Comic Book Cover Creation Process

[Saul Haber]

What is the usual role of the writer in the creation of a comic book cover? For interior pages, I understand that the writer has a lot of control over what the artist will draw in each and every panel, but is it the same way for the cover? Or is it more that the writer (or editor) will give a general idea and then the artist will be given more control to design an effective cover?
I ask this as an artist. I am working on a cover right now and the writer has specified a lot of details he wants to see in the cover (several different characters and 2-3 scenes) and it's not leaving me with a lot of room to create a good design. I feel like if he loosened up on the details a bit and gave me free rein I could probably produce better work, since the cover is all about the visuals.
What is the typical process?
And how do you put a lot of information into a cover without it becoming a big mess?

Thanks for your input

[UniverseX259]

While there's no right or wrong way to go about creating a cover, there are some ways that work better than others.

In my current project, the writer also acts as the editor, and I like to get his input in the design of the covers. For one cover, I drew up about 8 different sketches and we talked them over and picked out the cover we liked best. But for another cover, he had an idea in mind and sent me a brief write-up of what he wanted to see.

Sometimes we've butted heads - He'd have an idea that wouldn't translate well visually. It sounds like that's the problem you're having with your current cover idea. As an artist you should let him know what you're capable of, and discuss it until you reach a happy medium. I've also drawn covers that had way too much stuff crammed in, and it just looked too busy.

There's a trend in comics today of creating a cover that's very iconic, meaning there's maybe one character doing a cool pose, but it doesn't tell anything about the story itself. These covers tend to be simple. There are also covers that tell a story and give you hints as to what's going on inside the comic. They usually have some mystery to them, as well, so that you'll be more willing to buy the book to see what's inside. For either of these types of covers you'd want something that's straight and to the point.

And a side note about process - In the 50's and 60's at DC, editor Julius Schwartz would sometimes commission a cover, then have a writer create a story based on the cover image. It's a pretty cool brainstorming technique, but the writer doesn't have much say in the overall plot.

[Ray Dillon]

Depends if he owns the property and is paying you work-for-hire to do the cover. Then, yes, he can tell you to do whatever he wants and whatever you're willing to put up with. But, if it's a collaboration he should offer you more collaboration on it. Or if it's through a publisher, you'd really be talking more with the editor than the writer. They are the ones steering the vision of the book, not the writer.

[Saul Haber]

Thanks for the information guys. I was more wondering what the norm is. How should we be doing this cover, you know?
In my particular case, its a work for hire situation and not a collaboration (I mean, obviously we're collaborating, but he has the final say since its his project). I actually submitted a couple of designs to him where I tried to modify his proposed layout to make it a little more orderly and aesthetically pleasing, but he did not approve so now I'm back to the drawing board and I basically lost a whole day. So, I think next time I will just produce whatever I'm asked even if it will not be ideal. Which kind of sucks, but I guess there's no way around it. I'd rather get paid for one day's work instead of two.

[nickmarino]

Originally Posted by Saul Haber

What is the usual role of the writer in the creation of a comic book cover? For interior pages, I understand that the writer has a lot of control over what the artist will draw in each and every panel, but is it the same way for the cover? Or is it more that the writer (or editor) will give a general idea and then the artist will be given more control to design an effective cover?
I ask this as an artist. I am working on a cover right now and the writer has specified a lot of details he wants to see in the cover (several different characters and 2-3 scenes) and it's not leaving me with a lot of room to create a good design. I feel like if he loosened up on the details a bit and gave me free rein I could probably produce better work, since the cover is all about the visuals.
What is the typical process?
And how do you put a lot of information into a cover without it becoming a big mess?

Thanks for your input

Saul, in my experience, there is no one way you should be approaching this. I think the better question is: how are you most comfortable approaching cover creation?

In your first post, you said:

Originally Posted by Saul Haber

For interior pages, I understand that the writer has a lot of control over what the artist will draw in each and every panel, but is it the same way for the cover?

Way I see it, that's not even a true statement. In my experience, it's really up to the creators involved. Some writers like to leave lots of space for the artists to flex their creative muscles in both interior pages and the cover (personally, that's my style), while others like to tell an artist exactly what they should be drawing. I don't think there's a standard, and anyone that says otherwise is (in my opinion) either 1. exaggerating or 2. uninformed. The writer/artist boundaries can be wherever you want them to be.

Sounds like you're in a pickle because your writer is also your boss and your editor. I mean, have you and the writer ever discussed where the boundaries of the creative relationship should be? If you're not comfortable with his input, is this the sort of relationship where you could tell him that you think you'd like more freedom in the cover creation process? I mean, what if you said "Hey, look, if you could let me try this cover solo, I think I could really knock your socks off!"

[maverick]

save some money and hire a good, 'name' artist to do your cover. and make sure it includes some boobs.

[Scribbly]

For covers,
The LESS elements, MORE is the impact for the cover
MORE elements is LESS impact for the cover.

Elements, are symbols, icons, figures and objects.

More than 3 elements combined in composition for one cover will put the cover down.
However, if we need to work with more than 3 elements in a cover,
put into group these extra elements, making it confronting as a block
with the other two main a elements in the cover.
That's all!

[Saul Haber]

Nick- Well, what I mean as the difference between interior pages and the cover, is that the content for the interior pages is dictated by the writer, even if he's writing loosely.
Panel 1: Mary shoots Dick in the face.
You can draw it from different angles and with interesting lighting or even break it up into two panels, but in the end if you're drawing does not show Dick, Mary, and someone getting shot in the face, then I think you have failed.
But, what I'm asking is whether the writer/editor will dictate the content of the cover like that or will it be more open ended and up to the artist?
Anyway, I hear what you are saying- Every situation is different. I am curious if there is a standard way of doing things at particular companies, like Marvel or DC.

maverick- Actually, I am the artist, but I will be including some boobs, so don't worry.

Scribbly- Good advice. I agree about the "less is more" philosophy.

I think what I am really learning from this is that I should charge MORE for covers. I mean, I am charging more (20% more) than for an interior page, but I should be charging at least 50%-100% more. There is a lot more back and forth than I am used to and I should have negotiated more pay to make up for the aggravation (and time, obviously).

[Ray Dillon]

Originally Posted by Saul Haber

Thanks for the information guys. I was more wondering what the norm is. How should we be doing this cover, you know?
In my particular case, its a work for hire situation and not a collaboration (I mean, obviously we're collaborating, but he has the final say since its his project). I actually submitted a couple of designs to him where I tried to modify his proposed layout to make it a little more orderly and aesthetically pleasing, but he did not approve so now I'm back to the drawing board and I basically lost a whole day. So, I think next time I will just produce whatever I'm asked even if it will not be ideal. Which kind of sucks, but I guess there's no way around it. I'd rather get paid for one day's work instead of two.

Yeah, you'll find work-for-hire is often exactly what you said, do the work and get your paycheck. Obviously, try to give it your own flare here and there and always expand your skills, BUT time is money. Can't waste it. Try to read the client and see how much they are open to your ideas from the get-go. If they've already sent you a list of their requirements on the cover, you should probably just get the work done and move on, but if they're like "Whatever you want to do!" then you're probably set to be creative.

You'll get the hang of it. Sorry you lost a day! Don't get discouraged, though. Making money as an artist!

[nickmarino]

Originally Posted by Saul Haber

I am curious if there is a standard way of doing things at particular companies, like Marvel or DC.

Historically, cover design was handled by the art directors at the Big Two (at least up thru the 70s, and probably for a good chunk of the 80s). From what I gather nowadays, it's become an editorially driven thing. Depending on the relationship with the editor, the writer or artist may have cover suggestions that are taken into account. But since over half of the covers aren't even drawn by the interior artists anymore, I'm pretty sure that the editors make the decisions regarding most of the covers. However, I still think that's on a case-by-case basis. Grant Morrison, for example, is well known for designing a lot of his covers. In fact, sometimes he'll sketch out what he wants the cover to look like. Chris Bachalo is also pretty well known for designing the covers on the books he draws. So I think the standard is that the editor makes the call, unless you've got a writer or artist with a proven name who happens to really want to design the cover.

[lpenha]

Originally Posted by Saul Haber

Thanks for the information guys. I was more wondering what the norm is. How should we be doing this cover, you know?
In my particular case, its a work for hire situation and not a collaboration (I mean, obviously we're collaborating, but he has the final say since its his project). I actually submitted a couple of designs to him where I tried to modify his proposed layout to make it a little more orderly and aesthetically pleasing, but he did not approve so now I'm back to the drawing board and I basically lost a whole day. So, I think next time I will just produce whatever I'm asked even if it will not be ideal. Which kind of sucks, but I guess there's no way around it. I'd rather get paid for one day's work instead of two.

I don't have a lot of experience, but as a writer I once had to ask an artist to change some aspects of a page, I even offered to pay for the extra page if he had to completely redo it. His response? Having to redraw some of the pages was already included in his fee.
So may be you might want to do that next time you negotiate with a writer. How much more is up to each individual, but your page rate should account for the fact that you may have to redo some of your work. This way you can feel comfortable to contribute without feeling you are losing money or doing work for free.