively completely.
Steve Ponzo designed a lovely title remedy and canopy structure for Lydia Corry’s Wildflower Emily art work. His eager eye created a canopy that’s so atmospheric and exquisite… you possibly can’t resist selecting it up.
And that is solely the covers they’ve labored on, I may go on about the unimaginable interiors they’ve designed too.
KAPLAN: I perceive you’re additionally a photographer. How has that knowledgeable your work designing books?
BENSHOFF: Photography is one thing I’ve been doing for a few years. I really like going for walks round the metropolis and in search of the footage in the issues we see on a regular basis and take without any consideration. I attempt to look past what’s in entrance of me to see solely gentle, shadows, and shade that make one thing cool. Sometimes it’s about stealing a second in time, whereas different occasions it’s about framing one thing stunning.
Photography workouts muscular tissues in my mind that I additionally use at work. I do discover that trying past the parts in an artist’s sketches may also help me artwork direct and counsel other ways to strategy the total route. Maybe it’s a distinct angle or a distinct perspective that may make the cowl stand out. How can we play with gentle in the artwork to inject drama or feelings? An idea in pictures is capturing the “moment” so the {photograph} tells a narrative. What is the “moment” we’re capturing in the artwork? How can we push that second so a canopy is speaking what we wish?
KAPLAN: I perceive your total goal is to “perfect the graphic novel workflow on the trade market.” Can you elaborate on your efforts and progress towards reaching this?
BENSHOFF: This is VERY essential to First Second. Many of the employees at First Second have a secondary connection to comics past the day job. So there’s a respect and understanding of the medium. Also, First Second is considered one of the first imprints in the commerce market to be a devoted graphic novel imprint. So we’ve had the distinctive alternative to study from nearly 20 years of expertise.
Trade publishers have all the time fostered a really intimate relationship with creators via organizations like the SCBWI (Society of Children’s Book Writers and Illustrators) and The Highlights Foundation. Through these organizations, younger and skilled creators can come collectively alongside very gifted professionals in publishing: brokers, editors, artwork administrators, and so on. As a end result, the best way to navigate many codecs like image books, illustrated center grade, and so on are communicated in these occasions, making a baseline understanding of what to anticipate when working in publishing and the best way to navigate it in commerce.
Since graphic novels have blossomed in the ebook market in recent times, many publishers are creating their very own workflow or modeling a graphic novel workflow to different codecs. But in our expertise, graphic novels are their very own animal. They have their very own guidelines, their very own finest practices, and their very own metrics for achievement.
One of the phrases I exploit quite a bit is “sustainability.” Not simply in the environmental sense, although we attempt to be very conscientious there. But slightly with the ability to do one thing for the long run. BOTH on the writer facet and the creator facet. Look…. Making comics is inherently tough. It’s a really difficult medium to work in. A easy determination in the starting can result in a nightmarish quantity of labor to vary later in the process.. What I hear from many creators is how robust the process might be in an already difficult medium, making it exhausting for some to maintain their very own profession.
Picture books have flourished for a few years, and publishers have largely standardized how they work on these. Creators can comply with sure effectively established patterns. Energy is then spent creatively on the books themselves, permitting for actually modern publishing in that area. What I’d like to see is an analogous factor for graphic novels, the place expectations are set, for each creators and publishers. Creators and publishers going into new graphic novel initiatives ought to know what’s going to be concerned, working effectively to assist that ebook get produced, and having enjoyable doing it!
So, that outlined workflow talked about earlier is a HUGE a part of how we intention to make the graphic novel medium sustainable. We earmark particular milestones in the process to supply suggestions when it’s simple to make adjustments. We present as a lot info, templates, and belongings as attainable upfront so our creators get as a lot help from the outset. My service whereas pages are being created is to supply sensible and artistic suggestions, or simply assist with tremendous detailed Photoshop questions.
Projects additionally want an applicable agenda to be accomplished. We map out a practical timeframe for an artist to finish a ebook. Having a reasonably strong timeframe and schedule permits us to strategize on how finest to publish the ebook, and provides it the finest probability to succeed.
I work with an unimaginable staff. Everyone at First Second is aware of that each Graphic novel has its personal distinctive character. The First Second staff is aware of the comics format is inherently complicated so communication and preparation are key. We study from our errors and do our greatest out of affection and respect for the creators and their unimaginable work.
You can study extra about First Second at their web site.
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