The writer and the
artist are sitting opposite from each other at a table. The artist is
looking at the writers script and he sees a problem with it.

Artist: On
pages six through nine you have this scene with a cat…

Writer: Yeah, in dreams cat’s are symbolic of misfortune,
treachery and bad-luck.

Writer: It’s
foreshadowing what happens in the next scene.


The artist puts down the
script to explain to the writer:

Artist: But I can’t draw a cat.

Writer: What do
you mean you "can’t draw a cat"?


As the artist explains
the situation, the writer angrily stands up and reaches for a crowbar that is
hanging on the wall.

Artist: I mean I
can’t draw a cat. I’ve never practiced, I don’t know how!

Writer: Oh I’ll
teach you how to draw a cat.


The writer caves in the
artists head with the crowbar. The artist has been mostly knocked out
of the panel by the blow but his hands are still in panel, futilely
held out in front of him in an attempt to protect himself. As the
crowbar connects the artists blood sprays the writer and the wall
behind him.

(shouting): DRAW THE $&#*ING CAT!


The writer brings the
crowbar down on the artist again. This time we see the writers crazed
look from the POV of the artist.

(shouting): DRAW THE $&#*ING CAT!


POV is from outside of
the room. It’s night and through the window we see the silhouette of
the writer bludgeoning the artist again.

(shouting): DRAW THE $&#*ING CAT!

Page 2


Full page panel. We’re
out in the woods at night. The scene is lit by a single lantern at
the writers feet. The writer is digging a hole, and looking around
with shifty, remorseless eyes. Sightly off to one side lays a blood
stained sheet which contains the lifeless body of the artist.

Drawing is harder than it looks. I’ve been practicing a little and the best I can do is copy a drawing by another artist. I’m not even close to drawing a human figure without a model. And when I get to that point then I’ll have to learn how to draw animals, vehicles, settings and on and on…
This learning experience has taught me a few things about artists though:

  1. Good sketches of superheroes doesn’t imply a good artist. Superheroes wear spandex because they’re essentially wearing no clothes, and nudes are easier to draw than people in loose fitting clothing.
  2. Make sure they can draw backgrounds. Backgrounds aren’t fun to draw so most artist don’t practice drawing them.
  3. Learn and use an artists strengths. Anyone reading The Flash may have noticed that there’s been a lot of devastated cityscapes. This is because the writer likes the way the artist draws devastated buildings. (He later discovered that the artist also hates to draw devastated buildings.)
  4. If you’re going to introduce a new kind of anatomy (like, say, a cat) give them enough time to practice.
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