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TCAF!

2017-05-10 19:30:26

I realised that a bunch of people I’ve interviewed over the years will be at TCAF this year. TCAF is one of my all-time favourite shows, and Toronto is one of my all-time favourite places largely because it is full of some of my all-time favourite people. Even if, like me, you can’t make it this year, check out these shows from the past few years.

Hopefully this helps you connect with and discover some great creators. If I’ve missed anyone, drop me a line and I’ll get it updated.

Annie Koyama
Annie Koyama of Koyama Press and Dan Berry get together to talk about how publishing works, the life of a book, how
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Becca Tobin
Becca Tobin and Dan Berry talk tools, fluidity, sandwiches and pagefright. Check out this episode! →
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Box Brown
Box Brown and Dan Berry sit down to chat about the links between storytelling and wrestling, getting into drawing comics and the
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Britt Wilson
Britt Wilson and Dan Berry talk about process, loosening up, being particular and having good taste. Check out this episode!
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Charlie Adlard
Dan Berry speaks with Walking Dead artist Charlie Adlard about his process, how he got started in the comics industry
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Christopher Butcher
Christopher Butcher, Director of the Toronto Comic Art Festival (amongst other things) talks to Dan Berry about how TCAF works, how his
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Dustin Harbin
Dustin Harbin and Dan Berry talk at length about doing art better, what the proper collective noun for a group
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Eleanor Davis
Eleanor Davis talks from the comfort and security of a blanket fort to Dan Berry about hard work, getting better
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Evan Dahm
Evan Dahm and Dan Berry talk world building, hiding your compromises, maintaining consistency, making comics and then telling everybody about those comics. Check out
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James Albon
James Albon and Dan Berry get together to talk about education, creative processes and what a style is & what
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Jesse Jacobs
Jesse Jacobs and Dan Berry’s conversation about process, stories, sketchbooks and wilderness confection is made all the more dramatic by being recorded
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Jillian Tamaki
Jillian Tamaki and Dan Berry talk amongst other things about ideas, the evolution of a style and faith. Check out the Patreon
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Joe Decie
Joe Decie talks to Dan Berry about his partially true autobiographical comics, whether or not he really has a dog,
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Joe Decie Returns
Joe Decie and Dan Berry get back together to talk about Joe’s new big book ‘Collecting Sticks’, working with an
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John Martz
John Martz and Dan Berry talk about his work, tools, the differences between intuitive and planned drawing and the influential illustration
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Justin Martzbin
John Martz & Dustin Harbin talk to Dan Berry about the worst, most hackneyed interview question you can ask a creative person. I
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Kevin Huizenga
Kevin Huizenga and Dan Berry talk about rituals, creativity and process. Check out the Patreon campaign and help support the show! Download this episode →
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Michael Deforge
Michael Deforge and Dan Berry chat about his approach to drawing and writing, the development of his style and his
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Neil Slorance
Neil Slorance and Dan Berry sit down to talk about process, working with a writer, reviews and being part of a creative
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Ngozi Ukazu
Ngozi Ukazu and Dan Berry get together to talk about building an audience, building your ability and attracting the muse.
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Noah Van Sciver
Noah Van Sciver and Dan Berry talk about selling books, style, planning a project and money. http://traffic.libsyn.com/mitte/142_maketell_noah_van_sciver.mp3Podcast: Play in new
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Patrick Crotty
Patrick Crotty of Peow! Studios and Dan Berry talk about publishing and running a print shop, starting small, money and marketing. Check out
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Phil McAndrew
Phil McAndrew and Dan Berry talk about pitching a tv show, the similarities between working with an idea and squishing a bug and
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Ryan North
Ryan North and Dan Berry talk about writing Dinosaur Comics comic for ten years, writing the Adventure Time comics, the
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Simon Hanselmann
Simon Hanselmann and Dan Berry get together to talk about food colouring, rivalries, crossdressing and the idea of your career
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Sloane Leong
Sloane Leong and Dan Berry get together to talk about finding and keeping an audience, getting brutal criticism and what you think about
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Back soon!

2015-10-26 08:46:39

Hi everybody. Here’s a quick update on everything Make/Tell. I took September off working on the show so that my alter-ego Dan Berry the cartoonist/illustrator could meet all his deadlines. September soon turned into October too, so the show will be returning refreshed, full of vigour and raring to go in November. Thanks for sticking with me. It has been the absolute most busy I’ve ever been.

I also want to tease you with rumours of a new podcast launching soon in the Make/Tell universe. If Make It Then Tell Everybody is a show about everything that goes into the creative process, this new show is about everything that doesn’t. It’s a lot of fun to record and my co-host Hannah Berry (no relation) and I think you’ll really like it. It is silly. Keep your eyes peeled, there’s going to be a website/twitter launching in the next couple of weeks.

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AT TCAF!

2015-05-01 05:51:28

The Toronto Comic Art Festival takes place on the 9th & 10th May and I’ll be going! Here is a list of former Make/Tell interviewees that will also be exhibiting. I hope I’ve not missed anyone off! Listen to their interviews and then go along (if you can) and say hello! I’m there as part of ‘It’s Nice Out’ a showcase of commissioned work from the Lakes International Comic Art Festival, showing off some stuff I’ve been woking on and launching the 24 by 7 book collecting 7 24 hour comics I edited last year. I’m really looking forward to it!

Kristyna Baczynski (interview here)

Box Brown (interview here)

Christopher Butcher (interview here)

Eleanor Davis (interview here)

Joe Decie (interview here)

Michael Deforge (interview here)

Oliver East (interview here)

Jonathan Edwards (interview here)

Hunt Emerson (interview here)

Felt Mistress (interview here)

Jess Fink (interview here)

Dustin Harbin (interview here, here)

Jesse Jacobs (interview here)

Cathy G. Johnson (interview here)

Annie Koyama (interview here)

Patrick Kyle (interview here)

Joe List (interview here)

John Martz (interview here)

Phil McAndrew (interview here)

Scott McCloud (interview here)

Simon Moreton (interview here)

John Porcellino (interview here)

Jason Shiga (interview here)

Neil Slorance (interview here)

Jillian Tamaki (interview here)

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Transcriptions are here!

2015-01-07 13:29:55

Big news! I’m delighted to say that new episodes of the show are going to be transcribed by the amazing and very talented Renée Goulet. To see her in action, check out the transcript of the interview with Christopher Butcher.

Why is this big news? It means that the interviews and the many varied nuggets of wisdom, mirth and advice that they contain are going to be available in a more flexible format to a wider audience, not just people that do or can listen to podcasts. It means that they are a resource that will be searchable, accessible, quotable, easy to reference, share and fairly straightforward to mangle into a different language through something like Google Translate. It means the podcast has evolved into something more useful to more people than ever before.

This is all made possible thanks to the people who donate to the show through Patreon. It would simply not happen without financial support from the community that Make It Then Tell Everybody serves. Transcribing audio is not cheap, and when you have a back catalogue of audio interviews 3 or 4 days in length to transcribe, it is restrictively expensive for me.

At present I can only really afford to get new episodes of the show transcribed. I want to set Renée to work transcribing the back catalogue, so please head to the Patreon site for the show and sign up to donate a dollar or two per episode to help us do this. I need you. If everyone that listened donated one dollar per episode, it would financially cover the cost of transcribing everything many, many times over. It doesn’t take everyone, it’d only take a tiny proportion of Make/Tell listeners to make this work, and a modest proportion of listeners to make it a roaring success! Strength in numbers! Get enough tiny droplets and you have a whole ocean! If Patreon isn’t your thing, or you want to make a one-off donation, you can do so here through Paypal.

I know that this is something that not everyone might be in a financial position to do, so instead perhaps help spread the word. Telling people about the show and what we are trying to do is just as valuable to me.

I’m so proud of the podcast and I am so excited about what the coming year is going to bring.

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The Same Faces pt.1

2014-09-01 14:57:58

I get asked questions occasionally about the process of making comics. I’ve passed this particular question on to a handful of the people I’ve interviewed for them to answer, and I’ll post up more as they come in.

How do you make the faces look the same from panel to panel?

I remember this being a big concern of mine when I started drawing comics, and I get asked this pretty frequently. Probably more of a concern that actually telling a story if I’m honest. I think this is a question that gets asked a lot because it is so apparent when the characters don’t look consistent. Here’s how John Allison, Viv Schwarz, Glyn Dillon and Sarah Glidden tackled this topic;

John Allison (Listen to his interviews here and here)

I’m not sure I ever worked this out in a scientific way. When I was a kid, I drew Transformers comics, and because I was a kid who liked the toys, I knew where all the different bits of their faces went. Optimus Prime had that barn door over his mouth, Jazz and Blaster had visors over their eyes, Shockwave had a hexagon head. Their blocky appearance made getting all those bits in line easier.

I think that’s still what I do. I know what shape a character’s face is, what shape their nose is, what kind of eyes they have, and I put them in the same place each time. And I know that if I don’t properly work out a new character today, and try to draw them several times in the same comic, they don’t look the same each time. It’s not magic, you just get better at copying yourself.

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Viv Schwarz (interviewed here and here)

Good question.

I draw my characters without worrying too much beyond a simple set of rules about their individual proportions, concentrating more on their stance and expression. Then I check all the drawings, comparing them carefully and correct them in Photoshop where they are too far off.

I allow myself some room for variation because my characters tend to be a bit amorphous, their whole shape changes with emotion and their features wander a bit – that’s what I’ve observed happens in animals where feathers, fur or loose skin allow for a lot more expressive shape shifting. I am allowing that for my human characters to some extent as well because I think it reads just fine. I’m also making all the characters in any given story look quite different so that they are easy to recognise even if their shape varies a bit.

I couldn’t keep the faces completely consistent anyway because I myself can’t recognise real people by their features and have to memorise their voice, smell, stance, hairstyle and so on instead. I think that actually helps my drawing more than it hinders.

Photo 20140621173314

Glyn Dillon (Interview here)

I try and learn the ‘ingredients’ that make up a characters face, & the position & proportion of those ingredients, sometimes it takes a while for them to settle, which is why often a character will look one way at the beginning of a project and quite different by the end.
If you do enough ‘pre-production’ work, character sketches, drawings where you’re trying to learn the ‘map’ of the face, then that effect should be somewhat diminished. But it’s still likely that your characters will change & evolve. Even seemingly simple characters like Homer Simpson have gone through changes… the basic ingredients are all there but the positions and proportions have changed slightly over time.
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When I did Nao, I didn’t want her to remain the same throughout the book, I wanted her to look like she’d ‘evolved’ in terms of varying clothes, hairstyles and ageing slightly. So I tried not only to have a consistency to the ingredients of her face but also to have a consistency to her expressions. I tried to give her a recognisable smile that I could repeat, so that even if her hair style had changed, she would be recognisable by her tight lipped smile.
I can understand why it’s a FAQ because it is one of the hardest things to pull off. I look at pages of Nao where I think she looks different from panel to panel, (the one where she’s putting on her make-up springs to mind) but over the book as a whole I don’t think it’s too bad.
dillon
Sarah Glidden (Interview here)
Its hard to keep characters consistent, especially if you’re style is still evolving over time and you’re working on a long project. I have it a little bit easier because my characters are pretty simple, differentiated mostly by their hairstyles/hair color and clothing. Really, if you just looked at their faces, they don’t look the same from panel to panel, but I do my best to make sure you always know who is who.
What is most important to me is that each character comes across as an individual. Part of that means that I am very careful about how each character “acts”: their body language, their facial expressions, whether make eye contact when they talk to someone else, all of these things are less noticeable from panel to panel if you’re just flipping through the comic, but its all very considered. 
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