Thursday, May 5, 2011

The Charlton Comic Book Guide!

It's been two years I've been doing this blog. I don't have much to add to that save what everyone seems to say at times like these, that time goes by quickly and it's been a lot of fun. Both are true for me most certainly. Thanks to all those who stop by here regularly or otherwise.

One thing though that has diminished in the last year is the Charlton comics content. That was the early focus of the blog and I want to recommit to bringing more Charlton content in the coming year. I want to begin by presenting The Charlton Comic Book Guide for The Artist-Writer-Letterer.

This 1973 classic was available from Charlton by mail order during the Bronze Age and features tips from Nick Cuti, then assistant editor for Charlton. The work is laced with great art samples by Cuti himself, as well as Joe Staton, Tom Sutton, Steve Dikto, Sanho Kim and others.

It's a vintage Charlton treat.

See you next time.

Rip Off


  1. You know... if more artists still practiced the techniques laid out in this book (as well as those in the original "Drawing Comics the Marvel Way" illustrated by John Buscema), I might still be buying new comics on a regular basis. (Well... there'd still be the lack of decent writing, but competent art would be nice beginning.)

  2. Awesome! I never hear of this book before. Thanks for posting!

    In regards to Steve Miller's comment above, I agree. The art of story-telling in modern comics (mostly heroes) is terrible! I'm not saying the art is bad or anything there's just no finesse in they way they tell the stories.

  3. That's because they're not telling stories, just stringing pin-ups, splashes, and double-page spreads they can resell on the original art market.
    If the requirement for a successful comic page is that it makes sense without captions and dialogue, most artists' work today would fail miserably!

  4. I don't hardly read any new comics (that I pay for) but I do look at the previews of new comics online. Often those don't have dialog and trying to figure out what is going on is often impossible. The biggest reason is that in a typical five-page sequence almost nothing goes on.

    Rip Off

  5. I've probably said this before, but I'm having another one of my silly half hours.

    Okay, I'm willing to rip Jagger, but I don't know which bit of him's his dojo.

  6. I keep my "dojo" safely hidden, to minimize the damage.

    Jagger Off


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