Seth Fisher

What a tremendous loss of talent. I hear he was a great guy to know, as well.


#Mouseton #Abbey #Downton (at Chapters)


Since I basically disappeared in December, I thought I’d upload a ton of stuff to make up for my absence!  After working on what has now become The Daily Planet Files since May of 2013, I’m finally happy with the designs and what this has developed into. Who know what surprises 2014 holds for these guys;)…

I’d  like to wish my super cool followers a happy, healthy, and prosperous new year!


Oh did I already post a gif set similar to this???

See the bottom right.

(via wilwheaton)

  • Tweet me the URL to a digital portfolio as an @reply to @karma_thief with the hashtag #tweetfolio included.
  • I’d prefer if you didn’t send me a link to a homepage where all the work you’ve ever done is available for perusal. You wouldn’t present everything you’ve ever done at a show and you shouldn’t do that here as well. Keep what you present tight and focussed, showcasing only the best and most representative examples of your RECENT work. If you’ve worked in multiple styles and multiple genres feel free to make pieces from each available.
  • My baseline expectation is you’ll have at least five pages of sequential comic book art to show. If you want to include more it ought to only be more pages from other stories, still holding to five or so pages a piece and no more, and perhaps three to five cover samples. If you think your strengths lie in conceptual or background design feel free to include those as well, again capping the number to something like three to five.
  • I know many of you have your websites set up differently and that’s fine. But I’d like what you send me to be as close to the above format as possible, even if it’s a bundle of links to specific pages on your site or deviantart, etc. Just like a real portfolio review, there is only a limited amount of time I’ll be able to look over your work, so make it as easy and convenient for me as possible. If I spend more than one second not knowing where to look then it’s a problem (not just for me but anyone visiting your site).
  • Please identify exactly what art you want me to look at, where it came from (like series title or publication name) and when it was published or if it’s unpublished and reprinted with permission.
  • Colorists and Inkers: I specialized in managing the colorist and inkers stables at Marvel so you have a special place in my heart. Feel free to tweet me samples as well in the above format.
  • I will post a column up here at iFanboy, with my feedback to your work and including the same links you sent me. I’ll likely reach out to you before that, with follow-up questions so the column has as much back and forth between us as possible.
  • As with any portfolio review session, I can’t give feedback to everyone. I’ll be selecting those I think are “close” meaning with some feedback, time and hard work they may be 12-18 months away from being hired for a gig. At this past New York Comic-Con, I did all the portfolio reviews for Marvel. I went through nearly 250 submissions, selected about 20 for review and recommended only two for immediate hire.
  • This will be public. It won’t just be you and me, it’ll be you and me and everyone else who reads iFanboy seeing what we discuss. But hopefully you’ll be able to use that public forum to better acquaint the world at large with your work. But don’t be shy.
  • What I care most about is your storytelling: STORYTELLING IS KING. You could be the best stylist in comics but what will give you the edge is if you could take a script, marry it with your style and make the comic feel greater than the sum of its individual parts. Can you bring the story to life, clearly and effectively? Can you capture the readers’ imaginations, seducing them into suspending their disbelief from the first panel to the last? Poor storytelling ruins the illusion and kills the magic of comics.
  • I don’t care about whether the pages are any particular size, if the layouts are more suited to European or Japanese comics, etc. Again, I’m looking at your storytelling.
  • If you’re afraid your English is “bad” please don’t worry about that. Good comic book art is a universal language and we’ll figure something out.
  • I will be tough. I will be honest. I might tell you what you don’t want to hear. I don’t do that for my own amusement but because I think you need to hear it and will be better for it. Be prepared. And if you want to push back and tell me I don’t know what I’m talking about, well I’m prepared for that, too.
  • Don’t follow-up with me or anyone at The Beat about when or if your submission will be reviewed. There’s just not enough time in the day for any of us to get back to everyone, so I will only be corresponding with artists I will be giving reviews to.


This IS the best.


This is the best.

You either die a good show, or live long enough to see yourself jump the shark.