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Submissions
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Contact Information |
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Highburn Studios
50 Foxtree Drive #9
Martinsville, VA 24112
USA
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For Writers:
We do offer the following advice for writers on how to break into
comics. First and foremost, write, write, write, and write some more.
Reading is equally important. Read prose, screenplays, non-fiction,
essays, and even comics. Read books and take courses on the art of
writing and story structure when possible. There is no standard format
for writing comic book scripts.Remember we
are a studio, NOT A PUBLISHER, but we know how to self-publish here,
it's how we all got our starts.
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Love us? Hate us? Have something you are dying to get off your
chest? Well drop us a line at Fan mail
For appearance information or to book any member of the studio or for
information on an awesome internship opportunity contact Brynn Oliver
For any other studio member just follow the list below: Michael Watkins
Owner / Illustrator / Colorist
Lyle Pollard
Illustrator
Kenny Keen Owner
(Midnight Horizon) / Illustrator / Letterer
John Anderson
Illustrator / Colorist
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For Pencilers or Complete Artists:
Send three to six pages of sequential art. Demonstrate your ability to
tell a story using sequential panels and pages. Choose a story that
allows you to showcase not only your strong points but utilizes a wide
range of settings, situations, props and character types. If possible
include the story/plot pages you worked from.
You may also include one to two pinup or cover type work if you wish. It
is very rare that any artist is hired anywhere purely for pinup or cover
work. Remember we are a studio, NOT A PUBLISHER, but we know how to
self-publish here, it's how we all got our starts.
Quick tips:
1. Backgrounds are as important as dynamic figures! If you send us some
great pinup work but either not enough or bland backgrounds you will
most likely get filed in the trash. Give us a showcase of all your
skills.
2. Use a variety of camera angles, depths of shots, and shot selections
on each page. The easiest way for an editor to spot a novice penciler is
medium shot after medium shot. Your pages don't just have to be
competent, they have to be exciting!
3. Your first job is to tell the story. Is your story-telling clear and
easy to understand even without the dialogue?
4. Hands and feet. Editors look at characters' hands and feet. |
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For Inkers:
Send three to six pages of sequential art. We need to see the original
penciled pages for comparison, so be sure to send them as well. Pick
pages with the widest range of textures and techniques possible. Choose
the type of artist you feel you are most comfortable with and would like
to work over. Be sure the pages, or single pieces, you use contain a
variety of faces, well-realized backgrounds and figure work. Remember we
are a studio, NOT A PUBLISHER, but we know how to self-publish here,
it's how we all got our starts.
Quick tips:
1. Be true to the artist's intent. Your job is to strengthen and enhance
the penciler's work, not over-ride it with your own intent. Make sure
you understand what the artist is trying to convey (shape, shadow,
texture) with every line.
2. Separate forms and create depth by using varying line thickness,
breaking up lines, and different rendering techniques. This is one of
the inker's primary jobs.
3. The tool you use to ink is not important, but use the right tool for
the job. Classic tools like nibs and brushes rarely fail in a skilled
hand. Typically, technical pens and markers will not give your line the
life it needs to enhance the original pencils. Digital inking is an
emerging discipline, but remember that computers are no substitute for
technique.
4. Vary your technique to convey texture. Metal should not be rendered
with the same technique as fur or wood for example.
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For Colorists
Send three to six pages of sequential art. We need to see the inked &
uncolored pages as well, so be sure to include them with your coloring
samples for comparison. Include pages with scene progression, action and
quiet scenes, a variety of backgrounds, figures, and faces. Show us you
can utilize color to evoke a mood, are conscious of and consistent with
lighting, and can clearly separate a scene. Pinups are welcomed as well.
Showing a variety of styles and techniques is not necessarily a bad
idea, but remember that just like pencilers we are looking for
individual voices in colorists, not utility production players. Remember
we are a studio, NOT A PUBLISHER, but we know how to self-publish here,
it's how we all got our starts.
Quick tips:
1. Color theory is a must. Computers are useful tools, just like
paintbrushes or markers, for coloring, but a fundamental understanding
of color theory is a must for professional colorists.
2. Select pencilers or inkers whose style suits your style of coloring.
Colorists are not interchangeable with any penciler or inker and certain
techniques or styles are better suited for certain artists.
3. Your primary job is to enhance what the artist drew, elevating it
beyond black and white.
4. Study lighting theory. Many times you will be asked to provide
information on the light sources, light intensity, and in some cases,
complex multiple source environment.
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