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Weil, that wraps it up for now, gang. Naturally, we’ve only been able to scratch the surface of this fascinating, almost limitless subject.

However, we hope that in these all-too-brief pages we’ve been able to give you a valuable and informative overview of what it takes to draw for the comicbooks. Ali anyone can really do is point the way—give you a few tips, a few suggestions. The hard work, alas, must be done by you.

And yet, the beautiful thing about being a comicbook artist—even about striving to be one—is that you have to love it in order to want to do it. Nobody gets into this field because someone else advised it, or because it seemed like a practical thing to do. No, being a comicbook illustrator is being engaged in a labor of love, and when you really enjoy what you’re doing, that’s almost reward enough.

At any ratę, we’ve told you all we can—at least for now, in this, the first volume of its type ever published. You’ve gained some insight into what’s required of the comicbook artist, and you’ve learned the types of things you must master in order to make the grade. The rest is up to you.

One last word before we tum you loose to unleash your talent upon a breathlessly waiting world. To be a great singer, you’ve got to sing.

To be a great pianist, you’ve got to play piano. And to be a great artist (and Marvel isn’t interested in any other kind), you’ve got to draw!

Draw! Draw! Wherever you go, whatever you do, whenever you have a spare minutę—draw! Sketch everything you see around you; sketch your friends, your enemies, relatives, strangers, anyone and everyone. Become as facile with a pencil, pen, or brush as you are with a knife and fork. The morę you draw, the better you’ll be. And we want you to be—the best!

Excelsior!

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