Information on The Comic Art Workshop and Seminars
The Comic Art Workshop (CAW) has been lucky to have many gifted Instructors over the years. Many of them have enjoyed rewarding professional careers in the field of comic books and graphic Novels. Besides the professional comics credits many have down outstanding work in related creative and content fields including advertising, interactive media, broadcast media, film and publishing.
Anthony Bacon –
Artist and art educator Anthony Bacon is a graduate of Cass Technical High School (Detroit, MI), Howard University and Wayne State University. He is currently teaching at Schoolcraft College and Wayne County Community College, both in the Greater Detroit area. Anthony is also an art and business consultant/vendor for a transitional program with the Macomb Intermediate School District in Macomb County, Michigan (he works with students who are visually impaired and blind). Mr. Bacon has an impressive history of art exhibitions, presentations and mentoring projects.
As an art educator and administrator, Anthony has served in a variety of educational settings kindergarten through twelfth grade and college.
This incredibly talented young man has imparted creative knowledge to multitudes of individuals of various Ethnicities from four years old to eighty. He has a long history of education and loves the educational profession. Anthony Bacon teaches and enjoys supporting his pupil’s visions, school-to-work transition and personal progress.
Arvell Jones –
Arvell Jones and his brother Desmond Jones were raised in Detroit, Michigan, and were an active in early comic book fandom. Along with fellow Detroiters and future comics professionals Rich Buckler, Tom Orzechowski, Keith Pollard, Jim Starlin, Al Milgrom, Michael Netzer, and others, Jones worked on the Detroit Triple Fan Fair, one of the earliest comic book conventions, and published the fanzine Fan Informer in Detroit; it lasted through at least issue #30 (1971). Jones in 2006 recalled how he and his compatriots “would take a 13-hour drive and spend the night with Al Milgrom and his roommate, (or) hang at Rich [Buckler]’s (apartment), then go see [art director] John Romita at Marvel [Comics], get our butts spanked, and go back to Detroit to work on our samples again.”
He broke into the comics industry as art assistant for Buckler, the first of the Detroit group to enter the field professionally. After helping him on Marvel features starring the superhero the Black Panther and the Buckler-created cyborg antihero Deathlok, Jones received his first published credit, for pencil-art assistance, alongside Pollard, on the Buckler-drawn Thor #228 (cover-dated Oct. 1974). He then did pencil “breakdowns”—layouts that break down the plot elements—for all but page one of the 18-page team-up story “The Return of the Living Eraser”, starring the Thing and Morbius, the Living Vampire, with veteran artist Dick Giordano providing finished art. This did not see publication for a year, however, eventually running in Marvel Two-In-One #15 (May 1976). Following an illustration for the text story “The Atomic Monster” in the Marvel black-and-white horror-comics magazine Monsters Unleashed #9 (Dec. 1974), Jones made his full comics-art debut as penciler of an 18-page story starring the martial-artist superhero Iron Fist in Marvel Premiere #20 (Jan. 1975). He also worked at doing covers for the British department at Marvel under the editorship of Tony Isabella. He went on to do the next two Iron Fist stories in that bimonthly series. Earning him the additional title The Invincible Iron Man later in 1975. While at Marvel Arvell worked on Luke Cage, Thor, The Avengers, Super-Villian Team Up, G.I Joe, Marvel’s What if? title, Daredevil, Captain America Annual # 13, Marvel’s New Universe, imprints; Night Mask and Star-Brand. Arvell was the co-creator of Misty Knight the first African-American female superhero for Marvel along with Tony Isabella, while working on Marvel Premiere featuring Iron Fist.
Jones worked on the DC Comics series Super-Team Family, Legion of Superheroes Specials, Super Man Family in the 1970’s and the series All-Star Squadron in the mid-1980s, penciling the majority of the issues released between 1985 and 1987. After leaving the comics field for several years to work in television, he returned in 1994 to provide pencils on DC Comics/Milestone Media‘s series Blood Syndicate, Kobalt and Hardware.
The multi-talanted creator has also worked as a graphic designer in television, art director for major websites, producer of TV commercials, storyboard artist, set designer, video editor, animator and more for several fortune 500 companies. He also for a short time was co-founder of a public company in early 2000’s.
Mr. Jones has worked in all fields of media from TV, magazines, internet, mobile and now the movie industry and is always working on exciting projects through his company Encode Entertainment L.L.C.
Since 2002, Arvell also serves as Adjunct Faculty for the College For Creative Studies in the illustration department. He has taught courses for the degree program such as; Web Development for Illustrators, Traditional Comics Creation, Sequential Illustration, Constructive Figure Drawing, Concept Illustration and more.
Arvell functions in the CAW as the storytelling layout artist, as well as all levels of production.
Recently Mr. Jones has been involved with creating poster art for Marvel Studios Black Panther movie.
Keith Pollard (born January 20, 1950) is an American comic book artist. Originally from the Detroit area, Pollard is best known for his simultaneous work on the Marvel Comics titles Fantastic Four, Thor, and The Amazing Spider-Man in the late 1970s-early 1980s.
Pollard made his professional comics debut in 1974 with stints on such titles as Master of Kung Fu, Deadly Hands of Kung Fu, Astonishing Tales, and Black Goliath. He was the regular penciller of The Amazing Spider-Man from issue #186 (November 1978) through issue #205 (June 1980) and pencilled the backup feature in The Amazing Spider-Man Annual #15 (1981). With writer Marv Wolfman, Pollard co-created the sexy Black Cat in The Amazing Spider-Man #194 (July 1979).
Pollard was also the regular penciler of Thor issues #286-#317 (some material reprinted in the trade paperbacks Thor: The Eternals Saga, volumes one and two).
In the early 1990s he drew all the character profiles for the Official Handbook of the Marvel Universe Master Edition. In addition to working on Daredevil, Nick Fury Agent of Shield and Spider-Man 2099.
Mr. Pollard has more recently been the chief storyboard artist on a soon to be release SciFi action thriller movie.
Pollard left comics in 1994, though he occasionally makes appearances at comic book conventions.
Keith helped to create the workshop as a way of giving back to the community an is the chief drawing instructor.
William Messner-Loebs (born William Francis Loebs, Jr., February 19, 1949) is an American comic book writer and artist from Michigan, also known as Bill Loebs and Bill Messner-Loebs. His hyphenated surname is a combination of his and his wife’s unmarried surnames.
Since the 1980s he has written substantial runs of series published by DC, Image, Comico, and other smaller comics publishers, including both high-profile publisher-owned superheroes and original creator-owned works which he has also illustrated.
His first comics work was for Power Comics Company and on Noble Comics‘ Justice Machine with Mike Gustovich. His first ongoing series was Journey: The Adventures of Wolverine MacAlistaire, about 19th-century Michigan frontier life, which he both wrote and illustrated. It was published from 1983 to 1986 by Aardvark-Vanaheim and Fantagraphics, followed by a limited series Journey: Wardrums. He wrote the 31-issue Jonny Quest series published by Comico from 1986 to 1988.
In 1988, he took over writing the recently relaunched series The Flash with issue #15 and continued through #61 (penciled by Greg LaRocque). Meanwhile he wrote Dr. Fate #25-41, and the Jaguar series for DC’s Impact Comics imprint. He wrote Epicurus the Sage which was illustrated by Sam Kieth and scripted The Maxx (illustrated and co-written by Kieth). In 1990, Messner-Loebs became the writer of the Batman newspaper comic strip and wrote the strip until its cancellation the following year.
In 1992 Loebs took over writing the Wonder Woman series begun several years earlier by George Pérez, with pencils by Mike Deodato. During his run from #63 to #100, he created the character Artemis of Bana-Mighdall, for whom he wrote the mini-series Artemis: Requiem. Meanwhile he wrote Hawkman #9-27, penciled primarily by Steve Lieber. In 1996 he had a brief run writing Marvel Comics‘ Thor. From 1997 to 1999 he wrote Impulse #29-49, penciled by Craig Rousseau. In 1999 he wrote the “V2K” mini-series Brave Old World for Vertigo, penciled by Guy Davis.
More recently he has had projects on DC Comics’ Green Arrow in 2006, and several pieces in The Three Tenors (Aardwolf Publishing), which he shared credits for along with Clifford Meth and artist Dave Cockrum. A new “Journey” story was included in the one-shot Many Happy Returns (About Comics) in 2008, and IDW Publishing reprinted the original material in paperback. He has done writing for Boom! Studios, including the 4-issue Necronomicon and a story for Zombie Tales. He has done illustration work for the 2007 humor book Chicken Wings for the Beer Drinker’s Soul and produces a monthly cartoon for the Livingston [County, MI] Parent Journal.
Bill joins the Comic Art Workshop as an artist and writing instructor.
More bios’ to come including;
David Perrin – Instructor
Teon Walker – Assistant Instructor
Pat Jackson – Assistant Instructor
Desmond Jones – Instructor
Sean Grey – Assistant Instructor
more to be announced in the future including;
past instructors and guest lectures
Behind the scenes
Richard Buckler – Workshop workbook material
Tony Isabella – Workshop handout material
Eddie Newell – Art Samples and advertising promotional material
Louis Small Jr. – Promotional Art
Rob Shull – Promotional Art
Skip Kirkland – Workshop material – original scripts
The CAW is continues to look for exciting instructors to help bring new dimensions to the workshops and seminars. If you are interested in helping to shape the minds of new creators contact us.