Jim-Thank you. This is a great example of how you and Ed use the channel to do so much more for CK Nation than any other youTube site does. This is truly behind the kayfabe curtain-where the sausage really gets made. I suspect this video is going to become even more important over the years than it is immediately. You guys have no direct competitor in the RUclips space or anywhere. Proud to be a daily viewer and grateful you guys have created community that loves comix-not keys and slabbing for profit. .
Thanks, Ben. I'm with you, btw. This info is huge for my own work too. And many thanks to Sean. I've met a lot of people who don't like to share what they worked hard to learn. And I don't begrudge them. To each their own. But in this case, Sean was very generous with his knowledge. He's the reason for this video! - Jim
@@CartoonistKayfabe Sean's amazing: all expertise and knowledge-no ego. So I just had to hit the subscribe button on "Living the Line". I'm on the "Strange Death..." Kickstarter and stuff like this really adds dimension to the troubles and successes he and Carson go through to produce an unparalleled book experience like SODAR.
@@LivingtheLine Thanks so much for the insight and for going so deep. I love this stuff. And have always tried to learn more about the intricacies of the print process and how to make the best of it within the programs. I’m a sucker for having the best resolution files and raw sources for the future.
what Sean says is so true. esoecially about how Publishers basically sacked their reproduction teams ( who were very specialised and accomplished ) and now rely on us work for hire scanning our own work. So many companies ditcehed negatives and masters as they cost money to store, or just through sheer negligence. A lot of companies who supposedly sell 'remastered' classics form the 50-70s have asked fans to scan THEIR comics...and just printed these...claiming they have been 'professionally enhanced'. Printing in comics in the last 20 years has suffered tremendously as companies just won't invest in anyone who actually know what they are doing. It's left to overworked editors. A lot of companies don't even have proper art departments or art directors. It's so crazy. It's a great argument for just doing everything yourself at least! This interiew is a really invaluable professional tool. Thank you Jim and Sean!
An invaluable and highly informaive video. Thank you Jim and Sean for taking the time to put this together. Highlights many things in the process of producing a comic but the most apparent to me is that no matter how much some of us may want the entire process to be 'ours', the need for some teamwork or assistance is key. At least so far as producing the best possible quality and desirable, illustrated work.
I was a printer for 20 years and this was such a detailed dive into problems I used to deal with because we originally worked with negatives but then converted to scanning the negatives and then laser etched resulting files onto actual photo paper. I also worked in offset. everyone needs and usually wants best repro but doesn't get now.. I was one who got pruned I hung in till 2010. great show. keep up the tech vids
this is one of those videos where everything is so important and valuable, and yet my tiny monkey brain just can't keep up lol. Gonna have to rewatch this at least 5 times with notes.
I keep rewatching this. I think I'll have to make (unless someone has already done so) some sort of scan-to-print ready checklist since my brain needs that sort of thing
That's very cool - I make comics and am also a music composer, and I always think of the parallels between audio and image processing while I'm working, too. Great chat!
WOW! This was a masterclass on handling files and image treatment. Definitely enjoyed every minute and it’s certainly a reference for breaking down and understanding all these processes. Continue making more technical deep dives like this.
Wow great topic!! Simple enough to use but you can clearly there was a lot of research and trial and error to find out this info. Sean (and Jim) was very generous to pass this on to us for free!!!
Oooooh perfect! Thanks Jim and Sean! Trying to scan my own inks is an absolute freaking nightmare because of the artifacts left where it looks awful and jaggy. This should be helpful! Cheers
Jim, this was great! It took me back to the years I worked at newspapers in the 90s and learned all the analog tools of Photoshop. I was very familiar with these print methods 10 years ago, but this was a great refresher to what’s happening now with printing. Thanks!
Such a great conversation. I've seen so much bad reproduction over many, many years of working in the field that info from someone knowledgable in how to do it right is a breath of fresh air.
Brilliant! I've been hungry for this info for years. Thing is I was so close, but these critical steps make an enormous difference. Not only does Sean know how, he knows WHY! I love that. I'm interested in color calibration for all my tools and would follow a Patreon for that information.
This conversation really makes me think about my recent perusal of Jerry & The Joker (which is about early Batman artist Jerry Robinson's comics career). Since I was introduced to his work via DC reprints, I always thought of his drawing as being kind of crude, but the original linework reproduced in J&J looks fantastic.
It's incredible the difference it makes! Carson and I have a video where we dissect an Alex Raymond original versus a fourth-gen printed copy. Truly looks like the work of another artist. The eye reacts very differently to that accumulation of detail and finesse of a well-executed original, as opposed to the more random crude finish of an image w blown out and filled-in detail
Thanks,Jim! Definitely a lot to take in! Producing comics etc you want to make damn sure everything looks great! I’m a Luddite but I’m willing to learn as much as possible! First thing color photocopiers will help me for now! Thanks &keep making COMIX!
I was going to make a Beach Boys Smile comparison to the Cerebrus Project, but he beat me to it. You guys should put this under the Make More Comics playlist.
This is awesome, please please also talk about the process and how many revisions go into a finished piece/page; a lot of people think it’s one and done because of artists like jun gi he’s great but not a comic artist
Such a great interview!!! I can attest to VueScan being some pretty awesome software, had to use it when my OS no longer supported my scanner. But he mentioned a German company that had scanner calibration cards, but didn't say which it was, anyone happen to know?
This is my favorite episode of Cartoonist Kayfabe. I lived the transition in advertising from analog to digital, and I saw the quality control of the business get handed over to the guys in the office with the copy machine, haha 😂 anywho, I’m only 23 minutes in watching the episode (have to get back to work, I’ll watch the rest tonight), but I’ve got a small technical question. Maybe I should reserve it for the Patreon. When I encounter submission guidelines for say, Image, Dark Horse, or Heavy Metal, they of course only want people sending them copies of their product via email at 72 dpi. How can they possibly judge how good your work is at such a low rez? Is this just policy to create an obvious stumble block? Or is there a way around this?
IMHO, the quick answer is, as you intuit, art that looks good reduced on a screen is fundamentally different from art that looks good in person or in (high quality) print. I would argue that viewing things on screens has meant a sea change in image-making for that very reason. That's my first thought anyway and not particularly practical :) On the practical end of things, if you can swing it to reach an editor or publisher in person... (I realize this is most likely for Jim! Just wanted to toss in my two cents. As a formerly "fidgety" artist myself, I've noticed the change in my mark-making especially when I know something is only going to be viewed on a screen alone. )
![Chino Pacas - Modo Capone (with Drake & Fuerza Regida) [Video Oficial]](http://i.ytimg.com/vi/zjv8TQ0gBkg/mqdefault.jpg)
Jim-Thank you. This is a great example of how you and Ed use the channel to do so much more for CK Nation than any other youTube site does. This is truly behind the kayfabe curtain-where the sausage really gets made. I suspect this video is going to become even more important over the years than it is immediately. You guys have no direct competitor in the RUclips space or anywhere. Proud to be a daily viewer and grateful you guys have created community that loves comix-not keys and slabbing for profit. .
Thanks, Ben. I'm with you, btw. This info is huge for my own work too. And many thanks to Sean. I've met a lot of people who don't like to share what they worked hard to learn. And I don't begrudge them. To each their own. But in this case, Sean was very generous with his knowledge. He's the reason for this video! - Jim
@@CartoonistKayfabe Sean's amazing: all expertise and knowledge-no ego. So I just had to hit the subscribe button on "Living the Line". I'm on the "Strange Death..." Kickstarter and stuff like this really adds dimension to the troubles and successes he and Carson go through to produce an unparalleled book experience like SODAR.
@@benjenkins819 Awww shucks. I hope you enjoy the book Ben!
@@LivingtheLine Thanks so much for the insight and for going so deep. I love this stuff. And have always tried to learn more about the intricacies of the print process and how to make the best of it within the programs. I’m a sucker for having the best resolution files and raw sources for the future.
I think this interview will expand way beyond the cartoonist audience to artists and archivists of hand writing of many types.
what Sean says is so true. esoecially about how Publishers basically sacked their reproduction teams ( who were very specialised and accomplished ) and now rely on us work for hire scanning our own work. So many companies ditcehed negatives and masters as they cost money to store, or just through sheer negligence. A lot of companies who supposedly sell 'remastered' classics form the 50-70s have asked fans to scan THEIR comics...and just printed these...claiming they have been 'professionally enhanced'.
Printing in comics in the last 20 years has suffered tremendously as companies just won't invest in anyone who actually know what they are doing. It's left to overworked editors. A lot of companies don't even have proper art departments or art directors. It's so crazy.
It's a great argument for just doing everything yourself at least!
This interiew is a really invaluable professional tool. Thank you Jim and Sean!
An invaluable and highly informaive video. Thank you Jim and Sean for taking the time to put this together. Highlights many things in the process of producing a comic but the most apparent to me is that no matter how much some of us may want the entire process to be 'ours', the need for some teamwork or assistance is key. At least so far as producing the best possible quality and desirable, illustrated work.
He's a printing boy, printing boooooy! He's not your boy toy, boy toooooy! He prints the lines, he makes them sexy, he makes the spine clean and nice.
I was a printer for 20 years and this was such a detailed dive into problems I used to deal with because we originally worked with negatives but then converted to scanning the negatives and then laser etched resulting files onto actual photo paper. I also worked in offset. everyone needs and usually wants best repro but doesn't get now.. I was one who got pruned I hung in till 2010. great show. keep up the tech vids
this is one of those videos where everything is so important and valuable, and yet my tiny monkey brain just can't keep up lol. Gonna have to rewatch this at least 5 times with notes.
The crossover I’ve been waiting for. Sean helped me a ton with his recommendations for the production of my book.
Never even occurred to me to create a threshold adjustment layer. His technique for saving fine lines was also very helpful, thank you!
Dug this up because I've also been watching Sean's youtube channel with Carson Grubaugh - Living the Line. So much insight. Thanks so much Jim.
Casually dropping an amazing free course on a Monday morning. You guys rule. Thanks.
Amazing, amazing conversation. Thank you so much
I keep rewatching this.
I think I'll have to make (unless someone has already done so) some sort of scan-to-print ready checklist since my brain needs that sort of thing
As an engineer, this is one of the best process videos on the channel outside of shoot interview deep-dives. Great stuff Sean and Jim!
That's very cool - I make comics and am also a music composer, and I always think of the parallels between audio and image processing while I'm working, too. Great chat!
Same!
What an interview! How amazing it is to hear from a true artisan being interviewed by a great artist!
WOW! This was a masterclass on handling files and image treatment. Definitely enjoyed every minute and it’s certainly a reference for breaking down and understanding all these processes. Continue making more technical deep dives like this.
Wow great topic!! Simple enough to use but you can clearly there was a lot of research and trial and error to find out this info. Sean (and Jim) was very generous to pass this on to us for free!!!
This episode will be on repeat for a while
Thank you for this video!! Such a revelation. This is why y'all are the people's champs 🏆!!!
Wow. Just finished this up. Great info. Thank you!
This is absolutely life changing. Exactly the sort of stuff I'm looking for. Thank you so much!
This was the most interesting thing I've seen and this is my favorite station
Wonderful timing....was just talking about this last night...ad I am getting ready to make an art book next year 👍👍👍👍👍
Crucial information!! Much appreciated. 🙏
Oooooh perfect! Thanks Jim and Sean! Trying to scan my own inks is an absolute freaking nightmare because of the artifacts left where it looks awful and jaggy. This should be helpful! Cheers
Jim, this was great! It took me back to the years I worked at newspapers in the 90s and learned all the analog tools of Photoshop. I was very familiar with these print methods 10 years ago, but this was a great refresher to what’s happening now with printing. Thanks!
A very timely video! Prepping my first comic for self publishing
Such a great conversation. I've seen so much bad reproduction over many, many years of working in the field that info from someone knowledgable in how to do it right is a breath of fresh air.
Sean and Jim thanks for this video very informative.
This is wonderful. Thank you!
you are killing it guys !!!!
this was beautiful
keep it up
Love the tech talk. More please
Brilliant! I've been hungry for this info for years. Thing is I was so close, but these critical steps make an enormous difference. Not only does Sean know how, he knows WHY! I love that. I'm interested in color calibration for all my tools and would follow a Patreon for that information.
@Jon Roscetti-- working on that very thing for (hopefully) next week!
This conversation really makes me think about my recent perusal of Jerry & The Joker (which is about early Batman artist Jerry Robinson's comics career). Since I was introduced to his work via DC reprints, I always thought of his drawing as being kind of crude, but the original linework reproduced in J&J looks fantastic.
It's incredible the difference it makes! Carson and I have a video where we dissect an Alex Raymond original versus a fourth-gen printed copy. Truly looks like the work of another artist. The eye reacts very differently to that accumulation of detail and finesse of a well-executed original, as opposed to the more random crude finish of an image w blown out and filled-in detail
Thanks,Jim! Definitely a lot to take in! Producing comics etc you want to make damn sure everything looks great! I’m a Luddite but I’m willing to learn as much as possible! First thing color photocopiers will help me for now! Thanks &keep making COMIX!
Thank you for dropping this piece of gold!
Outstanding interview!
I noticed the release date for Strange Death changed from September to December. I'm really looking forward to it.
Oh a surprise and a gift thanks Jim!
so helpful! thanks yall!
I was going to make a Beach Boys Smile comparison to the Cerebrus Project, but he beat me to it. You guys should put this under the Make More Comics playlist.
oh thank you this was much needed info
This is fucking gold.
This is awesome, please please also talk about the process and how many revisions go into a finished piece/page; a lot of people think it’s one and done because of artists like jun gi he’s great but not a comic artist
Such a great interview!!! I can attest to VueScan being some pretty awesome software, had to use it when my OS no longer supported my scanner. But he mentioned a German company that had scanner calibration cards, but didn't say which it was, anyone happen to know?
Silverfast
This is fantastic!!
You're a legend mate!
This was great stuff.
this was really great
Damn, what a video
What scanner do you use for your artwork jim?
This is my favorite episode of Cartoonist Kayfabe. I lived the transition in advertising from analog to digital, and I saw the quality control of the business get handed over to the guys in the office with the copy machine, haha 😂 anywho, I’m only 23 minutes in watching the episode (have to get back to work, I’ll watch the rest tonight), but I’ve got a small technical question. Maybe I should reserve it for the Patreon. When I encounter submission guidelines for say, Image, Dark Horse, or Heavy Metal, they of course only want people sending them copies of their product via email at 72 dpi. How can they possibly judge how good your work is at such a low rez? Is this just policy to create an obvious stumble block? Or is there a way around this?
IMHO, the quick answer is, as you intuit, art that looks good reduced on a screen is fundamentally different from art that looks good in person or in (high quality) print. I would argue that viewing things on screens has meant a sea change in image-making for that very reason.
That's my first thought anyway and not particularly practical :) On the practical end of things, if you can swing it to reach an editor or publisher in person...
(I realize this is most likely for Jim! Just wanted to toss in my two cents. As a formerly "fidgety" artist myself, I've noticed the change in my mark-making especially when I know something is only going to be viewed on a screen alone. )
I'd never made the connection till now between sharpening (visual) and compression (audio).
Somebody should’ve had essentially the main character from office spaces job but for Comics
Hmmm... so should the new resolution standard for scanned files be 600dpi?
This was hella dope thank you
nice!
The original art conversion tips were good at 39:19.
Come to me @Jostens. We've printed for Jim before. Were doing Skinner and Eric Cannette's books currently.
👍🏼👀👍🏼